Coincidentally, the rider who discovered Hampson would also earn a coveted break out section in Sfumato. That rider was Aaron Reed. Reed self admittedly didn't learn moves to perfect them. He wanted to see what was possible on a wakeskate and immediately challenge progression while his style evolved at the same pace.Through his Sfumato section, Reed proved he had quickly matured into the most progressive, well rounded wakeskater of that era. He displayed the best combination of powerful, controlled flat ground style, combined with flowy lip lines that transferred over to technical rail moves. Reed also showed a true mesh of skate influence and wake to wake style by filming the cleanest and biggest wake to wake kickflip anyone had seen. (This was one of maybe three Sfumato secrets that were leaked prior to the release of the film.) It was only the third one he'd ever landed, and the first one he filmed with Thomas. Reed closed his part with another first in wakeskating: he pioneered of the heaviest gaps ever hit on a wakeskate. Reed and Horrell found the gap in Texas while they traveled to the lone star state for the Vans Triple Crown event. By chance, Horrell wanted to bring his Sea Doo in case they found a spot along the way. Hitting the gap required 3 full lengths of rope and a 30 mph tow with the Sea Doo. Wakeboarder Ben Greenwood guinea pigged the gap, and after double digit attempts, Reed finally pulled it off and rode away, redefining what was hittable on a wakeskate.
A glimpse from the message boards when Reed was rumored to have landed his wake to wake kickflip.
“20 years ago we had a secret. Well Thomas had a secret and we all got onboard. There were so many things that Thomas was doing that were groundbreaking and we weren’t allowed to say a word. I grew up watching Thomas wakeboard and now I was riding for the most iconic company in wake skating….his company. Keeping my mouth shut was not an easy task but we were all committed to his vision. The list of firsts is too lengthy to write out and twenty years ago is hard to remember. The winch, front bigs, back bigs, the lock in variations. It goes on and on and some how we all managed to keep our mouths shut. I remember Thomas not letting us watch any of the footage after filming for fear of dropped frames on dv tapes. It was all so secretive for almost two years. And then the premier. The anticipation. Quietly waiting in that packed theater in Portland (I think!). It was the greatest night of my life. We followed Thomas anywhere and everywhere while he patiently revealed his mastery to all of us. We were all broke but no amount of money could replace that time in my life. It was everything this wakeboard loving nerd could have ever dreamed. I am so proud to have been a small part of an iconic time in wake history that will never be recreated. It’s hard to believe that half of my life has passed since that magical night in Portland. I will never forget and am always indebted to Thomas for letting me tag along on that wild ride. Thank you Thomas. Thank you Cassette. Thank you wakeskating.” --Aaron Reed
Polaroid sequence collage of Reed's closing move in Sfumato.
Hampson's and Reed's sections were the book ends to parts filmed by Cassette's most established team riders: Jim Leatherman, Drew McGuckin and Thomas Horrell. Leatherman's section stands out through the use of visual effects that complemented both his creative riding style and the music in his section. Leatherman's section, artistically, is one creative thread leading back to Linear Perspective. Generally, the editing style through the rest of Sfumato reflected a more straight forward style that was more palatable to the masses.
Leatherman had a knack for blasting his moves, kinda like Mike on the court. Sfumato era DVS ad, hangtime without the Js.
As Cassette's most recognized pro next to Horrell, Drew was true to form in his Sfumato section. His style was the epitome of classic wake riding, with floaty, arc'd tricks across the wake. As each move unfolds, it's clear Drew had a strong sense of timing and he knew how to move with his board. Drew was also one of the earliest riders to land kickflips consistently, with a knack for blasting them re-entry and catching them high. In a Snap interview, Scott Byerly had a quote that summed up the rapid progression of kickflip consistency in that era with Drew at the forefront: “Drew's landing kickflips every day now. You were lucky to land one in a year last year.” Drew was both conductor and musician, and his riding in Sfumato was, simply put, a flawless symphony of effortless movements.
Sfumato music tee, which was sold on the sfumatomovie.com microsite. If you have this shirt, hit me up!
As the pioneer of liptricks, a hallmark of Thomas' style was exploring the full potential of riding without bindings. Some moves were tech shuv variations that everyone would try to emulate once they saw his section. Or maybe they got a sneak peek at some of these moves on the Butter Mag website. Other moves were a progression from Linear, specifically his using Cassette's lock in specific board, the 4-trac, for the only lock in moves in the film. One of Horrell's most lasting impacts came in the form of the first winch designed for riding, aptly named the Rewind winch, which he developed with friend Tony Robinson. Horrell's final clip showcased the winch as he ollied over a metal guard rail into a short, shallow pond, which was not otherwise hittable. This footage would forever change how wakeskaters would look at and approach any waterway they passed. Further, the winch is arguably the most notable development that transcended wake and was adopted by all board sports in some form. It seems likely none of these riders realized the concept was born from playing around with a giant retractable fuel hose at a Florida airport.
Tony Robinson with the first Rewind winch. Photo by FDLT
“The time it took to film and edit Sfumato will always be some of my best memories of wakeskating. There were too many people involved to thank, but if you contributed, you know how fun it was. Lots of firsts as Danny and Aaron were really pushing what the limits were at that time. With the creation of the winch and newer board designs, it really felt like a lot of momentum was rolling.” --Thomas Horrell
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