Yaje had the best part.

This past Monday, Bryan Herman, some asphalt, and a couple picnic tables reminded everyone of how fun schoolyards looked in the nineties, before eleven-minute video parts and people not named Daewon made this particular sub-genre of skateboarding synonymous with tedium. What exactly possessed the people responsible for editing Stay Gold to choose a song that kind of sounds like some distant relative of muffled instrumental hip-hop (“It’s a throwback to da golden age, yo!”) to go along with it is anyone’s guess. While watching this video, a fun game to play is trying to fit any of the songs used throughout its soundtrack into a particular genre of music and see how close you get. If you do happen to find an applicable genre, then try to picture the people that actually load up this stuff onto their iPod or car. I basically feel no guilt whatsoever for editing Daniel Lebron or Ben Nazario footage to Gucci Mane anymore, because I have physical, living evidence of people who actually do listen to Brick Squad. “Luh Dem Gun Sounds” has 4.2 million views right now. I have never met anyone who listens to the stuff they put in this video, and contrary to popular belief, I do know a lot of snobby white people with life-long devotions to all sorts of music not featured on Dirty Glove Bastard. Has the always troublesome relationship between music rights and skateboarding videos really gotten this bad? (If it has, it might be unfair to include music choice and its appropriateness as a critique for skate videos. Plus, since most skate videos are viewed on YouTube these days, simply turning the volume off and letting iTunes rock is another solution. That’s what I suspect most people do when they watch Quartersnacks clips.)

Everyone killed it, and the list you expect to appear on any summation of this video is obvious. There’s just a certain intangibility that comes with describing certain parts as being “less interesting” than others. It has nothing to do with the spots of choice, because this video makes an effort to portray Southern California as one endless parking lot, and it becomes apparent which individuals are better equipped with the navigational tactics to mediate throughout the given forest of parking spaces than others. Nor does it really have much to do with the types of spots, because handrail and gap skating is no less subject to the varying degrees of interesting-ness than ledge or “abstract spot” skating. Some people make you care, other’s don’t. Arguing about a skate part being boring, when it is clear that the person up for discussion is insanely talented, is like debating whether Lil’ Wayne is a good rapper — the number of cases for him being a genius or a mumbling retard are equally distributed on both sides of the scale — it is just a matter of which particular ramblings you want to emphasize to build your case. Non-legacy video parts are either “Fly like an ostrich” or “Hustler Muzik,” it can really go either way depending on who’s watching it.