“yea this took some time” — Spezzatura’s “PANORAMA 4” Video

A friend of ours was recently talking about his young son falling in love with skateboarding, and happened to mention that all his kid does is binge Ratz and Panorama videos. To take it further, this friend works in the fashion industry, thus finding himself in Milan semi-often, and his kid is constantly begging to come along: “just leave me at Centrale.” (His son is probably not old enough to be left alone at an Italian train station all day.)

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Long Day At The Content Factory

🏀 Knicks x Quartersnacks ’47 Brand hats available in our webstore 🏀

Johnny Cumaoglu with the first Small Banks clip heard around the world DMs + ok, so now we need a Shintaro Hongo one-spot part at the Brooklyn Banks, ASAP + @banks_at_six Small Banks reportage has begun 🧱 (“You wanna skate a curb in Central Park??? We’re going to the Banks, buddy! Six o’clock!”)

We are a long way from “cherry.” Last week coincided with two profiles of its stars and their grown-up lives: Christian Kerr profiled Tyshawn Jones for Hypebeast (“This is probably my last interview for a while. We’re going to let the skating talk. Then when the skating is done, they’ll ask for more interviews”) + Sage Elsesser was profiled by the High Snobiety magazine.

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Raw Files in Italian :) Rat Ratz & Panorama 3 B-Sides via Spezzatura

In the warp-speed era of the skateboard news cycle, raw files, remixes and all that don’t hit quite like they did during slower times.

At least not in English they don’t — because it was hard not to laugh out loud at some of the subtitled Italian commentary [“OOO MY GOD BRO”] in Spezzatura‘s latest upload, which encompasses all the B-sides lying around the finished products of WHO SAID WHAT and Panorama 3 (which, apparently isn’t viewable in the United States anymore on account of a music rights issue?) Italians are known worldwide for their passion, and when presented with the opportunity to wail in subtitled frustration on the floor outside of a Milanese transit hub, the experience is as operatic as one would expect.

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