Why’d you bring a surfboard to Lockwood?

After celebrating our seventh anniversary this past Wednesday, we present you with an unprecedented development in Quartersnacks’ history — a five-minute clip entirely set in Los Angeles, California. We don’t plan on launching an indoor T.F. that causes us to become afraid of the sun, joining any cults, or living off a diet of alfalfa sprouts and plates of mashed yeast anytime soon, but who knows. Below is the entire #stupidbitch2012 tour in video form. Here’s the photo post in case you missed it. Thanks to Joe Cups and Josh Velez for for their filming contributions.

Features Mike Gigliotti with his last appearance in a QS clip as a civilian, Aiden, Lui Elliot, a lot of dancing idiots, Charles Lamb, Tino Razo, some shitty cab drivers, Josh Velez, Baker landings, Javier Nunez, Andrew Brophy, and some more bad cab drivers. (L.A. has an epidemic of insanely awful cab drivers — we were staying on California Avenue and one of the cab drivers asked how to spell “California” while he was typing it into his GPS.) Have a good weekend.

Alternate YouTube Link: Intelligentsia looks like a meth lab

Morning Edition

To everyone’s disappointment, the following video clip does not contain footage of Geo Moya landing the above trick. More importantly, did you wish Moya happy birthday yesterday?

Below is a clip we put together featuring the team from Akira Mowatt’s company, After Midnight New York — not to be confused with the free newspapers or makers of metal recliners for crackheads. It has a high concentration of hood legends, in addition to music supervision from the era when Harlem ruled the summer (AKA before the Ed Hardy tees.) Features Quim Cardona, Joseph Delgado, Geo Moya, Charles Lamb, John Wisdom, Leo Heinert, Rob Campbell, Akira Mowatt, Masashi Shiroma, Dakota Segree, and Ariel Perl.

Filmed by Gosh Goto.

Best west coast noseslide is Muska. Best east coast noseslide is Moya. Best half cab noseslide is also Moya.” — The Worst Dude These Days

Alternate YouTube Link. (Leopard is real big this season.)

Chevy painted tropical, awimbawe, awimbawe

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.)

Slide like a fresh pair of gators

The 2000s summarized in one, technology encompassing shoebox — physical CD mixtapes, 3.5″ harddrives, and a grip of unmarked Mini DV tapes.

This site has never been about technological allegiances, but if the more candid, less-ambitious skateboard endeavors that make their way to this website can be shot on either of these two devices, as opposed to something that contributes to the rising need for Mini-DV-containing shoebox storage, so be it. Quartersnacks is filmed largely on a damn Canon Mini DV camera, so if you’re looking for video quality, you’ve been coming to the wrong place for quite some time. That being said, this clip has all the expected hallmarks of a digi-cam clips: skateparks, heads being cut off, feet being cut off, 12th & A, annoying security guards asking why you’re trying to put them on YouTube (you know everyone is on the lookout for the next Bush video), skating the suburbs and crashing into Lexuses, and an ensemble of other don’t-take-it-too-seriously-isms.

This clip was filmed by Josh Velez. Features Yaje Popson, Emilio, Corey Rubin, Alex, Matthew Mooney, Charles Lamb, Galen Dekemper, Josh Velez, DJ Roctakon, Pryce Holmes, Ty Lyons, Alex Mosley, Andre Page, and Ritch Swain.

Velez’s Corner Volume 1 can be found here. Uploading this one to YouTube now.

Brooklyn Banks Week: Charles Lamb Interview

Part 3 of Brooklyn Banks week. Couldn’t find any nineties / Banks footage of Charles, but the Lurkers 2 part (alternate edit) is always worth a revisit.

Interviewed by Ted Barrow on August 27, 2006


I first started skating in Staten Island around the neighborhood of my parent’s house. The whole way I started skating was, I lived on a hill, and I used to hear the bearings roll down the hill, and the locals around the hood were skating. I used to watch them roll down the hill and it was a bunch of white dudes, a bunch of black dudes, and two Spanish dudes. They were all going to this one kid Jose’s house like three blocks away from my mom’s house who had like, a piece of shit box with nails coming out of the side.

What year is this?

I guess I was nine or ten. I skated around before that, but on little blue banana boards with crazy wheels and not doing tricks. But I saw them doing ollies out of curb cuts going down the hill, getting this high, and I was like, “Oh I gotta do that.” So I started creeping around that dude Jose’s house and eventually got a Santa Cruz, like, Jim Theibaud board. This is 1990 I guess, in the spring. I started hanging out at that dude Jose’s house all the time, which eventually led me to these other kids at McDonnell Lane Park, where there were people from all over Staten Island skating a ledge and 4 stairs. From there I met some kids that were really good, and I learned a bunch of tricks, and then it started.

I was always going to the city to skate the Banks, but it was only when I was like, “I don’t want to take a bus or ask for a ride to go to this park in the middle of Staten Island and have to come all the way back, I could just skate down the hill to the ferry, take the twenty-five minute boat ride, and be at the Banks, five, ten minutes after that.” Skate with people from all over the world that are super good, get really psyched. That’s what I started doing, all the time. Saturday, Sunday, when I wasn’t in school, it was just like full-on Banks.

How early would you get there on a Saturday?

Oh, I was getting there at like 9:30 in the morning at first, and then it just became like, I would always get the twelve o’clock ferry boat, skate until seven, go back home, eat dinner, maybe go back out, somewhere on the Island, you know, skating around. So I guess that’s how I got introduced to the Banks and skating was just like, 360 flips, impossibles, a few switch things were coming out, but uh, pressure flips…

So this is like, ’91, ’92…

Yeah, by now, by the time the Banks had become a regular thing in my weekly schedule, it was a time of like, I saw the first pressure flip and was like “Wow.” It was at a Blue demo at the banks. There were mad Banks contests. One summer there was a Banks contest like every other weekend.

Keep Reading »