AVE WEEK DAY 3: ALIEN WORKSHOP AD ARCHIVE
Posted July 18, 2012, 11:29 a.m. /
Anthony Van Engelen Week continues. If you missed Day 1’s collection of old AVE interviews or Day 2’s lengthy exclusive AVE interview you should go back and check those out first. For Day 3 Alien Workshop was good enough to send us all of AVE’s past ads to discuss. Unfortunately, due to all the years passing and the wear and tear Anthony has put on his brain his recollection of most of these ads is foggy, at best. “I don’t know, it’s funny I don’t remember any of these days aside from the wallie but that’s because that’s so recent.” And so that’s the jist of the discussion. There’s a couple anecdotes below but for the most part you have to make up your own stories for each of these ads. Most of the stories we imagined involve Phoebe Cates getting out of a swimming pool really, really slow.
This is at Azusa High School. That’s all I remember.
This was in Argentina. That trip was disgusting; I don’t want to get into it. Dawes was there, he probably shot this. Lance Mountain saw things out of me that he shouldn’t have seen. I feel bad. I feel ashamed. That’s all I have to say on that.
This was 2004, fuck. I don’t know what we were doing. I don’t think either of us were skating there. I think that’s why they made us an ad that’s just us. There’s no skating. We were not skating then. Maybe Dill was a little bit. He might have been skating more than me because I know I certainly wasn’t. The DC Video came out in 2003 and I quit skating then for two years. I don’t think I consciously quit I just stopped. I don’t think I even owned a board. I remember when I started skating again I went to the mall and went to a shop called Beach Access in South Coast Plaza in Santa Ana and bought a set up. I had nothing. And they didn’t have Workshop boards so I bought a Girl board. Then after riding that thing I finally got the nerve to call The Workshop, because I hadn’t called there in a while, and I got a box. I called and was like, “Ok…I need some boards.” I used to talk to Carter a lot and then I just literally didn’t call there anymore. I didn’t talk to Carter for a long time. But I remember buying that setup at the mall because I wasn’t about to call The Workshop because I didn’t want to explain anything. But they rip. They stand by their guys. Do you know how many times Carter has been like, “God damn it! I’ve had it! That’s it!” But he can’t do it. He wouldn’t want to. But it’s funny how many dudes have just fucked shit up to the point to where he’s like, “That’s it!” No it’s not. It’s never it. The Workshop is the best company ever.
I think this is Miami…no, that’s in Texas. At a bus depot. And it took me hours to do. It’s really long and curved and sucks. I think O’Meally shot this photo and it’s a sick ass photo. I love Mike. He’s great. He’s a psychopath but I love him. He’s the captain of everything: driving, any type of challenge, anything. He’s always in control. That’s what’s nice about having Mike on those trips too aside from him just being Mike; you don’t have to worry about anything because he’ll handle it. If you don’t know how to order dinner and are having a language barrier issues don’t worry, Mike is in the kitchen cooking the food. You don’t have to drive; Mike wants to drive. You don’t have to deal with that asshole over there, Mike will.
There’s not really a story here. That fence that I’m wallieing over wasn’t there. That’s the only story. Dill put it there. It wasn’t hooked to the wall. He found it on the other side of the bridge and he was like, “Dude, you should put that there!” And it went across the whole pathway as if it were fenced off. You can see in the last frame it ends. It’s just propped up there against the wall, stuck in the crack. It’s a Berra spot. I made a spot. But that’s a real fence. Berra’s would have been a green screen of a fence that if you hit it it would just be a hologram. But people would come down on their bikes and they’d have to get off their bikes and we’d have to open the fence for them. It served a purpose; it blocked bikers.
Atiba photo and it’s a bail. Yeah. That’s a bail. I mean, I landed on it but then it got dark and then whatever, that was it. I don’t miss that hair. I guess if I did I’d grow it back.
This is at Azusa High School. That’s all I remember.
This was in Argentina. That trip was disgusting; I don’t want to get into it. Dawes was there, he probably shot this. Lance Mountain saw things out of me that he shouldn’t have seen. I feel bad. I feel ashamed. That’s all I have to say on that.
This was 2004, fuck. I don’t know what we were doing. I don’t think either of us were skating there. I think that’s why they made us an ad that’s just us. There’s no skating. We were not skating then. Maybe Dill was a little bit. He might have been skating more than me because I know I certainly wasn’t. The DC Video came out in 2003 and I quit skating then for two years. I don’t think I consciously quit I just stopped. I don’t think I even owned a board. I remember when I started skating again I went to the mall and went to a shop called Beach Access in South Coast Plaza in Santa Ana and bought a set up. I had nothing. And they didn’t have Workshop boards so I bought a Girl board. Then after riding that thing I finally got the nerve to call The Workshop, because I hadn’t called there in a while, and I got a box. I called and was like, “Ok…I need some boards.” I used to talk to Carter a lot and then I just literally didn’t call there anymore. I didn’t talk to Carter for a long time. But I remember buying that setup at the mall because I wasn’t about to call The Workshop because I didn’t want to explain anything. But they rip. They stand by their guys. Do you know how many times Carter has been like, “God damn it! I’ve had it! That’s it!” But he can’t do it. He wouldn’t want to. But it’s funny how many dudes have just fucked shit up to the point to where he’s like, “That’s it!” No it’s not. It’s never it. The Workshop is the best company ever.
I think this is Miami…no, that’s in Texas. At a bus depot. And it took me hours to do. It’s really long and curved and sucks. I think O’Meally shot this photo and it’s a sick ass photo. I love Mike. He’s great. He’s a psychopath but I love him. He’s the captain of everything: driving, any type of challenge, anything. He’s always in control. That’s what’s nice about having Mike on those trips too aside from him just being Mike; you don’t have to worry about anything because he’ll handle it. If you don’t know how to order dinner and are having a language barrier issues don’t worry, Mike is in the kitchen cooking the food. You don’t have to drive; Mike wants to drive. You don’t have to deal with that asshole over there, Mike will.
There’s not really a story here. That fence that I’m wallieing over wasn’t there. That’s the only story. Dill put it there. It wasn’t hooked to the wall. He found it on the other side of the bridge and he was like, “Dude, you should put that there!” And it went across the whole pathway as if it were fenced off. You can see in the last frame it ends. It’s just propped up there against the wall, stuck in the crack. It’s a Berra spot. I made a spot. But that’s a real fence. Berra’s would have been a green screen of a fence that if you hit it it would just be a hologram. But people would come down on their bikes and they’d have to get off their bikes and we’d have to open the fence for them. It served a purpose; it blocked bikers.
Atiba photo and it’s a bail. Yeah. That’s a bail. I mean, I landed on it but then it got dark and then whatever, that was it. I don’t miss that hair. I guess if I did I’d grow it back.
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