“Yougottagetthat” Video Premiere Report

January 20, 2010


I often wonder if release date–specifically, time of year–affects videos’ sociocultural impact. traditionally, the prime time to release a video is the summertime–to conincide, one assumes, with the time dudes are skating the most. For example, Virtual, Photosynthesis, Goldfish, Trilogy, A Visual Sound, and, yes, even Fight Fire With Fire all were unleashed in the summertime. This is a philosophy to which the good people at Transworld still hold true, and presumably will until a tectonic plate shift hurls the San Diego area into the Pacific Ocean. The big exception, of course, is EE3, which I purchased from Supreme at the tail end of a brutally extended winter. It came with that poster and cardstock card that listed all the montage appearances in order. As the shockwaves from the video’s impact resonated,  the collective energy fuckin’ powered that whole spring /summer. If Dan Wolfe hadn’t created that video, I probably wouldn’t have slept in my car in Philly before skating a neonatal FDR and Love all day. Wouldn’t have made sense.


Can’t say that I remember a video coming out in late January. As with any situation, I tried to go in with no expectations. However, based on trailers and seeing dudes film at the foundation spot last summer, I anticipated a video that, like the best videos, creates a Mike Singletary-like statement of “this is who we are, this is what we believe.” Kind of like Joe Perrin tapping into the weirdness of semi-rural Florida. As it happens, though, the January release date  is fortuitous for two reasons: Firstly, a wave of depression  had washed over the city as a result of A)a vicious cold snap and B) the mutilation of the foundation spot, including demolition of the freestanding ledges.

Secondly, the showing was scheduled smack dab in the middle of divisional playoff weekend. For me, at least, this ramped up the intensity a few notches; as anyone with any sort of NFL acumen will tell you, the divisional games kill it the hardest out of any round of the playoffs.  When I got to the venue, however, New Orleans was having their collective way with the Arizona Cardinals. The fact that New Orleans has a successful sports team still blows my mind; like Bill Simmons, I was of the belief that a NO sports franchise would never succeed due to all the crazy distractions in that town.

The fact that Jeremy Shockey, who barely kept it together living in West New York, NJ,  has managed to avoid waking up in a gutter in a post-coke binge wormhole of depression with a $50,000 charge on his credit card for some “car wash”  is testament to the power of The U. Sometimes I wish I had gone to the University of Miami just so I could claim The U; I think I read somewhere that they have a halfway-decent journalism department. Although, is one allowed to say that one attended The U if one was just a plain ol’ undergrad? I need a clarification here.

Along those lines, Connor Champion, as many have pointed out, has been given a name that would be suited to an all-pro QB, TE, or CB. Kind of like that dude Colt McCoy on Texas.  Like the aforementioned Longhorn, Champion is a throwback, if you will, to a simpler time. In the opener, he wisely eschews “jumping down stuff”  in favor of shit like clean switch heel back fives on marble benches, nosegrind flip out’s on thirty-foot loading dock ledges,  and hard-ass ledge tricks to manual 180 out.

As for the rest of the video–as I recall, Gilbert [figuratively] annihilates the recently [literally] annihilated foundation spot ledges. Scotty Moore’s part contains a predominance of NYC night footage, which is the rarest and most valuable kind of footage going today. The recently Pleasantville-ized Dan Murphy jumps down huge stuff in cupsole shoes. Maybe they make a comeback this year; who the fuck knows. Alls I know is, I fuck with the DC PJ Ladds, as does that dude Bob Reynolds, who shares a part herein with Bob Worrest (sw 360 flip ns reprise).  Mike Peterson brings back the fakie one-foot from his part in the last or second-to-last 411. Kyle Berard skates to “Jane” by Jefferson Starship (or were they just Starship by then?), which I always thought would be sick to use in a video part, in a similar vein as The Rasberries’ slew of catchy-as-fuck hits back in the 70’s and that Aldo Nova song. In terms of the balance of the music supervision, the non-ironic use of hip-hop from the mid-Atlantic (mid-South?) region killed it.

why are there fractals on this album cover

Having gone into this premier with mitigated expectations from the outset, I certainly wasn’t expecting a paradigm-shifting all-out assault comparable to EE3. The more that time and place recedes into the sands of time, the more I come to terms with the fact that we will never again see its like. HOWEVER, at the very least, YGGT will serve as a call to arms as the end of winter beckons seductively like a brown-haired blue-eyed woman. A more strategic, low-key EE3 for the mid-South (mid-Atlantic?), perhaps.

Amidst the premiere’s aftermath, they replayed the film and I attempted, to no avail, to hook up some kind of “after-party.” I did manage to hook up a bowl session (good lookin’ out!) at which we caused a rift in the space-time continuum by skating a bowl while listening to Ron Knigge’s song from Whatever.

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