“Took this at the corner of 3rd Street and 2nd Avenue almost eight years ago to the day. DMX was stopped at the intersection waiting for a red light. I nervously fumbled to get my phone out, framed him up, snapped one off and gave him a nod. He smiled, nodded back and told me to buy his record. The light turned green and he was off… R.I.P.” — Keith Denley, 4.14.13 / NY, NY
The JHAKX video from Takeshi Nagamatsu has a New York section to start it off, plus a lot of familiar faces. It’s funny to see the metal strips across the Cooper Union bank get defeated one at a time over the years.
“Pleasure” is a 20-minute NJ/NYC/Philly video by Hugh O’Hare, and “Don’t Smoke That Wood In Here” is a 10-minute NJ/NYC/Philly video by the Lottery Boiz. Shout out to the enduring badness of bust-free ledges in the greater New York metropolitan area, which causes all of us to still drive out to Staten Island to skate P.S. 6…in 2019. Also, of course skaters wasted no time editing something to Young Thug’s late summer beach anthem, but tbh, “went from boogie board shorty and now I’m the big kahuna” is a lot to live up to.
The QS webstore relaunches this Wednesday, November 2 @ midnight New York time. Small preview of the new QS merch here. Our bud Colin Sussingham also shot a lil’ Warehouse Mondays lookbook with the boys for his Tumblr. Available in U.S. shops this week. International soon. Photo by Pat Buckley.
“I didn’t know you knew about Supreme.” — Stevie Williams’ 12-year-old daughter to Stevie Williams. The Bunt’s latest one is with Stevie Williams, and covers everything from early Philly days, to the origin of the switch shove revert (unexpectedly Danny Way inspired), the first pass at Reebok skate shoes, etc. Also shout out to Stevie for calling out when skateboarding looks like rollerblading :)
“The increasingly inscrutable Daniel Kim is on some Sampson deal where his trick spread (now including switch Japan airs and a switch kickflip tailgrab) seems to grow woollier in direct relation to his hair length.” — Boil the Ocean on Spirit Quest, which includes a part from my favorite skater and frontrunner for hair of the year, Daniel Kim.
“I never missed filming a session from 2000 forward because it became critical for my film and for my journey to the final level.” *Desperately awaiting intel on the New York premiere of the Todd Falcon film*
Heard Petey Pablo in #theclub out in Tokyo this past week, and was reminded of the far-reaching majesty of the great state of North Carolina. Congrats to the Endless Grind crew on thirty years. This one’s for you? Uh-uh. This one’s for who? Us, us, us.
Perhaps the only point in Alex Olson’s recent interview that did not polarize skateboarding’s sea of opinion, was his belief that nobody cares how hard tricks are anymore. We’ve all said “he’s good, but who cares” or written someone off as “a robot” before, so what do professional skateboarders have left to aspire to?
The line has long been the backbone of street skating. Skateboarder even published a print #listicle in the mid-2000s showcasing the best lines of all time. Appropriately enough, the latest entry belonged to P.J. Ladd, because his debut part was when progression really took off, and the “Everyone is Good” movement began to accelerate our numbness to incredible skateboarding.
“But what about style?” Sure, Ray Barbee looked amazing when only doing slappies and no complys, in a way that legions of art students have failed to replicate. Even Carroll’s library line — quite possibly the best thing ever done on a skateboard — wouldn’t be the same if it was performed by some midwesterner visiting San Francisco. Style plays a role, but remember when people would say things like “He’s so smooth?” None of that matters when everyone in a major skate video is “smooth.” Stylistic hallmarks have become less palpable because everyone skates and everyone is good. Everything was the same #drakevoice :(
A wise man once said “I don’t care how ‘good’ a video part is, all I care about is how cool it makes the skater look.” This list features the most timeless lines that were made so by the skater’s ability to make himself look cool, and not just “good.” They will stand out a decade down the line, even when each trick in a Micky Papa part is a go-to for fifty Stoner Park locals.