As video-makers have become increasingly afraid to edit skateboarding to offensive music, and continue to submit to a fairly narrow scope of sounds (People insist that these decisions are all based on what Pitchfork approves, but that seems more like a scapegoat than the real reason), loud, obnoxious music largely intended for strip clubs has been cast aside. A safety zone for song choices exists, which makes a lot of skate part music just sit there, as a passive accompaniment to the part, and not elevating the skating to a more reflective-of-the-skater nature. This phenomenon allows a team like Expedition, seemingly filled with white guys who probably like all sorts of weird rap about hacking computers and hacking limbs, to edit an entire video to generic soul songs, or a video for a shop in Miami, a city that has probably played more Tiesto than the rest of the country combined, and provided us with so-goddamn-ignorant-that-even-Quartersnacks-can’t-cosign-it “artists” like DJ Khaled, to be edited to MF Doom and West Indian infused Muska Beatz derivatives.

Smolik might have looked like a total kook goonin’ hard with some San Diego derelicts at the train tracks, but sure as hell knew that’s who he was, and what he was trying to put across with his part. Or that Koston wanted to live in Los Angeles. And I hate that song. But it works. If you want to skate to Katy Perry because you have a crush on her bosomy physique, do it. Make people on YouTube tell you the song ruined the part. Make them thumbs down your video because of the song. As long as it’s what you wanted, and who you are, do it. Skateboarders always complain about non-skaters “trying to look like them” — maybe it would be way harder to do that if the images that you put out there actually reflected you, and not what 95-percent of skate videos tell you is okay.

Case in point: Pryce Holmes put together a bunch of Charles Lamb’s footage from various European* endeavors that occurred in 2010. Complete with gunshots, four or five song changes, girls screaming, and the “Polo” remix, a song I can personally attest to being a Charles Lamb favorite. But, with the industry figure heads constantly pushing against such downright offensive part compositions, Pryce was forced to provide a “white boy mix,” so less open-minded media outlets could utilize it without alienating a skateboard audience that they hope to one day find indistinguishable from one another, probably for marketing reasons.

*Plus C.I.A. Ledge, but we have already revealed that C.I.A. was deemed “the best ledge in New York” by a master of European skateboarding, therefore it does not break the cohesive feel of the part.

There’s a chunk of real good footage that was also left out of this part, so don’t be too surprised if you see a round two someday.

Click here for the whiteboy edit. And even though this site’s favorite “Young” is Jeezy, as we schedule updates around prominent release dates, we can gaurantee that there will be like eight or nine new clips the day Young Dro’s album comes out. (If and when, obviously.)