BRIANWENNING BRIANWENNING BRIANWENNING BRIANWENNING SWITCH BACKSIDE 360. BLABAC PHOTO. SWITCH BACKSIDE 360. BLABAC PHOTO. SWITCH BACKSIDE 360. BLABAC PHOTO. SWITCH BACKSIDE 360. BLABAC PHOTO.
THE NEW TEAM SECTION AT: WWW.DCSHOES.COM/SKATE THE AT:VISIT WWW.DCSHOES.COM/SKATE MORE INFO ONNEW THE0LYNX 2SECTION ANDVISIT DC’S5 PERFORMANCE FEATURES, WWW.DCSHOES.COM 9 SECTION 56698 8WWW.DCSHOES.COM/SKATE 05NEW 3 TEAM VISIT THE TEAM VISITAT: THE NEW SECTION WWW.DCSHOES.COM/SKATE FOR MORE INFOTEAM ON THE LYNX 2AT: AND DC’S PERFORMANCE FEATURES, VISIT WWW.DCSHOES.COM FOR MORE INFO ON THE LYNX AND DC’S VISIT WWW.DCSHOES.COM FOR2MORE INFOPERFORMANCE ON THE LYNX 2FEATURES, AND DC’S PERFORMANCE FEATURES, VISIT WWW.DCSHOES.COM TRE DISTRIBUTION WEST 604.990.5552 CENTRE DISTRIBUTION WEST 604.990.5552 TRE DISTRIBUTION EAST 905.990.5552 CENTRE DISTRIBUTION WEST 604.990.5552 CENTRE DISTRIBUTION EAST WEST905.990.5552 604.990.5552 CENTRE DISTRIBUTION W.CENTREDISTRIBUTION.COM CENTRE DISTRIBUTION EAST 905.990.5552 CENTRE DISTRIBUTION EAST 905.990.5552 WWW.CENTREDISTRIBUTION.COM WWW.CENTREDISTRIBUTION.COM WWW.CENTREDISTRIBUTION.COM
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ED AND DEANNA TEMPLETON RAMONES . DAEDELUS . JEFF FERNER AND DEANNA TEMPLETON JASON DILL ED . BILLABONG INDEANNA WINNIPEG EDED AND TEMPLETON AND DEANNA TEMPLETON IAN TWA RAMONES . AARON JOHNSON ANDY HOWELL RAMONES . DAEDELUS . JEFF FERNER RAMONES . DAEDELUS . JEFF FERNER . DAEDELUS . JEFF FERNER CLICHÉ . ATHLETE . PIERRE ANDRÉ SENIZERGUES JASON DILL . BILLABONG WINNIPEG JASON . BILLABONG IN IN WINNIPEG JASON DILL .DILL BILLABONG IN WINNIPEG
TWA . AARON JOHNSON . ANDY HOWELL IANIAN TWA . AARON JOHNSON . ANDY HOWELL IAN TWA . AARON JOHNSON . ANDY HOWELL . ATHLETE . PIERRE ANDRÉ SENIZERGUES CLICHÉ . ATHLETE . PIERRE ANDRÉ SENIZERGUES CLICHÉ .CLICHÉ ATHLETE . PIERRE ANDRÉ SENIZERGUES
chris conolly | kickflip [ o ] hamilton .
james jean ARTIST FEATURE 68 pierre andré senizergues INTERVIEW 78 natural progression ANTI URBAN 80 dog days ed and deanna templeton hot FASHION/IRRATION87 SHOW 14 c’est la vie ‘zine culture CLICHÉ CANADA 94 NOTE 30 ian twa 34 SHAZAM 8.intro. 12.credits/contributors. 16.producttoss. 22.artisan. 32.parking. 56.bendsinister. 58.daedelus. 66.tees. new york 42 27.anthrax. 76.billabonggetspeg’d. 108.fotofeature. 117.soundcheque. CITY 118.tatteredten. 120.trailer/inspirationbound. 122.overandout. faesthetic GALLERY 49 it’s about59fucking time JEFF FERNER
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SIT THE NEW TEAM SECTION AT: WWW.DCSHOES.COM/SKATE NEW TEAM SECTION AT:VISIT WWW.DCSHOES.COM/SKATE R MORE INFO ONNEW THE LYNX ANDVISIT DC’S THE PERFORMANCE FEATURES, WWW.DCSHOES.COM VISIT THE TEAM2SECTION WWW.DCSHOES.COM/SKATE VISITAT: THE NEW SECTION WWW.DCSHOES.COM/SKATE FOR MORE INFOTEAM ON THE LYNX 2AT: AND DC’S PERFORMANCE FEATURES, VISIT WWW.DCSHOES.COM FOR MORE INFO ON THE LYNX AND DC’S VISIT WWW.DCSHOES.COM FOR2MORE INFOPERFORMANCE ON THE LYNX 2FEATURES, AND DC’S PERFORMANCE FEATURES, VISIT WWW.DCSHOES.COM NTRE DISTRIBUTION WEST 604.990.5552 CENTRE DISTRIBUTION WEST 604.990.5552 NTRE DISTRIBUTION EAST 905.990.5552 CENTRE DISTRIBUTION WEST 604.990.5552 CENTRE DISTRIBUTION DISTRIBUTION EAST WEST905.990.5552 604.990.5552 CENTRE WW.CENTREDISTRIBUTION.COM CENTRE DISTRIBUTION EAST 905.990.5552 CENTRE DISTRIBUTION EAST 905.990.5552 WWW.CENTREDISTRIBUTION.COM WWW.CENTREDISTRIBUTION.COM WWW.CENTREDISTRIBUTION.COM
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ED AND DEANNA TEMPLETON ED AND DEANNA TEMPLETON RAMONES . DAEDELUS FERNER RAMONES . DAEDELUS . JEFF. JEFF FERNER JASON . BILLABONG IN WINNIPEG JASON DILL .DILL BILLABONG IN WINNIPEG IAN TWA . AARON JOHNSON . ANDY HOWELL IAN TWA . AARON JOHNSON . ANDY HOWELL CLICHÉ . ATHLETE . PIERRE ANDRÉ SENIZERGUES CLICHÉ . ATHLETE . PIERRE ANDRÉ SENIZERGUES
THE LYNX2 FEATURES: THE LYNX2 FEATURES:
THE LYNX2 FEATURES: THE LYNX2 FEATURES:
Frontside 360 Ollie All Photos: Reda
Zered Bassett Steve Berra Chico Brenes tz Dennis Buseni Daniel Castillo Jason Dill Kerry Getz l Keith Hufnage Torey Pudwill Jereme Rogers Daewon Song Mikey Taylor Jeron Wilson
See Keith and the rest of the DVS team in the Skate More DVD. Available now at a finer skateshop near you.
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* A special thanks goes out to our friends in the east: Richard Sarrazin, photographer Ryan Hamilton, and Chris Connolly. If you’re not keeping your eyes open for this guy, he’ll make you take notice.
wordssandro grison - editor/art director
I hadn’t seen much from the guy before, yet it was inevitable he’d be our cover skater this issue. The excitement I get out of receiving mail will probably never fade. It can be compared to Christmas as a kid, although the difference here is that you can be pretty sure Aunt Edna can’t fit an oversized argyle sweater into an envelope. You get some bills, but like the orange in your stocking Christmas morning, it’s easy to look past that because we don’t have a bunch of Aunt Edna’s contributing to this publication, rather those who truly know and understand Color. Still, the staple “bag of socks” turns up, but what would we all do without those? This time we got a pile of socks, but imagine if in each bag of socks there was one golden lefty (or righty for that matter). Whether what caught our eye was the spot, trick, or just the way it was shot, coincidentally the same skater was being put aside for the fotofeature. It was clear right away that we needed to learn more about this guy, so I called photographer Ryan Hamilton and he told me a bit about Chris Connolly and entertained the idea of a cover. Hamilton told me of an unreal spot in Ottawa, Ontario, where the city carved out a natural quarterpipe made of rock and slate. This brought about the “Natural Progression” article (page 80). At this time it hadn’t been shot before and after three trips with Richard Sarrazin and a couple with Chris, we had a cover… or did we? Another package showed up. “Socks!” I said, while tearing it open. Looking through the photos there was the regular deodorant, a goddamn orange, lifesavers… then BANG – sitting in the mix of generic photos was one like no other. It was Connolly again. At Color we celebrate Christmas, Chanukah, Kwanzaa, Chinese New Year, and whatever else you can throw at us – we’ll party. Predominantly though, we celebrate skateboarding and that’s what this magazine is about. Not the politics of it all, but the creative expression that goes along with skateboarding that introduced a lot of us to art. For me, I think it was my interest in art that attracted me to skateboarding. We’ve never had the standard skateboard photo cover, but we were prepared to issue it this time. I’m glad we didn’t, but if we had I think it would be fitting that the trick be one that had already been done before.*
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Seal the Deal. SANDRO
ryan hamilton, bob kronbauer, fiona garden, ed templeton, deanna templeton, maggie st. thomas, alana paterson, christopher glancy, jeremy nieuwkerk, justin frost, fred mortangne, shane hutton, judah oakes, kevin wong, isacc mckay-randozzi, ted power, olivier chassignole
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We first took notice of Mr. Koop when he submitted some outrageous page spreads as a content submission over a year ago. We weren’t able to make use of the content, but we wished him well on his future endeavours. Since, he’s moved to California to art direct Skateboarder Magazine, got married, and moved back to his home base of Calgary to finish his fine-arts degree and skate with the “Norbeece” crew. He keeps busy now doing freelance work and slowly dwindling his American tender on an extensive collection of porno DVD’s. We thank Dustin for nerding-out, knowing all the new plug-ins and programs avalable to man. Check out his work with the design of fellow Calgary native, Ian Twa’s Shazam (page 34).
Fiona is a Vancouver based photographer/former model whose photography has been featured in such publications as Juxtapoz (San Francisco), Re:Up (San Diego), Ion (Vancouver) and Blink (UK). Fiona came into photography through her desire to record every moment in her life and those of others. We thank her for shooting the Pierre Andre Senizergues interview (Page 78) and Hot Dog Days (Page 87) fashion/irration. If you’re ever in town and see her at the Cambie - try to out drink her... try it!
Ryan got his first skateboard in June, 1986. He rode his first big mountain powder bowl in November 1992, surfed his first wave in December 1998 and got his first camera in August 2000. He chooses ocean over concrete, tea before coke and always wishes he could be a better person. He wanted to make sure I included a shout out to his parents and family for all their help and support and also to Sara Sinclair, “the most beautiful girl in the world”... We’ll do that for you, Ryan. Only because you did so much for this issue shooting/writing Natural Progression (page 80), and Chris Connolly’s kickflip on our opening page.
Bob K is a photographer/designer/writer/idea haver. He spent the past few years in Los Angeles working in Girl Skateboards’ Art Dump and is currently residing in Vancouver where he runs his independent clothing label, Crownfarmer, and works on freelance photography and design. Bob’s first book of photography, Beach Glass, was released last year by Holy Water (UK). A close, personal friend and neighbour to Color, he’s rarely seen, but was nice enough to contribute a controversial barbecue apron aimed to gain some personal justice from Urban Outfitters and their corporate ways... Check out the Hot Dog Days fashion feature on (Page 89) and Bob’s portraits from setting up Ed and Deanna Templeton’s show (Page 14) at Antisocial Gallery.
DISCLAIMER: the views and opinions expressed here are not neccessarily shared by fourcorner publishing inc. or Color Magazine, but by the author credited. Color Magazine reserves the right to make mistakes and will do so on a quarterly cycle without liability. No part of this magazine may be reproduced in any form [print or electronic] without permission from the publisher. The publisher of Color Magazine is not responsible for errors or omissions printed and retains the right to edit all copy. The opinions expressed in the content of this magazine do not necessarily reflect the views of Color Magazine. Color Magazine reserves the right to accept or reject any advertising matter which may reflect negatively on the integrity of the magazine.
When we approached Kyle a couple years ago to tell him about this idea we had called “Color Magazine”, Kyle was the photographer every editor feared, for reasons only they can tell you. He made an excellent video in the late 90s called The Nobodys - that nobody’s seen. He figured out quick that there wasn’t much payback in filming and picked up a 35mm camera. He shot most of everything you’ve seen from Vancouver between ‘99-2002 and until shooting for Color, was strictly shooting ads for reasons only he can tell you. We hadn’t seen much from him in a while, but it makes no difference to our readers because Kyle can go out one day and bring back nine months worth of material. That’s basically what he did with Jeff Ferner’s interview (page 59). 100% film.
Color welcomes submissions for Photo and Editorial content, but is not responsible for unsolicited material or liable for any lost and/or damaged material. Please provide a return envelope with postage with your submissions. Color Magazine is published by fourcorner publishing inc., printed four times yearly and distributed direct to retailers throughout Canada and to newstands by Disticor Distribution. Subscriptions can be ordered individually or in bulk by retailers for resale. Contact Color Magazine with any subscription inquiries or visit takemetoyourprom.com
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ANTISOCIAL GALLERY .
You Ruin My Life might seem like a strange title for a husband and wife show, but Ed and Deanna Templeton’s recent exhibition at Antisocial Gallery couldn’t have been more appropriate — the collection of personal and documentary photographs conveyed a bittersweet tone through its sentimental portraits, many of which used friends and family as subjects. Such a friendly tone would suggest a level of irony in the show’s title, but much of the work on display struck a much more serious note with the repeated themes of injury – most poignant was the way in which skateboarding in its most destructive capacities has visibly impacted the two artists’ lives. The exhibition flyer directly addressed this theme, playing an image of Ed in a hospital gown against one of Deanna on a payphone, in tears over what one presumes to be news of her husband’s injuries. More work of this nature was found in the densely arranged photographs within the exhibit, accompanied by diaristic notes that Ed provides with many of his photos: “#2 of my 6 concussions – Deanna wipes her eyes of tears - but not of worry” is scrawled over a photograph of Deanna next to his hospital bed. It was impossible to view these pieces without drawing troubling conclusions about the viability of a skateboarding career in one’s mid-thirties, and if the photos weren’t enough, the presence of the artist in crutches at the opening sealed the deal. 14
Anyone expecting a husband and wife collaboration installation would have been surprised to find a clear separation in the main gallery, Ed’s work on one wall and Deanna’s on the other (and in line with Antisocial’s curatorial aesthetic, the artists’ names were written in sharpie next to their respective collections). The separation proved a successful element of the show, as both artists provided unique and contrasting elements, though it should be noted that while the main gallery was used effectively, it came at the expense of the lower room, which was left empty. But the practical separation of both artists was valuable in highlighting the differences between the two—while Ed was certainly the most recognizable name on the bill (his status in the mainstream art world has begun to rival his long standing name in the skateboard industry), Deanna’s contribution left the most lasting impression due to its directness. Hers was a primarily photojournalistic approach, with a more interesting range of subjects, while Ed’s pieces incorporated painting and diaristic note - taking into his more personal, reflective photographs (Ed’s use of paint on the photographs also served to highlight the centrality of painting to his oeuvre, making its presence even in a show exclusively comprised of photography). The aesthetic differences, which belied the similarity in subject matter, made both contributions more interesting for their divergences.
(first page) Andy with son on bike [ o ] Deanna. (top) Burning car [ o ] Deanna. (left) Andrew Reynolds portrait in spain [ o ] Ed. (middle) Lance Jr. popping a zit [ o ] Ed. (right) Girl with hickey [ o ] Deanna. (here) Sofia Nude [ o ] Ed Templeton.
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San Diego, California - circa 2005 Photo: SKIN Â©C1RCA 2005
The Coming Soon.
Committed to Skateboarding. www.C1RCA.CA www.C1RCA.com
Victoria-based artist and cartoonist Luke Ramsay is anything but lonelyâ€”while he may have enjoyed recent opportunities for solo work, like his exhibition at Philadelphiaâ€™s Space 1026 Gallery, his two page spread in Swindle Magazine, and a recent cover of the newspaper the Stranger, Ramsay is an active proponent of collaboration. Most notable are his many zine collaborations, which have paired him up with a range of artists and comic makers that include the Puffer Crew (Keith Jones, Marc Bell, Owen Plummer, Jeff Ladoucer and others) and recent books with Andy Rementer, Justin Williams, Liz Rywelski and a lot more. And while these artists may have their own reasons for enjoying the group dynamic, for Ramsay, it is the random, improvisational spirit that draws him to collaboration. Unlike his comic work, which includes an ongoing strip for Discorder and future plans for a book, the collaboration zines are far less-focused tasks. The narrative cohesion that is so important to his comic strips gives way to an almost purposeless pursuit of creativity, a chance to play with doodles and watch the process unfold. But Ramsay acknowledges that the end results are still tangible, still function to push him further into the eyes of art and comic audiences â€“ a social pursuit that comes in all shapes and sizes.
SLAM CITY JAM 12
GO SKATEBOARDING DAY
In accordance with Slam City Jam, during Vancouver’s “Skateboard Week”, we at Color invited skateboarders young and old to participate in a two-day art project followed by a single day exhibit displaying works from peers to favorite pro skateboarders on Sunday, August 28th.
Go skateboarding day is now without a doubt one of the most anticipated days of my year. I like how it falls on a weekday and provides all of us working types with an excuse to get the day off... not necessarily a valid one, but definitely an important one.
An event such as this is essential to the current state of skateboarding. It lets communities know how important this activity is to its youth (and not so youth) as well as uniting the participants in a common brotherhood. Plus skating spots that are normally a bust is always a great thing. This year’s events in Vancouver found some serious skating going down with great help from the traveling Master of Ceremonies Cyrus Thiedeke (whose raison d’etre is “TECH SKATING FOR LIFE”) and a thick stack of cash for those willing to throw down at each spot hit throughout the day. Shutting down the Georgia Viaduct with a swarm of shralpers on the way to a BBQ at Strathcona park was the perfect ender ender for the day. Similar events took place worldwide, with guaranteed increased participation for next year. If you weren’t there, you better have had a good excuse.
Emcee Cyrus Thedieke takes a breather.
I’d personally like to thank whoever came up with this spectacular idea. Don Brown? I’m sure their heart was in it, and they definitely didn’t just want to get the day off work, away from the damn computer and out onto the streets! - CIAN Gailea Momolu makes some pocket change on the handrail with a nollie bigspin backlip.
This was first interactive collaboration of skateboarders and artists to work in the familiar medium of paint-pen on griptape. The on-going project is an attempt to reevaluate the connection between skateboarding and art – particularly in response to the contemporary art world’s interest in skateboards as a ‘canvas’. Taking a divergent approach from the concept of the skateboard deck as canvas, this project focuses on artwork most relevant to people who skateboard, a tradition of individuality expressed on the surface of the board’s griptape. Griptape art is a vital form of expression most often ignored by the art world and its preoccupation with unused “art decks” or paintings on broken decks. An important element of the griptape project was its performance element – as an extension of the three day Slam City Jam skateboard competition, the event brought together a host of skateboard enthusiasts, professional riders, and artists. No matter who places first, second or third in a contest – and whatever happens with the art world’s preoccupation with these decks, skaters will continue to draw, paint and carve on their boards for decades to come. Thanks go out to Instant Winner Skateboards and Mob Griptape for making this project possible. Lets all hope for a great contest next year!
ART (left to rigth) BY: Steve Caballero (top), Color, Jeremy Rose, Danny Vermette, Caliden J. Robinson, Unknown 50year old, Nathan Matthews, Alaura Ewen, Sacha Daley. Dan W.
ROCK’N’ROLLHIGHSCHOOL bymaggie st. thomas
arron rosenblatt | nollie frontside heelflip
Ramones Creative Director and dear friend of mine Arturo Vega invited me to photograph this special screening of Rock ‘n’ Roll Highschool after we bumped into each other at the Warped Tour. I have covered many Ramones related events throughout the years in both California and New York, and was even blessed with the honor of photographing The Ramones back in 95’ just one year before they called it quits with their last release properly titled “Adios Amigos!” Here we are gathered at the Hollywood Forever Cemetery to celebrate one of the greatest Rock ‘n’ Roll classics ever made with one of the greatest Rock’n’Roll bands of all time, The Ramones! The Director Alan Arkush made the introduction, and casts and guests were heard from before the movie played including the very beautiful P.J. Soles (who played Riff Randall), Dey Young, Clint Howard, Mary Woronov, Rodney Bingenehimer, Linda Cummings, Mickey Leigh, Henry Rollins, Flea, Vincent Gallo, Barbara Zambetti (widow of Dee Dee Ramone who is also buried at Hollywood Forever), Lars Fredericksen of Rancid, Rob Zombie, and Marky Ramone. What a huge success of a night this was! It was a party by all with foods, beer bottles, wine glasses, and clouds of happiness puffing above many throughout the night. The pink convertible Cadillac that Rodney Bingenheimer drove The Ramones in down Sunset Strip with Joey eating chicken vindaloo was parked just perfectly in front of the Johnny Ramone’s monument. There was so much magic in the air and beauty in everybody celebrating such a true Roger Corman classic. Long live Rock ‘n’ Roll Highschool! Long live The Ramones! 28
2 1. Outside Vogue Theatre, Vancouver 2. Peter Sullivan and Scott Murray 3. Inside DVS Skate More - lower level. 4. Torey Pudwill, Cheeks, Tony Ferguson
(left)1. Henry Rollins & Flea 2. Marky Ramone, Eric Blair, Lars Fredrikson 3. Arturo Vega (Ramones Creative Director) and Lars from Rancid by Johnny;s monument. 4. Mary Woronov, Rodney Bingenheimner, Dey Young who played Kate Rambo in R’n’R Highschool.
DVS SKATE MORE
The good folks at DVS Shoes have given us all a mandate to live by: Skate More! The good folks at DVS shoes have also given us a great skateboard video to watch and to inspire: Skate More! The premiere tour brought pieces of the team through the east and west coasts of our country as well as through the United Kingdom and the rest of Euroland. But the team was not resting on its collective laurels! They were still hitting spots from city to city, getting things done. There may have been a few parties in the mix, but that comes with the territory. These guys are professionals, they can handle it. The Vancouver premiere found the Vogue Theatre packed with anxious attendees, as was the after party at Shine. “Skate More” - Great advice for all of us. - CIAN
Action sports video guru Ryan McGuigan gets his edit on.
Hollywood Forever Cemetery, Los Angeles July 08th, ‘05
In our time at Color magazine, we’ve had the opportunity to become involved with a few different projects. Perhaps two that we can be most proud of having a hand in are the skateboard films Modern Love and Babysteps. Both of these films showcase amazing local talent and were created by some extremely talented individuals. It was with great pride that we premiered the two in Vancouver’s historic gastown. These films have set new standards in Canadian Skateboarding, both in terms of the caliber of skateboarding and creativity and the skill of the film makers. To quote the great Martin Scorsese, “Go buy this shit, son!” Available at only the finest of skateboard retailers. - CIAN
contest. Congratulations to Chess Black of Vernon, BC who won last issue’s “575” haiku contest sponsored by Circa Shoes. To read his poem, along with other entries, visit www.takemetoyourprom.com
SEND US YOUR GRIPTAPE ART FOR YOUR CHANCE TO WIN A ONE OF A KIND GRIPPIECE (displayed on page 27) BY
THE‘ZINEPHENOMENON wordsrhianon bader
In the early 80s the Xerox ‘zine days took off throughout the skate world, fueled by the desire to relay the personal experience of being a skateboarder and voice a perspective on one’s surroundings with strangers in other cities. The growth of ‘zine culture in skateboarding made sense for a lot of reasons; there was the DIY attitude rubbing off from the mingling of punk rock and skating; the abundance of young and opinionated skaters, seeking an outlet beyond their boards; and the highly centralized magazines based in California leaving many talented and innovative skaters to document their own scenes. The same group of superstar skateboarders at the time was filling the pages of Thrasher and Transworld, while pockets of unknown talent were all over Middle America, the East coast and the rest of the world. ‘Zines were an accessible, simple and low-cost way to fill the void in coverage, and also serve as another creative outlet for skateboarders.
The considerable output of skateboarders in the ‘zine world is getting its due attention by Andy Howell, prolific artist/ entrepreneur/former pro-skateboarder. Later this year, Howell is releasing a book/DVD set called Art, Skateboarding & Life, in collaboration with Amely Greeven and Ted Newsome, that will include interviews and artwork from major influences in the skate art movement. He is also in the planning stages for another book dedicated to the early years of ‘zine culture, entitled In the Beginning There Were ‘Zines. Howell says the crossover of punk fanzines and skate ‘zines were common since the beginning, and because both subcultures were so small it was easy for individuals to use ‘zines to communicate between scenes in different cities within the US and elsewhere. Some of the best skateboarders Howell skated with entered urban folklore solely through ‘zines. They weren’t only representation at the underground level, but also a means of expression.
Andy Howell | ditch plant, c.1984
New York-based artist Justin Goetz first encountered ‘zines in the late 80s through listings found in the big skate publications and eventually started tracking them down, collecting, and creating ‘zines of his own. He appreciates the tangibility of ‘zines as he considers everything else digital and fleeting by comparison. There is a nostalgic element in the outdated process that reminds him and others of when they got into skateboarding, during the defining days of skate culture. Goetz’s list of influences include Andy Jenkins, Ed Templeton, Tod Swank, O, Mark Gonzales, Neil Blender, though he shies away from including skateboarding in his ‘zines. Regardless of why people get into skating or why they continue, there is always a certain degree of expression for every person who steps on a board. For some this is obvious, and the act is entirely a way to interpret the world and release the bullshit that life hands us. It is these people that have been using skating as an influence for their art, music and general creative output over the past 40 years. Though perhaps not as common as they once were, ‘zines still float around for all who care to seek them out. The local skate scene-profile rag has remained a zine-maker favourite, but progressively, it’s the ‘zines about everything in life besides skateboarding that readers and other self-publishing skaters like Goetz continue to back. Truth be told, the majority of ‘zines are about as exciting as other people’s dreams, yet somehow the concept of these damn things still captivates our imaginations – an open invitation to catch a glimpse into a total stranger’s life, despite how egocentric and construed the execution may be. Canadian artist/L.A. resident Randy Laybourne admits that ‘zines are rarely exceptional. He thinks most have too much to read and are often self-centered. In contrast, his own ‘zine, Look Forward to the Past, is full of illustrations with very few words and little context. Maybe it’s all part of the charm, knowing that you are viewing a stapled booklet of content that has not been subjected to relentless editing and critiquing until the initial ideas have all but evaporated. Essentially, the process of creating a ‘zine is as independent or collaborative as you want it, which can equally be said of the appeal of skateboarding. “No one else is in control, or saying a damn thing. Of course, if I get lazy then there is no one saying ‘make it better’,” acknowledges Laybourne, “[It’s] all about having a bit of trust in one’s self.” ‘Zines are a natural extension of an unconventional brand of resourcefulness that skateboarders are infected with, and what they lack in originality and articulation, they more than make up in passion and enthusiasm.
“SKATING AT THE TIME WAS AN ALMOST UNKNOWN ARTFORM IN ITSELF...” ANDY HOWELL ON ‘ZINES:
“...ALL OF THIS BRED A DO-IT-YOURSELF ATTITUDE THAT WAS LIKE A FLAME WITHIN US.” - andy howell
Random encounter: I created a ‘zine called ‘Sic Nature’ in Virginia Beach, Virginia, in 1983 or 1984. I saw a bootleg copy of a short promo video of a young 14-year-old skater named Tony Hawk, and I wrote him a letter to ask him to do an interview. He wrote back, and sent photos of himself and Kevin Staab skating the pools at Del Mar Skate Ranch. Many years later, after we had skated together and competed professionally, Tony told me I had actually sent him the very first fan letter he ever got. That was pretty amazing. Humble beginnings: I couldn’t afford to make copies, postage, anything. I would borrow money from my mom, I would try to sell them for 25 cents or 50 cents. It was rough going but it was a labour of love... Personal motivations: I haven’t made ‘zines for years, though some of my advertising or promotional materials have been very reminiscent of ‘zines. At the time, it was the rush of feeling the power of press, creating the stories and layouts and producing it myself in order to get it out to people. Also the community it fostered between regions of the east coast that we couldn’t get to often, only for contests. So there was a great camaraderie that arose from the skate rag movement.
(here) “Sic Nature” ‘zine by Andy Howell c.1983 (left) Tony Hawk’s first magazine feature in Howell’s zine. LOOKFORWARDTOTHEPAST.COM ANDYHOWELL.COM JUSTINGOETZ.COM
Impact of ‘zines on his work: The DIY aspect of everything I did after that. All the skate companies – New Deal, Underworld, Element, 411 video magazine – we actually used a lot of ‘zine-like styles in the early episodes of that. Mostly it’s about the attitude that, if I can perceive it in my mind, it’s already real. The rest is just the mechanics of manifesting physically. ‘Zines taught me at 14 years old I could do anything I wanted. .’zines
OLD SPOTS .
The last thing we thought about when we first started to skate was “how long will it all last?” Our minds are too filled with what to skate next, what will slide with wax, and all of the things that make the first years some of the best memories of our lives to worry about much else. The spots we grew up skating came to form the basis on how we judge other spots we skate over the years. By comparing spots and assessing our abilities on similar objects we have a good idea of what we can and cannot do. Whatever we skate during our lives, those first spots will always hold something special in us. The first curb or ledge you 50-50’d, first gap, first ramp you dropped in on, etc…
Before we have to get out the hankies, remember that evolution is a huge part of skating and old spots are old spots for a reason. We get better (hopefully) and move on to smoother ground. Sometimes the spots get skate-stopped, made unskateable by the authorities/landowners, or thrashed, wrecked and made unskateable by years and years of skating. Look at the photos of the pot-marked bricks: those are the remains of thousands of unlanded tricks from people skating the C block of Embarcadero. The slight hint of green is moss and moisture that fill the holes created by the axle bashes of generations of skaters, from Tommy Guerrero to Marc Johnson. During their last years, the ledges were rounded husks of their former glory, ground down by grommet and pro alike for nearly 20 years. Our old spots have made us the skaters we are today, in one way or another.
TIMEBOMB: 604.251.1097 WWW.TIMEBOMBTRADING.COM
>>I can’t do this. There’s no point for an intro here. Everything i know about Twa is talked about in the interview. >>To quote Mcd… “Less is More” i say fuck the intro... but Twa can maybe find someone who is down to write one. >>sorry dude… i’m feeling very unmotivated to write… good luck >> Ry
>>>>>On 7/27/05 9:19 PM, “ryan mcguigan” <email@example.com> wrote:
Hey Ryan, I need an intro paragraph in like... the next DAY! the interview’s pretty gangster, see if you can bring it back to earth a bit with the intro. Maybe some explanation to why Ian is Ian.. kinda stuff. I took out the little facts that he’s from Calgary and he’s 19, so you can put that in there too somewhere. Sandro
From: “Sandro Grison” <firstname.lastname@example.org> To: email@example.com CC: firstname.lastname@example.org Subject: TWA shazam. Date: Tue, 26 Jul 2005 17:50:55 -0700
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IGAN YAN MCGU TIAN WORDS:R IS R H C E DAV PHOTOS:
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SW IT CH CR OO KS
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HIGH F Casin IVE: MOV o IES. Paid in Buffa Full lo Iron M 66 o Taxi D nkey river
Yeah, I guess I’ll throw something of you in there. Ever been arrested? Yeah, a couple times, nothing too crazy...
Do you have any footy in Modern Love? You tell me. You’re the one makin’ this non-existent video. “In your store soon”…
How many blunts you smoke in a day? Maybe five swishers a day.
I’m sure he gets enough bicep workouts just by answering his cell phone. So let’s go through a day in the life of Ian Twa. I wake up around eleven. Usually make a latte and go smoke my first cigarette outside in the backyard. Maybe work on my chipping or just sit in the sun. Me and Trav take half hour showers so we try to do them as far apart as we can. If Vince isn’t working we go skate. Vince is the shit he can rip more hours a day than all you punks. Watch out he’s coming for ya. Go skate ‘till night fall. Then I come home and beg Joey to cook me dinner. Then I debate going to the bar, drinking beer at home and getting played out with Joey, watching a flick maybe. Or pursuing a lady friend that was interested in meeting for the evening. Passionate, yeah.
Not like McD [Mike McDermott], eh. NO, he’s crazy. Jumps rope and trains for hours.
Do you work out? Not really. Maybe some sit-ups or push-ups throughout the winter, but I don’t like goin’ to the gym to work out with a bunch of meatheads.
How do you maintain your Dirk Diggler figure while living off Eggos smothered in bananas, chocolate chips and syrup at 2am? I dunno, I skate like five hours a day unless I am hurt. If I don’t skate I have panic attacks. Seriously I get testy and start to lose my mind. I get anxious as hell I don’t know why. I think skating helps clear my head. And gives me moments of clarity. But oh yeah, I’m fuckin ripped.
Read anything good lately? Sixteenth Round, Story of the Hurricane, but based more on his childhood. Shit is hard knock, check it out.
Oh right. I tried that and got a $170 ticket. It’s on my wall right now. What kind of magazines do you like to read besides skateboarding mags? Club Confidential. Sometimes I read Maxim and shit just cause it’s funny. But normally I read books.
TB? Train Bandits. I get off the train when the sky pigs come on, and I run back to a farther car.
How do you get around Vancouver? I sometimes take the bus, but I have been consistently running on the train for almost two years. TB for life, bitches!
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HE EL FL IP
HIGH Tom FIVE: S KAT P ERS Mike enny . C Trigit arroll y Tra v [St Guy e M Rick ariano nger] Ho w ard
Do you use your DC sponsorship to lure girls into your mirrored sleeping quarters? No, but thanks Moses for hooking it up, I actually tell them that
Are you currently single? Yes, I am. But ladies don’t hesitate, between me, Corey, Ben and his voluptuous Asian girlfriend Marianne, it’s one deadly combo at the club. Actually I’m deadly anywhere.
What kind of cigs you like to suck back? I smoke Export A Golds. If I feel shitty I smoke Silvers.
The first time me and ten of my friends were partying in this town Panorama and we found out we could hot-wire these golf carts with a jackknife. An hour of wasted joyriding and bumper cars gave me thirty hours of community service and one of the best memories of my life.
What’s up with your vid? Who’s got parts?
List your thank you’s so I can go to bed. Ryguy, Sandro at Color, Moses at Centre, Cooper, Trav, Ben, Corey, Eh Rod, Greeny, Jeff, Mike, Vince, Supra Steve, Daver, Cassie, Dylan, Rob Thorpe, Chris Maitland, The Source, Ian Snow, Garret, Stacy, Joey, Matt Lloyd (are you still down, remember me?) Back home all my money makers and booty shakers you know who you are. My parents, I love you both. Skateboarding and everyone rippin’. Mad love for all, and to finish it all off… Muwehehehehe!
Well for sure Mike Vince. Cooper. Trigity Trav, Aaron Rosenblatt and Joey Williams. My homies Ben and Cory will be in there.
BAC KSI DE FLI P < <
So what makes you think you can come to Van with a VX and a G5 and take all the video business away from the people who are actually working their asses off, like me? There’s nothing to think about. I’m just livin’. But my video will blow the tankers out of the water.
In Boogie Nights or Fear? Or a combo of both? Boogie Nights.
my name is Brian Wenning. No I got plenty of shit to say to keep the ladies talking. Like what...”all I need in this life of sin is just me and my girlfriend..” I bet they eat up that Makaveli shit. No, I don’t run that shit. To quote Dahmer, I’m more of a Marky Mark motherfucker.
“WATCH THE FUCK OUT. THESE FLOORS ARE SQUEAKY.”
NEW YORK .
KEY TO THE CITY . CHOPPING dave’s quality meat 7 east 3rd street ny nom de guerre 640 broadway ny strand books 828 broadway ny turntable lab 120 e. 7th st. ny autumn 436 e. 9th st alife & alife rivington club 158 rivington st ny the reed space 151 orchard st clientele 267 lafayette st ny supreme 274 lafayette st ny deitch projects 76 grand st ny nort 235 eldridge st recon 237 eldridge st. ny kid robot 126 prince st ny union 172 spring street ny kcdc 99 north 10th st. brooklynn aNYthing store coming soon in the l.e.s
hummoos 100 kenmare st frank 88 second ave freeman’s 8 rivington st café gitane 242 mott st café habana 229 elisabeth st
BINGE DRINKING max fish (everyday except weekends) 178 ludlow st. motor city (1977 misfits night) 127 ludlow st. barrio chino 253 broome st. 169 bar (1977 misfits night) e broadway passerby 436 west 15th st uncle ming’s 225 ave b 2nd floor sway (monday night) 305 spring st sweet and vicious (a.r.e. weapons night) 5 spring st joe’s pub (anything nights) 425 lafayette st
barrio chino 253 broome st
tompkins square park aka the tf! avenue a btw east 9th and 10th
el sombero 108 stanton st
grant’s tomb 122st and riverside drive
pink pony 178 ludlow
125th st banks, at broadway. middle of traffic, skinny, steep and rough.
grilled cheese nyc 168 ludlow l’express 249 park ave s kate’s joint 58 ave b
café mogador 101 saint marks place
brooklyn banks under the damn bridge! but on the real, check www.officialnewyork.com for a seriously comprehensive spot listing.
Faesthetic is in its 5th year, and the new issue is well under way (should be dropping in November). That being said, doing one issue a year leaves me with a lot of free time on my hands. Sometimes I curate art shows, sometimes I work on group projects... and this time I’ve put together a group of awesome dudes making work specifically for Color. Four of my current favorites representing five pages of different styles, and the first five years of Faesthetic, working with a loose theme of Color, Canada and whatever the hell else comes out of their brains. Faesthetic was started as a way for me to meet new artists, work with people I admired, and kill some of the boredom that comes from a life in Ohio. It’s grown from a Xeroxed zine, to an annual that is available around the world and featured in galleries and permanent collections. I love being able to help promote other people’s work, and share my friends with the world. Thanks to Color for letting me put this together, and thanks to Ben Loiz, Richard Colman, Travis Millard (Fudge Factory) and Matt Curry (Ninja Cruise) for giving their time to the cause. - UPSO (publisher, illustrator and professional grudge holder)
FAESTHETIC.COM TYPEVSM.COM RICHARDCOLMANART.COM FUDGEFACTORYCOMICS.COM NINJACRUISE.COM
C HRI S T I AN
“...AN OUTLINE BROKEN BY REFRACTION, A DISTORTION IN THE MIRROR OF BEING, A WRONG TURN TAKEN BY LIFE, A SINISTRAL AND SINISTER WORLD.” - nabokov.
Rock ‘n roll isn’t just a single idea anymore - it can take a long time before you find yourself relating to its members and understanding their personalities. When I asked Naben, lead guitarist, what television show would most accurately reflect the band’s dynamic he responded with The Office. “Dan [vocals, keys, guitar] is David Brent, the good natured entertainer. Kevin [drums, percussion] is Gareth, the scatologically funny one with an odd stroke of intensity. Dave [bass guitar] is Jimmy the Perv because he looks just like that actor. Jon [vocals, keys, guitar] is Keith, sometimes silent, but always full of strange ideas.” And Naben would be Tim, the sometimes pompous voice of doubt and reason. Bend Sinister is no stranger to comparison, with a prog-rock sound comparible with a tall list of groups such as Mars Volta, Queen, Radiohead, King Crimson, and Supertramp. Although the band, who for a long time was strictly intrumental, doesn’t agree with all the groups people like to compare them to, they pride their sound on a conglomeration of everything they’ve listened to thus far. Be prepared to add another disk to your own collection and pick up Ben Sinisters album Through the Broken City. Jon, I think the first and last time I saw you perform [before Bend Sinister] was a solo accoustic set at the Silvertone. Growing up I only saw you when we were skating. What’s your background with music and when did it start to take a front seat to skateboarding? Jon: My background is pretty much folky acoustic style. I started when I was ten or eleven and it was just something I did. I took [guitar] lessons for six years or so. I did it, but it was never my passion really, skateboarding was my thing and that’s what I focused on, you know? And then I guess basically when I went to University I got into writing songs a bit and just from there I started jamming with other guys and then finally I met Dave who’s our bass player for Bend Sinister and we did a side project called The Old Familiar which is a folk kind of band and from there, I met Dan who played drums on the Old Familiar record we did. And then from there they just asked me to join Bend Sinister and I was stoked because it was something new for me, heavier music, but still a lot of vocal harmonies. In University I didn’t skate as much and then I was just getting into whatever, school, music and I started trying to write my own songs, which everybody in University seems to do. They want to express themselves [laughs], you know, and I played a few places in Victoria with shitty, shitty, songs but you have to start somewhere. Your songs listen more like a movie score than any typically structured songs. Do you ever follow a formula with verses, chorus, bridge etc... Dan: There’s what you can call bridges and choruses, but there’s a way of looking at your music as being very structured and there’s a way of looking at it in the sense that you just start playing and 56
you put things together and you collect ideas and you work with ideas rather than say “let’s write a great chorus and then a great verse.” And I think the best thing you can do is listen to every single band under the water that you ever hear of that has something you liked about it. Because the more you listen to, the more you’ll have an understanding of what makes a good song, Jon: I have so much respect for bands like The Beach Boys and The Beatles that write songs that are two minutes long that has the verse, chorus, bridge, verse... whatever. It’s so good because they get so much into a short amount of time, but I think it’s cool with Bend Sinister because sometimes we’ll have a chorus, sometimes not. It’s just whatever seems like should go next rather than, “oh, we need a chorus here”. The songs will change a lot from the initial idea as all the instruments and extra vocals get added in, changing the shape of the song. That’s interesting, usually the hook is in the chorus isn’t it? Naben: That’s an interesting point, yes. Because we have so many instruments and vocalists, we try to make sure that each player is doing their part at all times – sometimes the hook will be in a recurring vocal pattern that Dan is doing, other times it’ll be a little guitar lick I’m doing over and over, or maybe a bass/drum bit that Dave and Kevin are looping through. We try to put a bunch in each song. We can tell we’re successful if people end up humming a different instrument’s part as the song goes on. So it’s more dedicated to the individual song... Dan: I think once you start to write formula-based, the formula stops working - If you’re too conscious of what you’re trying to do and you don’t just let it happen.
Jon: I think who you sound like and who your influences are is sometimes different, but like - I know I love the Beatles! Right now it’s the band I’m just in love with. Dan: Well, you can go back, like we were always all fans of Progrock listening to tons of Yes and King Crimson, Gentle Giants... Naben: We listen to a ton of metal, most of us, so that is where a lot of the technical aspect of the playing comes from. Dan: With Queen the whole thing is that I’d never had anything but the hits, you know, that classic double disk thing. And then while in the recording process and learning that I really wanted to work with harmonies and all that – that was when I explored it a bit more. When we were doing harmonies for our record I wanted to see what [Queen] had done and check out all of their material and I found that there were some crazy songs that I’d never heard before. How has your sound evolved since introducing volcals to it, and is it different than what you anticipated it to be? Dan: I would say so, yeah. When we started out before Jon was in the band we were playing, six of the songs that were on the album were our first that we all played together and they’re a lot looser for one thing and not nearly as heavy, there wasn’t as much distortion, there wasn’t as much energy in them. They were almost on the folk side of rock and then all of a sudden evolved with adding Jon and Kevin. Kevin is a very intense, metal influenced drummer, and his style had a huge influence on the songs. And I knew with Jon because we did The Old Familiar record that the harmonies we could come up with would be awesome. Kevin we had played with before, briefly, and we knew he was incredibly skilled and would work really well with the group. BEND-SINISTER.COM
“...I’M BREAKING THE LAW JUST BEING CREATIVE...”
Would you consider working with a so-called top 40 entertainer if you had the chance? Absolutely, there are some real talented people in the top 40, perhaps not as talented as those who are real hungry for the music. I respect musicians that inspire others and what better venue than getting the sound out to so many.
One common denominator among artists of any medium is an appreciation for music. Music obviously means a lot more to the type of artist who expresses themselves though sound, but can also act as a soundtrack to paintings and other works by visual artists. Illustrator Ben Tour may have been drawn into the eccentric Los Angeles based producer, Daedelus, through his imaginative and progressive cover art, but he was entranced by the instrumental romance he possessed with the previously released album Of Snowdonia far longer. On a late summer afternoon he sat down with Daedelus to swap stories and exchange some thoughts on sampling computer printers and other obscurities. I first read your name on the Prefuse record. Where did it originate from, Greek mythology? I was inspired to take this name partially because of a cartoon... It was called Robotech here in the states, overseas I think it was Macros Plus. Greek Mythology too and James Joyce. In Robotech it was the right arm of the giant spaceship SDF1, there was an episode that had the Daedelus attack. Awesome stuff to an eight years old. How did you educate yourself on sampling and finding rare/strange records? It’s been a process of what’s possible. The whole sampling scene is dangerous right now, I almost feel as if I’m breaking the law just being creative, and however exciting that is I began it in a terribly mundane fashion, just digging through records looking for exciting sounds. My background is in traditional instruments, bass clarinet, double bass... instruments found a bit more rarely on your average funk or rock record. I think as an artist you listen for what you know, what exactly calls out to you, sampling or otherwise, so I just had to dig a little further to find little bits of myself in older recordings, that just started a snowball. You learn one name or label and then on and on into economic oblivion. The best education is what’s available to your ears, I learned that only after years of school. 58
Where do you see your music taking you, and what other projects are next for you? I’ve read about a project you’re working on that takes its inspiration from Brazilian music. I have two projects I’m working hard on. My next LP which is inspired so far by South America and the musical traditions from the cultures involved in making places like Brazil such a crazy cultural mix. The other is a group called The Long Lost with [girlfriend] Laura Darling and is a drastic difference from anything I’ve done before, a true collaboration with very little electronics involved, song structures, crazy stuff like that. I should say crazy for me. Do you feel a certain pressure to sample stuff that’s never been done before? Never pressured, I do feel a longing for pushing myself further than comfortable and sometimes that involves reaching further in the record bin than I feel has been done before. Let’s talk about collaboration. The new record features many guest appearances as opposed to Of Snowdonia, which to me painted this certain world. How do you choose folks to work with? Well, with the expressed concept of an exquisite corpse, collaboration is the key. I wanted to get outside of the Los Angeles community a bit, so I put together a wish-list based, regardless of name value, on talent I thought would be impressive to work with. This list became almost the collection I was able to assemble, with just a few omissions, I’m happy to say. I should say also I tempered myself to those still alive – not a true wish-on-the-stars kind of list. If you could set up a studio in the afterlife, who would you work with? Well, I don’t really subscribe to the afterlife. I would skip sampling if I did, but I guess if this was possible, first would be Raymond Scott, then a long list of talented Be-Bop musicians, real musical cats.
You have some of the finest people [Deth P Sun, Kozyndan…] out there making covers for you - are these your friends or folks that love your music and want to be a part of it? I’ve been very lucky to have worked with these artists, every cover has been very important to the record, I’d like to keep this as a sort of trademark. A record can take very little time when everything is working to that end, lately I’ve been a bit scattered, video games, touring, remixes... It is work but hopefully everything feeds good ends. Take more time get an audience hungry for more, and keep working. As an independent artist you must be down with downloading. I love downloading. How else could someone hear my music? I’m not suited to radio, nor to tastemakers, what other avenue is there? I think downloading is the radio of our day. What did you think of Vancouver, a small town in comparison to L.A.? I love it, I’ve only played a few times but I’ve been there a bunch of other times. Nowhere else have I had a totally drugged up raver come to my show and cry, that’s real humbling, in a way. [Ben laughs] I couldn’t make that up.
The most confusing time in a typical boy’s life was for me the most simple and concise period I can ever recall. Age fourteen was the first time I felt free to do whatever, and it was the last time I didn’t have to work to get by – just be home for dinner and the moms was happy. Looking back on memories filled with the scent of vintage clothing stores and Slurpees, I’m reminded of what it was like to skate for a consecutive eight hours and still have the energy to watch videos all night, then do it all over again.
Summer at fourteen involved taking the city bus into town every day at 11:10am to our quaint skatepark on the lakefront/beach. Shaded by the ancient, giant Cottonwood trees that once stood before the epic windstorm, I’d show up to the park with an abrupt entrance where the bricks ended and the concrete began sending you forward when your front wheels hit the raised concrete – for some reason I’d always be drinking a slurpee, failing to remember this crack. Kyle Shura and his video camera would be sitting on the top of the 3ft bank with his legs out, so you had to avoid that area; Simon – who you could have sworn was raised by skateboarders the way he handled his BMX – would be in some nose wheelie stall on the pyramid; Aaron Loyie sweating it out in his XL crew neck sweater during 35 degree temperatures; Dickie-dee (who got his name from when he’d ride his Dickie-dee ice cream bike to the park and make a killing off all us skaters) shredding around looking like the young Steve Olson in polyester pants three inches too short; Bunyan, Aamon, Derrick and his brothers; Mike Balogna – post gym days – looking like Schwarzenegger; Danny Knorr and the 540 guys, launching huge backside airs off the first pyramid – everyone staying clear of Les for reasons of his temper; Mike Harding and his nollie hardflips... everyone would be in sequence every day. Around 1:00, Ryan Smith would show up for an immediate, non-stop, charging destruction session for about 30 minutes where you’d get to witness all the new tricks that just came out on whatever World, Toy Machine or Plan B video was currently in rotation. Around 1:30, the park was safe to skate again and Ryan would join Rheal, Kurt and his other Rutland homies on the bank with Kyle and commence to unintentionally intimidate every little kid who entered. It never seemed to faze Pablo though (or “Pepsi” as Kyle would call him, citing an episode of The Simpsons). He skated consistently for 10 years, and in that time I did not witness a single sign of progression from probably the first day he stepped on the board. But it didn’t seem to stop him from trying frontside bigspin heels over the pyramid, though... if that’s what you’d call it. Every day of the week, just around 3:00, Mike McKinlay would pull up in his green Austin Mini – fresh off work from his job at the local juice plant – to perform a flawless routine of trickery that would blow any mind who didn’t have the privilege to see it go down every single day. Yes, there was no shortage of characters. But while these seemingly scheduled spectacles would take place every day, only one subtle element would go noticed if it would have been absent. He was the guy who was friends with everyone, but needed nobody. Worldly, but went nowhere, said nothing, yet made you smile. A role model without reason, Jeff Ferner is the only fine detail that personifies the free and easy time in my life where I discovered that everything I really needed could be found in skateboarding, and he reminds me of this every time I see him back home at the park. – sandro .jeffferner
ART BY JEFF FERNER
Jeff Ferner goes skating on Christmas day when its minus ten degrees, because he knows what it is to have a passion for what he does and not follow the prescribed path. Being good at what he does stems from caring about what he does. Lately there is a lot of emphasis on not caring in popular culture, which is bullshit. While apathy might make for easy marketing slogans that can readily be translated into sales figures and an easy life, it doesn’t make for quality. Jeff is about quality with the things he does. Aside from being a great skater, Jeff is also a great artist. I still have a poster size drawing of his that he did in high school. Apparently, the teacher hadn’t been too pleased with the poster, despite its aesthetic qualities, because Jeff had inscribed multitudes of references and quotes from Karate Kid movies. In the pop culture language of apathy the teacher ‘wasn’t feeling it’ and Jeff, once again not realizing his own quality, didn’t seem to want the poster either, so I got it – which is awesome because I can fully appreciate it. See, the down side for Jeff is that he is so good at what he does that he doesn’t even know it, which is in part due to the fact the he is more authentic than anyone else I can think of. He hasn’t been tainted by hype and ideas of grandeur like everyone else. Jeff does everything that he does because he cares about doing it and that’s why he doesn’t realize how good he actually is. – jessie van roechoudt
nollie cab,360 flip.
ART BY JEFF FERNER
pivot shove it.
I don’t see as much of Jeff these days as I’d like to but that hasn’t changed the fact that he is one of my all-time favourite skateboarders. From pivot fakies clad in a black Airwalk t-shirt and ripped-corduroy shorts to switch 360 flips into the steep bank at Ben Lee to riding in the Hyundai Pony with a green hockey helmet on, Jeff has done it. I’ve been lucky enough to be around for some of his shenanigans, and I’m always either blown away or laughing my ass off. Jeff has been skateboarding a long time, and was already one of the “good guys” when I was just getting started about 13 years ago. The amazing thing is that he’s better than he’s ever been, and I can now barely do a kickflip. Go figure. A word of advice for those around Jeff: Watch out for flying eggs. – Jon Bunyan
^ switch pop shove it revert mannie
switch pop shoveâ€™ .jeffferner
I remember seeing jeff skating in the worst of weather but always having a smile on his face. Iâ€™ve never met anyone who is as in love with skateboarding as Jeff or worked harder at it than him. I hadnâ€™t seen him for a few years but I ran into him at Ben Lee. Same old Jeff; quiet, friendly and dedicated. He was drawing lines out of that place I would never think of. G-turning up banks, lots of innovative flip tricks but always done with speed, grace and a smile on his face. Jeff is still the ruler. - Keith Langergraber
al e manu . s o n ip fl kick ove it tside sh n o fr ie ll no
1. brknhome, lobster 2. brknhome,drug mouth 3. brknhome, chest bust 4. look forward to the past 5. look forward to the past 6. upso 7. fucking awesome 8. delphi collective 9. lakai, freestyle 10. father skateboards
11. lab 101, freddie c 12. krooked, dagger 13. fighting, books 14. supreme x peter saville, unknown pleasures 15. the village green, discreet charm 16. crownfarmer, very fancy 17. fucking awesome, blood stain logo 18. fighting, blow up 19. strand, my ass 20. strand, representer 21. strand, urethane 22. skate city rollerz, chopper * ryan smith dc shoes
Art audiences can be a fickle bunch – the moment they are finished consuming one artist’s style, the hunger sets in for new styles and creative directions. This vicious cycle has been the bane of more than a few artists’ careers, and has led to individuals being branded as a flash-in-the-pan for being unable (or unwilling) to keep up with demand. But it’s in this reinvent-or-die atmosphere that illustrator James Jean has flourished, developing countless styles to suit a wide variety of projects. Best known for his immaculately rendered graphic novel covers, Jean has already garnered praise from audiences in the comic world, while simultaneously generating strong followings in design and art circles.
And it is most appropriate, perhaps, that at a time when Jean has truly hit his stride as a commercial illustrator— in addition to having a list of clients that includes The New York Times, MTV, Atlantic Records and Playboy, Jean last year received ‘Best Cover Artist’ at the Eisner Awards and was recently inducted into the Gold Medal Society of Illustrators in L.A.— he chose to release a book of early sketches produced prior to his professional career. Process/Recess compiles sketchbook material culled mostly from his art school days, and offers a refreshing departure from the confident, polished work that has come to define his name in the illustration world. More raw and less focused than his commercial work, the drawings show evidence of an artist coming into his own; the diaristic style of some of his travel sketches autobiographically counterpoints his commissioned work, giving insight into a figure who is at times difficult to peg by virtue of his multiplicity of styles. The parallel view offered by Process/Recess and the growing body of Jean’s commercial work may initially appear divergent—the contemplative tone and rough appearance of the sketch work often registers as unfinished, while the tightly rendered and conceptually strong covers and magazine pieces are undeniably complete. But one glance at Jean’s website reveals the unifying factor of the sketch as central to his process: many of the site’s portfolio pieces display several stages of completion, demonstrating that from art school through to his commercial career, the sketch is god. Color caught up with Jean to discuss the role of the sketch and the anxieties of identity that press on the life of a commercial illustrator. .artistfeature
Batgirl No. 43 Editor: Michael Wright Client: DC
Color: Can you tell me about the sketch book you released recently – Process/Recess? JJ: The idea for the book had been kicking around for a year or so. There was an abortive attempt before the current incarnation, one that was over 300 pages long. I’m glad the publisher bailed (due to money issues) since that gave me time to edit it down to a much leaner edition. I spoke about the book with Chris Pitzer of Adhouse, and he offered to publish it. What was the time span covered in the finished product? It spans five years, from the last three years of art school, to the first two years after art school – a very exciting time for any artist, I think. (Frightening, I mean.) Of course! Was there a plan to drop the book now, as your professional work has been receiving more attention? There is a distinct separation in style between the book and what you’re doing now, wouldn’t you say? Well, I’m not much of a mastermind in terms of managing my career, it was just interesting timing. Ever since I had posted my website online, I received a lot of great feedback regarding the sketches. It just took a few years to find someone willing to publish it. In the meantime, I had started to work on covers for Vertigo/DC. The two worlds are still kind of divergent – there are many hardcore comic fans who don’t know anything about my personal work. Sometimes they discover my website or see my work in a magazine, and it’s like a whole other side of my personality is suddenly unveiled. On that subject, your website is fairly unique—you offer a lot of information, from process images to detailed information on your clients, etc. What kind of decisions did you make when putting the site together? Clarity and simplicity – how to organize the work with the least amount of loading time and clicks. The web is amazing, I wouldn’t be working without it, but it’s difficult to make an impression -- it’s difficult to say what works and what doesn’t. The attention span of the casual viewer is almost nonexistent. A site can be flashed-out to the max, but I’ll close it in a second if I can’t get to what I want. The same goes for a cover, I guess. You want to draw the reader in, and hold on to them for dear life. 70
sketchbook, c.2000 But with the web, it’s difficult to know what works and what doesn’t — it seems to be a lot harder to garner feedback. I’ve seen people ripping off my website since it’s current incarnation. So I guess it’s working. Well, that’s feedback in itself! Regarding your coverwork, which seems to represent the bulk of your portfolio, there seems to be a certain level of anonymity involved on your part. The website seems to have opened up a lot of your other work to the public.
I’m not sure what you mean by the anonymity of the coverwork . . . I just mean that it is work in the service of a story, which you kind of step behind... does that make sense? Ah, yeah, in terms of my artistic vision. I guess I’ve been doing illustration for so long, I’ve forgotten what it’s like to do my own work. That’s kind of sad, if I think about it too much! I don’t think so! I think if you let your ego, or your artistic presence soak up too much of the project,
it would become something else entirely. And that’s the nice contrast between the professional work and the sketches... different sides of a coin. I think right now I’m going through a process: trying to discover my own visual language, working with clients, learning the business... through suffering, there is redemption! I suppose that is why I felt the Process/Recess project was timely. The thing is I haven’t sketched consistently in almost two years. The next book that may come out will .jamesjean
Batgirl No. 54 Editor: Michael Wright Client: DC
collect my ‘professional’ work. That brings to mind something I read recently – you said that you see the finished piece as being inferior to the original sketch. I’m sort of a slave to the sketch. It’s especially evident ever since collectors have been buying them up and framing them on their walls. There’s an interesting tension there between a sketch that is one step in a long process, and a sketch that is the finished product… I can’t think of the sketch as a finished product, otherwise that kills the process. I see… so there isn’t so much of a distinction between a piece in the Process/Recess book and a draft in a cover work, for example? Well, my mind does work differently now than how it did a couple of years ago, and my process is constantly evolving. Since I’ve been working on illustration the past couple of 72
Green Arrow No. 50 Editor: Michael Wright Client: DC
years, I almost feel like an athlete in training, the process becomes hardened, more lean, efficient, more brutal. The deadlines keep bearing down, and I’ve got to keep moving. The work in [Process/Recess] came from a different place, one of uncertainty. Is it harder to draw for fun now that you have such a rigorous schedule? Maybe fun isn’t the right word... recreationally, perhaps? [Laughs] You sound like a lawyer. It’s all work, I think. But it’s fun maybe 9 out of 10 times for me. I’ve been lucky in getting good clients and assignments. Just not so lucky in getting time enough for recreation… for Recess. On that subject, what brought you into doing the covers, comic/graphic novel work? I went to DC on a lark, just one of many drop-offs I made in New York to look for work. It turned out that my personal paintings were too strange for mainstream publishing, but were perfect for Vertigo/DC. .artistfeature
Spot for an article about options for couples who cannot have children Art Director : Grit BrĂźggemann Client: BEST LIFE (Rodale)
Were you always interested in doing comic stuff, or was it just a good venue for the type of work you were doing? It turned out to be great blessing – it was regular work, and got me a lot of exposure. I grew up reading comics, but after art school, I wanted to be a “painter” (thumbing up nose). So that would explain why you do primarily covers, as opposed to interior panels? I like reading comics, but my strengths are with crafting a single image. I’ve tried making comics before, but it was too painful. Any plans to take another stab at comic making, or will you continue to focus on covers? I think I’ll focus on covers and ‘narrative’ pictures – the world is better off not reading my comics! Ha! Well, on the subject of covers, could you describe your process a bit? How do you go about conceptualizing and producing a cover? Do you consider it a form of adaptation? I try not to think of it in that sense — adaptation is too restricting, though some kind of framework helps. Limitations can be liberating in a way. I use the text as a springboard for ideas, rather than being a slave to the text.
What materials do you typically have to work with? They’ll usually send a script, and I’ll highlight the passages that are most affecting, and somehow a sketch will materialize — it’s an alchemical process. Usually, I’ll get a script for a comic cover, or the article for a magazine piece. For the superhero covers, they never gave me a script until I demanded one. Do you get any input from the writers, or the publisher? The writers and editors usually leave me alone... some art directors have a very specific idea of what they want, but I’ve never had any luck with that kind of arrangement. The best pieces come out of a comfortable space between the demands of the assignment and artistic spontaneity. What about the level to which you incorporate storyline into the cover – elements like foreshadowing, clues, symbols... do you take this type of approach, or do you like to work well outside of the text? I like the add some personal iconography in there sometimes, there are recurring motifs in some of the covers. But I do like creating moments of incidence, which gives a longer reading to the image – it’s cool to hear from people who say that they always look at a cover after reading the story and find new meanings in the picture. THE STRATFORD 4 Album Cover Illustration Art Director: Gregory Burke Client: Elektra Records
GETS PEGâ€™D .
In celebration of the new Billabong store opening in Winnipeg, I was flown out recently to document Billabong team riders Jereme Rogers, Fabian Gossin, Jesse Landen, Darrell Smith, and Kurtis Colamonico doing demos and shop signings. Two shop signings and one demo, to be exact. And maybe some street skating. I had heard good things about Winnipeg from locals and visitors alike. However, I, along with most of the people on this trip, had never been. The Peg did not disappoint. We were initially blown away by the number of attractive young ladies that live in Winnipeg. They were everywhere, with what seemed like an unusually high concentration at the local Earlâ€™s restaurant. We ate there nightly. Perhaps the only thing outnumbering the lovely ladies, were the mosquitos. Apparently recent flooding and environmentally safe alternatives to the usual mosquito fogging (which have proved to be less than effective) compounded their numbers and perhaps their hunger. Risto Scott and Billabong were on point on the promotional end of things. We discovered the first day that Breakfast Television is filmed early in the morning. In addition to the Billabong riders, the live television program featured little dancing girls in pink cowboy garb, a clown, some more cowgirls, and a live band. The banter was witty. The host interviewing the Billabong riders was a stout, jubilant, local TV personality who inquired as to what had brought the team to the great city of Winnipeg, as well as other general skateboard and sponsorship related questions. After the interview a six inch high blue flatbar was presented to the riders and filming of the flatbar and skateboard maneuvers ensued. Exciting no doubt to the viewers fortunate enough to be up at 7:00 in the morning.
above: kurtis colamonico and
right: jesse landen, darrell
smith, signing, breakfast television.
here: jereme rogers with a switch tailslide shove it. The demo was held at the St. Vital skatepark, a modular cement concoction. The heat was intense. That coupled with the bugs and humidity made for a challenging demo, but like champs, the team riders put on an exceptional show for the sunburned crowd. I made do by finding shade, and staying in it until the demo was finished. Thank God for the telephoto lens. Street skating was minimal although efforts were definitely put forth. We saw some really good street spots, but the heat put the kibosh on most of our efforts. All in all, the trip was a really good time. Nightly meals out, beers and partying with the Billabong team made it all the more enjoyable. Special thanks to Risto, the lovely ladies of Winnipeg, and all the people that made this trip happen. Fun was had by all. .thebonggetspegâ€™d
PIERR putting shoes on the legs of skateboarding.
Skating in the 80s was different, that’s for sure. Though everyone I knew street skated, when you picked up a skate mag, 90 per cent of the pictures and articles were about vert skating. And that was skating. Sure, in the videos you’d see a bit of street skating, usually the guys cruising between vert sessions, but it was predominantly vert, vert and more vert.
Well, okay, I guess that’s an over exaggeration. There was about five minutes in the videos, and a couple pages in the magazines dedicated to the fringe part of skating called freestyle. Now, for my friends and I, seeing the freestyle part usually led us to the fast forward button. Sure, it was amazing watching the tech tricks and stuff, it all looked hard as hell, but it did look a bit goofy – people doing 360s on little boards with knee high socks and headbands. But you know, those dudes into freestyle had the last laugh for sure. When vert started dying and street began taking over, the tricks that people started learning suddenly showed that what the freestylers had been doing for years was legit and ahead of its time. Tricks like kickflips and pop shoves were all stuff that the primo-sliding, little board crowd had been doing for years. Taking those moves to the street transformed and evolved skatebaording considerably for the next decade and a half. Seemingly, a lot of the prominent freestylers dropped out of the visible skate scene once the 90s hit, but continued to work in the background, developing companies and continuing to help skating grow. Look at Concrete Powder, Richmond Skate Ranch and Ultimate Distribution, all started by Kevin Harris. Or, how about World Industries, started by Steve Rocco. Other skate entrepeneurs include Jean Marc, Reggie Barns and Per Welinder, and how many companies has Rodney Mullen been involved with? However, one interesting point is that only a few of them still own their companies and haven’t sold them. Skaterowned and operated, Sole Technology holds the merit for being one of the largest, leading companies in our industry.
It’s no secret that skateboarding has come to dominate the world of fashion, to the point where skateboarders represent a minority of the buying public. This is where Pierre Andre Senizergues comes in: a former Sims freestyle pro whose work bringing a small shoe company to North America evolved into what we know today – Sole Technology Inc., manufacturer of Etnies, eS, and Emerica Shoes. Born in France, Pierre describes skating there in the late 70s as having “skaters everywhere, and then one day, it just died.” With no sponsors, it was hard to make any kind of living through skating without having a day job. Eventually, he quit his job at IBM and made the move to the mecca of skateboarding, California, where he lived in his car and had little else to show for the move. Not too long after his arrival, he was approached while skating in Venice beach by another freestyler, Sims pro Steve Rocco, who offered Pierre a place on Sims right there on the spot. And so his pro freestyle career started – through the rest of the 1980s, his consistency placed him alongside the likes of Mullen, Welinder and Harris, making him one of the most recognizable faces on the freestyle circuit. With a background in engineering, and the foresight that riding professionally wasn’t going to pay the bills forever, Pierre began the transition to the next stage of his career. He saw the fluctuations in skateboarding, from the early popularity in the 70s, to almost nothing, to the dizzying heights of the mid-late 80s, to the near death of skating once again. Seeing the frequent changes in skateboarding, he wondered what he could do that would stay constant through both slumps and growth. Out of this developed a product that defied skateboarding trends and retained steady growth through the peaks and valleys of skate popularity. The successes of each of the brands he created allowed Pierre to give back to the skateboard community through the building of the Etnies Park, a massive free skatepark in California with a youth center and lots of concrete to ride. Also, with the success came the ability to try to make a difference environmentally, with Sole Tech’s dedication to solar power and the elimination of petroleum products in their shoe making process. Currently, Pierre is working with some well-known architects on an environmental design for a house that would combine self-sustainability with skateable architecture; imagine a house designed to be enviro-friendly and skateable at the same time. Seems like a dream, but with the drive that Pierre has demonstrated throughout the years, along with a strong sense of environmental principles, it will be a reality in the not-too-distant future.
REANDRÉ Color: You’ve gained successes in skateboarding one only dreams about, but given back so much more in many different ways: donating shoes to the homeless, building the multi-million dollar Etnies skatepark in Lake Forest, donating thousands each year to keep the park free to skate, and not to mention revolutionizing skateboard footwear. If you were to get out of the skateboard industry, what would you want to do? Pierre: Well first, I’m not even sure how I could get out of the skateboard industry. It’s too much a part of me, my passion. If I would, I’d probably go more into the environmentally friendly initiative because I think there are so many good things going on there with the ecomovement. It’s good to leave a good footprint behind you and I think that there’s going to be a new industrial revolution. We went from the horse to the train and we started polluting and the cars started polluting the planet and now I think there’s more and more awareness with everything we’re doing wrong. The new industrial revolution is going to be about getting a grip back on our planet. And it’s happening a lot already. I’d also probably do something with charities.
they got into the tricks. And you could never understand how people were skating. You could see their pictures, but you’re only seeing a still. For me, when somebody was doing a trick, I was thinking because they’re professional, they’re doing it every single time. Like, “you’re pro so you don’t miss anything.” I was practicing over there, never missing [a trick], so when I came to California I did all my tricks never missing a thing. I would skate for awhile and people would wonder when I was going to fall. I met Per Welinder there that same day. And then I met Steve Rocco and when Steve Rocco saw me skating he said, “Oh my god…” and so I was sponsored by Sims and Tracker trucks. And then he said “there’s a contest in Vancouver next month and I want to send you there.” Steve Rocco back then was the team manager for Sims, and he said, “Do you want to go?” Well, I went there and got 2nd in Vancouver and after that I won my first Pro Contest and then it just kept going until I won all the contests everywhere… It was pretty funny too because I had to win the contest. I was living in my car in California so it was kind of a personal type of situation. Like “you either win or you go back to France.”
format. Something so the audience can understand what they are doing, because it is very technical and sometimes it’s hard to understand. It’s easier to understand street skating. Like “Okay he’s going up the ramp,” you know? Downhill or slalom is easy because there’s someone next to him and you can compare. I think it’s a possibility, but if they were to do it, I’d just create a different platform. Maybe instead of seeing from the top, you could have it at eye level or something totally different.
Following your announcement of retirement, you started to distribute a shoe company called Etnies in the US for Rautureau Apple, an established high fashion shoe company in France – how did that come to be? I moved to the States and became a professional skater and I traveled for five years all around the world. I started developing a passion for shoes just because, I mean, when you skate you want good, functional shoes. When your shoes function well, you can do good tricks. But I always liked shoes because the shape itself is like an art piece to me. Clothing is more flat so it doesn’t have the same [feel]. But I always looked at shoes as an art piece, they are interesting to me so I wanted to stay in the action sports industry and I figured “hey, I don’t know, but maybe I could do something in shoes”. Rautureau Apple is still in high fashion and they’re doing really good stuff. They launched Etnies, but they couldn’t really understand the mentality of skateboarding and also it was very difficult because they were on the east side of France and back then there was not many skaters in France so it was very hard to do. I could contribute something different because I had my ideas about how to do it and before being a professional skateboarder, I was an engineer for IBM. So I quit IBM to go to California. I lived in my car and traveled the coast of California. I always felt like between the engineering I knew and the skater I was, and with my passion for art and sculpture, that I could develop some type of shoe that would make sense.
You’re known for your unfathomable one-footed spins. How many rotations could you do, can you even count when you’re spinning like that? I think I would do fifty, something like that. It’s funny because if you don’t do it for a while you’ll get dizzy, I don’t know – your body gets used to it and you just stay there. You don’t really think too much, you just stay there and you’re fine at the end. Another trick I was doing is I was jumping on the side of my board… It was called a Coconut Wheely. That was a cocktail at the time when I went to Hawaii. I was also doing ollie kickflips back then. I was already doing double ollie kickflip 360’s [body varial]. I was doing that already in ’82. But it was weird because nobody was really doing that type of thing. That was the one thing I would do once every hundred times, but I was pretty stoked.
Why does “freestyle skateboarding” come up so much when talking about the leaders in our industry? When you’re a freestyler you’re [already] doing more in a sense. Ramp: you do a trick off the lip and it’s hard. Physically it’s very difficult. Street skating is something that’s very difficult [too], but you’re doing one trick after so much time. [With] freestyle you can do so many tricks so quickly! One after the other, so your mind is thinking very fast all the time. So to answer the question, I think you’re more focused [as a freestyler] and thinking quicker.
By the time your shoe the Senix came out, what other companies were there producing pro model skateboard shoes? It was only Vans and Etnies. Vans had the Cab and we had the Natas and the Senix. The skate scene in Europe took a huge hit in the late 70s early 80s and you decided to move to the United States. It must have been a big adjustment, what was that like? I was 22 when I decided to come and I went to Venice Beach and all of a sudden I had a huge crowd of people around watching me skate. When I was in France reading the magazines I would see all these tricks and I wanted to do those tricks, but we didn’t have videos back then. It was just ‘see what you see’ and try to understand how
Since 2000 there has been a renewed interest in getting freestyle skaters together and using flatland contests such as the INFSA in San Francisco, WFSA, Barrio Games, and the Chit Challenge. Do you think skateboarding needs to revisit flatland freestyle? I think what skateboarding needs to do is revisit all types of skateboarding in general, because I think some people like to ride the streets, some people like to ride pools or ramp, and also some like to do downhill. We still have people slaloming everywhere. And we still have people doing freestyle. I’m really surprised actually that there’s people still doing freestyle because you would think that street skating has replaced freestyle, incorporating ramp tricks and freestyle into one. But there are still kids out there that just want to do flatland tricks. But I think it’s a good question because I think one thing that happened to skateboarding is it became so much only one thing [with] street skating. It’s cool, but at the same time it was more interesting with the different types of skateboarding because it would bring a different type of [deck] shape. More variety and different types of people could skate in a different way. So it reached more cultures of people. With flatland BMX still holding in contests, do you see flatland freestyle skateboarding fit to be added to such events as the X-Games? I don’t know, I’m not sure. I mean, those types of events are about being impressive, freestyle is difficult to impress [with] so I think they would have to figure out a different
It’s pretty simple to see skateboarders are generally creative people, and talented artists, but where does this sense of business come from? Do you think the versatility of freestyle skating helped you break into the business world? I think definitely it opened our minds to do things differently. Maybe because it was so technical, you had to think more when you were skating so maybe it helped us in creating things. But also, there was the economic standpoint too – that it was hard to make a living being a freestyler, so at some point you just have to find a real job.
I watched skateboarding move from a vertdominated sport, to a purely street transition. Now it seems kids are more interested in seeing blood. It’s more about big and gnarly [although for much of us it’s still all style]. What do you see as being the next big trend in the sport? Being “gnarly” is always attractive. However as for the next big trend, skateboarding as a culture has legs now to be considered a lifestyle. Even if you’re not the gnarliest person, you can still enjoy riding everytime you have the chance. More people are choosing to have a skateboard as part of their everyday life – it’s about keeping the skate spirit alive with innovation and creativity. On the topic of innovation; I heard you’re working on a new house? Yeah, I have this new project that I’m working on with a famous architect, Frank Lloyd Wright[‘s company] to design a new type of architecture that uses his vision of the environment as a lifestyle and our feeling of action sports skateboarding as a lifestyle. So you’ll be able to skate your house? Yeah, it will be eco-friendly and skateboarder friendly. There are emerging skaters still practicing the fine art of flatland freestyle such as Manna’s Tim Byrne, Dave Vey from Boston… what advice do you give to these guys? Do what they feel gives them pleasure and is interesting even if it is not trendy. Others may not agree, but you have to go with what you enjoy! .pierreandrésenizergues
PROGRESSION . ryan hamilton
e have a skate shop here in town that sells an average of 20 skateboards and 40 pairs of skate shoes in a day. That is a lot. With numbers like that itâ€™s no wonder that every second person looks as though they skateboard. I remember the times when skateboarders were different, like a white guy at a Martin Luther King tribute, we stuck out from the crowd. We had originality and character compared to the rest of them, with our open minds and stern attitudes we were our own family against the rest of society. These days it isnâ€™t so.â€Ż
rob eccles | bar jam .
Dressing like the hesh-mesh skater, or the tight jean indie rocker, or even the tall-t, baggy jean G is more popular and mainstream than ever before. The skate image is so saturated itâ€™s hard to be different and bring out some originality and creativeness again.â€ŻMore so than the clothes we wear, I find this problem with the spots we skate as well. The more skaters that hit up a spot means the quicker every trick gets done at a place. This causes problems for videographers and photographers who need to please the editors with new and fresh work. Itâ€™s only a matter of time before every good-looking angle gets used up. At that point, coverage of that spot gets laid to rest. jeff falconer | frontside tail stall .
And with more skaters comes more security. Let’s face it, people weren’t fond of us back in the day and just because skateboarding’s popular now doesn’t change a thing. Security guards are everywhere, sometimes at buildings that I can’t understand why, waiting until we are there to skate so they can come scooting out to shove us off. Let’s not forget the large amount of skate proofing going on. We are seeing architects designing skate-stops into the building plans, making a spot unskateable before construction is even finished. And finally we still have the police on our backs. Getting more and more intolerant of skateboarding they are writing out more tickets, confiscating more boards and arresting more skaters.
chris connolly | tree ride to fakie .
It’s all so saddening isn’t it? To rekindle some positive energy and get our creative juices flowing, me and a few other skateboarders decided to say “to hell with the streets” and took our skateboards and creative minds to the wilderness! Spending an afternoon skating on slate rock beside a riverbank to the sounds of birds and waterfalls is something I had never experienced before. It was fantastic! Here’s to having fun on our boards, fun in nature, and most of all fun with our friends.
richard sarrazin | tailblock .
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name on card Color Magazine is published 4 times per year. Please allow 8 to 12 weeks for first issue and free limited edition tee shirt to arrive. All prices payable in Canadian funds. Applicable taxes not included. United States: $26.99, Other foreign: $86.99 with an international money order in Canadian funds. PAYMENTS MUST BE ENCLOSED FOR ORDERS OUTSIDE CANADA. Please send payments to : Subscriptions c/o Color, 2871 Lakeview Rd, Kelowna BC V1Z 1Y5, Canada. exp.12/01/05 fourcorner publishing inc. *limited artist t-shirts only available while supplies last.
jeff ferner | switch nosepick [ o ] shura .
photographyfiona garden artdirectionsandro grison hair/makeupkrista seller stylingtanus lewis
Dennis: Matix jeans, Alife shoes. Jensen: tee by Stacks. Barry: Es t-shirt, Zoo York jeans, Osiris shoes. April: Element black tank top, Zoo York green cardigan, Etnies (houndstooth and black) shoes. Sandro: Krew jeans, Alife hat, Ipath jacket (reversed). Chris: DC brown/yellow striped sweater, DC Backstage High shoes, hat by Stussy. Meadows: Diesel hat, Zoo York white skull tee, Matix brown cords. Jan: Zoo York tee, Krew jeans (white), LRG straw baseball cap. Alex: Matix brown tweed jacket. Calidan: Fallen striped hoodie, Corpus tee, Koston Es shoes. Dashney: Billabong skull sweater, green button-up by Element, Osiris Barletta shoes. Cynthia: Element tee, RDS green hooded vest. Sandro: Stereo hat, (own tee shirt). Cian: We jeans, Element sweater, Corpus jacket. Chui: Billabong white womenâ€™s leather jacket. Kitten tee as per Sandro. Emerica black stretch jeans, RDS bandana. Roxanne: striped sweater by Matix. Karen: DC scarf/hood and mittens. Camie: Stacks 3/4 sleeve shirt. Moser: Satori beanie, Alife tee and Lakai shoes. Nicole: Etnies jacket, Element tee, DVS shoes, DC hat (with suede flap from Etnies Plus). Jenny: Obey hat with Nixon hat, DC jean jacket, Obey brown shirt Billabong blue sweater vest, Element jeans, belt by DC, Etnies Plus boots. Whitney: Billabong shirt, DC shoes. .fashion/irration
FASHION/IRRATION . models: lizbell agency
Vida apron reworked by the Sexerz Collective, NYC
Anna red camisole by grind queen - stylistâ€™s own jewelry. apron reworked by Bob K, Crownfarmer + Tenille Clothing, Vancouver
Willow bikini stylistâ€™s own. apron reworked by Beautiful Decay, LA
Vida beater and all accessories stylistâ€™s own. apron reworked by Curtis Bennett, SCR Victoria
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In today’s world of belligerent back patting and pandering to the highest bidder, it’s difficult to write an article about a skateboard company without coming across as just a little “cliché”. After all, everyone is basically producing the exact-same product. So then what sets one brand apart from the other besides a distressed or paint-drip logo treatment? JB Gillet will tell you it’s not about European or Amercan – It’s more about the company itself. And it’s this intangible feeling we get from America’s antithesis Europe, and their prized possession: Cliché Skateboards.
u ga s ve y rre pie
“NOBODY OWNS ANY SPOT, THEY’RE FOR EVERYBODY.”
- jb gillet
tyler maher crooked grind . montreal
is a carefree skateboarder and the type of person you’d instantly be friends with upon introduction. So now you’ve been introduced. This is your friend Tyler. After a day of skating with your new friend you’ll probably go grab a beer, shoot some pool and see what the night brings.
Ty Maher – good on a board. That’s obvious though because he’s in this mag. I don’t know that he’s necessarily coming up just now, I think he’s always been up. The guy’s got a wild nollie. He’s a good guy to know in Montreal because while skating around the city he’ll show you not only the best skate spots, but the finest restaurants and bars too. He seems to know all the bartenders in town so the drinks are usually free which is great for the bank account. All around, he’s a solid man and a solid board rider. I look forward to enjoying several “la Blues” with him after a long day of skating in Montreal next month, even if they’re not free. C’est ca! - jeremY pettiT .
vincent bressol drop-in . poland 96
jb gillet noseslide nollie heelflip . lyon, France
European skaters are quick to welcome skaters to their spots and generally happy to show a visitor around, but it’s probably justified that they don’t think much of America. Why should they? We watch videos such as Cliché’s “Freedom Fries” and can’t help but think of the tricks we might do if given the chance to skate their spots. Still the grass is always greener, and Canada homes more outdoor skateboard parks than any other country in the world. The envy goes both ways but was recently met halfway when Cliché crossed the water to journey up north and recruit their new accented brothers from different motherlands. Gianmarco Alaimo, Bryan Wherry, Phil Knechtel, Tyler Maher and Pierre-Yves Gauthier all share a common bond of the French language and skateboarding.
ChaRles . .cliché
charles colet kickflip 5.0 . geneva suisse
is just a dude from Gatineau, Quebec, who enjoys skating, traveling, and hanging out. He’s inspired by his family and friends, and values perseverance, loyalty and respect – as well as the finer things in life such as eating and sleeping. He’s been hyped on Cliché since his first trip to Europe, and they were the only boards he’d buy. There was a short time when Canada wasn’t getting Cliché, but today it’s more available to Pierre-Yves than ever. In December he will be done school and graduating on to more and more skateboarding. How does a Canadian fit representing a European-based company? To me, it’s all about representing the entire movement more than just the boards. Cliché is not an average company, it’s got extra flavor. You basically have to be down with the whole deal, the Euro vibe and everything. I look up to those guys as far as skating. You know, Lucas, JB, Javier... That shit gets me hyped! Why do you think Canadians mesh so well with Europeans? Here, we’ve got some French culture, it’s not the same, but I can relate. Through skating, both Canada and Europe are into their own thing and that’s awesome.
Possibly the most popular cliché in skateboarding would be “selling out” and that might be defined differently from person to person, but since 1997 when skilled skateboarder/entrepreneur Jeremie Daclin founded Cliché he vowed to stay true to his roots and refused to be Americanized. The result has brought us a grounded, international company run by skateboarders such as Australia’s Al Boglio (now residing in France) and Canada-based Shayaa Scott as brand manager, with Tiger Distribution’s Jesse Bowden – both residing in Montreal, Quebec.
pierre-yves gauthier crail . montreal
Pierre-Yves is the reason I get out of bed in the morning. Now I don’t mean that is some new aged, metro-sexual way. I literally mean he wakes my ass up and forces me to shoot a trick at some weird ass spot he just found. If this means 8 a.m. shoots before work or meeting him in some alley at 2 a.m. it is all the same to him. The time or place doesn’t matter; he just loves skateboarding. As far a Cliché goes, I don’t think there is a better fit. Pierre may have been born in Abitibi-Temiskaming but he belongs in Europe.
– ShAne HuttOn.
“IT’S MORE ABOUT THE COMPANY ITSELF, IT’S THE SAME QUALITY PRODUCTS AS U.S. BRANDS SO IT’S MORE ABOUT THE WAY THE COMPANY GOES AND THE TEAM.”
B rophy .
andrew brophy . ollie tailslide fakie . grenoble Valmy
lucas puig . switch heelflip nosegrind . lyon, France
thibaud fradin . switch ollie, switch noseslide . gerland foch, lyon
is uniquely not French! He’s from London, Ontario, and can usually be found in Victoria Park. He’s been on a serious mission in the past year, skating with homeboy Darrell Smith in San Francisco and abroad. He values everything positive and believes there’s nothing better than cruising down the street with headphones on, ollieing sewers and powersliding... but there’s nothing worse than doing the same thing, feeling so dope and hitting a rock, “Next thing you’re doing an army roll on the concrete looking anything but dope.”
. ollie . .c’estlavie
phil knechtel backside tailslide . montreal gianmarco alaimo switch frontside heelflip . vancouver
“WE JUST KEEP SKATING AND TRAVELING AROUND EUROPE, WE DON’T HAVE TO GO TO THE STATES TO GET COVERAGE.” - javier mendizabal
cale nuske . switch ollie . Part Dieu, Lyon
About two years ago I heard the fateful words, “You gotta’ meet this kid!” Of course, I paid it no more heed than the other dozen times I’d heard it that week. And then I met Phil. What was he, 16 then? If there were room on his driver’s license (if he had a driver’s license), his middle name would read: Consistency Pop Innovation. In the short time that I’ve known him, many more fateful words have come to me about Phil: “Phil beat so-and-so at Poseur!” “Phil did such-and-such off the Museum Gap!” “Phil made up [insert unheard-of trick]!” Now I pay attention – so should you. - JaCob g.
is a soft-spoken, eighteen-year-old resident of the Notre-Dame-de-Grace quarter of Montreal, Quebec. He has a pet Chinchilla: a South American rodent about the size of a squirrel.
is nineteen years old and has only been on the board a short six years – showing skills beyond belief. He lives in Montreal where he skates steadily. He’s one of the newest additions to the Cliché flow team and the future looks bright for this kid.
You don’t need to skate to know that Gianmarco has game. You could strip away all of his material possessions like his color-coordinated clothes, new shoes and fresh boards, all that material stuff, and he’ll still have the same amount of confidence and determination to get what he wants. He has a whole slew of flippery tricks that he brings to every skate spot. He’s got enough tricks that he is willing to sit out for awhile and wait until you land your trick before he decides to do his own. What a gentleman. It has been his skateboarding skills that have brought him into the limelight, but it is his quiet and humble ways that will keep him shining brightly, beyond the years to come.
- JarVis NigelsKy .
THOUGHT FOR SHOCK . wordsscott radnidge
There’s a way that music can affect people, from sending the listener to a place of happiness where life stands still, to the opposite, where the music evokes the angst and simple pain of life itself. Standing on the verge of music’s vast emotional canyon can be unsettling, leading most musical groups to abandon thought for shock under a thinly guised musical soundtrack. But some artists seem comfortably at home amongst the tears and smiles of every day life. And so here lays Athlete, a force in their native England and across Europe (they sold 250,000 copies of their first album alone), continuously packing venues and leading audiences and critics through sets of their rare mix of emotion, music and presence. Not a lot of bands could pack these qualities into their repertoire without being schmaltzy and still win over the masses, but alas, Athlete has done it in spades, one person at a time.
Instead of cashing in on quick hits and lucrative record contracts, they went about it by the traditional route, by writing and recording, playing live shows and winning over fans, without bowing to record companies and management pressure. After being approached by numerous record companies who were out fishing for the next big thing, the band used their growing fan base and record sales to help them choose whom to sign with and who would help them grow, choosing a process of signing for a career in music over a quick cash grab, something that showed their ethos in their actions. Now don’t get me wrong. These guys aren’t a bunch of serious, boring goody-goodies. Their interest in art (citing Chris Duncan’s art as amazing) and skating puts them amongst a growing group of creative younger people who see the whole world for what it is, good and bad, and have a vested interest in how everything shapes up. Back in 1991, I met a kid named Joel Pott, a boy really, who was full of pre-teen frustration and energy. Over the years, I followed his life as he grew up. I was stoked when I heard he got into skating, and eventually evolved into him managing a London skate shop. Soon, he and his mates got a little band together, and through hard work, grew into a draw that would get themselves nominated for awards against the likes of Dizzee Rascal, Radiohead, and Coldplay for the top album in the UK in 2003. They also attracted the attention of musical heavyweights like U2, who, after hearing their album (Bono apparently lifted a copy off of a
mutual friend after his first listen), invited Athlete to come join them for some of their European tour dates.
Joel, along with band mates Carey Willetts, Tim Wanstall and Steve Roberts, have grown from childhood friends just playing around to a band of critical acclaim, social conscience and dedicated fandom in Europe. But finally, during a five-week tour of North America, Athlete came to Vancouver. They played an unforgettable set to a packed club of people who could soon be bragging about the day they saw “Athlete in a little club”, like seeing Radiohead in a 300-seat pub, or Nirvana in somebody’s garage. During Athletes’ brief stay in Vancouver, I got to sit down and talk to Joel to talk about their new album “Tourist”, and see what he thought about being in a band, record companies, skating, and of course, social responsibility.
Color: As a guy who used to be really involved in skateboarding, how does the whole scene look to you today? JP: I guess I am a bit removed from the skate scene these days. But a lot of my friends still skate and I have quite a few decks lying around at home that I need to set up and get out again… I think it’s something where [skateboarding] in the late 90s took on a whole new commercial thing, where I think a lot of people realized they could make a lot of money off of skateboarding. In a way, recently a lot of people have reacted against that, and said that “this isn’t what skateboarding is about, this is not the culture, this is not where it was born...” and it’s really good, cause people are reacting against that, and a lot of underground companies and shops are popping up, and I see that kids are deciding that they want to support the local shops and companies, ‘cause it’s a local thing. You seemed to take the hard route to gaining popularity, through touring and recording. Why did you think it was important to do it this way, on your terms? Yeah, you know, when we were looking around for record companies, we were in the fortunate position that when we sent out our demo, we got loads of calls from record labels asking us to come down to their offices to play, and we were like “you’re welcome to come down to our little studio to watch us play.” Loads of people came down to watch us, and we got into this position of people wanting to sign us, and luckily, we were in the position to choose who to sign with. We chose Parlophone because you could see, over the years, they developed bands and help them build a career (Radiohead, Coldplay, Blur), through recording and developing… We didn’t just want to be the band of the
moment, like in the NME, which has a new “best new band in the world” every couple of months, we wanted to build it up, on the success of the band, through writing and playing. And Parlophone were into that. What does it feel like to be chosen by U2 to open for them for some of their shows? Are you daunted by the task, seeing the list of bands that have been chosen before like the Pixies, Public Enemy, Kings of Leon? It’s bizarre, really. I mean, we’ve grown up listening to them, and it’s… it’s just like “hang on a minute”, who are we to be supporting them, sharing a stage and playing our little tunes before them, and them liking the songs. I mean it’s really bizarre. I’m not really nervous at the moment, I think it’ll be a bit surreal, but I’m not nervous at all. I’m sure we will be though [nervous laughter]. The more we talk about it will make me nervous. Tell me about your involvement with Make Poverty History (a global movement of social responsibility, urging governments around the world to relieve the debt of developing nations). Why is it important to you? We recently just got involved with them, you know, they approached us [to get involved] and reading about them it would be silly for anyone to not sign up for it. You know it’s just trying to poke governments and people into action, like saying to them “you said you’d do this, well come on, do it”. It’s an ongoing thing, and making people aware that our elaborate lifestyles are made possible by the fact that our governments exploit third world nations… We want to be involved for the long haul really, and make people aware.
travis stenger | backside heelflip fakie nosemanual 180 [ o ] christian .
brad sheppard | pop shove it .
trevor dunnett | switch backside bluntslide
devin morrison | varial kickflip .
mike chalmers | fakie manual fakie flip .
alien | smith grind .
derek serwa | crailblock [ o ] shura .
ryan mackin | nollie inward heelflip [ o ] wong .
is guilty of writing the catchiest, most danceable, happy songs that have ever graced my stereo’s speakers. Damn, I had a smile that lasted for days after hearing their self pressed release, with its four songs of the best shit that has ever gone in my ears and out the other side. I mean, how many songs can you sing along with for days and not grow weary of. Not that many. So, I will stand now on my soapbox and proclaim that this band is destined for greatness! And then they will move out of the valley, and it will suck again. The circle of life. – s. radnidge
2K6 Basketball PROMO CD
Genesis THE LAMB LIES DOWN ON BROADWAY 1974 I first heard this album while visiting my Grandma in Toronto. I borrowed it from my dad before bed one night and put on my headphones, the very same thing he did with the album 30 years ago. but I’m guessing he was way more high than I. I was a little frightened, as I always am whenever I stay there, mainly because I saw the ghost of my late grandfather. But thats a whole other story for Art Bell. So I’m lying there... barely dozing off, when all of the sudden I hear three loud, hollowed out knocks. My heart stopped. I couldn’t breath. Laying still for a few minutes, not knowing if it was in the song because I wasn’t hearing it again, or if it came from outside the headphones. I replayed the song and sure enough it was strategically, misplaced in the second song on side one, “Fly On a Windshield”. Thanks Peter Gabriel for scaring the living shit out of me. Your first go at this record you’ll probably hate it, but give it time. You’ll fall in love with it. The album takes you on a journey through the hallucinations of Rael. A Puerto Rican punk/grafitti artist in the bowels of New York City, undergoing many a supernatural transformation. This was Peter Gabriel’s last album with Genesis before going solo. Phil Collins then stepped out from behind the drums and became the lead singer to go down the dreaded radio/pop road. Best Genesis album of the seven with Peter Gabriel, next to Selling England by the Pound. - ryan mcguigan
Grand Buffet FIVE YEARS OF FIREWORKS
I have a blender. It’s a kick ass blender with warp speeds and it thumps when it blends. Some wiener came over to my place and decided to make himself a smoothie, and before I knew it, had thrown some of my cds into the blender and mulched them into a paste that he promptly threw in the cd player. He said something about one part this, one part that, and as the music came on over the stereo, it all made sense. Grand Buffet is the ultimate smoothie of white bread rap. Funny, poignant, off timed lines over drum-machined beats is this band’s forte. One part Beck, a little Beastie, a little Eminen in there for the doo rag set, it’s all there. The band, to put it simply, is on. Yeah, boyz! – s. radnidge
You Say Party We Say Die DANSKWAD I grew up in the Fraser Valley, a one-hour drive east of Vancouver. The valley sucks. Nothing good ever came out of the valley. Nothing, aside from milk and cheese. That is, not until You Say Party We Say Die came along. This band
Yo, I’ma break down this new 2K6 Basketball movie soundtrack shit featuring a whole gang of rap artists you may of forgotten about since you turned emo/skate/thrash. Anyways, your boy RJD2 sets off the intro with some cuts and samples you wish he used on his last album, making way for some whatevers from Lyrics Born who I never really got into anyway so don’t worry about it. Then it’s on Redman who kicks a line about farting in your hot tub which was nice, but let’s face it - he’s never going to make another “Muddy Waters.” Little Brother show up to try to save the day on “Carolina Agents” and i’m a sucker for 9th Wonder’s production, the vocal snippit sample is Hollerific. The Roots track sounds like a wack Neptunes beat. Aceyalone’s song comes with lyrics I’m sure he wrote five years ago. The Hiero track is nice cause Pep Luv is on it. Common comes with a non-Kanye beat and sounds like Moka Only on the the Chorus. Jean Grea gets a throw away Chrysis beat. Fuck Zion I. Strangly, Aesop Rock shows up with “Junkyard” but I can’t see basketball player-type guys bumping it in a million years. Finally, Skillz dissapoints with the title track so to feel better about it I dug in the crates and put on “The Nod Factor.” Then I slit my wrists. Fuck rap music. -boris tour.
Kool keith LOST MASTERS VOLUME 2
dmaft records This record, much like Lost Masters volume 1, is strictly for hardcore fans of Keith. It’s obviously just a bunch of demos and unused tracks that were miraculously “found”, and compiled for this release. The beats are pretty monotonous, and the lyrics/ choruses are just downright weird in a few spots, although they do include Keiths trademark sick sense of humor. If you’re a true Kool Keith fan, I recommend buying this because he probably needs your money. –b.white
Marlin lives in a small town on BC’s Sunshine Coast. He lives in a cabin in the woods, with his girlfriend, his dog, and a shitload of instruments, records and production tools. Calrizio is his new album, and I guarantee more than a few heads have been waiting on this since the release of 2003’s harshly slept-on Grid Mode. His music, mostly instrumental, is based around varying levels of live instrumentation and traditional sampling. And as I’ve said before, it meshes too many genres to mention. Although his skills as a producer clearly show progression, it’s also clear that he is merely on the fringe of maximizing his ability. I’m already looking forward to the next album. Oh, and if you ever come across his Outkast remix on wax somewhere, I want it. - b.white
3 Melancholy Gypsys GRANDCARAVANTOTHERIMOFTHEWORLD
Murs, Eligh, and Scarub of Living Legends fame have collaborated on a new hip hop venture known as the 3 Melancholy Gypsys. This album was recorded in England and seems to have been a very spiritual experience for the three LA’s based mc’s considering the albums unbelievable chemistry. This album has been ten years in the making bearing in mind that all three lyricists had planned on it since there days in high school. Each artist brings a unique style to the group which gives the listener the ability to appreciate each individual mc. For instance, while Eligh seemingly spits 3 words a second, Murs slows down the tempo to his layed back witty flow while easily making the beat work around his wordplay. Scarub then seems to be the mediator of the three with a powerful voice and smooth delivery. As you can tell while listening to this album for the first time, the three were born to rhyme together, with years of chemistry dating back to freestyle battles in the highschool lunchroom. Highlights tracks include “Young Man,” “Signs,” “And If,” Colour Blue,” Beautiful Mind.” This album is definitely worth its weight in gold and is a must have for underground hiphop heads worldwide, especially for those who appreciate the Living Legends classic flavour. Highlight tracks: track three (young man), track five (signs), track eight (and if), track nine (colour blue), and track fourteen (beautiful mind). - scorgie
Murs and Slug FELT 2: A TRIBUTE TO LISA BONET
On a road trip from Oregon to California, Murs (of Living Legends fame) and Slug (of Atmosphere) began a conversation of which artist had a better chance of sleeping with actress Christina Ricci. The humour of that conversation back in 2001 lead to the two underground mc’s collaborating on felt 1: a tribute to Christina Ricci. Fastforward to 2005 and Murs and Slug are back with their second installation of Felt 2: a tribute to Lisa Bonet. Both album titles alone attest to the down-to-earth nature of these artists and the comical nature of both mc’s obsession with sleeping with blist hollywood actresses. This album, however is no half-assed, relaxed effort. With the help of Ant’s production (Atmosphere, I Self Divine, Brother Ali), Felt 2 has proven itself to be one of the best summer hiphop releases of 2005. Highlight tracks include the album’s first single, “Dirty Girl,” “Morris Day,” “Marvin Gaye,” and “Woman Tonight.” A majority of the track lists content deals with relationship ups and downs, something that comes naturally to Slug after years of lyrical practice with Atmosphere. This album’s feel is quite positive and upbeat with soulful riffs reminiscent of 70’s motown vibes. The chemistry between Murs and Slug is never really questioned throughout this LP, something that’s heightened by the fact that these artists are actually good friends both in and out of the studio. With comical lyrics and good soulful production, Felt 2 is sure to both meet Murs and Slug’s high expectations and get Lisa Bonet’s acting career back on track. -scorgie
Death Row THE VERY BEST OF DEATH ROW At first I thought this would be a greatest hits album over saturated with Pac hits. My brain was boggled to see that it had a nice mix of classic Death Row tracks and a new joint by Petey Pablo that are fit for a forty and a blunt. Isn’t it strange how if a black dude gets shot – whether he lives or not, he gets famous, but the only time you hear of a white guy getting shot, it’s because he died. With superstar rappers like 50 Cent and The Game getting paid for getting sprayed, who needs talent. 2Pac and Biggie for instance received legendary status for getting blasted who unfortunately aren’t around to enjoy it. I wouldn’t doubt Terry Kennedy will be flippin boards like happy meals thanks to his new gunshot wound. Anyways I tossed The Very Best of Death Row into my stereo and like pumping 1.21 jigga-watts into doc Browns delorian- shit took me back to Death Row in its prime. A must have for Death Row fans, otherwise you’ll have to refuel the Flux Capacitor to get back to the year 1997. GREAT SCOTT! -mojo .soundcheque
ARRON JOHNSON .
Just recently I found out that my friend Matt was going to be set free from his disgruntled roommate after a year of resenting his apartment, the one place a person should always find solitude and comfort... but after the first couple toilet surprises she left for him to find, I think the comfort levels depleted in the sheer horror of finding out that, indeed, girls poo too. They were far from ever regaining a comfortable living situation. Probably by some fault of his own, she moved out once their lease was up and it was arranged that amateur skateboarder Arron Johnson was to move in July 1st. Matt’s from Ontario where the first of July, Canada Day, is celebrated more than a New Years Eve in Time Square... but with a bit more Canadian hockey influence. So I called AJ to let him know I’d be attending the house warming/Canada Day party and to see if he’d like to do this interview. Subsequently he was down and after promptly getting up at noon, cracking a beer, skating a miniramp that was set up in the middle of Robson Street in exchange for ice cream from his sponsor - we began. By the time the sun went down and we hit record on the dictaphone in AJ’s new humble abode, he had clocked about 20 cold ones. Needless to say, we had lots to talk about. From here on out, the term “You know what I mean” will be replaced by “youknawmean”. Writers get paid per word count, and it’s much more economical this way. 118
“IT’S NOT AS HIPIDEE HOPIDEE AS IT SEEMS.” 1. You’re a friendly guy who doesn’t seem to garner a lot of enemies. I’d go as far as to say you’re likeable! But c’mon mister, you must have a hatred for somebody out there in the skate-biz. Give it up! AJ: [Arron looks around and sees Wade.] Basically the only person I hate more than myself in skateboarding is my friend Wade Fyfe. For the reason that he always tries to come up on my shit. The kickflip to fakie on steep bank, I did that. Well I pretty much rode away youknawmean, basically I fell on my ass, but you know, I have such an intergrity in skateboarding that I’ll come back and land it. The next day Wade creeps in and nails it, it’s as simple as Caucasian boy tries a trick, doesn’t land and steep bank needs Black Man to finish the job. He gets the SBC cover and now I get spiteful. Do we really have to talk about SBC in this interview? SBC? SBC Wakeboard. I don’t see a Color Wakeboard magazine. I mean fuck, honestly. So basically Wade Fyfe should capitalize on being the Black Man in Wakeboarding. Wade should bring back the afro and take over the Wakeboard industry. Quite frankly I think it will be cute, youknawmean? 2. Of all the people you’ve looked up to in the world, who has disappointed you the most? Out of anybody despite skateboarding who I looked up to, and disappointed me the most was probably… I’m probably going to delve into hip-hop – which is the Alkoholics. The band, The Alkoholics, youknawmean, like Coast to Coast, fuckin, you know, basically The Alkoholics, I’m disappointed in. I had an admiration for The Alkoholics you know, when I was young, that was my
first hip-hop that I kind of, like, you know, dived into. And quite frankly, like, they disappointed me that, you know, that the state of alcoholism… yeah, like look at Meadows [roommate] for fucking instance. You know what I mean? Mathew Meadows, like, the state of alcoholism just leads to false interpretations of emotions. So basically fucking metal and fucking rap is ass backwards. 3. So Guns n’ Roses should be a hip-hop name and their actual band should be called The Alkoholics because they party? Yeah, Guns n’ Roses should have been a fuckin hip-hop band. And as you were saying – Alkoholics should have been a metal band. And Vanilla Ice should have been like a fuckin rave, in genre, based upon crystal meth and ecstasy, youknawmean? Because who else would have liked the smell of vanilla and you know… crystal meth. And um, I’m just disappointed in the Alkaholics, you know. The sole point of The Alkoholics’ disappointment is their promotion of Alcoholism. It’s not as hipadee hopidee as it seems, youknawmean? They decline, youknawmean, and so does an alcoholic’s state of living and morals. It just kind of descends. 4. I heard today that “AJ got a credit card”, how does one go about acquiring credit when they don’t have an actual job? Dude, you fucking roll up with a fucking photo incentive check, youknawmean, backed up with some random shit, youknawmean, claiming that this is what you get paid every fucking two weeks or what not – and then you just apply and then youknawmean, the credit card just like fuckin’ rolls to your fuckin address. Like rolls in like a fuckin’ very, like, thunderous fashion such as, you know, as soon as you open the fuckin’ mailbox it’s like “waahhhhhh…” and you try to interpret “wah” and it’s basically that’s like Latin for dead. Youknawmean. So,
IT BY-S F “I BA PABLE O A S” I’M C DIAPER D N A G NGIN CHA
basically you know, you get a credit card, and you mention to a couple friends, like “Hey I got a credit card” – I’m going to be fucking smart about it, youknawmean, like none of this cliché fuckin’ “Oh I got a credit card debt” fuckin’ shit, no, you’re going to be different. 5. You’ve already racked up a bill for $350.00, what did you spend that on in the past two days? Well basically randomness, that’s the funny thing about a credit card, like what are you going to spend it on, and then you think what you’re going to spend it on and then you actually go through with the actions of spending it, but you’re not going to remember really what you spent it on. It’s just kind of like frivolous bullshit and like, even to come to this point, two days into it, I can’t even recall like what I’ve really fuckin bought, and what not. All I realized is that you can put it in the ATM and get cash out of it, you know what I mean? Fuckin naïve, fucking ignorant fucking kid, who gets a credit card thinking “I’m not going to be in debt”. Maybe one day later after getting it there was fuckin’… well, basically a letter saying this is your secret code so you can go to the Automatic Teller Machine. And I was like “No fucking shit, you can get cash out of this shit?! Yeah!” So anyways, self-explanatory, I’m the epitome of all retarded people who went into debt. Who basically tried to precautiously, you know, like avoid debt. You know, watching a lot of people go into debt, and being young and stuff like that and uh, basically a credit card, it’s just like going to a casino. And it’s just like, you know, no will power will prevail. 6. So that’s pre to post credit card we covered, but not really. We’re pretty much only up to speed with now. Use your imagination here. We’re in the year 2007 where are you? I’m at Home Depot, I’m at Home & Garden, I’m at every little fuckin’ frivolous little store with fuckin’ the most ridiculous and meaningless things. I’m buying them. The infomercials that I used to gaze at when I was a pot-head – no, no, no, I’m not a pot-head anymore, but I am a full fledged purchaser of these random - [we’re interrupted by a wrestling match between Sheldon Meleshinski and Ryan Oughton, with Trevor Houlihan as referee]. 7. AJ, do you gamble? I see a Gold Rush scratch ticket here. Is gambling and credit card debt going to be the end of Arron Johnson, as we know it? Basically AJ just doubled up, youknawmean? He made one
“SKATEBOARDING’S ALL ABOUT FUCKING THE DOG AND GETTING GNARLY.”
dollar into two dollars. So fucking made a dollar off a dollar, youknawmean. That’s the essence: the motherfucker is a hustler, youknawmean. I basically, I scratched that like three weeks ago and I’ve yet to cash it in, the only reason why I keep it, basically like, lingering around is that notion that like, youknawmean, like fucking ace’s high, youknawmean like fuckin’ you know, luck will pop up, youknawmean? So basically when AJ goes to Vegas youknawmean, he’ll keep the same Gold Rush lurking around that he fucking, he fucking basically made a fucking 50% profit margin and he will take that philosophy, take it to Vegas and fucking come up! Whether he puts ten dollars in makes 20, fuck that youknawmean, it’s all profit margins and when I go to fucking Vegas we’ll see how fucking far his profit margin expands, honestly. 8. Next question. Why is Popwar so sick, being the relevance of this whole question, that’s their slogan: “Popwar is sick” basically in short, condensed from which should be printed is “Popwar’s slogan is “Popwar is sick” and then in some kind of like, you know, captions is “It’s in the head”. Why is Popwar so sick – in the head. So, I’m going to ask the question “Why is Popwar so sick?” And your answer is in brackets. Somehow verbally you answered in brackets like I read your mind, “(In the Head)”? How does that work? The readers will think we’re on some higher plane. You just moved into a new place, describe the last place you just lived. For the last year and a half I lived with my sister, who uh, basically we have a… actually, no man! Holy shit, for the past two and a half years I lived with my sister who has a 16-month-old baby girl named Lydia. We lived in the same building, but at different times. 2928, correct. And uh, basically I baby-sit and I’m capable of changing diapers and being as helpful as I can. And basically I was there for the duration of her pregnancy. All nine months? Yeah, three months on, youknawmean? And then, she for the past two months of her pregnancy, she went and lived with our grandma and then for a little bit I just kind of helped…
Dude, what are we talking about here? This is going in some other zone right now, get back to the program. Oh yeah, I’m supposed to be talking shit – that’s a bad question. Lets redo it; basically “What have you been doing the last few years?” 9. No. As someone who I see as on the verge of turning pro, what motivates you to go out and get shit done everyday? Ah, the presence, now… basically… um… You have no motivation at all? I am motivated. I mean, you can fucking, you can yap all day about how “good the feeling is when you ride away from a trick”, and fuckin’ how you know, “your self importance just fucking rises when you’re fucking killing it.” 10. What’s your perception of the work ethic of today’s professional skateboarder with a shoe and a board? Like any fucking, like pro skateboarder, basically like, the fuckin’, they vary between you know, productive and less productive and stylish and less stylish. And the less stylish you are the fuckin’ bigger you got to jump and fuckin’ you know, the ridiculous shit you have to prove. Myself, I should be jumpin’ my ass off. So Keegan Sauder has found a niche where he doesn’t have to kill himself skating – ever. And he’s the envy of every other skateboarder. Um yeah, Keegan can fall under that category. Yeah, Keegan has amazing style and’s gnarly. But honestly, he’s not chilin’ out like fuckin’ Gino [Iannucci]’s chillin’. I see Keegan washing dishes youknawmean. I don’t see Gino fuckin’ washing dishes. But fuckin honestly it’s just the more stylish you are, the more you can chill. Youknawmean, The average person worked fucking eight hours and then makes dinner for an hour and then watches TV for two hours and that leaves about three hours extra for like, you know, your prerogative of the nighttime and then you sleep! What does a pro skateboarder do every fucking day? So I pretty much like, I think that Skateboarding’s all about fucking the dog and getting gnarly. .tatteredten
grab bag, and even if you don’t like everything, there should be something for you. At only 1000 copies produced, it makes for a nice limited edition art book, but don’t sleep because this one’s already sold out. - n.brown FAESTHETIC.COM
INSPIRATION BOUND . IM WITH STUPID Jeremy Fish Fifty24SF It’s taken me a while to catch on to Jeremy Fish – at first I kind of lumped him in with a lot of those neo-pop comic artists who come up with a character and then blast you with it over and over and over again and call it art. But I was mistaken, and this book is evidence. On top of some really consistent style, dude is really clever and manages to take his graphic but remarkably detailed cartoons into a variety of applications: comics, single panels, collaborations with skate graphic folks like Pushead, Andy Howell and Mel Bend, and my personal favourites, his arty-crafty pieces like carved and painted skateboards and a whole living room installation. It’s all nicely documented in this collection, which really brings out Mr. Fish’s humour and inventiveness—check it out, it won me over. - n.brown SILLYPINKBUNNIES.COM
BULLY: IT’S THE PITS Paul 107 ECW Press/SekonhandProjects To get a sense of the social impact of Paul 107’s second book, devoted entirely to pitbulls and the people who love them, I recommend you take it on the bus. The scrapbook-style collection of photos, paintings and testimonials from pitbull enthusiasts is a great talk piece - its aim is to put a positive face on the stigmatized beasts, and it seems everyone has an opinion: from the grandmother who sat next to me on an airplane, to a Guatemalan fellow named Otto on the bus, I’ve had a lot of time to gauge public opinion on the book’s canine subjects. And regardless of your stance on bull terriers (personally, I’m still a bit scared when I pass them on the street, though it’s usually the owners more than the dogs), there’s no question that they haven’t gotten a fair shake in the media, and a little dialogue goes a long way. - n.brown SEKONDHANDPROJECTS.COM
FAESTHETIC Issue 4 Dustin Emery Hostetler There’s a lot to be said for clarity, and Faesthetic knows how to put together an art book without gussying it up with unnecessary bells and whistles. It’s 210 pages, and 200 of them are original artwork by 90 contributors, which include Fudge Factory, Lisa Alisa, Futura 2000, FAILE, and a lot of people I’ve never heard of (that’s a good thing). Even the extra pages are pretty solid, like the interviews with magazine publishers, such as Hamburger Eyes, Re:Up, Broken Wrist Project, and a bunch more. It’s definitely a 120
DISPOSABLE, THE HISTORY OF SKATEBOARD ART By Sean Cliver Concrete Wave Editions There are a few things in life that can bring you back to a time where your memories get away from you. Music can transport you back, a good book can lead your thoughts in another direction, and art can help you relive a moment long gone. Skateboard graphics do it to me in a major way. I can look at a deck and remember if I rode it in summer or fall, what tricks I learnt, the smells of my hometown and the ups and downs of my teenage life. The art under foot helps me remember everything. Recently, a book on the history of skateboard art was published called Disposable, The History of Skateboard Art, by Sean Cliver. In Disposables’ pages, is my youth, my ups and downs, the good boards and bad memories that were a constant in my growing up years. From the 30 x 10 boneite boards to 7 inch copped art popsicle sticks; they’re all there in full glossy colour for the reader to enjoy. Through the book’s 200+ pages there are pictures, comments by the riders and artists, and a history of many of the boards that have hung on our local skate shops’ walls and that have been ridden under our feet. It is an amazing collection of history that has never received its due credit, until now. – s. radnidge
This magazine stands for everything real in this world. I first picked up Lodown when a friend of a friend came back from Germany and lent it to him, who then lent it to me. I held on to that copy for about three years, starting around the same time Color was born. There it sat all alone until at last Lowdown found its way to my shelf by gaining distribution in North America. Since, I’ve watched Lowdown grow into less of a graphic art/euro-hip hop culture magazine and into something I could relate to a little more... or maybe not. Maybe I grew up? Regardless, it’s a blessing that we have publications like this one, otherwise I’d be less of a person today. – sandro LODOWNMAGAZINE.COM
is to be expected. Using a montage of digital and super 8 film, Quiksilver has put together a short promo that leaves you wanting more. With a star line up from Janoski to Hosoi all the bases are covered and the promo promises to leave even the most discerning of tastes with something to drool over. - meadows
GREEN APPLE Modern Love
Being new to Canada and getting introduced to many people, places and spots is super fun. It feels like I am starting high school again, and have an infinite source of things I have yet to experience. One thing introduced to me were these Green Apple guys who have been making videos since ‘93 and have been quite the underground favourite, boasting “We’re just buds skating together.” In 2005 Green Apple has released their newest flick called Modern Love which consists of friends Mike McDermott, Jason Crolly, Mike McCourt, Aaron Rosenblatt, Rod Ferens and Travis Stenger, created by Ryan McGuigan. Now understand that the version I saw was a super rough copy, but footage spoke magic. Respectively, I could have done without the hi-8mm oldschool footage, but in its own way that made it very raw. McDermott skates to my expectation with his many manual skills and switchness. Rod Ferens takes friendship serious and skates a part, complete with “flavour” as did McCourt too. Crolly and others compliment the video nicely with their skateboard parts each different than the next. There is one of the best intermissions I have ever seen in a video, you’ll have to watch and see. Now my attention is placed on Travis Stenger who single handedly stole this video from his bros. Since being here I’ve heard “Have you seen Travis skate in person yet? No, eh?” Finally, I have found out what all the hype is a ‘boot’. Travis kills it thoroughly with an unlimited sorts of tricks from swbsflip over hip high benches to multiple variations of flip tricks into fakie manny. I mean, if I were to be so blunt, this kid is Welsh and Kenny Anderson mixed into one. Without delay, grab your buds, get your bros and watch this Green Apple friends video, asap! - stanfield
Rob butterfield Adio DVD
Rockstar skateboarders, demos, 16 year old girls and puking on parades in Barcelona. The Adio video is chalk full of footage of what it must be like being on tour with Bam. Kenny Anderson has the well deserving closer and makes you wonder how it is possible to pop out of everything imaginable. If you are at your local skateshop and this video is playing take the time to stop and take a gander and I’m sure you’ll be surprised. - meadows
Quiksilver DVD When a company as big as Quiksilver puts out a promo, a lot
Everything is about baby steps. Your first job isn’t the one you’re working now and your kickflip isn’t the same as your first, though Rob Butterfield’s new video Babysteps, is a first timers masterpiece. Watching the video on the first go, I thought it was slow paced, due to the quieter classic rock music. But second time around it greatly grew on me and I found myself really intimately watching Brad Sheppard, which looks like he can skate anything in the laziest steez ever. Other parts are Sheldon Meleshinski from Zero hype, Magnus Hanson, Swell, Torey Goodall that skates a great part, and lastly Jordan Hoffart who quickly reminded me how amazing of a skater he is. Finishing up, two thumbs up to a filmer kid from the boonies, who gets terrible cellphone reception, plus lost his job because he wanted to get the DVD to the duplication house. But that’s fine, because it’s all about taking baby steps. - stanfield
kase van den heuvel | goderich, ontario . Kase saw a vert ramp in Holland and wanted to build one. So he did.
And with that we leave you for Color 3.2 Give us some feedback or just say hello! email@example.com 122
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Fall/Winter 2005. FEATURING Ian Twa, Aaron Johnson, Andy Howell, Cliché Skateboards, New York City, the art of James Jean, Ed and Deanna Te...