For the launch of the Splinter website, we thought of featuring an interview with someone who has used the aesthetics of skateboarding like few others. So why not ask a few questions to someone who made aesthetics the very identity of his video series?
Ladies and gentlemen, Mr. Josh Stewart.
Hi Josh, how are you?
I’m doing good…..feeling better now since I’m visiting my mom down in Florida and enjoying the warmer weather.
What are you up to lately?
We moved our office and warehouse all into a new space in Brooklyn….so I’ve been busy getting that set up and now I’m packing boxes and web orders every day. We’re also working on figuring out our plans for 2025 now too….there’s never really any downtime at TOA, we’re always in a race to catch up on everything.
If you were to close your eyes and think of the most beautiful thing that connects you to skateboarding, what is the first thing that comes to mind?
Hmmm….I just remember finding my older brother’s skate videos in our VCR when I was like 11 years old, before I started skating. and I would watch them and get so stoked on the music and the raw culture of street skating at that time. It just got me so stoked on the skate culture and how you could make such cool stuff happen just out in a parking lot or street with your friends. It got me hooked on skateboarding and also on wanting to make videos.
Tell us how Theories came to be and what’s the end goal of this project.
Well, it really all started with my web blog back in 2006. I was working on a new Static video (Static III) and my friends were helping me build a website for the video. But we realized it would make more sense to start a general website that wasn’t just dedicated to the Static video, but could also be a blog where I’d write articles and talk about other independent skate videos from other filmmakers. And I was also really interested in mysterious history like the theories behind who actually built the pyramids of Egypt, or topics like the UFO’s, Freemasons, etc. So I decided to call the site “Theories of Atlantis” because of the different topics I wanted to blog about. Eventually, the site became pretty popular and we started making some t-shirts and helping to sell independent skate videos for different filmers around the world. So when we made shirts and hats we started just branding those pieces under the name “Theories” and that’s kinda how it all began. I guess the main goal was always to help support and promote street skating and independent videomakers and small independent skate brands. When we first started, it was mostly only big brands in the industry and very few small, independent brands. And independent videomakers had a hard time getting recognition outside of their scenes. So we always tried to promote underground and independent skaters, videomakers and brands and we slowly built up our own brand, Theories, along they way. So we’ve been able to help support our friends and skaters/videomakers/brands we believe in while also building our own brand. It’s been a rad and fun process.
“I guess the main goal was always to help support and promote street skating and independent videomakers and small independent skate brands.“
At the New York exhibition, while going through the various videos on display, the intro to EE3 caught my attention, particularly Tim O’Connor’s part. His outfit reminded me of my obsession with aesthetics in skateboarding. How much do you think it’s observed in modern times, and how important is it to you?
Oh yeah, Tim O’Connor is a great example of aesthetics…I think basically, the aesthetics that go into skateboarding, videomaking and brand design are all critical in keeping skateboarding different from “sports”. It’s where we’re able to make an art form out of what we do. Style on a skateboard is what gives each skater their own personal aesthetic but the way that the filmer and captures a skater and creates an aesthetic with the editing and art direction are so important in giving us a deeper experience that makes it a lot more than just watching somebody perform dangerous stunts. I think that’s what has made skate culture so powerful for so many decades.
How influential are the aesthetics, the riders’ selection, tricks, outfits, shooting style and so on when making Static Video?
I think the editing, cinematography, music, spot choices and shooting style are more important now than ever. There is SO much content coming out every day now, we’re just flooded with skate videos and footage non-stop so it makes it hard for something to really stand out. So I think the personality of the skaters and the style of the filmmaking are now incredibly important to help give the audience a new experience and something worth remembering.
“I think basically, the aesthetics that go into skateboarding, videomaking and brand design are all critical in keeping skateboarding different from sports.”
How much did aesthetics, choice of riders, tricks, outfits, and shooting style influence the making of Static Video?
That’s definitely kind of the main point of Static from the beginning….to showcase skaters who’s style and personalities are more important that how hard the tricks they do are. And to really push skateboarding that uses cities, streets and keeps the aesthetics of true streetskating alive. When Static I came out in late 1999, most skate videos were showcasing big hanrails, gaps, stairs and schoolyards….and the east coast US skaters weren’t getting much attention, and European skating was basically not covered in the US media at all. So we were really motivated to help shine a light on east coast skating and particularly real street skating in cities.
“That’s definitely kind of the main point of Static from the beginning….to showcase skaters who’s style and personalities are more important that how hard the tricks they do are.“
What inspired you to introduce little-known European skaters to the U.S. scene back then?
At first, when I started making videos in the mid-90’s, I was mostly inspired to get Florida and east coast skateboarding seen by the skate industry. Because back then, everything was centered around California. And the east coast was mostly ignored. But then after I made my first few videos I started to notice that there were similar skate scenes in Europe and Japan that were awesome street skating scenes that were getting no attention by the main skate industry. And I was excited by the idea of showcasing those scenes in a Static video. To show that the east coast approach to skating was not just a US thing, that it was global. So I first went to London and was so amazed by their skate scene. It was so rad and had it’s own unique vibe that felt perfect for Static.
Out of all of your Static videos, which one do you think is the most successful in terms of timing, team selection, editing, music, etc.?
Hmmm….that’s a tough call. I feel like most people say that “Static II” was their favorite because it had Ricky Oyola and Puleo along with some younger guys who were less known back then like John Igei and Paul Shier. But I think the timing of Static IV was really perfect because we had been working on that video for 6-7 years and halfway through filming for it, a lot of small skater-owned brands started to get a lot of attention. And the guys in Static IV were involved in those brands or actually started them. Like Jahmal Williams (Hopps), Vivien Feil (Magenta and Aaron Herrington on Polar. So when the video released in 2014 it was perfectly timed to help hype up that small brand movement and educate a lot of skaters about our culture and scene. So I think in terms of “successful timing” it would have to be Static IV.
Among your Static videos, is there a skater you’d consider the most influential?
Oh man, I’m sure that most people over the age of 40 would say Bobby Puleo….skaters UNDER 40 would maybe say Jake Johnson or Steve Brandi….and I would probably say Jake Rupp for myself 🙂
Lately there’s this trend of discussing the so-called “Golden Age” of skateboarding. Is there a period of time you’d consider to be your own “Golden Age”?
Haha…I think everybody is going to just say that the “Golden Age” was when they were in their teenage years just discovering all of the amazing culture of skateboarding and its history. But for me, I feel like the Golden Age was the early to mid 1990’s when we had so many amazingly unique brands, personalities and videos popping up. It felt like there was more pure creativity at that time, people weren’t all copying each other as much and each brand was really different. From Alien Workshop to Stereo to Menace to Girl/Chocolate and Toy Machine the brands were all super different from each other and the skaters had very unique styles that were all their own. Like the early Stereo team was completely different from the vibe of the Menace team, but both were amazing and so memorable.
Which brand, past or present, do you think has had the most influence on skateboarding, not only economically but also aesthetically?
Yeah, I think financial influence and cultural influence are two very different things. I feel like the brands that typically have the biggest influence economically don’t really contribute a lot culturally. Like, I’m sure Element had a massive financial impact on skateboarding…maybe more than any other brand in the last 20 years, but they didn’t contribute much to the artistic, design and aesthetic side. Probably the biggest financial impact of all time came from Powell in the 80’s. because that’s when skateboarding first really exploded and there were only a few brands and Powell was at the top at the time. Culturally, I’d say the biggest cultural impacts have probably come from Girl/Chocolate. Their sense of humor, progression, style and the incredible videos by Spike Jonze really shaped what we all see as skate culture and how to make interesting full length videos. There are LOT of other important brands that contributed a lot. Alien Workshop for example. But Girl/Chocolate stayed probably the most consistent for the longest time. You just can’t hate on how epic their history is and everyone has been a fan of their team and output.
Among the various ups and downs in skateboarding, which trend has most changed the way we view skateboarding?
Unfortunately, it’s probably social media….it’s really cheapened things for us all and made great skate footage feel disposable and forgettable. I miss the old days of having to wait for 2 months to see a new 411VM and when only 4 full length videos came out per year. And you’d buy the VHS tape and take it home with your friends and all watch it together for the first time. That’s when it had it’s biggest impact and lasted in your memories forever.
“Unfortunately, it’s probably social media….it’s really cheapened things for us all and made great skate footage feel disposable and forgettable.“
What’s the worst skater you ever filmed, in terms of aesthetics?
Hahaha….I can’t answer that, man! I’ve filmed with so many skaters over the last 30 years and worked for so many companies. I’m sure if you’re familiar with work I’ve done through my career you can pick out some skaters that didn’t have great aesthetics.
What’s the worst video project that you wish was never released in the first place?
Haha….damn, you’re trying to get me in trouble here. Honestly, I just wish that social media had never become a thing. That’s what has really lessened the impact of everything and made skate videos feel more forgettable and disposable. First social media ruined photography because it made everyone think that they were a photographer and it lessened the impact of true, skilled skate photography. And then it crushed skate videography and made it necessary for everyone to force out skate footage every day. So much that we don’t appreciate it anymore, we just expect it. You have to participate in social media if you’re a brand or a sponsored/pro skater, it’s just the way it is. But it’s really ruined everything and made us appreciate quality skateboarding and full length projects so much less. It’s a bummer.
Best Ad of all time?
Damn, that’s hard. There are so many from the 1990’s. That early Alien Workshop ad with the Neil Blender cartoon of the boy turning into a moth is one of my favorites of all time. And those ads that Nikko did for Droors in the 90’s were all really sick and beautifully shot. And another amazing one is that ad Gabe Morford shot of Drake Jones for Real where he’s holding a butterfly and Drake is in the background out of focus. Such a classic!
Best cover?
I can’t think of the best but I CAN think of the worst! I was super excited about an article we did for the Static III video in Slap Magazine and was waiting for the magazine to drop. It finally came out and I went to the local bookstore to buy a copy. And when i found it on the shelf I got so bummed. The cover of the magazine was just Jim Greco’s fast, close-up with his hair all teased out like he was in a hair-metal band. I was sooooo bummed.
Best photo?
This is impossible to choose, there are so many that have stood out and helped shape my taste in what I love about skateboarding. That Mike Carroll nose-wheelie photo at EMB, by Gabe Morford, is so iconic because it represents that era so well and that’s when I just fell fully into skate culture. And that photo of Matt Hensley doing a backside noseblunt at night that Dan Sturt shot. I think it was a Gullwing ad. Man, I LOVE nighttime skate photos and that one is just beautiful. And Hensley is one of the sickest skaters of all time while Sturt is definitely one of the best photographers ever. But I really really liked this photo of Jeremy Wray doing a frontside 360 down a San Diego double set in an old Blockhead ad from the early 90’s. Jeremy’s talent was so insane and the positioning of his body in that photo and his form is just impeccable. I just looked at the ad again right now on Google and it made me feel like I was 15 yrs old again. So amazing.
Is there a city you’d go back to instantly to film?
I always love filming in London and Chicago
On the other hand, is there a city you’d never return to?
Hmmm….well, I did a filming trip for Static III to Delhi, India and almost died 3 times. Twice from getting a really bad bacterial infection and once from an Al Qaeda terrorist attack. So i probably could pass on ever going back there again
And the one you’d love to visit right away?
Milan, of course!
What is the best video skate soundtrack?
Oh, damn, that’s a good question. I feel like there are a few that I may have liked more, but I think Alien Workshop’s “Memory Screen” was maybe the raddest, because the music was so important in helping to shape the overall tone and texture of the video’s art direction. And also all of the bands were completely unknown. You still to this day can’t even find most of that music on CD’s or records. It was so weird and awesome.
You have to recommend a skateboarding video to someone who’s NOT into skate. Which one you’re recommending?
Oh that’s another good question…..I think it would need to be a video that has a lot of creativity in the filmmaking. Like “Mouse” where there’s incredible skateboarding but also lots of amazing skits that even non-skaters would find entertaining and funny. And that Guy Mariano part is so good that I think even a non-skater could appreciate it.
Which wheel size? 39mm or 56mm?
Haha…well, I definitely used to skate wheels smaller than 40mm in the mid-90’s when I was dressing like a raver. But I’m right in the middle these days at 52mm
Let’s talk about skate shoes.
Ok 🙂
Axion, Vans, Dukes, Es, Emerica, Etnies. Which one -and only one- are you choosing?
Out of all of those shoe brands, I really only ever skated Vans….I never owned a pair of Azion, Es, Emerica or Etnies. But man, those old all-white Halfcabs from the 90’s looked so dope in skate footage. I had a few pair of them and it made my feel so cool, haha. Oh, and that Jeremy Wray Dukes shoe was super rad. I LOVED skating those things but they didn’t last very long.
“I definitely used to skate wheels smaller than 40mm in the mid-90’s when I was dressing like a raver. But I’m right in the middle these days at 52mm.”
Best Magazine between TWS, Slap, Thrasher, Skateboarder Mag, The Skateboarder Mag?
Hmmm….Transworld really had an incredible run and had a lot of influence on me. Dave Swift was always SUPER nice to me and used to run my photos back when i was only 19/20 years old and had no idea what I was doing. And they had so many incredible photographers over the years and in some eras their layout design was amazing, I think mostly what Ted Newsome was doing with his “New York Minute” articles. But I think overall, I have to go with Slap. When it first came out, those first few issues on white paper with only one color here or there, the timing of how it captured the core San Francisco scene when it first popped off as the center of skateboarding, the photographers involved and then even later when Mark Whitely took over as editor, it was just such a great magazine and it had a perfect balance of pop skateboarding and the underground.
The Line, whether filmed by you or not, that you like the most?
Damn…I could choose so many….That Quim Cardona line in Eastern Exposure 3 with the switch back 5050 on the blue bar and halfcab flip wearing that insanely steezy button up shirt. Wow, like does it get more stylish than that? But my favorite may have to be that Tom Penny line from the 411VM Flip Industry section where he does all those tricks at that downhill school and ends with a back tail down the handrail. The filming was insane and it was shot on 16mm film. Mind-blowing. Andnobody was even back tailing rails yet at that time and homie did it going 50 miles per hour at the end of an insane line. Can’t really beat that even though it was at a schoolyard spot.
