Take Madars Apse in DC's Where EU At? above for instance. Madars easily has one of the best styles in the game with his natural lankiness that translates into very fluid-looking tricks. He oozes creativity and a sense of having fun while he skates, which matches up perfectly with Lennon's "Oh Yoko!" I especially like the part where the harmonica comes in around 2:50 right as Madars nails an enormous ollie into a bank from one of our dreams. It's also pretty cool how a quick cloud/skyline clip is shown with "in the middle of the clouds" at 2:07 and Madars pops up bobbing his head right on with the beat. The entire part, from Madars style to Lennon's cheerful song, is really feel-good; it's inevitable to start smiling when this part is playing.
John Lennon also has "Watching the Wheels" in Nick Trapasso's part in And Now. It's hard to think of any skater more laid back than Nick, so pairing this super chill song with his lazy yet gnarly skating is a soothing combination. "People say I'm lazy...dreaming my life away" appears to be a very accurate outside view of Nick. It's like the song was recorded specifically for this part. The 3 drum beats right around 3:26 with the surge in the music and the slow-mo'd switch frontside 360 add just the right amount of hype even with all the calming vibes from the part, as oxymoronic as that sounds. And the last few clips or so are as if Nick's listening to John saying "...just have to-oo let it go-oo", stomping down some serious bangers without even trying.
John Lennon's laid back music fits right with Madars' and Nick's easy styles, but it also works very well with The Boss in his part in Baker has a Deathwish, as Reynolds casually drops hammers to "Whatever Gets You Through the Night". Lennon's count-up at the start (of the song anyway, after the initial Baker hijinx clips) sets up Reynolds for his bolts fakie flip to kick off the happy music. At the first chime in of "whatever gets you through the night", Reynolds switch tres to switch manual at nighttime with the spot lit up from nearby lampposts it seems. For a trick I haven't seem much from Reynolds, he literally does whatever gets him through the night. The rest of the part feels very jolly as you watch The Boss demonstrate his master flick. And it's also pretty cool that at 3:16 I believe Lennon says "STOP!" but it sounds way to close to "STOMP!" to be a coincidence. Because Reynolds most certainly stomped that nollie inward heel (not to mention popping it unnecessarily high) down that set.
