TABLE OF CONTENTS
10-11 16-17 18 20 22 24-27 28-29 32-35 38-39 42-44 48-56 60-71 74 76 78
OPENING ACT COVER STORY 10 YEARS OF ARKADE DEFINING AMERICANA: COLE TAYLOR A GRAPHIC STORY: MIKE MURDOCK THIS IS THE NEW SH!T HISTORY 801: MIKEY LEBLANC & ANDY WRIGHT CHARACTERS: BROCK NIELSEN PART-TIMER: DARRELL MATHES ORIGINS: DINOSAURS WILL DIE DESIREE MELANCON SHOOTING GALLERY HI-THERE: JILL PERKINS HI-THERE: TOBIAS ROSENBERG INSTAHAM
R: SAMMY SPITS L: BRIGHTON, UT P: PAUL HERAN
WORDS & PHOTO BY BOB PLUMB
Filming for Americana we found this bench in Poland after nearly 40 hours of travel. We left the states. Arrived in Munich. Drove 4 hours round trip to the to the Nitro office and got the winch. Started driving to Austria to pick up Dominique Wagner. Got stuck in traffic at a stand still for several hours. What was supposed to be 8 hours turned to 14. We arrived at Krakow around 4 am to a couple inches of snow. This bench saved the mood of the crew the next morning.
EDITOR & DESIGN Paul Bundy firstname.lastname@example.org
EDITOR & ADVERTISING Cory LLewelyn email@example.com
EDITOR & ONLINE EDITOR Daniel Cochrane firstname.lastname@example.org
CONTRIBUTING PHOTOGRAPHERS Andy Wright, E-Stone, Kyle Beckmann, Bob Plumb, Ben Girardi, Paul Heran, Tim Zimmerman, Darrell Mathes
CONTRIBUTING WRITERS Jocob Malenick, Josh Ruggles, Aaron Biittner, Andy Wright, Mikey LeBlanc, Pat Harrington, Bob Plumb
DISTRIBUTION Landon Llewelyn, Cooper Llewelyn, The Norm, Laramie Patrick Proudly Printed in Salt Lake City, UT ARKADE MAGAZINE 127 South 800 East STE #37 SLC, UT 84102
R: ALEX SHERMAN L: BRIGHTON, UT P: E-STONE
www.arkadesnowboarding.com email@example.com Facebook.com/arkadesnowboarding Twitter.com/arkadesnow Instagram @arkadesnowboarding
MAX TOKUNAGA KYLE BECKMANN AND
WRITTEN BY JACOB MALENICK
Cloudy, cold, and on and off snow. A melancholy winter day in Utah if there ever was one. “Amazingly shitty actually,” photographer Kyle Beckmann expressed. “It was windy, cold, snowing on and off, but the guys didn’t let that get ‘em down.” On this humble day in the great valley we call home, the combined talent of Kyle and Max Tokunaga descended on a solid Salt Lake spot to document sideways snow sliding. I won’t say where, because as Kyle so eloquently put it, “Friends don’t let friends leak spots.” Kyle had ventured east with the likes of Sammy Spiteri, Nial Romanek, and Paul Heran on a Think Thank trip, and after meeting up with Max on his first day of a four month stint in the Beehive State, found this spot in close proximity to where Sammy had gotten a clip earlier that day. “My mood was amazing actually,” reminisces Kyle. “I was freezing, but Nial had just gotten a great shot, Sammy was building a spot, and Max was building this spot. We were just hammering shit out. Felt like a dream crew.” Despite the winter weather seeping into their bones, the dream crew’s spirits remained high as tricks were being landed and shots were accumulating like the snow on the ground. “I just remember it was so cold that my pocket wizard batteries were dying like every 10 pops,” continues Kyle. “It was really frustrating, but I can’t express how awesome it is to shoot with Max and that whole crew. Way too much fun. Would sign up for that gig in a heartbeat.” “I had seen it before,” Max states when asked about the spot. “Vinny fakie ollied the larger part of the set the year before. They recently added the rails, so I wanted to try and use them. Props to Vinny hitting that thing switch!” With his trick in mind and a fire in his eyes, Max put down this large nose tap gap after an exercise in determination, an impressive feat on his first day filming in SLC. “I couldn’t seem to put down the landing gear!” laughs Max. Kyle had an excellent sentiment about the session and snowboarding in general that undoubtedly captured everyone’s thoughts on the day: “I guess that’s what make snowboarding rad, you get to snowboard with your friends for work.” However, it’s safe to say that Max perfectly described everyone’s ideal street mission as he summed up his recollection of the session: “Help homies get clips, get your own shit, clean up everything, get out, and have a good evening with friends!” Nailed it.
10 YEARS OF ARKADE
Wow, ten years under the belt. Arkade has seen a lot since we first started a decade ago as 9350 Magazine. We’ve seen record snows as well as record lows, we’ve seen companies come and go, and we’ve proudly watched as some of our favorite riders and photographers have become industry leaders. They said print was dead and Utah was old news, but we stayed true and proved them wrong on both accounts. Sure we have a website, social media, and all of that business but right here right now in your hands is where our heart and soul has always been, print. We come from a time when monthly magazines were the primary avenue of information within the industry, and while that has changed to a great extent we are undeterred, and hope some of these pages find a place on your walls, school lockers, and ultimately your hearts like the magazines of our youth did for us. Arkade comes to you each winter highlighting some of the industry’s biggest stars as well as some of the newest riders on the scene, all of which are connected to Utah in some way. We highlight the industry as experienced from within our great state because we love snowboarding and it should go without saying that we love Utah. Along the way we’ve built a loyal following along the Wasatch as well as garnered attention both nationally and internationally, and we aren’t done yet. You may notice better paper, and a better bind on the magazine in your hand, or maybe not, we’re print geeks after all so we pay attention to such things. Just realize what it means is that as we grow older we are constantly getting better and we have big plans for the future. As we look back through the past decade many things stick out. Hi There features with both a young Alex Andrews and Sage Kotsenburg were a premonition of their influence on snowboarding. We’ve highlighted Corey Smith’s death metal band and let Matty Ryan speak his peace. We remember giving many riders and photographers their first covers, a tradition that continues in this very issue with rider Max Tokunaga and photographer Kyle Beckmann. We’ve hosted contests, and movie premieres as well as traveled all to hundreds of events across the west, but none of it would be possible without you our readers and friends. When we celebrate Utah’s place in this great industry it is a celebration of you the Utah snowboarding community. None of this would be possible with out the passion of all the contributing writers, artists, photographers, sponsors, and of course you the reader. We hope you enjoy reading volume 10 as much as we enjoy making it. Thank You. Cory Llewelyn & Paul Bundy
INTERVIEWED BY PAT HARRINGTON + PHOTO BY BOB PLUMB
I’m sitting next to a pensive and somewhat eager Cole Taylor while we watch a glut of Champions League soccer matches. He’s leaning over his beer with anticipation waiting for a goal to be scored in any one of the four matches. This is the type of stuff that Cole can do now that he has finished his labor of love, the new L1 outerwear team movie ‘Americana’. After a season full of traveling, filming, editing, stressing and overall fun-having, Cole has some time to breathe, watch soccer, relax and talk about how he’s finally been able to tackle a video project that he can truly call his own. How many years have you been filming snowboarding? I think 2008 was when the Dinobots came to be. So, I have been at it for about seven years Explain who were the Dinobots? It all started as a hobby. It was our homie crew. It was nothing more than going up to Brighton, riding the park and hiking on the backcountry between college classes. It started when I met Brandon Hammid, Chris Brewster, Asher Koles, yourself. I mean the list of homies could go on forever. But we just did what everyone is doing now. I wanted to make videos that made people want to go snowboarding. The goal was to create a feeling in these videos that inspired other people to do what we were doing. How did those early experiences of filming influence your filming style, and ultimately the new L1 team movie ‘Americana’? Just like other homie videos, we first set out with the goal of creating our own video project. But we wanted to create a platform or
launchpad for some of these riders to really get their careers off of the ground. Speaking of getting careers off of the ground; this is the first full-length production that you have had direction over, right? I’ve had some great opportunities to work on some projects in the past with others, but finally having the chance to define and create the image of a project like this for myself was exciting. What should we expect from ‘Americana’ that will differentiate it from some of the things we have seen from you in the past? I don’t want to sit here and tell you and say that it will be the best snowboard video you have ever seen, but we have gone the extra mile to make sure that it pulls its own weight. I wouldn’t trade the cast of this movie for anyone else. Whether it be working with all the riders, who each have a unique style to add to the project or working with Knut Eliassen and Jon Kooley on the creative end of things. The unique variety of filming locations in the video gave us an opportunity to snowboard in places that people had hardly tread ground on before. The variety of locales was matched by the variety of personalities in the video. Look at Brandon Hammid and Lizard King from Salt Lake, Dominik Wagner from Austria, and Zebbe Landmark from Sweden offered me to focus on a group of people from all over as opposed to one geographical area. What would define this project more than anything else? One of my favorite parts of the project was that we never had to write a script for it. We set out on an adventure and ‘Americana’ is what we came back with.
Photo: Ryan “Huggy” Hughes
CATCH FRANK IN
A GRAPHIC STORY
MIKE MURDOCK WRITTEN BY JACOB MALENICK
The best collaboration’s happen when independently gifted individuals come together to combine their unique talents and styles into one amazing outcome, and the 2015/16 Salomon Chris Grenier Salomonder is the perfect example. While it may seem like pro model snowboards are falling by the wayside, it is my humble opinion that their resurgence is upon us, and that companies like Salomon along with pros like Chris Grenier are leading the charge. For his 6th pro model, Grendy’s teamed up with friend and local legend Mike Murdock in order to continue to bring his personal style to the Salomonder. “I have a bunch of Murdock’s art all over my house, so that’s what gave me the idea” comments Chris when asked about the graphics inspiration. “I’ve always been a big fan of his stuff. The topsheet is inspired by a huge painting Murdock did that’s hanging in my living room, and the base is also from an original Murdock piece I have. Then we basically collaborated on both of our art to make it come together.” He also adds, “I’m very thankful for the opportunity to design a board so I don’t want to blow it.” It’s safe to say that Grendy’s streak of not blowing it continues for the latest version of his favorite freestyle shred stick. “I just cut my name out of sheet metal with a plasma cutter, then did some doodles” Chris commented about the collaboration, “Murdock nailed it on the rest of the graphic.” Mike noted, “We came up with the concept for the bottom of the board with the dudes head leaking out crazy shit as a loose reference to Chris and all the stuff that is going on in his mind on the daily.” Chris Grenier’s Salomonder has always been a very open and honest display of who Chris is, and this year’s collaboration is no exception. Mike commented, “If you know Chris, you know there’s gonna be some east coast paraphernalia in there somewhere” Since Chris and Mike have been friends for years, and Chris has always had the freedom to design his own pro model graphics, it seemed inevitable for them to one day work together, “I’ve been friends with Grendy’s for a while,” mentions Mike, “and he has a couple of my paintings in his house. He asked me if I’d be interested in collaborating on it and I was basically like ‘Fuck yes.” This match made in snowboard heaven has created not only the best looking Salomonder to date, but the most fun and functional as well. “The Salomonder was a super fun project to be involved in and I’m super hyped to have been a part of it” reminisces Mike. “Thanks Grendy’s and Salomon for letting my weird art end up on your snow stick.”
THIS IS THE NEW SH!T
1. 2. 3. 4.
Dib Shirt from INI.Co-Op - $139 Infuse Boot from Vans - $360 EGX from Electric - $170 Burnout from Ride Snowboards - $560
5. Macon with OT wireless from Bern - $199 6. Bennee Mitt from Howl - $65 7. Mystique womenâ€™s board from Nitro - $360 8. Milan from Union Binding Company - $200
THIS IS THE NEW SH!T 1.
1. Davis Wool Jacket from Dakine - $150 2. Team Two Scott Stevens from 32 - $299 3. Tracker hat from Coal - $40 4. Scotty Wittlake from Lib-Tech - $580
5. Fisheye iPhone 6 case from Deathlens - $40 6. Team Binding from Flux - $250 7. Ben Bogart Pro Model from Dinosaurs Will Die - $440 8. UltraFear from Capita - $480
MIKEY LEBLANC ANDY WRIGHT PHOTOGRAPHED BY
I am fairly certain this was the first time anyone ever did the whole “ollie to flat” in snowboarding. Obviously Mikey went on to be the face of that particular trick (if you can call it that). Mikey had a bet going with Scotty Wittlake that year on who could land the flattest. I think he won. This was filming for Brainstorm, his best part ever and absolutely a man possessed that year. That’s Seth Huot on the follow cam. Worth noting, there is not a “landing ramp” …which is pretty much standard practice when people do this now, it’s just a wee little pile of slush. I remember being kind of bummed when he was doing this because I thought the risk of injury was way too high for it to be worth it. I didn’t want him to be out for the rest of the year, even though this was late April, a few days after Brighton had closed for the season. This angle was actually from my remote camera; I shot a still photo from head on that went on to be an M3 ad. – Andy Wright At that time I was watching Jamie Thomas and some other skaters like Ali Boulala doing crazy stuff. I was stoked on just the rawness of an ollie and doing something that seemed to push their fear and physical limits on a basic trick, push to the physical maximum. I had always liked and still like landing jumps and cliffs on flatter landings because I liked the feeling of stomping rather than the floating landing. That said we were at Brighton having a few beers and I had been eyeing up that ollie every time we finished a lap at Brighton on the Crest chair. I was telling JP and Jeremy and Seff (Seth) Hout etc that I wanted to ollie that and they all were like, “do it”. We really all pushed and supported one another back then. So I had a few Guinuess’ and was thinking about my part coming out and the lure of fame and glory and a few beers took over. We loosely threw some snow in the landing, just some chunks of slush to cover the pavement and we put it just past where the cars drive by and into the first spots that people park cars in. The dudes were like “do you want more snow on the landing” and I was like, “no.” I think that was related to rails and what was going on at that time too… riding rails was freshly back on the snowboard scene and we were coming from a skateboard view. We thought building jumps onto rails was wack, if you couldn’t actually ollie onto it, and that it was wack to build a jump onto it…. There were riders at that time out there building these monuments onto rails and we hated it. So I think this was coming from that mindset as well… skaters don’t build landing ramps… why would I? Then it would be just a small jump and that is cheating. So ollie to flat it was. The next step was pointing it and throwing it down. I always really liked that and just went for it. Landed the straight ollie FT and started in on the SW BS 180. It went well and I was PUMPED. As Andy says, Wittlake was bummed when that came out. I WON. I was mostly stoked because I had a banger for the end of my part and that was gold to me. Side note: my knees are fine, and my hearts happy. Peace and love. – Mikey LeBlanc
INSTAGRAM: @UNIONBINDINGCO UNIONBINDINGCOMPANY.COM
THE FC BINDING RIDDEN BY KAZU KOKUBO
RECRUITING NOW. DEATH BEFORE BOREDOM
PURVEYORS OF THE WILD LIFE WWW.CAPiTASNOWBOARDING.COM
WRITTEN BY DANIEL COCHRANE PHOTOS BY BOB PLUMB
Brock Nielsen and I sit on the back patio of the Sugarhouse home he shares with long time friend Cale Zima talking about growing up, filming, editing, and stories from being on the road; all the expected bio piece fodder. I wonder to myself if the proximity of the house to Salt Lake’s Fairmont skate park was a determining factor on signing the lease for this particular property because for Brock, long time filmer and now primary editor for Absinthe films, it all starting with skateboarding. “I always loved skateboarding. I didn’t get into snowboarding until later on,” he tells me as we enjoy the late fall morning. It is a typical Salt Lake story. In this town most people do both, skateboarding and snowboarding, but they always associate themselves as one or the other. Here you are either a snowboarder who skates or a skateboarder who snowboards. Brock’s love of skateboarding was undeterred by his admitted lack of skill, and eventually transferred itself into a roll behind the lens instead of in front of it. “I quickly realized that I was not that good at skateboarding but I loved it so much. I loved watching videos, and loved everything associated with skateboarding you know. Eventually that made me into the filmer.” I jokingly asked if he had fat kid syndrome and he instantly agreed, “Oh yeah man I was definitely a little fat kid, and that was for sure a factor in getting behind the lens. At first I wasn’t very good at filming either. My friends would give me shit because I’d have them out of frame and miss shots.” At the age of 16
after a couple years of borrowing cameras from his parents Brock went in on his own equipment with a little help from his parents, and even some of those friends who originally bemoaned his filming skills. “I was really starting to pay attention to skate videos, but more on the technical side; editing, shooting angles, song selection and that sort of thing. The whole time I was learning as much as I could on my own. Eddie Grams was a huge help too when he was still around SLC. Eddie knows his shit inside and out he is a technical wizard. Other than that it was a lot of Googling to get information.” As I mentioned before Salt Lake is a funny place. Despite over a million people in the tri-valley area it is constantly referred to as Small Lake City because it seems everyone knows everyone else. Brock’s eventual move into the world of snowboarding came through a series of encounters from working at Milosport. “I was working at Milo and so was Cale. At this time Cale was filming stuff with the Bozwreck crew for their movies. The manager of Milo was TJ and he was doing a lot of the main filming for Bozwreck. Through knowing those two I started coming along to help out filming snow. There I met Absinthe filmer Shane Charlebois because he was also helping TJ on the Bozwreck stuff. After Bozwreck ran its course over three years Shane brought me in with Absinthe where I helped film with them for a bit.” Through out this time Brock was still polishing his skills making local skate videos and other projects, but it was late fall of 2014 that his course took an interesting turn. “Well Justin (Hostynek) from Absinthe emailed me in October of last year and just said he was looking to move into a producer role at Absinthe vs. the principle editor role he had always been doing. He said he was thinking of someone that could fill his shoes and he thought of me. To be honest I was blown away, and really apprehensive,” says Brock. “Absinthe is his baby you know, and I was all in on the editing thing but part of me was scared he was going to change his mind and come in and swoop it all back up.” After the full year of filming Brock got his first taste of the editing room when most of the crew started the first editing sessions in BC. He laughs about it now as he looks back on it even though it was just a few months ago. “I was up there and sitting in the chair and every little thing I would do I’d turn and look at Justin or Shane for approval. I’d move a sequence and look at them
and ask “This ok?” and Justin would be like “yeah, its yours do your thing.” Finally I got comfortable and started doing things the way I like to do them, and it just went from there.” I asked Brock about his process for editing and he replied that for him it is all about the music. “I remember watching skate videos back in the day and really starting to understand how the music shouldn’t be random, for snowboarding it was Shelby Menzel and the Kidsknow videos that did the same thing for me. It is part of the total package you know, and to me it is one of the most important parts.” Brock says that the music is what ties it all together, editing motion and music together into something seamless and unique. “I think when it’s done right there is just this feeling that most people can’t describe. It’s like it gets you on a subconscious level you know. Like what your body is experiencing, the sounds and the visuals hit you on such a deep level that you don’t even comprehend it consciously all you understand is that it just seems right you know.” Absinthe has always been at the forefront of musical selection using a mix of current well known acts with a few indie darlings, but for Brock the move into the real world of music rights was a shock. “I always relied on digging around on the internet finding obscure stuff for edits you know. This year was tough because I had never really dealt with legitimate music rights. We ended up losing about a half dozen songs that we were really set on because all of the legal stuff just didn’t pan out. In the end we got some great music it was just a bumpy process.” Music rights weren’t the only bump in the road for Brock, but again all is well that ends well. “There were other things that you know I had never had to be fully involved with but obviously working with someone on the scale of Absinthe there were so many more professional things to consider, color correction, music rights, all of that stuff that you don’t have on smaller self made or indie efforts. The learning curve was steep but I think going into this season I’ll really be keeping a lot of that stuff in my head as we film, and that post filming process will be much smoother. I’m just really living the dream you know. I travel the world with my best friends and document it all for everyone to see. Really what could be better than that?” Not a bad life for a skate rat with fat kid syndrome.
“I think when it’s done right it there is just this feeling that most people can’t describe. It’s like it gets you on a subconscious level...”
FEATURING PRESS SEAL TECHNOLOGY SIMPLE - SEALED - SOLID
Q U I C K C H A N G E O V E R S I Z E D M O L D I N J E C T E D C Y L I N D R I C A L P O LY C A R B O N A T E L E N S - S U P E R A N T I F O G & A N T I S C R A T C H H A R D C O A T I N G
BRANDON REIS p: Tim Zimmermann Lib Tech Downtown Jacket Throwdown Pant
DARRELL MATHES WRITTEN BY AARON BIITTNER + PHOTOS BY DARRELL MATHES
Darrell is one of the few dudes that made me really want to become a pro snowboarder. Growing up watching FODT/Technine & KidsKnow movies we were well aware of Darrell and knew he would do great things for the sport. Over the years I have had the opportunity to shred, travel and film with him and witness his incredible work ethic and creativity first hand. It was truly motivated and determined professional who always accomplishes great things. Darrell grew up in Portland, Oregon and started riding at Mt Hood Meadows when he was 12. His cousin Marty got a snowboard, and because Darrell looked up to him like an older brother, naturally he wanted to do it too. By age 19 Darrell was a full on pro snowboarder in Utah filming for Gen-Pop with the Technine team (if you haven’t seen Represent, and Gen-Pop-let alone any FODT film- then you better do some homework). It was around that time Darrell realized that SLC was a pretty rad place to spend a good part of his winter. The main difference from Portland in his own words“Haha.. The time it takes to get to the Mountain. Mt Hood is such a long drive, a full day kinda thing; riding at Brighton you still have the rest of the afternoon to do whatever you want. Plus you’re not so tired from driving all day but in general the snowboard parks are a bit better as well.” And of course there is always Hector’s, Café Rio, and Blue Star Café to name a few of his favorite pre & post shredding food stops. Darrell usually hangs in the Sugarhouse area when he’s around, he prefers keeping it low key just chillin with homies, and enjoying some wine or a Miller High Life, which Andy Wright always has stocked in his fridge. You will probably see him this season hanging with the crew at Milo, cruising Brighton, or at one of the other aforementioned establishments.
“I’m just looking forward to shredding this winter in Utah. Hope to take laps with whoever is reading this article!” –Darrell Having such a great group of PART TIMERS is just one of the reasons Utah is so rad. Looking forward to laps at The Bone Zone x Brighton, pow days at Snowbird, and all around good times in the mountains!
WRITTEN BY JOSH RUGGLES PHOTOS COURTSEY OF DWD
Snowboarding is in a weird state. If you’ve ever seen one of the many movies in which the nerdy dude is chasing the popular chick, sometimes winning her over and others opting for the equally awesome catch that has been there the whole time—in each of those films, there’s always a point in the story where everything seems to fall apart and the nerdy hero has to find himself. Snowboarding is currently that nerdy protagonist who is needing to realize what’s important, because things spiraled out of control somehow. Maybe it was the huge influx of corporate money, maybe the internet, maybe the Olympics. It’s up for debate. Regardless of the reason, the results are brick and mortar shops dropping off the map, top level pros are being left jobless for no clear reasons, and everyone is scrambling to fix it—everyone except the dudes running Dinosaurs Will Die. Don’t mistake their lack of scramble for them not caring about snowboarding. They care as much as the dude that continues to hang onto his VHS player, so he can watch his old snowboard videos. Founders Jeff Keenan and Sean Genovese’s passion for the shred runs deep, but they understand that if you want your idea to resonate with people, you have to be passionate about what you’re doing and the rest will take care of itself. “My thing is we should always be asking the question ‘why’ on everything we do. As soon as there’s not a reason, what’s the point?” says Genovese. This concept runs deep at Dinos. Resulting from both of their many years of experience riding on teams, snowboarding how they were told and on what they were told. The missteps to flat-out stupidity they saw from being involved with multiple brands made them restless. “It all came down to sales and the bottom line. When it came to the board I wanted, they weren’t going to build me what I wanted, they were going to build me what was going to sell,” explains Keenan. With the mindset that there had to be a better way—one that doesn’t involve sacrificing values to make a buck, Keenan and Genovese began talking about making socks—yes, socks. “We had this idea of making a company called Dino Socks, and we could make crazy socks and sock puppets,” recalls Keenan. “We ended up not going that direction, which is funny considering what has happened with Stance.” The two went back and forth on different ideas, and ended up at snowboards. It’s something they knew, and something they wanted. Or as Genovese puts it: “I had been wanting
“Everyone has more power than they give themselves credit for.” - Sean Genovese
to start a brand for quite a while. I really wanted to have a voice, and snowboards seemed like a good way to do it.” With the decision to make snowboards in their heads, they needed to call the boards something. “When it came to naming the company, we were talking, and I think Sean brought up, ‘What about that name, Dinosaurs?’” Mentions Keenan. “We decided it was too kid-ish, and that people wouldn’t get stoked on a company called dinosaurs.” After spending some time bouncing ideas, they kept coming back to Dinosaurs, but needed something with a little bite. Genovese recalls his middle school days, when he traded away his skateboard wheels for NOFX albums Punk in Drublic and Heavy Petting Zoo. After hearing their 90s youth-in-revolt sounds, he was hooked. Decades later, while plotting with Keenan, he sat eating lunch around 3 a.m. while working at a saw mill, l when he first ran into the NOFX song Dinosaurs Will Die. “The funny thing about that song is that even though I love NOFX, I hate the song—but the lyrics are so good. It’s about the music industry and how the big corporate people will die out, and I felt the same way about the snowboard industry,” he mentions. While they took on the name Dinosaurs Will Die, their story also became clear. It wasn’t one of anger or spite, it was of evolve or die. Keenan admits there were some misconceptions about what they were trying to do. “Everybody thought we were a fuck burton company, but were not at all. We’re a fuck you if you don’t educate yourself company,” He says. “I think the industry is stuck in this mindset and a way of doing business that is no longer relevant, and things will inevitably evolve. We want to be a part of that change.” With a story and a vision—it was time to put the money on the table and see how far they could go. When Dinos first started, the snowboard industry was already starting to feel wobbly under foot, and competitors were already fighting for the remaining space. That didn’t matter to Keenan and Genovese. It didn’t matter, because while the brand turf war was being waged in the same space with the same rules it had been for years, Dinos came with their own set of rules and started taking up space in handfuls by doing things according to no one but themselves. “We created the brand for selfish reasons. We wanted something better to ride, so we made what we like,” says Genovese. He later goes on to talk about how important individuality and creativity are to Dinos, but let’s be honest most companies claim these things. They’ve basically become a marketing buzzword like synergy, or “snackable content.” The key separator between Dinos talking about it, is that it’s truth. “We don’t have people telling us what we can or can’t create. One of my boards had a transvestite on it because I wanted it that way,” he mentions. “Sometimes I wont even see Jeff’s graphics until it’s basically going to production. That’s how it should be. I mean, if one of our riders wanted a completely black board, and they had a reason for it and were really passionate about it, that’s what we’re going to make.” Their board line-up
is evidence of their claim on individuality, and they’ll be the first to tell you that their boards aren’t meant to appeal to everyone, because that’s the point: everyone is different, and catering to “everyone” is roughly impossible. “We were one of last companies to do a reverse camber board, and we didn’t do it because it was what everyone else was doing,” Keenan notes. “It only happened because when we put Chris Larson on the team, that’s what he preferred riding. So we came up with the Rat. The graphic shows three blind mice on it, like the blind leading the blind. That was our way of saying we’re not just doing this because. Our reverse camber was made for a reason and it has a story.” It’s not a long distance from the top down at Dinos. The newest kid on the team is as respected and valued as the most veteran. Where most brands have several layers of bureaucracy, Dinos is more like a family; a family of gritty kids, who are brimming with excitement for the shred—each with a voice that will be heard. It’s not a perfect system, and things are bound to change and evolve as the brand gets bigger, but the mentality will not. “We set out to build a community inside a community,” explains Keenan. “I don’t want to say ‘pack mentality,’ but when we do something, we do it together.” This is another example of something that is seemingly in every brand’s playbook, but Dinos are actually living it and have been since always. And even as getting everyone person’s opinion is likely to become less realistic as they grow, Keenan doesn’t believe their approach has an end. “I think it all comes down to who you bring on. We have a pretty good democratic company. Everyone has their say, and we’ll take what we think is the best option and go with it,” he says. From the true familial approach, their extreme respect for individuality and purpose, to the fact that they’re a wireless company running without an office since their first board slid off the press— they’re clearly operating from a different rule book, because the current rule book, well, it sucks. To the dudes at Dinos, the industry has become something completely different than it started as, and no one is blameless. “Everyone is responsible in some way on why the industry is the way it is, and why shops and little brands aren’t surviving,” says Genovese. “Everyone has more power than they give themselves credit for.” But to fix what’s broken, sometimes you have to break it some more. If the industry were that nerdy movie character, vying for the attention of the girl; Dinosaurs Will Die is the part of that kid that looks itself in the mirror, and says “dude, you look like an idiot,” with the hope that kid will kick his own ass and stop pretending to be something he’s not. Sure the voluntary ass-kicking is going to hurt, but when he stumbles out of the wreckage of himself, he’ll stand a little taller, and maybe quit wearing pants with jewels sewn into them. To Genovese, it’s not a bad thing for the industry to get a little bruised up if it means it’s moving forward. “The snowboard industry is getting smaller, and people are worried about it falling apart, but with the industry getting smaller, the brands, the people and everything become more potent, because what is left is snowboarding,” he says.
DESIREE MELANCON INTERVIEW BY DANIEL COCHRANE PHOTOS BY TIM ZIMMERMAN
Desiree Melancon is not scared to tell you what she thinks, and you would think that in snowboarding that would be a positive thing. After all snowboarding is full of that rebel spirit right? Unfortunately snowboarding is also full of egos and bottom lines and Des will be the first to tell you that sometimes her outspoken ways don’t mix very well with either of those. To her credit though that doesn’t hold her back, but is that because she wont learn her lesson or is it because she doesn’t buy in to what the industry is trying to teach? Ultimately if you get to know Des you’ll learn the answer is a little bit of both, and she accepts that because to her the important thing is that you took the time to get to know her. Ok Des lets get to the chase … Why do you hate Sammy Spits? Specifically why did you talk shit on him all year while filming for Methods of Prediction? Haha! Oh man, Spot Drama! So, I would stand by (Think Thank filmer) Sean Lucey when Sammy would hit a spot and be like… “Fuck why is he even filming with us? He has the worst style in snowboarding…” and it was all to make Lucey feel super uncomfortable, and hopefully the camera would pick up on the audio. Paul Heran (new Think Thank filmer) kind of liked the game but Lucey hated it because he is the nicest guy and hates confrontation. Either way it was a shitty game. I was just cold in Minnesota. I wasn’t actually talking shit on Sammy. I love Sammy. So do you create drama or does drama just find you? I am so ANTI drama … well … I don’t know … Haha fuck … I mean maybe it’s just another case of me shooting myself in the foot? I’m not dramatic at all; I’m more of an asshole. There is a definitely a difference between the two. I think nowadays if you’re like a good natured shit talker, and trust me this comes from
first hand experience, that it will come back to bite you in the ass at some point. People have egos and when you talk shit it will bum them out. Most of the time I’m only giving shit to my close friends, but sometimes I’ll get too talky to someone I don’t know and they get offended. Then it’s usually along the lines of, “Whoops… I told you what I really think and now I’m in trouble. Sorry.” I try to distance myself to not piss people off, but it’s hard. I’m really vocal, and that goes beyond the fact that I am extremely loud. I remember you being frustrated before because you were told the infamous “you need to make yourself more marketable” by someone in the industry. Marketability is a loose term these days. I am confident in saying that almost 90% of marketability, as a professional snowboarder (specifically female), is social media. Better yet, screw just snowboarding; this goes across the board for pro-women in all action sports. Specifically Instagram. My personal views on the matter are that the most successful have created a persona of themselves. This facade usually includes a “#blessed” life, traveling, selfies, and professionally shot photographs. It’s not actual lives, views, or personalities. It’s a fabricated image that is literally being sold to whatever 100k+ followers… and it dictates the
“You can tell me I look like a girl or tell me I look like a boy, but really I want you to tell me I look like me.”
value of the athletes. “You are only as big as your following.” This is something that kills me. For someone to tell me I need to take my marketability into consideration throughout my day-to-day life is inappropriate. I could be the most marketable woman in snowboarding because of my diversity and personal sense of self, but that is what also makes me the least marketable. I think it kind of goes against the whole grain of the anti-establishment, weirdo, even anti-social aspect that is so appealing to a lot of people in snowboarding. I mean maybe not the ultra trainer contest kid that is sponsored by a tire company but definitely the video part kid fits that description. Then for them, or you specifically, to have some company numbers guy try to fit you into a certain mold has to be deflating. Totally. It doesn’t make the most sense to me. But do you see the value in it if done well? How do you wrap yourself around that, the conflict of being Desiree while also giving them what they want? Oh totally. The value of it is priceless. It’s Money Ball. Social media has made it so we can quantify the value of a snowboarder to someone who doesn’t know the difference between goofy or regular. There is a very large difference in 5k and 500k, and this makes it’s easier for the head honchos to justify spending money. Aside from that, it has created a platform for video and photo sharing that can expand to global audiences in seconds… when before it was only contained in our very small industry through printed magazines, videos, and direct websites. I try to do what is expected from the brands I represent. I want to be good at my job. I tag my sponsors, I post the videos, I do what I hope is enough for them to take my involvement seriously. However, none of that should have anything to do with my entity as a professional snowboarder, and it should not gauge my productivity. Instagram has redefined how productivity is measured for being a professional action sports athlete. In my eyes there should be no questions of social media vs. snowboarding, if you are a professional snowboarder… the snowboarding should be what comes first.
And now too all the stuff that used to just end up on the cutting room floor goes into making B-Reel web edits and stuff for social media. Like you always have to be aware that what you’re doing has the potential to be put out to the public. Yeah exactly. I understand that it’s nice to not “waste” anything, content is content. However we perpetuate the endless scroll. That glowing screen in front of your face from the moment you wake up to right before you go to sleep. To a certain extent I don’t even think that people care about the quality of the content as long as there is just something new coming down the pipeline. There is definitely quality content coming out as well, but it is still way too quick. Too much too fast. We need to let things sink in and appreciate them. I want to pull back, but I cant, you know? Then there is that yearly grind too. Like you said constantly having something new in the pipeline. Somewhere some of the magic has been lost. That is one of my biggest gripes currently and I’ve voiced this to some companies and friends. Why are we expected to produce a part every year and each year has to be your best… and if that doesn’t happen why are the brands so quick to react? Being the person I am, I am driven off of this system… I want to do the best I can. I never go into the next season thinking that I am going to take it easier then last year. Its natural for me to want to one up myself and see how much further I can take my snowboarding. Then… what’s the point of getting a really sick crew to film for your movie and just because the season ends, the movie is done? The movie should be done when everyone involved in the project has finished his or her part. Money and sponsor expectations obviously dictate this. It is insane that every year, another piece of art that my friends worked their assess off creating, has the longevity for being front shelf for roughly 12 months, then gets replaced by the movie that is released from the following winter. It discredits the work. If we are taking the time and spending the money to create a video then the least we could do is take the time to actually appreciate it. The one-year system makes its less valuable. It makes it “old.” When really, snowboard videos used to be timeless. I mean, they still are, but our views of them have changed and it’s all because of us. So, why don’t we change the formula?
What if brands took a fucking chill pill also? What if they decided that they were going to produce a line, and that line was going to last and be sold for two winters, instead of just one? It’s so rare that the actual consumer is rebuying every piece of snowboarding equipment, every single year. What if brands didn’t end up selling 30% of their yearly product for 40% off once April hits? What if we just slowed the fuck down? It’s obvious that the rider, the video, and the brands are suffering. And don’t misquote me here. Snowboarding is fine. Also I’m not a business major. I don’t know the system. These are just thoughts and ideas. I feel like part of the issue too are these companies that talk about “core” or being against the establishment or whatever you know. Like where are they when you don’t have a sponsor? Are they really as edgy as they claim, and if so why wouldn’t they jump at the chance to sponsor someone like yourself who is exactly what they are touting themselves to be? Yeah well that is where the line gets blurred. It’s not just because of my attitude that I don’t have sponsors. You have to think of the brands and their financial motives, and that gets into that other whole conversation of where professional snowboarding is. The entire point of a business is to make money. That is the goal. No matter how core you claim to be, there will always be the instance where you have to make the professional decision for what is “best” for the business. Professional women don’t sell product. I have heard it time and time again. Women video parts don’t sell product. The need for the product sells itself, and depending on the woman going shopping to dress herself or her kids, chances are she didn’t just see the last Think Thank movie and has no idea who I am. My impact hasn’t been strong enough, which I understand. I can only go forward and hope someone comes along. I don’t feel like snowboarding needs to be saved just because I don’t have all the support I’d like. It’s like going back to the thing we talked about earlier about people being so super offended. Look, our industry is an elitist sport. It’s not core. To get into snowboarding you have to go on a family vacation. You cant just be like, “Oh I saw a video, I’m gonna be a pro rider. I’m gonna be Chris Bradshaw”… that’s not how it is. You need $2000 dollars worth of gear and a hundred dollar lift ticket. Or you need to live in the mountains. Some people are lucky and have working mountain town families, and those are exceptions. But no matter how much we say so, snowboarding isn’t actually available to the middle class family. It’s not skateboarding. You can’t watch a video, be influenced, and run outside and do it. Maybe a kid from Minnesota can run down to the park or whatever, but if you’re from California forget it. All that leads to a bunch of rich assholes running brands, outside investors running brands, non snowboarders telling snowboarders how to act, how to be marketable, and how to make them money when at the end of the day it is just fucking snowboarding. Snowboarding. It’s filming a video a part on a piece of wood. So that whole “they are offended by me” thing is just like who are you to tell me how to act? Who are you to tell me what to do? At the end of the day I’m still going to be a professional snowboarder, and even if that gets taken away because I cant afford to do it any longer, I’m still going to snowboard. I’ll go get a job and keep snowboarding because that’s nothing new. Since I was awarded women’s rider of the year and multiple video part of the year awards, the amount of side jobs to keep me snowboarding have increased. Snowboarding is ingrained into part of my self, my being. You can’t say the same for these investors because once the money is gone they are gone. That’s why they “care” so much. They need snowboarding to do well and be “normal” so they can keep selling to
the Aspen families. They need to sell the product and with that maybe I don’t do such a good job for them. Yeah and sometimes the truth is hard to hear you know. It’s easier to say, “Des is just a crazy trouble maker” and then go sign the girl who posts bikini Instagram pictures all summer. I’ve been trying to figure it out. I’ve been trying to figure out why I don’t have an outerwear sponsor, or why some of my sponsors don’t support me more to the level where I can focus on being the professional athlete they claim me to be. That’s a question for the people who have passed up and turned down opportunities to work with me. I don’t know the answer to it. It’s really depressing that girls in Portland make more money in one night for taking their clothes off then I do in a whole season for putting someone’s clothes on. But you can sleep at night, you can look yourself in the mirror like we said. I can, and I like me. I like doing what I do, and I like being a person, I like having a personality. I like making people feel weird. Is that part of the whole filming with Think Thank as “the girl” vs. filming with the all girl crews because there are numerous outlets for that as well? Well I think something that is important to touch base on here is gender roles. I’m a girl. I was brought up like a girl and I have, in the past, had really strong opinions about all female crews. Like “ I want to get into a dudes crew” “fuck filming with girls, girls suck” all of that noise... Over the last few years, especially this last one, I’ve come to realize that was one of the worst things I could have done, but I wouldn’t be where I am today if I hadn’t thought that way. Gender roles need to stop, and this goes beyond snowboarding, this goes into society as a whole. There is no reason we need to push girls in one direction and boys in another ESPECIALLY in something that is so self expressive as snowboarding. With that in mind Think Thank is what came along for me. I was in the right place at the right time and those dudes are my friends, they are my best friends. Filming with them is a permanent vacation, and that is why I go out with them. It’s no longer on my mind where I’m against an all girl crew or against any other girl being with us, or against girls filming in general. Yes, I will still have an opinion of what I think about the projects that are made, but that’s the whole point. We are snowboarders. When you’re strapped in there should be no question as to whether you’re a girl or a boy. I hope that once we commit to that kind of mentality you’ll see girls evolve in a different way because there is less mental restriction. It’s not “you snowboard like a girl” but more “hell yeah, I snowboard like a girl!” I know I get flack for walking away from girl empowerment, but I’m not trying to be anti-girl I’m just trying to be gender neutral. It is just an activity and it doesn’t have anything to do with the junk between your legs. All it has to do with is how you ride the piece of wood, and that’s what I’ve always tried to show with how I snowboard. You can tell me I look like a girl or tell me I look like a boy, but really I want you to tell me I look like me. That’s how style evolves. I’m not seventeen anymore so I’m not trying to snowboard like a boy to prove something. I’m totally embracing my womanhood going into my late twenties, but I’m not trying to snowboard like a girl because really there shouldn’t be a definition of that. It should just be snowboarding. That really brings the conversation full circle. I mean you were just speaking of maturing and looking at things differently with time, but that is going to be something that will be really difficult with this younger generation that is documenting everything they do on the Internet. Like do they get that freedom to grow, reflect, and mature or will someone call them out based on an Instagram post from five years ago you know. Yeah totally, and with that you have to hope that people on both sides are good people. People get to grow and change and others should respect that in a person and not be so judgmental. We are just human. Five years is a long time, hell a week is a long time. Like I said earlier people have these weird expectations and idolize snowboarders, where really that mentality is misplaced. What should really be expected of us, other than being good at snowboarding?
Right like respect your riding but don’t put you, or any other rider, on a pedestal because you are just a person like them. Totally. We are in a weird thing, as professional snowboarders. We are where we are because we are good, but the brands want to tag our lifestyle onto it as well. They don’t push our riding as much as they push “us” and it’s all a gimmick. You can do so much or do so little but you are portrayed as “x” and unless someone really takes the time to sit and get to know you, that’s the way they will see you. No one knows the person, they know the image. There are a lot of people who have an image in snowboarding and I scoff at that. Like, I think it’s funny. Why do celebrities donate to charity? Because they want that image, I mean they may care too but you know… Yeah like why not donate anonymously? Exactly. Well shit let’s turn this train around we got deep there for a minute, but that’s why I wanted to talk to you because I knew you wouldn’t be scared to say what you felt. Yeah I mean I have things to say, and a lot of the things I say are opinions, not fact. I am learning everyday. I like having conversation and I like analyzing things and people. What’s the point of living if you’re not actually paying attention? That is kind of the lesson of the whole talk I guess. You can’t buy into that image you’re given through the screen. You have to get out there and find out for yourself. It’s a crazy world we live in. Yeah it is insane. Well outerwear aside before we go why don’t you tell us who is helping you be the best Des you can be. Smith, Salomon, 32, Coal Headwear, Active Ride Shop, Crab Grab, Cobra Dogs, Brynn Hayes, Ninja Suits, Mountain Approach, Snowboarder Magazine, The Burtner’s and all of Think Thank, Jess Kimura, Scott Blum, Drink Water and High Cascade/Corey McDonald plus all diggers past and present and finally my family. I think that is everyone. Oh and thank you guys for letting me do this.
PHOTO: OLI GAGNON
CHRIS GRENIER RIDES THE SALOMONDER BOARD AND TRIGGER BINDINGS W W W. S A L O M O N S N O W B O A R D S . C O M
RIDER: Tyler Lynch PHOTO: Zizo Location: JAPAN
GUS WARBINGTON / SPACE CASE by Forest Bailey Gnu.com
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SAGE KOTSENBURG KIRUNA, SWEDEN ANDY WRIGHT
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MADISON BLACKLEY BRIGHTON, UT BEN GIRARDI
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DYLAN THOMPSON SALT LAKE CITY, UT ANDY WRIGHT
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NIAL ROMANEK SALT LAKE CITY, UT KYLE BECKMANN
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CALE ZIMA BOULDER, CO BOB PLUMB
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JORDAN MORSE OREM, UT E-STONE
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TED BORLAND BRIGHTON, UT E-STONE
WRITTEN BY JACOB MALENICK + PHOTO BY BEN GIRARDI
Let’s face it, even with the refreshing hype surrounding female snowboarding, our sideways lifestyle is still predominantly made up of dudes and bros alike. But that is thankfully changing as the seasons roll on with the emergence and influence of crews like Jetpack and Too Hard happening in our own beautiful backyard. At the front lines of this female shred head revolution is the multi-talented Jill Perkins. From Wally Inouye showing her the finer points of pool coping, to working with the baddest sales crew in the game at Four Horsemen, to skating The Berrics and beyond with Leticia Bufoni, this Moorpark, CA native is set to make a large name for herself in both skating and snowboarding. Watch out for Jill’s whirlwind of talent on the slopes of Brighton this winter as her skills continue to amaze and her ambition and passion continues to grow.
Name: Jill Perkins Nickname(s): Just Jill, Jilly Age: 21 Years Snowboarding: Going on 4 years. Home Mountain: I don’t really have one, each year I have been somewhere else. Inspiration to Start Snowboarding: I’m from Southern California and there isn’t a lot of snow there. I think I was drawn to snowboarding because it was something new and challenging. Snowboarding allows me to be creative while constantly taking risks. I like that. Proudest Moment: Watching the fire in my little 14 year old sister’s eyes as she plays volleyball. Her progression is astonishing.
Define Your Style: I’d say skate style. Favorite Trick: The one’s I have to work the hardest for. Life off the Hill: I spend most my time off the hill either working, studying, skateboarding, or hanging out with friends and/or with my family. Single or Taken: Single Dream Job: I constantly am finding myself answering this question. My dream job is a job within the action sport industry surrounded by passionate people who share common interests. A job that will allow me to continue being an athlete, while offering support and working towards inspiring other people to become the best they can be. Sponsors / Shout-Outs: Huge thanks to Josh Fisher, Moriah Roberts and Four Horsemen Sales. I would like to thank my friends who let me pick through their boxes of gear, you guys rock! I also want to thank my parents for all their constant support. They allow me to make mistakes just so I can learn from them. They encourage me to grow as an individual and I love them for that.
WRITTEN BY JACOB MALENICK
Imagine yourself perched on the edge of Headwaters, one of the steepest and most technical ridgelines Big Sky has to offer. Youâ€™re amongst a flock of other eager competitors, anxiously waiting their turn as a mighty storm is rolling in. Lightning cracks across the sky, thunder erupts in your face like a monstrous starters pistol, and everyone charges down the mountain in a mad dash to safety. Now imagine doing all that when you were 15. Tobias Rosenberg is making a name for himself amongst the freeriding elite, having ranked 2nd overall last season in North America for Junior Freeride Snowboarders while riding with torn ligaments in his knee. Hailing from SLC and calling Snowbird home, Tobias is set to continue his takeover of the big-mountain scene with determination, willpower, and a ton of talent on a snowboard. Name: Tobias Rosenberg
Define Your Style: I try to be as smooth and as stylish as possible
Favorite Trick: A Terje style Method Life off the Hill: I try to be outside as much as possible.
Age: 18 Years Snowboarding: 12 Home Mountain: Snowbird Inspiration to Start Snowboarding: Growing up as a kid all of my family were skiers, I wanted to try something different. Proudest Moment: Taking 2nd in North American Junior Freeride Snowboarders
Single or Taken: Single Dream Job: Filming for TGR or Absinthe. Sponsors / Shout-Outs: Big shout out to Dakine and Smith Optics for hooking me up with the gear I need and of course to my Mom who has always supporting me.
Row 1. Dinosaurs Will Die @dinosaurs_will_die 2. Brock Nielsen @brocknielsen 3. Desiree Melancon @desireemelancon 4. Cole Taylor @cole_taylor
CLASSIFIEDS SEPTEMBER 2015
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Saga Outerwear is looking for Professional Snowboarders to join our team! Previous snowboarding experience isnâ€™t required, but would be nice. Must be able to film once a week and MUST get along with skiers. Please only apply if you are willing to risk life and limb for minimal pay! Please visit www.sagaouterwear.com for more info. GENERAL MANAGER Local restaurant looking for a General Manager. MUST HAVE MANAGEMENT EXPERIENCE. Must be comfortable managing junior level employees as well as the Kitchen staff. Hours vary and working weekends is required. Salary is not competitive, but free food is offered. Please swing by and drop off a Resume in person at 7769 S 450 N900, SLC, UT. SECURITY Mall looking for security guards. Must be trained in some sort of martial arts training. Please be comfortable riding in golfcarts and busting kids for skateboarding. Must be is shape and wear UFC branded apparel! This is a full-time salary position. $25/hr + healthcare and free mall pretzels. Call Stan at: 801-888-9621 NEW JOB TIRED OF WORKING FOR $9.75 a hr? We offer great opportunities to everyone. Pay starts at $7.50 a hr! Call: 801-444-9633
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