February 2021 - Vol. 15 | Issue 01

Volume Fif teen

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Issue One

RIDER

OZZY HENNING PHOTO

MICHAEL PADDOCK BOARD

STALEFISH BINDING

D.O.D.

ROMESNOWBOARDS.COM @ROMESNOWBOARDS

Photo: Ian Matteson

Social Distancing Before it was Cool. (we capped our daily ticket sales at 1,500 like 5 years ago)

Mothership Advanced Research Station 1

HAND-CRAFTED AT THE WORLD’S FIRST 100% CLEAN ENERGY SNOWBOARD MANUFACTURING FACILITY—THE CAPiTA MOTHERSHIP.

PHOTO: RIDER:

Benja min Lit t ler

Austin Lamerou x

CAMER A: FILM:

N i k o n L 35 A F

K o d a k Tr i -X 4 0 0

L O C AT I O N :

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Brighton, U T

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IN TH I S

I S S U

E

OPENING ACT

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COV ER S TORY

AUTUMN HEADWEAR

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VA N TAG E

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SHOOT ING G A L L ERY

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PHOTO PROFIL E: CAMERON STRAND

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C A P I TA R E T R O S P E C T I V E

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ARTIST PROFILE: NIC SMITH

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WHEN THE PL AN WA S NE VER A PL AN

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SOUND CHECK

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C.O.R.E.

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IN TRIBUTE: SIMON L ARSON

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ARKADE 15.1

OPENING ACT

Words by R. C. Llewelyn

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hat a ride Arkade Magazine has been over the years, and what this last 2020 year has done to put all previous years into a different light. A year ago we were riding some of the best snow in SLC and within one week the town with the rest of world shut down. Strange how everything can be put on pause in a moment, and hold us in stasis with it. We have had a year to ref lect and ask ourselves how important Arkade has been to us, and whether there is still a place for a free mag centered on the snowboard community. Our passion for physical print, something that can be held in-hand, the scent of fresh ink wafting up from its pages, still motivates us to stay old-school. Our collaborators agree that with some old mags gone and new ones coming, Arkade remains doing what she’s always done: telling the stories that inspire, motivate, and unite us. These stories emanating from our little community stoke us out and carry us through the next inevitable rounds of bullshit. SNOW + SK ATE + ART + MUSIC + TR AVEL…yeh, five simple things that put meat to our side dishes and keep us going back for more.

We want to introduce Peter Harvieux, who ya'll probably know as the Midwest rep based in Minneapolis slinging your favorite brands for years. He will be taking a front seat in helping us find and bring you amazing stories happening in real time day after day. Pete’s love for snowboarding, inexhaustible drive, and intuitive sense will be a big time asset. This issue has been in the making since the Fall. Thanks to all the photographers, writers, contributors, and companies that keep us af loat, through the ‘Rona and through all times. Thanks for the big love and enjoy Vol. 15 of Arkade Mag.

Photo by Colton Morgan

Shot on Canon 5D Mk III

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ARKADE 15.1

WE DIDN’T SET OUT TO REINVENT THE BINDING— WE SET OUT TO PERFECT IT.

Introducing the all-new aluminum A-Series & composite C-Series RIDE binding collections.

Words by Tr e v o r S l a t t e r y

COVER S TORY

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woke up this morning thinking it was going to be a regular day with Blake (Lamb) and Riley (Erickson). Little did I know it was one of the most gnarly days I’ve ever seen someone throw down. I had heard from Riley that they have been having these kinds of days lately since I last shot with them. I rolled with and it turned out it was hands down one of the most impressive things I’ve ever witnessed within my years of filming and shooting photos.

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Stationed across the street I set up shop and sat down behind my car with a telephoto. I really liked how gritty the scene is, and felt it would be important to include as much of the blue on the building to be important to liven up the shot. Staying low and after a few tries I turned into a rock and stayed in the same place and position until Blake rode away.

This photo is number 4 of the 5 tricks he filmed that day, this one being a Cab 270 to Fakie sliding through corrugated metal dropping down into a concrete bank. It was shot in St.Paul, Minnesota with a few of my great friends like Calvin Green who watched for cars, Riley up top filming fish, and Blake and Ryan Collins being in the session.

PHOTO: RIDER:

Tr e v o r S l a t t e r y

Blake Lamb

CAMER A: L ENS:

Ca non 6D Mark 1

C a n o n E F 7 0 -2 0 0

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ARKADE 15.1

SHOOTING GALLERY PHOTO:

Pau l Bu ndy

S K AT E R :

Un k now n

CAMER A:

Ni kon FM 2 Cine st i l l 80 0t

L O C AT I O N :

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S a l t L a k e C i t y, U T

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SHOOTING GALLERY PHOTO:

Colton Morga n

CAMER A: FILM:

L e i c a M5

Koda k Color200

L O C AT I O N :

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Dow ntow n SLC

SHOOTING GALLERY PHOTO: RIDER:

Pe t e r L i m b e r g

Danimals

CAMER A:

C a n o n F -1

L O C AT I O N :

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Brighton, U T

PHOTO: RIDER:

Pe t e r L i m b e r g

Jef f Holce

CAMER A:

C a n o n F -1

L O C AT I O N :

P a r k C i t y, U T

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SHOOTING GALLERY PHOTO:

We s t o n C o l t o n

S K AT E R :

Shylio Sweat

CAMER A:

C a n o n 1 DX I I

L O C AT I O N :

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Provo, U T

For us at Brighton, it has always been about the memories we share with our friends and loved ones.

Recently, rider Bode Merrill (pictured) shared this story with us: “16 years ago, I brought my friends from the East Coast out for an early season pow day. One of those free refills, jump off anything kind of days. It was their first experience with bottomless powder, and I could just tell it changed their lives forever. Seeing that secondhand impact was unforgettable.”

Bode Merrill Andrew Kooyman

brightonresort.com

PHOTO: RIDER:

A ndrew Miller

R a n d y Va n n u r d e n

L O C AT I O N :

Lit t le C ot tonwood Ca nyon

AN ARKADE RETROSPECTIVE WITH

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Wo r d s b y Daniel Cochrane Contributions by Ephraim Chui & Mark Dangler

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rand identity. For many businesses, brand identity is a carefully curated and detailed experience. An excruciatingly documented road map of processes meant to guide and further a company as they seek to achieve their place within a respective community. In an industry such as snowboarding, where image is everything, and consumers' whims can change quickly, brand identity can lead to a company's success or failure in only a few seasons. CAPiTA is undisputedly a leader within the snowboarding industry but ask for its identity as a brand, and you can get several responses; artsy, trendy, weirdoes. However, ask from within the walls of THE MOTHERSHIP, and you get a completely different vibe; family, creativity, and, most crucial, authenticity.

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At Arkade, we have enjoyed an excellent relationship (some might call it a crush) with CAPiTA for many years. Their riders have graced our covers more than any other company, and we continuously geek out over the CAPiTA catalog when we can get a copy in our grubby little hands during trade show season. We really believed it appropriate to celebrate CAPiTA's launch into a third decade by deep diving into what exactly makes the brand tick, commemorate some of those covers, past ads, and of course, hear how they managed to pull it all off with such style and grace.

ARKADE 15.1

Ephraim Chui has been a part of the CAPiTA family in a design capacity from its earliest inception. For the first two seasons, Ephraim describes his involvement as "loose" as most creative processes were done by Jason Brown and the HUMAN5 crew (Simon Redekop, Mike Swaney, Jared Penner, and Tyler Lepore). However, it is worth noting that in those first days that Ephraim created the original B.S.O.D. graphic/logo that is still used to this day. Since 2004 he has been the company's Art Director, guiding many players' artistic endeavors to create a cohesive identity. Few people can speak to the inner workings and the creation and cultivation of the CAPiTA brand as Ephraim, and so we sat down for a little back and forth about it all.

Ephraim emphasizes two things about those early days; an unlimited and relentless drive to cultivate a place of expression and creativity and practically zero plan as to how that would be achieved.

On art; "We were all putting our energy out there as young people, trying to build something meaningful that we can pour our creativity into. None of us really understood there were boundaries per se. What boundaries could there be for a little indie snowboard company? We were definitely determined to create things that we were hyped on. It was really more about how far we could push ourselves, and CAPiTA became the platform that we had to do it. And if that happened to fuck shit up, then it happens. Everything cool in snowboarding at the time was so exclusive. We weren't really feeling that and wanted to create a more open and welcoming space. There was a palpable anti-corporate sentiment, but our vibe was more pro-independent, pro-creation, we're just gonna figure it out ourselves than it was anti-anything, really. Our name CAPiTA came from "per capita," which by definition means "by and for the people."

And on the business "plan"; "CAPiTA conventionally speaking, has terrible brand discipline. We have a million logos, wordmarks, and tag lines. Reps complained that we change logos and direction every year, and no one could keep up. We should really be a case study for how not to do branding. Chalk that up to making it up as we go along. But it ended up working out because it freed us to do what felt right.

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T H E C OV E R C O L L E C T I O N :

SEAN BLACK

DAN BRISSE DENNIS NAZARI ISSUE 6.3

I S S U E 7. 2

I S S U E 7. 3

ISSUE 8.2

A D S OV E R T H E Y E A R S: PHOTO: ASHLEY BARKER

THE OUTSIDERS

JESS KIMURA ON HER PRO MODEL

WE DEVOUR EVERYTHING

HAND BUILT AT THE WORLD’S ONLY 100% HYDRO POWERED SNOWBOARD MANUFACTURING FACILITY.

THE MOTHERSHIP CONNECTION

CAPiTASNOWBOARDING.COM

PHOTO: JOEL FRASER

RECRUITING NOW. DEATH BEFORE BOREDOM

SCOTT STEVENS ON HIS PRO MODEL

PURVEYORS OF THE WILD LIFE WWW.CAPiTASNOWBOARDING.COM

WE DEVOUR EVERYTHING

Most brands start with an ideal form in mind and build towards it, setting down rules, molding the brand into a preconceived shape from the very beginning. We didn't know how to do any of that. We were operating for a long time as a bundle of energy, ideas, and inside jokes. Our only guide was whether or not we believed in it.

Yet undeniably, CAPiTA is CAPiTA. There's no mistaking us for something else. It's a feeling that's singularly CAPiTA and cannot be dissected into parts or replicated. In any given marketplace, you can compete by either being the best at looking like everyone else, or you can be like nothing else. By just sticking to our ethos about making what we believe in, CAPiTA has become like nothing else. We are free to create whatever we want as long as it feels like CAPiTA. From a brand standpoint, I think when you set out to do something that feels true to yourself, there's bound to be some misinterpretation and, as a result, backlash. Maybe over the years, we expected people to understand us without much explanation because we were in these conversations every day, and it formed an echo chamber of stoke. After a few years, we knew that people thought of us as a weirdo company and that some shops wouldn't carry our stuff, but I think the creative crew was largely shielded from its impact on the company financially.

This is something that's significant to CAPiTA's D.N.A. and the brand's development. Blue has always been the most vocal advocate of the work and decisions of CAPiTA's artists/designers and team riders. As long as you can convince him that it's true to CAPiTA and that YOU believed in it, he'll go to war for you. In that sense, he's the first Defender of Awesome."

Plan or not, CAPiTA definitely struck a chord within the snowboarding world, and soon the company found itself trading in its "small upstart" status for industry acceptance, even if it still contained a dose of bewildered amusement. After navigating their first few seasons, CAPiTA, though successful, still had a perilous route to find their way through. Ephraim explains, "As a small company, the tiniest piece of debris can knock you off course and cause you to crash and burn. And since we've always f lown in uncharted territories, the debris field is thick. Throughout our 20 years, there have been many times, whether as a group or individually, people have pulled off herculean efforts to save the day.

Our sales team has always had a significant impact. People like Sweaty, who has repp'd CAPiTA in the Northwest for all twenty years, Emmett and Graves that came shortly after that, year two or three, and Wilmoth and the rest of the reps have been huge contributors. Johan Malkoski is the ringleader in that area, and together, they've been fighting in the front lines for all of us, believing that beyond the sale, there's something more we're giving back to snowboarding. Bob and Bruce's support at C3 in Seattle has been tremendous, and that's just on the North American side. We distribute in 42 countries and have exceptional people contributing to a common purpose in all. Our Italian connection has always been strong, with G.P. and Martino f lexing their brains and experience to tow us through rough waters. It kinda blows my mind every time how we're able to come together and pull off these miracle saves."

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Of course, while rough and full of uncertainty, the first few years can still feel like the salad days compared to the minefield that comes with growing into one of the industry's giants.

In a typical business model, meetings would be held, and phrases such as "relevance" and "market share" would be passed around. Even worse would be an insistence to stay the course, keep doing what's working, and go into autopilot. A tactic that inevitably leads to a company losing what made them unique in the first place. For CAPiTA, this challenge came, but, truly was conquered without the boardroom doublespeak. Ephraim addresses how CAPiTA has successfully avoided both; "Trying to stay fresh and relevant is probably the first nail in the coffin. The younger you are, the easier it is for you to see what's inauthentic and pandering. It just smells off, and you cringe. We just do us. That's enough since we're continually evolving as people also. All of us live interesting lives and are open-minded enough to gain new insights through our own personal experiences; this, in turn, drives what CAPiTA becomes. You only become irrelevant when you try to be something you're not because then you're nothing. It's hard to go on autopilot when the whole time it feels like we're a little spaceship hurtling through space at a ludicrous speed. Going so fast, our hull is creaking and threatening to break apart.

But the crew's all in, and we're doing repairs and upgrades on the f ly, just holding it together.

It's crazy all of the people who've joined the ride; everyone's pitching in to keep this spaceship going. All the crafts-people and number-f lexors at The Mothership, the ownership group, our reps and distributors, buyers and shop kids, and people who read through our entire catalog.

It's crazy to think that we come from so many different paths but are bonded by a shared love of snowboarding and that magical fucking feeling when you're on top of the mountain, looking down at the endless possibilities of where you can go. Naturally, there have been many challenges over the last 20 years, but none of us could have anticipated them that early on or knew how big they would become. When CAPiTA started, one thought was that it would be a sleeveless inside-out T-shirt company. So fast forward to creating The Mothership–literally building the world's first clean energy snowboard production facility from the ground up–it's just something we could not have even imagined early on. CAPiTA's energy is the real vetting process. If you're down with our vibe, then whatever you do just makes the fire burn brighter. " From the group here at Arkade, it has been beautiful to witness CAPiTA reinvent what a snowboarding brand can be or even become. From having Blue return to S.L.C. for the world premiere of D.O.A. to trade show debauchery at several CAPiTA after parties, and run-ins with Corey Smith in hotel halls (we still randomly quote him "I think I overshot the landing last night") CAPiTA has always been more than a snowboarding company for all of us. We wish the countless people behind the scenes many more decades of successfully Defending Awesome.

JOEL FRASER PHOTO

CALE ZIMA F E AT U R E // I S S U E 6 . 3

Words by Bob Plumb Photos by Joel Fraser and Bob Plumb

So with these Arkade interviews we usually try and have the person who does the interview write a little introduction … so you, the reader, can have some sort of idea as to the relationship of the two people talking and doing the interview, or least a little background on the person that is getting interviewed. That didn’t happen. Our good friend Bob Plumb, who suggested the Cale Zima interview, sits down with Cale via iChat… that’s all you get. Thanks Bob. Off the record I feel a lot of pressure with this interview.

Ha ha you puss why?

Because I want those little kids out there to think your cool and not a maurk.

That is gonna be hard!

Yeah and Gucci Mane with the ice cream cone face tat.

If you were to get a face tat, what would it be? calezima is now offline.

Why the fuck are you offline, you little shit?

Wow that sounds conceded, not going to be hard?

Its going to be hard..I’m a huge maurk!

8:48 PM calezima is now online.

Ok let’s do this. It’s Superbowl Sunday, did you watch the game?

Yeah I did, did you?

Your back.

Hey.

Yea who were you rooting for?

The Giants only cause if they won my pops got money and my friend had to get a tattoo of Eli Manning.

Yes me too. Who’s getting the tattoo and where on their body?

This kid named parker and he doesn’t know yet, I think he should get it on his face!

A Bozung/ Giant tribute tat.

Did you get my last question?

The bozung one?

No... If you were to get a face tat, what would it be?

I have no idea maybe an energy drink sponsor, so I could try and make some big bucks.

Get that scratch instead of the tear drop. Would that be one uping Rob Dydrek with his full back tattoo?

Hell yeah!! I would get it on my nose.

WHEN THE PLAN WAS NEVER A PLAN

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A TALE O F T WE NT Y C ITI ES WITH PETE R LI M B E RG AN D LU KE LI ES KE WORDS & PHOTOS BY PETER I L LU S T R AT I O N S B Y LU K E

SHOT ON AN OLYMPUS STYLUS

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ARKADE 15.1

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hen Covid first hit my buddy Luke Lieske and I started doing long bike rides all around Minneapolis, usually splitting a twelve pack of beer on each ride. Luke and I had met that previous fall, I had started getting tattoos done by him and we really connected over biking. The idea to do a bike tour first sparked after our first ride together, both about six beers deep, we loosely had talked about how fun it would be to do a bike tour during Covid. Luke had been wanting to do a long bike tour and I had done a few month long tours in the past and was overdue for another one. Both of us laid off because of Covid we thought we might as well make the most of our time off. Every ride after that we would bounce idea’s off of one another, where to go, when should we go, how long, what to bring, Do we go north? Do we go south? On one of the rides we had a beer break on a railroad bridge in downtown Minneapolis “Cat’s Bridge”.

We were discussing the trip and where to go, Luke set down his beer on a railroad tie and he noticed it said “St.Louis, MO” He pointed it out and said “We’re going south, we’re following the Mississippi River to St. Louis.” Boom decision made. From there we gave ourselves about two weeks to plan and get ready.

Our good friend Jules who was a bike mechanic, tuned up our bikes for us and made sure we were properly fitted to our bikes.

Both us bought new camping gear as well new parts for our bikes and did an overnighter on one of our favorite bike trails to test our equipment. We both agreed to go into this trip with no expectations, no timeline, and just enjoy the ride.

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We set off from Minneapolis on our bikes on May 6th crossing over into Wisconsin. We rode along the Mississippi River with beautiful views of bluffs. We rode through small river towns that had a lot of character. The first couple of days I had some complications with my bike and ended up having to get a whole new back rim. On the third day my tent and crocs f lew off my bike without realizing, luckily a nice middle age women received the items and met me down the highway and gave them to me. We mostly camped in fields in below freezing temps. A camp fire had to be made every night and morning to keep ourselves warm. Every cold night we would huddle around the fire before we went to bed and would run straight into our tents to trap in the warmth while wearing every piece of warm clothing that we brought with us. On mother’s day my parents linked up with us and gave us roof over our heads for the night, a nice meal and a warm shower. We told them how cold it was at night and my mom said “There’s a reason why not many people do bike tours in the beginning of May” She’s wasn’t wrong. After the parents left we continued down the Mississippi, ran into some rain, picked up four pounds of smoked catfish from a vendor on the side of the road, and from there we crossed into Iowa. For about five days we crisscrossed from Iowa into Illinois depending on the quality of the roads. We discovered a bike trail called the Heritage Trail just east of Dubuque, IA which was once an old railroad highway which was one of our favorite rides of the trip. At the end of the trail we stopped for a snack and had a number of people come up to us asking us about our trip, we felt like celebrities.

Illinois was interesting and seemed like it never ended.

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In a small river town a lady who seemed to be tweaked out stopped us and tried to get us to stay with her at her sketchy hotel. We met a long distance runner (Dave) who was very interested in what we were doing and gave us good advice on which roads to take, later on the trip our paths randomly crossed with Dave again. One of our last nights in Illinois we had a run in with the cops, there was a storm a brewing so we stopped early and to seek shelter to camp under. We found one in a park in a small town that locals are very protective of. Some concerned citizens who thought we were up to no good called the cops on us and three squads showed up at the park. Once the police saw what we were just two good o’l boys traveling by bicycles they gave us the green light. Shortly after the cops left, four middle age men came over to us for questioning to make sure nothing sketchy was going on and took photos of our ID’s. Our stay in Fulton, IL will always be a memorable one. In southern Iowa we stopped on a bridge for our usual peanut butter banana burrito mid day snack, we met an old hippie fisherman with some herb who watched us bike in and he commented on the height difference between Luke and I, Luke being about 10 inches taller then me he laughed at me how my little o’l legs had trouble keeping up Luke’s long ones. We had crossed into Missouri which greeted us with long rolling hills but the scenery was well worth the climbs. On day twelve we did our first century and made it into St. Louis, MO. In St. Louis we got an Airbnb, took a well deserved day off, and took full advantage of bbq spots that St. Louis had to offer.

Our original plan was to bike from Minneapolis to St. Louis and then head north back to Minneapolis. During our off day in St. Louis, I had jokingly mentioned how cool it would be to keep following the Mississippi all the way down to New Orleans. After that we both looked at each other and said “Fuck it should we just keep going south, we’ve already seen everything north of here.” It was a no brainer, New Orleans here we come.

It didn’t take us long to realize that as we continued south the more humid it was, the food got better, our appetites grew stronger and recognized that southern hospitality is a real thing. After St. Louis we crossed back into Illinois for a hot second, stayed at an abandon state park that we had all to ourselves and biked into Tennessee. Our first stop in Tennessee was at this hole in the wall bbq spot where I had the best pulled pork sandwich of my life. Once again people were very interested in what we were doing and felt like celebrities again. It got hot, real quick. We found a water spigot with ice cold water outside of a convenience store called beard and roses where we took full advantage. Beard and Rose hooked us up with cinnamon rolls and cookies, made us sign their guest book and we were on our merry way. Our last day in Tennessee we got stopped by a middle age women named Kathy who saw us on the road earlier in the day drove to a gas station and bought us a bunch of snacks and water. Thank ’s Kathy. We crossed into Mississippi which ended up being our favorite state to bike through. We discovered a road called the Natchez Trace parkway, which is extremely biker friendly with a big shoulder and commercial vehicles aren’t allowed on it. It went through desolate forest with no cell service, we practically had the road to ourselves for two in a half days. We ran into the only other bike tourer that we saw on the trip on the Natchez. Once we got off the Natchez we went into town and stopped at a restaurant for lunch, it was the first time we’d had cell service in a couple of days. We opened our phones to seeing riots and burning down buildings in Minneapolis over the death of George Floyd. It hit us both hard, seeing that the city that we lived in was burning down. There were only a few more days of the trip and we told ourselves to enjoy the peace while we still can. This gave us more appreciation towards the trip.

There were only two more days until we got to New Orleans. Those last two days we rode back to back centuries. We camped in a damp field the last night, Luke woke up with a bunch of ants in his tent. On the last day we rode 124 miles into New Orleans.

New Orleans greeted us with Po’ Boys and beer. To celebrate our accomplishment, we spent two days in New Orleans biking around eating every chance we could. I’d say New Orleans is the one of the best places to end a bike tour.

The bike tour was 1,642 miles total crossing 9 state lines in a 22 day time span. We slept in our tents for 20 nights and didn’t pay for a single campsite. With how crazy everything is going on with covid, it felt really good to take advantage of our time off that was granted to us and do it in a unique way. While the rest of the world was going bonkers in the beginning of Covid, Luke and I were having the time of our lives. I’m glad I was able to share this experience with Luke, thank you for a great trip.

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inding one’s way to "pro status" takes an ample amount of talent and effort with a dash of luck sprinkled in. Most aware of reaching such a pinnacle in a chosen endeavor may find themselves in a "patting of one’s own back" cycle that may or may not lead to great things. Erik hasn't chosen this moment to stop and take the proverbial pat on the back. In turn he's forged a different route to give back to others with this new status thru leveraging relationships of multiple sponsors and in creating his own vehicle of change aptly titled C.O.R.E. - Community Outreach Riding Equipment. We spoke with Erik just after his first on snow activation at Trollhaugen in support of Minneapolis based "Cool meets Cause" nonprofit which, thru a rail jam and donations, was able to raise $3500 to be used on new equipment to help open up opportunity's for underrepresented youth to participate. Here's how he was feeling and some background on COR E Snowboarding.

An inter view with Erik Leon Intro by Pe t e r H a r v i e u x

What's was the catalyst for C.O.R.E to become reality?

Well, with my sponsors (Arbor, Airblaster, Flux) we had pretty much dialed in the majority of the COR E initiative. Which is 1. Eco friendlier products 2. Affordable products. All we needed was step 3. That was a community outreach snowboard event to tie everything together and make COR E a success.

Photos by Stephan Jende Shot on C a n o n E O S -1D X Mark II

How were the events put together and spots chosen?

The original goal was to do 4 stops from West to East, or vice versa whomever had the most snow.

Partnering with resorts I have worked with in previous years. So naturally I was choosing the path of least resistance to host the first ever COR E events. Trollhaugen has always been on the priority list for a stop since COR E was created. The events are put together by heaps of leg work and emails. Following through with your ideas and putting them on paper make an event happen. This event would have not had happened if Marsha Hovey (Marketing at Troll) wasn’t there with me the whole way. She really really helped making the COR E activation event a reality.

Having just hosted your first event did it go as hoped and was the output to the local aspect able to be finalized?

Yeah, it did work out ! Of course there was some bumps in the road, but it happened and the event was incredible. We got to directly impact a non profit that gives back to snowboarding and youth in a community that may not have ever had the chance to snowboard ! At the end of the day Trollhaugens Community Saturdays (a portion of all evening lift tickets are donated to a NP) and COR E meets Cause railjam donations all combined. We were able to raise $3500 that go directly to Jake OE and Joe Sexton’s not for profit Cool Meets Cause.

What was the take away for you one event in?

There was a lot of take aways, I think that the largest one was probably the realization that snowboarding changed my life, and we have the opportunity to change other peoples lives with the inf luence we have with our snowboard community.

Hosting an event that’s soul purpose is promote fun and help reduce the barriers to entry and introduction to Snowboarding left me speechless and a bit emotional. Snowboarding is a very special thing, and I am fortunate to have it in my life. I hope to share that with more COR E snowboarding activations.

What do you hope for the future of C.O.R.E.?

I hope to get more people involved, more brands and more professional snowboarders who would like to help raise awareness in their local snowboard communities. We as professional snowboarders are super lucky to call this community our home, I hope to give back to it as much as possible. So as the current status of the 20/21 winter and COR E, I hope to have more online activations raising money for non profits across the US through COR E channels and partners.

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I N T R O BY P E T E R H A RV I E U X

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P H O T O S BY E V E RYO N E

and leads to the sky in the dust of AZ. In Flagstaff a young shop head dreams of the bigger picture and a move to California to chase new opportunities and opportunities he would find. Having landed and worked countless posts in sales, sales management, brand management, and team direction, Brad Alband has again cultivated a new collective of humans to bring forth Autumn Headwear. Spoke with Brad on all things Autumn with the first season in hand and spring around the corner he illuminates some feelings from now and shares the brands path forward.

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ARKADE 15.1

Who's the Autumn family and how did it come to be?

It started with the feeling of wanting to create a community that highlighted the personality, creativity and style of those involved. All of those are subjective i know, but everyone involved with Autumn has a common thread that they have some form of that without even really knowing it. It goes back to a different time when teams weren’t built, but just happened because who you were and who you were hanging out with. There was no explanation, it was like a magnetic force drew everyone together. Autumn started with a good group of 10-12 riders saying they wanted to be part of it and it’s just picked up momentum from there in snow, and now we’re feeling it the same way in skate, . We know it’s just headwear, but i think the name and the group as a whole puts out a positive vibration people want to be associated with.

How has the first season of Autumn feeling?

The response has been overwhelming. I mean that in a good way. it’s coming from all over the US and Canada too. not just regional pockets. I think we’re getting a lot of people that like the art, the photography, the creative side of the brand. i think people can see we are putting out what we like and seeing what happens. It’s a brand 100% from the gut right now.

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What’s been learned and now shared through the new lines?

That people are using their headwear as self-expression again. its been a pretty good run of solid color, basic beanies on everyone’s heads and brands just kept hitting the repeat button. We saw the opportunity to bring in more color, more stripes, more patterns, different fits…overall more choices. Make the category interesting. That’s the goal from a product standpoint, we want people to see our line and have a hard time choosing which one to wear because they have too many they like.

You've reached out and are creating "Share the Warmth" share your thoughts and hows the execution going?

Share the Warmth is our part of trying to do more. We’re partnering with homeless organizations in 3 cities and distributing free beanies in the fall. We’re starting with 1,000 and hoping to grow that number signifigantly every year, both the beanies we giveaway and the cities we work with We knew we wanted to do more than just make stuff. sell stuff. market stuff. it became an internal question of what is a brand’s responsibility these days? there’s environmental. Social. We looked inward and said, what can we do that helps people in the communities directly where we live and work? then let’s take it from there and build on it.

Caught wind a spring collection is dropping, how do you see Autumn in Summer?

I think collection by collection, season by season, the lines are blurring about what a brand is supposed to do and be. We’re going to release some hats and new artist series tees this April. Response so far from the right retailers has been good. we proved ourselves with the launch and they’re giving us the opportunity to see if the same customers come back for something other than a beanie. Our fate now lies in the customers hands haha.

Must take a village to run a start up, any love you want to share?

If you like what we’re doing and you see Jeff Richards, Benny Pellegrino, Jack Stevens or Pinner at Brighton or Snowbird, on a chair, in the lot…get ‘em a beer and say thanks.

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TRISTAN E PLAYGROUND" SADLER

Photo: Devin Tanner

"KING OF TH

251 W 12TH ST OGDEN, UT 84404

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VANTAGE x DWD

Words by Andrew Aldridge

Photos by Paul Bundy

Shot on N i k o n D 810

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round October of last year, I received a text from Sean Genovese, and he asked me to call him when I could. The "call me when you can" texts always make me nervous because it is usually a serious topic if a phone call is necessary. I had met Sean once during the Holy Bowly in Park City a few years ago. Since then, I had run into him only a few times, so I was curious about why he wanted to chat. When I gave him a call, we spoke a bit. Small talk stuff. Then he stated his reason for calling. Geno explained that each year they collaborate with a company rooted in snowboarding to create a graphic for the Maet board. He asked if Vantage, the vintage clothing store I co-own with my two friends Grace and Paul, would be interested in collaborating with Dinosaurs Will Die. The idea was to create a Vantage x DWD graphic for the 20/21 "Maet" board.

While Vantage isn't a snowboard shop, it is a 100% snowboarder owned shop. Snowboarding is how I met both Grace and Paul. Grace is a very talented snowboarder and was sponsored for years as I once was. Paul has roots in skateboarding but is also a fantastic snow shredder. Our friendship and the business relationship came years after meeting on and around the slopes. That was enough for Geno to hit us up! He literally said, "You can do whatever you want for the graphic!" I enjoy drawing/doodling and making cartoons etc. After our initial phone call, I quickly started brainstorming graphic ideas.

Creating a snowboard graphic had always been something I'd dreamt of, and suddenly Geno threw the opportunity at me out of nowhere. I am fortunate; Grace and Paul allowed me to take the reigns on this project. They are both very creative people, but I think they could tell I wanted to make the board's art. They rule.

The design process was simple yet complicated at times. It all started on paper. Everything. Even the font. I drew each individual item/graphic on the board in my notebook. From there, they were transferred into Adobe Illustrator, where I then thickened and smoothed the lines a bit, layered up, added color, texture, etc. I wanted a loud base with minimal branding. I think it is cool when a snowboard base isn't plastered with a giant branded billboard. That's why DWD is so rad. They don't care about that stuff. He even told me the board didn't have to say Dinosaurs Will Die on it anywhere, ha!

But I'm so down I snuck one in along with a small "Vantage" tag. I'm a real procrastinator and waited until the very last second to send him the board. It was my first time designing a large graphic for print on my computer and an excellent learning experience. When the sample arrived, we photographed it and did a little teaser post on the Vantage Instagram (@Vantageslc). A few months later, we placed a small order to sell at the shop just like a snowboard shop would. A month into selling the boards, and we are about sold out. A huge thanks to Sean Geno and DWD for thinking of Vantage, and also a massive shout to Paul and Grace for trusting me to make the graphic.

ARKADE 15.1

P H O T O g r a p h e r P R O F I L E

C A ME RON S TR A ND Wo r d s b y Peter Har vieux

Photos shot on Canon 5D Mk IV

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orn in the late 80's in upstate New York, Cameron Strand moved to Southeast Michigan at an early age and has been surrounded by skating and snowboarding ever since. He always looked to his older brother for inspiration growing up, leading him to try many activities—most of which he excelled at.

That natural ability helped him cruise through adolescence until one fateful night changed him and his perspective forever. It was at that moment his environment instantly changed—forcing him to look beyond his block and outward into a world that he may, or may not, have been ready to see.

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After gaining support from a tight circle, from both home and afar, Cameron reached Am status as a sponsored snowboarder—filming multiple street parts with his local crew and later a regional group, which was very forward and fresh at the time. Right around then, just after graduating from community college, Cameron scored an internship at Transworld Skateboarding, packed his bags, and set off for California to immerse himself in the back pages of one of the heaviest media publishers in our culture. At that point, his experience was mainly photographing friends and family—but this new experience helped to broaden his perspective even further.

Since the very beginning, Cameron has always taken the approach to put his head down and work. Upon arriving to California, he linked with new skaters to shoot, worked on whatever was asked, and was always happy to do the little things—all of which helped him quickly build relationships, shoot "heavy" projects, and travel all over the world for work that paid. Those opportunities helped him land a cover of Transworld Skateboarding, and then land two more.

Afterwards, he became a staff photographer at KR3W and Supra for a time, and continues to make the most of every shot he's given. Throughout it all, Cameron has always grown his perspective, his experience, and ultimately, his photography.

Today finds him, like all of us, feeling a tad stuck. After the taste for travel and shooting globally with a number of crews has ceased, Cameron finds himself help up in LA. Although it's been a slow and steady process, he's starting to shoot more commercial projects outside of skateboarding and has been welcoming the change with open arms. In the meantime, Cameron has been supporting local restaurants, exploring personal projects, and lending a hand to friends with projects and shoots as needed. He's immensely looking forward to the COVID-tide residing, and growing beyond the skate and snow standard he's set for himself. Just as before, I know that his raw talent and pure stick-toit attitude will find him even more success and even greater opportunities— helping him to create some of the best images you may ever lay your eyes on.

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T R E W I L L I A M S // L O S A N G E L E S , C A

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H O LY F I R E

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L AKE ELSINORE, CA

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TOM PENN Y

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LONDON, ENGL A ND

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GONDOL A EXIT

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S H O T O N M A M I YA 7 i i

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M A M M O T H M O U N TA I N , C A

TOM PENN Y & OSC A R C A NDON

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SA N T I AGO, CH I L E

S P E N C E R H A M I LT O N

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MELBOURNE, AUS.

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D O N TA H I L L

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H AW T H O R N E, C A

E r i k L eon - Handplant

A R T I S T P R O F I L E

NIC SMITH

Words by Daniel Cochrane

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ic Smith is a Salt Lake born and raised 28-year-old analogue collage artist producing minimalistic pieces with retro sci-fi themes. His use of primary source material from printed media of the '60s and '70s delivers the eerie, surreal landscapes any observer would expect from an artist who lists wide-ranging inf luences such as mid-20th-century fashion, Tame Impala, Mass Effect, Dali, and Goblin Valley State Park. Those unfamiliar with the analogue art genre can think of it as "old school" pre-Photoshop cut and paste or, as Nick describes, "analogue collage is working with your hands and cutting out pieces from books, magazines, etc. and then arranging them with an adhesive. Sort of a precursor to using Photoshop." Although he has now become rather prolific and has been commissioned for quite a few projects, Nic's journey to finding the outlet to express his desire to create art was fraught with trepidation and a bit of selfdoubt. As Nic remembers, "I always admired artists of all kinds and wanted to be a part of creative projects myself as a teenager, but I admit I haven't always had the drive to create things and have had to work through moments of being too self-critical about my art. In the past, I have tried other means of expression like playing music (I had a high school band) and writing poetry/short stories (I graduated at the U in 2014 with an English degree that was mainly focused on creative writing, poetry, and theory). Out of college, I started a job with S&S and worked at their music venues every night of the week. Although I felt immensely inspired by all of the local musicians here, I kept most of my art close to my chest. I was hesitant to start my music project and just spent a few years trying to get out of my head and focus on helping other artists instead of being so neurotic." A chance web hit in 2016 was a turning point for Nic; "I was surfing online for modern surrealist art alone in my apartment when I came across the collage work of Jesse Treece. He is a Seattle-based analogue collage artist, and seeing his pieces for the first time was mind-blowing and filled me with a new spirit of inspiration. He is still active, and I highly recommend checking out his collages. Before that moment, I had never really considered visual art before because I can't draw to save my life, and I didn't think I had an eye for it.

However, what struck me most about his work was that he could create an almost Dali-like surreal effect while using vintage images. So it feels both retro and new. 60s photography especially has an almost painting-like quality that I think makes it more special than the hyperrealist photography we have now. I dove into collage art after that, finding several more artists out there who do similar work and mostly lurked and geeked out on them for about six months."

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When Nic decided to try his hand at analogue composition in the fall of 2016, it presented him with a life-altering epiphany regarding his creations and creative process, "I drove around to five or six D.I.'s and Saver's in Salt Lake and bought as many books as I could find that were published in the late '60s-'80s grabbed some scissors and glue sticks, and started going at it.

And at first, I was only doing it for a fun arts & crafts night thing and had no expectations for myself. And I realized that this was the headspace I should have always been in when I had tried making other forms of art in the past. The best stuff comes out when you're having fun and not trying so hard to make something that's groundbreaking or has never been done before. That's the fast track to stress your self out. With each piece, I learn more about what is possible with the medium, and the growth over time has felt pretty natural. It also became therapeutic for me in a way that other mediums were not.

Usually, I just put some music on and tune out for a while, try to arrange something interesting."

Now inspired as never before, Nic began in earnest to create work he was proud to display to others. Over time he also figured out the best process to enable him to do so; "I usually don't have a plan going into a collage. With my process, I f lip through a handful of books and then tear out the pages that have an image that sticks out to me. Once I have enough pieces to work with, I gather them together and start arranging my favorites. I find myself drawn mostly to large landscapes, space/galaxy imagery, scientific diagrams that are strange without their context, and images of people who are giving an intimate gesture of some kind.

From there, I'll lay out 10-15 pieces and put them on top of each other, discard some, pull out old ones I've still never used, etc.

Way too often, I will be sitting on a cut-out that I love but can't figure out how to make it work, and then accidentally finish a piece made up entirely of secondary pieces. My favorite part is that eureka moment where I can tell I am onto something and have it all come together. It's very satisfying."

As his art has grown, Nic has found his work commissioned for several local and national clients. He recalls, "Martian Cult, Say Hey, Salduro, Vincent Draper & The Culls, Vid Nelson, and others locally. I was also commissioned to create a custom local poster for The 1975 for their April 2019 show in Provo (which was enhanced with text and layout by my girlfriend, Jessica Ercanbrack, who is a great graphic designer), as well as an album cover for the band Arlie (commissioned by Atlantic Records). All have been great experiences. I typically ask if there is a preferred theme/tone they are looking for. Still, I have been fortunate to be given a lot of freedom so far, so I hope to keep being considered on future projects."

To view more of Nic's intricate analogue works than what is shared here, please visit him on Insta as @nicsimian or reach out to him directly regarding commissions at nccsmmth@gmail.com.

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C H E C K

by Daniel Cochrane

Ke l l y L e e O w e n s

Zac Marben

Cop Kid

B o n s a i ( s i n g l e)

Death Stare R e v e r i e / I s o l a t o r ( s i n g l e s)

2020 Smalltown Supersound

2020 Self-Released

2020 Self-Released

2020/ 21 Self-Released

K.L.O. returned in 2020 with Inner Song, following up her wellreceived 2017 eponymous debut. The Welsh producer, writer, and mixer extraordinaire effortlessly avoids the perilous sophomore slump with a universally acclaimed L.P. that expounds upon her previous work with an adept weaving of bangers, soothing textures, and considerable introspective lyrical growth. The album follows a tumultuous period within her personal life, the impacts of which are felt across the album's sonic and lyrical landscape. Efforts such as "On" and "L.I.N.E." give hints to Owens' coming to terms with her struggles and celebrate the growth that they ultimately nourished. Owens shines best by her ability to blend ethereal lyrics, heavy club beats, and soothing electronic landscapes throughout the album giving each subsequent song its personality and allowing each to have its moment. It is an album in which the listener will flow back and forth between pieces finding new favorites to focus their adoration with each subsequent listen. Initially, I latched onto "Night" "Melt!" as they are the most effortless beat-driven pieces that grab a listener's attention. Still, over time the nuances of "L.I.N.E.," "WakeUp," and instrumental "Flow" each occupied my mind as well. In truth, there are no filler tracks on Inner Song as each track shines at various times with repeated listens. The downtempo "Re-Wild," banger "Jeanette," album opener a mellow cover of Radiohead's' "Arpeggi" and the feature of fellow Welshman John Cale on "Corner of my sky" will all find their way into the listeners' psyche at some point. Inner Song is genuinely one of the top efforts of 2020.

Former Volcom and Vans professional rider Zac Marben is back with another collection of his guitar infused spacey jams on 2020's November release Run the Night. The release is his sixth full length over the past halfdecade. It follows the blueprint of its predecessors with effects-laden jams interspersed with a few lyrical efforts, all of which generally clock in at the 2:30 minute range. I assume, as with earlier efforts, Zac continues to play all instruments on the album. I've always loved listening to Zac's music while snowboarding. Undoubtedly, due to years of riding, he has developed an ability to craft a song that feels as if it belongs inside your head on a pow day.

Run the Night does just that and has many gems throughout; "The River," "The Summer Sun," and "Shivering" immediately come to mind. However, those are not the only noteworthy efforts across the 13-song landscape.

As noted before, many tracks clock in about the 2:30 minute mark, a common theme across Zac's music that used to get under my skin a little ("I need more of that song Zac!").

However, I've now come to appreciate the brevity by way of the immortal words of Bobby Womack "leave them wanting more, and you know they'll call you back." The one departure Run the Night presents from earlier efforts is welcomed with open arms. Many of Zac's previous albums encompassed a majority of instrumentals with only a smattering of vocal tracks. On Run the Night, the listener is treated to a near 50/50 mix of the two with beautiful results. Perhaps change isn't always a bad thing.

Cop Kid is the on-again-off-again project of Utah's Marny Proudfit and Boone Hogg that has produced a handful of singles over the past two years. The duo describes themselves on their Bandcamp as "a collaboration of haunt-worthy vocals and trampolining beats blending the line between acoustic and electronic." Their Spotify merely lists them as "Britney Spears cover band" (insert laugh emoji here).

Despite a release date near the end of September of 2020, Bonsai still managed to be my second most played song of the year. It's a haunting lo-fi masterpiece. The bubbly beats and upbeat singing tempo disguise the brooding lyrical self-depreciation and loathing. Proudfit tears herself (or the song's protagonist) down throughout the first half of the song with lyrics such as "I am a fire burning all I see, taught my friends to stay away from me. I'm blowing it." As the first half of the song continues, astute listeners can hear iPhone alerts' underlying pings denoting an ongoing conversation.

Perhaps a drunken plea for love or a relationship ending argument over the universal medium. The second half of the song brings us to the titular Bonsai, which we learn sits in our singer's apartment dead but untouched. A reminder of lessons learned and love lost, a revelation arrived over swirling beats as Proudfit fades away, singing for the longing, love, and touch of her former lover. It's not easy to cram so much emotion and depth into a lo-fi pop song clocking in at a quick 2:15 but Proudfit and Hogg do so with exceptional proficiency. Bonsai is highly recommended for the painfully alone, emo-filled rainy days, or even for happy folks that can tune out the lyrical content and tap their feet along to the beat.

Death Stare is a project from Salt Lake City multi-instrumentalist Matt Wingham. He is inspired and influenced by a neurological condition from which he suffers that causes dizziness, vertigo, and dream-like states. While the two singles are individually unique, each manages to evoke the same sense of swirling, floating, dreaminess. Reverie, released in October of 2020, is a slow build of echoing guitar swirling over ambient background sounds and drumbeats. Reminiscent of genredefining stalwarts Explosions in the Sky, Reverie manages to evoke stark emotion without the need for lyrical context. While the single may not break new ground for the genre it does successfully exemplify how an artist doesn't always have to reinvent the wheel to make their mark. Sometimes being an excellent example of the genre itself is a stunning achievement.

The follow-up to Reverie, Isolator, dropped only a few short days ago in January of 2021 and, like its partner, is a slow-building instrumental with haunting guitars. Isolator differs from its predecessor via the prominence of a swelling melodramatic keyboard accompaniment giving the second single an added layer of ephemeral depth. I would be remiss if I did not also call attention to the videos that accompany each release. Found on the Death Stare YouTube channel via a link at Deathstare.com, each is also a visual dreamy, ethereal experience of contemplative sight and sound. Keep your ears (and eyes) open for more music from this new and exciting Salt Lake project.

Inner Song

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Run the Night

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IN TRIBUTE PHOTO:

Steven Stone

CAMER A:

Ca non 5D M k II

L O C AT I O N :

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Sonoma Pa ss, C A

SIMON LARSON

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met Simon on the ski lift at Brighton when we were both young and dumb. I liked the way he rode his snowboard, so we became friends. From our first house together, through art school, and finding a passion for metal, we became brothers. All of these activities were always paired with deep belly laughter and nothing but smiles. His passing is a significant loss to all that had a connection with him. I know that he wants us to follow our passions and spend every day getting better at them, and that is precisely what I will do for Simon. I ask all of you to do the same.

SFK for life.

-Dave Doman

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Editor & Adversiting

Cor y Llewelyn cor y@a rk ademaga zine.com Editor

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Pe t e r H a r v i e u x t heipproject@ ya hoo.com Layout & Design Editor

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Tr e v o r S l a t t e r y, Pa u l B u n d y, We s t o n C o l t o n , B e n j a m i n L i t t l e r, Pe t e r L i m b e r g , C o l t o n M o r g a n , S t e p h a n J e n d e , A n d r e w M i l l e r, S t e v e n S t o n e Contributing Writers PHOTO: RIDER:

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A ndrew A ldridge, Dave Doma n

N i k o n L 35 A F

K o d a k Tr i -X 4 0 0

L O C AT I O N :

Hell Hole

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