‘Static IV’ & ‘Static V’ with Josh Stewart: Closing Doors

In 2014, Static IV brought the series to a new generation of skateboarders. Imbuing the Static legacy of cityscapes and unsung talent with the grit of New York City, the video featured Aaron Herrington’s big screen debut, Jake Johnson’s follow up to Mind Field, and arrived unexpectedly alongside Static V. In this second part of an expanded interview with Josh Stewart, he shares the story behind the contemporary classic.

Josh Stewart and Aaron Herrington in Manhattan, New York during the filming of Static IV. photo: Pep Kim

Interview by Andrew Murrell

Photography by Josh Stewart & PEP KIM

film stills courtesy of josh stewart

What were your major inspirations and motivations whilst working on Static IV?

A lot of time you can tell a Static video is heavily influenced by a certain city or skate scene. Static IV is clearly a result of my love affair with New York City after moving here in 2006. There’s an overarching vibe throughout all Static videos of trying to capture a haunting grittiness. New York has so much of that feeling in its old architecture and dilapidated infrastructure. Skating around the city was endlessly inspiring. 

I was motivated to try and capture it on 16mm film and build an art direction around that vibe. The subway system is such a marvel, creatively haunting and inspiring. Catching up to other trains in the subway tunnels between stops, or the flickering blue security monitors on the platforms… Everything was so on par with the art direction I’d been striving for with older Static videos. It was like an orgy of inspiration. I remember leaving the New York premiere and my boss at the restaurant I worked in said: “Man, you really love New York City.”

Static V was pretty much all of the same since they were worked on simultaneously and split into two videos.

“THERE’S AN OVERARcHInG VIBE THROUGHOUT ALL ‘STATIC’ VIDEOS OF TRYING TO CAPTURE A HAUNTING GRITTINESS. NEW YORK CITY HAS SO MUCH OF THAT FEELING IN ITS OLD ARCHITECTURE AND DILAPIDATED INFRASTRUCTURE. SKATING AROUND THE CITY WAS ENDLESSLY INSPIRING.

Josh Stewart on the genesis of ‘Static IV’

Josh Stewart filming Jahmal Williams in Manhattan, New York. photo: Pep Kim

What signified the beginning of Static IV?

Static IV had so many soft-starts that didn’t go anywhere. I pushed [back] a few skaters from being in Static III and promised them I’d start Static IV soon enough that their parts could be in. But I was so busy trying to make a living in New York that it was really slow. Then I got “hired” to do the MIA skate shop video [Welcome to MIA] and that put a speed bump in the way. Once the MIA video premiered in 2010, I returned to New York full time and shifted focus heavily on Static IV. By fall 2013, we were all pretty deep into working on the video non-stop.

At a certain point, I realised I had way too many people involved in Static IV. I would either have to cut some people from the video or have a two hour long project. I was struggling with how to make it all work. One day I was getting off the 4 train at Union Square, I looked up at the ‘456′ train line sign and it hit me. The sign has little green circles around each number and it looked like three DVDs. It was like the universe was solving the problem for me. 

I knew then I would split the parts between two full-length videos. At the premiere, Static IV would come to an end but only half of the parts people expected to see will have played. Everyone would be confused, then a message would pop up telling everyone to take an intermission and return to their seats for the premiere of Static V. It was a wild idea but made for a super memorable experience for everyone at the first few premieres because they were completely surprised. Even the skaters didn’t know! After Static IV ended, Brian Clarke came up to me and asked: “Dude, do I even have a part in this video? My whole family is here and I don’t know what to tell them.” I was like, “Just return to your seats in ten minutes and you’ll all be stoked.”

SKATERS FEATURED

Static IV — Aaron Herrington, Mark Wetzel, Dustin Eggeling, Pat Stiener, Jimmy Lannon, Daniel “Snowy” Kinloch, Vivien Feil, Ben Gore, Jake Johnson, Quim Cardona.

Static V — Kevin Tierney, Charlie Young, Brian Clarke,Joel Meinholz, Yaje Popson, Vincent Alvarez, Yonnie Cruz, Brendan Carroll, Steve Brandi, Jahmal Williams

TIMESPAN

Static IV & Static V — 2008(ish) to 2014.

Josh Stewart and some of the ‘Static IV’ / ‘Static V’ cast. From left to right: Josh, Steve Brandi, Brendan Carroll and Jahmal Williams. photo: Pep Kim

How did the line-up come together?

Static IV was completely organic. I moved to New York in 2007 and developed a new crew of guys I skated with regularly. Jahmal Williams became one of my favorites to film with and Steve Brandi soon moved up from Florida as well. We kept getting new, rad personalities in our crew. Brian Clarke started rolling along, Dusting Eggeling moved up from Tampa. Jeremy Elkin was skating and filming with Aaron Herrington a bunch and started showing me clips they were getting. It was the type of skating you wanted to see talented skaters do in New York so he brought Aaron into the fold. It was all really natural, and soon enough we had too many people for just one video.

Dustin Egglin, backside nosegrind revert. photo: Pep Kim

One of the motivations behind splitting Static IV into two videos was that it was the perfect way to give both Jahmal and Quim [Cardona] the last part. I had been stressing over that decision for a while so it was such a massive revelation for me. Then, I had to figure out which video the other skaters would end up in. I decided since Static V was going to end with Jahmal, I would make that video mostly New York guys and that way it would feel more homogenous. Static IV would have a variety of skaters from New York, San Francisco, Tampa, Paris and London. 

A couple parts were moved around to help keep the music balanced. For example, so there wasn’t too much hip-hip in one video. Making the music well-balanced is always a subtle, yet important aspect of laying out a project, in my opinion.

Ben Gore, San Francisco.

CITIES VISITED

Static IV — New York, Los Angeles, London, SF, Jersey City, Tampa

Static V — New York, London, Tampa

CONTRIBUTING VIDEOGRAPHERS

Static IV — Jeremy Elkin, Ryan Garshell, Joe Bressler, Andrew Petillo, Daniel Wheatley, Jean Feil

Static V — Joe Bressler, Ryan Garshell, Andrew Petillo

Jake Johnson.

Who had the easiest and hardest parts to film?

Technically, Jake Johnson’s part was the easiest because Ryan Garshell filmed about 90% of it. He’s an incredible filmer so that helped but his footage was all so inspiring that it made editing a breeze. We’d been listening to that Milk Music song [“Cruising With God”] in the Theories of Atlantis office a lot. It seemed like a good fit. It was one of those rare parts that I edited in like two hours. I spend years editing and re-editing most video parts but Jake’s flowed so easily I almost second-guessed it. That one was a pleasure.

Aaron Herrington, kickflip. photo: Pep Kim

Aaron Herrington’s part was probably the hardest because there was so much pressure to do it right. He was slated to turn pro for Polar and Pontus Alv was on my ass constantly about how I was holding back his career by not finishing the video sooner. I knew this was a critical flashpoint for Aaron as a skater who most people didn’t know yet. I wanted it to be strong. Jeremy Elkin was a huge help in filming about half of the part but coming up with an interesting way to segue into his part, and picking music that showcased him properly, was really important.

I originally used that Group Home song [“Inna Citi Life”] in Aaron’s sponsor-me tape I sent to Pontus to get him on Polar. I kept second-guessing using it for his actual part but, man, it worked so well for his skating and the New York vibe I was pushing for. I eventually stuck with it, I’m glad I did.

Steve Brandi, ollie — Hell’s Kitchen, New York. photo: Josh Stewart.

Steve Brandi was the easiest because we would’ve been skating and hanging out together anyways. We’ve been filming together since he was 17, it’s insane he didn’t have a part until twenty years later. It was just the right time for him to have a Static part. His style had hit peak dopeness and his song choice [“Heard It Through The Grapevine”] sealed the deal.

Jahmal’s part was easily the hardest of the Static IV and Static V videos. He’s someone who you never feel like his footage does him justice. There’s a magic to his skating and anyone who skates with him in person can see it.

Jahmal Williams, frontside 180 nosegrind. photo: Josh Stewart

Where there any parts that were supposed to happen, but didn’t?

I had hopes of getting Donny Barley in the mix, somehow. He stayed at Forrest Kirby’s house a couple times while I was down in Miami working on Welcome to MIA. I’m a massive fan of his style and skating but felt he never got the credit he deserved. A Barley part would’ve been such an honor but the Static IV video ended up being mega crowded anyways. Same thing with Static V, I couldn’t consider squeezing any more skaters in.

DV TAPES

Static IV — 77 DV tapes.

Static V — 70 DV tapes.

Quim Cardona, Astor Place, New York. photo: Pep Kim (here and inset below)

Wildest story throughout filming the project?

Static IV, we were about three weeks out from the premiere and I still needed one or two more clips of Quim [Cardona]. I wanted him to have one of his patented heelflip body varials but I couldn’t think of what spot would make sense for it. One night, I texted him: “Dude, what if you ollied up Black Hubba and heelflip body varial’d on it like a bank?”

He responded: “Easy… I’ve got that in five tries or less.” 

I thought, “Does he know how tall it is to hop up that thing?” 

We met up. Now we’re eight or nine days from the premiere so this needed to be my last day out filming. He tried ollieing up without stretching or any warm up and it didn’t look promising, but he wasn’t discouraged. He tried again, barely made it up, and flung out a heelflip attempt, then it started drizzling and we had to run to Starbucks for cover. The rain eventually stopped and we walked back over and dried the whole thing off with Starbucks napkins.

He eyed it up again and said: “So, what are we at now — two tries?” 

“Yeah, this will be your third try.”

He hopped up on it no problem that time but his heelflip attempt was wild. Next try, number four, he hopped up and did it perfectly. I filmed it like shit because I was not expecting him to literally land it in five tries or less. As I started to review the clip on my VX, it started pouring. We had to run for cover and that ended the day. It was such a rad moment: the last day of filming, Quim claimed five tries or less and pulled it off with a try to spare. Then Mother Nature shut the spot down for us and said: “Ok, you’re done. Now go edit.”

The New York section from Static V featuring a notable Bobby Puleo bump-to-bar clip right at the start.

Static V, Bobby Puleo and I were at a spot and I was standing alone when two dudes rolled up and started asking for money. They were sketchy, but weren’t being too aggressive. Bobby, looking out for me, skated over real quick to just have my back. The dudes felt like they were being rushed up on so they flipped, saying: “Yo, what the fuck? You think we’re gonna rob your boy? Motherfucker, I just got out of Riker’s and I ain’t afraid to go back!” 

Bobby tried to calm them down. Then the homie opened his mouth, showed a razor blade between his teeth and started turning it over with his tongue. He says: “I”ll cut your fuckin’ head from your motherfuckin’ THROAT!” His other friend was so far gone on drugs that he wasn’t as much of a threat. Bobby then said “Wait right here, I’m gonna do something for you guys.” 

He skated off and left me with these dudes who were just about to cut our throats. Then Bobby skates back and ollies out of a cellar door and over a rail. The dudes did a complete 180, like, “Yo, that’s GANGSTA” and then offered to be our bodyguards. He said: “I’ll kill a motherfucker if y’all pay me.” This is the sketchy-ass incident at the beginning of the NYC section.

Steve Brandi, Uptown Manhattan. photo: Josh Stewart.

Any surprises or drama in the editing room?

Static IV was supposed to be the very last Static video and the pressure I felt for it to live up to expectations was gnarly. I don’t think it ever could’ve felt fully finished, but that pressure meant it was taking longer than everyone wanted it to. Pontus Alv was planning on turning Aaron Herrington pro once the video released and he started to grow impatient after a year had passed from when I [initially] said I would have it done. It got to the point where he was calling me regularly from Sweden, telling me that I was holding back Aaron’s career. That added stress didn’t make it any easier to finish.

It’s not necessarily “drama” for Static V but I originally edited Steve’s part to a ‘90s hip-hop song. I was stoked but when he saw it he was like, “No, no, no.” He wanted a different vibe and immediately shut my song down. I was pretty bummed. When he told me he found “the” song for his part — “Heard it Through the Grapevine” by Marvin Gaye — I rolled my eyes.

Using songs that everyone has heard a thousand times is such a bad idea, in my opinion. But when he came over to my house and gave me the track to edit in, I realized it was the acapella version. Once I plugged it into his part and we moved his footage around, giving each clip long handles on each end, I thought “Oh, I guess this is the song for your part.” His is one of my favorite Static parts and the way Steve wanted it to be edited has a lot to do with that.

What’s the first clip that comes to mind, or a highlight from the project, when you think of the Static IV and Static V video?

The first thing think of with Static IV is the opening shot of the front window of the C Train flying through the subway tunnels. Mostly because of how much time I spent on the trains with my Bolex trying to experiment to get that intro to work way I hoped. I feel like I spent as much time on the trains as I did filming skating, but that’s probably an exaggeration. The experience of riding the subway was the closest remaining link to the feeling of old New York City and if I could capture that feeling, somehow, it would be a powerful theme. I burned through a lot of film experimenting with my camera late at night on the trains for that video.

For Static V, its the Steve Brandi line where he skates in front of that ambulance. It was just an unplanned, raw moment that can’t be replicated. That’s what we all strive for nowadays: capturing a memorable moment that is uniquely our own, and that was one of the best examples of one of those moments that I’ve been able to capture as a filmer.

Aaron Herrington, boneless, as seen in his opening line of Static IV. photo: Pep Kim

What’s your favourite song on the soundtrack and how did you find it?

Maybe that opening of “Mystery of Chessboxin” by El Michels Affair which opens Aaron Herrington’s part. Hearing that sound effect at the beginning lit a fire in my imagination and really inspired the whole opening of the Static IV. Some people bitched that I reused it at the end for Quim’s closing tricks but that’s the whole point: to bookend the video. Ben Gore’s song [“Groupie Psychotherapeutic Elastic Band” by Inter] really does something for me too, so haunting. I kept praying neither song got used before the video was finished and I got lucky, because that El Michels Affair album started gaining traction leading up to the premiere.

Jahmal Williams — ollie up, kickflip as seen in Static V. photo: Pep Kim.

There are several songs in Static V that are really meaningful to me. I’ve talked a lot about Steve Brandi’s song in the past, but I’ve never talked about Jahmal’s song. When I was eight or nine years old, I’d sit in the living room and record music off my parents’ radio onto cassette tapes then take them into my room and make mixtapes. It was all oldies and classic rock, like Buddy Holly and Franki Valli era.

One day I had an old cassette I was going to record over and when I hit play I could hear very faintly, the eerie refrain from a song that captivated me. But it was just that ten second part of the song, with no lyrics and that was it. It was super faint as if it had been dubbed over so many times. That little part of that song seriously haunted me for like 20 years until one day I stumbled across the Egyptian Lover song, “Egypt, Egypt” and it was like solving a life-long riddle that had eaten at me since childhood. That was the song!

Jahmal Williams embraces his b-boy past for Josh Stewart’s Bolex and some Static V b-roll. photo: Pep Kim

Fuck, man – you don’t get to enjoy mysteries like that any more. Everything can be solved in a minute with Google or Shazam. When I was trying to think of something for Jahmal, I wanted to tap into that 1980s b-boy vibe, but not with a hip-hop song. At that time, 2010 to 2014, every New York video filmed on a VX was riddled with ‘90s hip-hop. 

For Jahmal, I wanted something that brought my mind to that like dancy, early ’80s graffiti, creative New York street culture vibe. It hit me: “Egyptian Lover”. It actually took some convincing for Jahmal to approve it because the song is kind of cliche in the b-boy scene and Jahmal was a b-boy break dancer as a kid. But holy shit, that song has all the eerie vibes that a Static song needs and the texture is so fitting for the grain of 16mm film. Personally, I felt it was the perfect song for Jahmal, in a Static part, and the song carried so much mystery for me. I was obsessed and had to use it.

Jahmal Williams. photo: Josh Stewart

Why are you proud of Static IV and V in particular?

Static IV was so much fucking work, carrying the Bolex and VX gear all over New York for years with no car. I would get home from skating at two or three in the morning feeling like I was hit by a train. My body would vibrate once I finally sat down in my bedroom. But it felt good, I was proud of the hard work we were putting in. To get to “introduce” Aaron with that banging part and also have Quim close it out, it felt like we accomplished the purpose of what a Static video should be: introducing some new faces who carried the street skating torch while also showcasing a classic style who hadn’t gotten the shine they deserved in a long time.

Steve Brandi and I had been filming together for so insanely long and never put out a full part of him, so to be able to make that happen [in Static V] and see the overwhelmingly positive reaction to his part was awesome. Then for Jahmal to have his first full part since the DNA video was such an honor.

“It felt like we accomplished the purpose of what a Static video should be: introducing some new faces who carried the street skating torch while also showcasing a classic style who hadn’t gotten the shine they deserved in a long time.”

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A condensed version of this feature originally ran in Closer Issue #6 as part of ‘End of the Line — The Conclusion of Josh Stewart’s ‘Static’ Series’.

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This story, continued

• Part I: Starting Light — Josh Stewart on the original Static Trilogy
• Part III: End of the Line — Josh Stewart on Static VI

More from Issue 6

• Leo Romero talks ‘Stay Gold’ and Grinding Up Handrails
• Jason Adams — Fifty Years to Life

Favorites from the print edition of Closer

• ‘Have You Met Nelly Morville?’ — An Interview with Limosine’s Breakout Star
• Ariana Spencer — One Rad Mom
• Topography: Wallrides with Silas Baxter-Neal
• The Long Play with Mason Silva: Early 2000s Skate Video Soundtracks
• Louie Lopez on AVE’s Green Bench