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a skateboard a limitedculture editionquarterly. /500.


a skateboard culture quarterly.


a limited edition

/500.


F E AT U R I N G : Eric Koston / Marc Johnson / Mike Carroll / Guy Mariano / Jeff Lenoce / Rick Howard / Anthony Pappalardo Cairo Foster / Rob Welsh / Scott Johnston / Brandon Biebel / Jesus Fernandez / Alex Olson / Mike Mo Capaldi The French Connection / The Royal Family / Ad #103 www.supradistribution.com / www.lakai.com / www.crailtap.com


JOSHKALIS BACKSIDE KICKFLIP. BLABAC PHOTO.


INTRODUCING THE NEW JOSH KALIS

SIGNATURE SHOE. FOR MORE INFO: WWW.DCSHOES.COM


“Decadence is a difficult word to use since it has become little more than a term of abuse applied by critics to anything they do not yet understand or which seems to differ from their moral concepts.” —erik brunetti [ o ] BRUNETTI

This issue, number five of the year, marks a milestone for Color. We technically broke our own rules just by making it. The most obvious clue is given away before you even open to this page, as our tag line, “a skateboard culture quarterly” is clearly a lie. Finally, with the dark, comes the light… and then the dark again. Five groups of skaters had three days to shoot around the clock and come up with a video part filmed predominately on Super 8. With skaters spanning across the country, this year’s Red Bull Shoot To Thrill was the ultimate in skateboard culture, involving (of course) the best skateboarding, artistic merit, and a sense of urgency from the filmers and photographers that made for some of the most amazing skateboarding I have ever seen caught on Super 8 film. They were all We published our first scheduled Special Edition this year [Color 5.3SE], which came in the working toward the same goal of producing the best film during a strict time regiment. All of form of a photography book. Well, you might have forgotten my intro to last winter’s Said the teams battled with time, injuries, security, and the weather, but only one team [3 skaters, And Done special illustration issue, which came out in a different format as a surprise to everyone. I had explained that 2007 would bring two additional issues of Color on top of our 1 photographer, 1 filmer] could be awarded top prize for Best Video. Three skaters whose quarterly cycle. And while this issue might look special enough to you, I am proud to say that combined ages add up to 101 took top spot in shredability by a landslide this year, and they were lucky enough to have the artistic vision and filming expertise to go with it. We decided this is only a standard issue of Color. But that’s fine, because maybe you don’t dig our wild it was worth bumping our regular content for this issue to make room for a 30-page article ideas for those SE issues anyhow. Regardless, it doesn’t matter because we’re really going documenting some of what you will see in the Shoot To Thrill 2007 films produced by Color to do whatever the hell we want, and that’s the way it has always been. with Red Bull. When I first started making Color the number ‘4’ was a symbol I couldn’t avoid (our office is I hope you enjoy this issue, and we would like to hear from you. To those avid readers out steps away from the infamous “four corners” in Vancouver’s eastside, four colour process there that have emailed me, even if you don’t get a response back, I do read every letter and printing, four corners to a book, foreclosed bank accounts, the list goes on). Finally, last probably talk badly about you regularly. I’m joking, I love to hear your criticisms and your year we reached that goal and have now surpassed it with this issue that you hold in your hands. So we decided that it would be the dark issue. A theme that could be spoken, but not ideas about how Color can better serve your taste buds. printed – I hate when magazines boast their themes on their covers, as if we couldn’t piece that together ourselves just by looking at it. But then again, this isn’t meant to be regarded Sandro Grison, as a dark-themed issue anyway, it just kind of ended up that way with the metal rhythmics Editor-In-Chief, Creative Director of Children p.138, the cursedly dark fashion on page 82, The Fallen team (hesh in the flesh sandro@colormagazine.ca beginning on page 64), an all-night-session fotofeature p.126, and the art of French p.60. Also, we were compelled to show the newest body of work from the prolific skate artist Dave p.s. Keep your eyes out for Color 5.6SE which is soon to be released! This will be an other Kinsey, whom has been a dear friend of Color’s for a long time now. This series of work will great concept issue, and our first ever sixth issue in our publishing cycle. The theme of make you wonder what darkness Kinsey’s been exposed to over there in sunny California p.74. seeing ‘4’ is no more. It’s all sixes from here on out… 6… 6…6.

This isn’t meant to be deceitful or pretentious, however, the line does serve up something of a humble perspective coming from the magazine itself. Most of the time I find magazines boasting that they’re the ‘largest’ or ‘best’ of their kind, but who’s really to judge that anyway, and isn’t that just a wee bit self-defeating? So then what else is there to look forward to?

8

5.5


new free video

in stores now!

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Special thanks to Lukasz Winter for entering this spot into the Take ĂŠS to Your Spots! contest. Rick McCrank blasts the gap with a frontside stalefish. Acosta and Scuba behind the lenses. esfootwear.com www.timebombtrading.com


COVER : This is our 17th issue of Color, and the first to have a skate photo grace the cover. With deadline approaching for the Red Bull Shoot To Thrill competition (90), red monkey Quinn Starr had little time to mess around while filming. Nobody really thought he would slide this one up the escalated coping, but there must have been someone working on his side that dark, cold night because this backside tailslide was only the start to an epic loop session. BEST PHOTO, Shoot To Thrill: Dylan Doubt LTD COVER (above): We only printed 500 of these covers featuring “Or Nothing At All” by Blk/Mrkt gallery owner and artist Dave Kinsey. This limited edition of the magazine is only available to subscribers. If you’re into collecting every issue of Color and you don’t subscribe, you missed out on this one. Don’t miss out on any more of these subscriber specials. Visit us online and subscribe now. COLORMAGAZINE.CA

departments 8 intro, 10 contents, 14 masthead&contributors, 16 inspiration bound 22 extra/random, 26 product toss (30, 46), 28 show, 34 faces n’ spaces 36 anthrax, 38 CMYK (feat. guy mariano, chad dickson, tim breen, glencoe) 52 contest, 126 fotofeature, 142 soundcheque, 144 trailer 146 last nite, 150 over&out. 10

contents5.5


An unholy wedding… A Ming Juicer paddles from the murky water’s of False Creek’s innermost harbour out to the Winter Fjords and stumbles across this issue’s fashion shoot. Photography by Dylan Doubt and Zoe Bridgman.

72 PEACE METAL.

48 GETTING IN TENTS.

There aren’t too many bands today with the likeness of past skate-thrash bands such as Suicidal Tendencies and D.R.I. We’re in different times now. Children want to destroy this bullshit society and are well on their way to rebuilding something banging.

A cross-section of the Supra Distribution clan get dirty across the midwest of Canada, visiting skateshops, parks and a guy named Crazyhorse along the way.

54 2 YEARS FOR 15 MINUTES. 74 DAVE KINSEY.

It’s been a long haul with seemingly unknown, tightlipped skaters doing unimaginable things. The Chapman chaps who press some of your favourite decks in Maine, New York, have finally unleashed their film and are on a path of skateboard culture deconstruction.

64 IN THE FLESH.

The man responsible for so many corporate identities new and old, owner of the late Treefort Skateboards, and an inspiration to so many skate artists abroad, shares some pieces from his newest body of work with us and talks shop with Koop.

82 CURSED DOMAIN OF THE WINTER FJORDS.

Fallen’s savages from the south meat up with our very own Dylan Doubt, embarking on a 10-day trip of airline food, demos and signings across Canada. Somewhere in that short time, everyone managed to get ample street skating in. We captured a little part of each of their soles in this issue’s tour article. It’s soooo not punny.

Zoe Bridgman photographs the cursed corpse of three young lovelies with 3 Inches Of Blood vocalist Jamie Hooper and stylist Toyo Tsuchiya.

90 SHOOT TO THRILL

Not unlike other ghostly discharge, the annual Red Bull film extravaganza has come and gone right underneath your noses. Five teams set out for three days of complete ransack, skateboarding in cities across the country. Competing for top spot (and $3000) in this film competition would be no walk in the park. Ten rolls of black and white Super 8 film was rigorously edited under strict time restraints to produce five short films – judged on creativity, execution, artistic merrit and overall thrill. Including skaters such as Rick McCrank (Vancouver), Alex Gavin (Montreal), and Ryan Decenzo freshly landed in Quebec after a trip to Spain. The filmmakers tell their tales while we sit astonished by the amount of skating recorded in 72 hours. .contents5.5

11


MMAACCAALISTTEERR

Committed to Skateboarding. www.C1RCA.ca


SANDRO GRISON DYLAN DOUBT

editor / creative director

Erik Brunetti guest typographer Erik is one of the most underrated players in the street wear market — probably because he doesn’t subscribe to that term. Writing graffiti since ‘85, Brunetti later perfected his skills in the mediums of ball-point pen, street photography and graphic design. He has a book to be released [currently untitled] about FUCT’s absence from the streetwear world, a time when Erik really was wearing the streets... in cars and rehabilitation centres. He kept journals dating back to 1994 when he first discovered heroin, documenting his decline in 1999-2004. A good 15 years later, he’s off the horse, doing all his work from his loft, including collaborations with Larry Clarke and anyone else with a knack for true originality. Other than his divine mastery behind a pencil, our favourite thing about Erik is his awareness in both art and politics, and just how this whole fucked up world works. Check for his styling on this issue’s titles, page 8 and the inserted post card. FUCT.COM

sandro@colormagazine.ca

enterthealist.com

music editor

music@colormagazine.ca

CRAIG ROSVOLD STAFF WRITERS

advertising director

craig@colormagazine.ca

mike christie matthew meadows

BEN TOUR STAFF PHOTOGRAPHER illustratior

tour@colormagazine.ca

gordon nicholas

gordon@colormagazine.ca

JENNIFER MACLEOD RHIANON BADER copy editor

rbader@colormagazine.ca

MILA FRANOVIC CHRIS BARIL

Jay Revelle is a Canada/Japan-based human whose goal is to live until he is 100 years old. From an early age, he dreamt of becoming a ninja until he realized they no longer exist and that he was from, well… Canada. Michael J. Fox initially introduced him to the world of skateboarding in 1986, and skateboarding became his next and current rogue-like activity. Almost 22 years later, he continues to pursue skateboarding and creativity. Jay describes himself as: happy, sad, funny, stupid, dumb, drunk and smart (sometimes). He hates winter and cigarettes. In this issue, Jay penned the words for this year’s SHOOT TO THRILL contest article. Enjoy them on page 90. JAYREVELLE.COM

Dan Mathieu contributing photographer If Dan Mathieu was to be re-incarnated, he’d come back as a loose Indy truck. Why? Because he’s simple, reliable and his looseness allows him to turn around on a dime, in any situation. Oh, and like an Indy, he can be grinded to the axle and still have a fresh feel. Does this analogy seem simplistic? During your next photo mission with Dan, keep this in mind and you’ll understand what I mean. For this issue, he was the embedded photographer with the Tarnished Goods crew, page 114. EXPOSEMAG.COM

Toyo Tsuchiya stylist Toyo is licensed to instruct fashion, meaning when she says “that doesn’t work” it really doesn’t, and you’ve got to take off that turtle neck or those leggings right there... she can do that. She’s that powerful. She has been a design assistant for a Vancouver-based clothing label and started her own styling career with independent movies, working with costumes. She is currently working as a stylist doing fashion editorials, ad campaigns, and music videos. An avid fan of metal music, she brought together this issue’s fashion editorial in a matter of days, preparing after midnight and shooting as the sun was rising over the Cursed Domain of the Winter Fjords, page 82. contributors/masthead.

arts editor

nbrown@colormagazine.ca

ERIK BRUNETTI SAELAN TWERDY

guest typographer

circulation

14

dylandoubt@colormagazine.ca

DAVID KO NICHOLAS BROWN

graphic design

dko@colormagazine.ca

jmacleod@colormagazine.ca

Jay Revelle contributing writer

photo editor

fashion

mfranovic@colormagazine.ca

web

baril@colormagazine.ca

CONTRIBUTING PHOTOGRAPHERS allen ying, andrew norton, brian caissie, chris glancy dan mathieu, downhoney, dustin koop, eric brunetti gabriel authier, geoffrey clifford, ian snow, jeff landi jeff thorburn, jennilee marigomen, joel dufresne kasey andrews, scott pommier, terry worona tim barber, zoe bridgman

CONTRIBUTING WRITERS dustin koop, guy levesque, jamie thomas, jay revelle jeff thorburn, joni murphy, luke tanner wow, that’s a few j’s!

PRE PRESS ian sargent joel dufresne

CONTRIBUTING ARTISTS niall mcclelland

INTERNSHIPS shawn lennon newstands: disticor.com | magamall.com

Publications mail agreement No. 40843627 Return undeliverable Canadian addresses to: fourcornerpublishinginc. 321 RAILWAY STREET, STUDIO 105 VANCOUVER, BC V6A 1A4 CANADA p.604 873 6699 f.604 873 6619 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 bi-monthly 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. 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 may be ordered individually or in bulk by retailers for resale. Subscribe: 6 issues for $39.99 in Canada, $59.99 CND in the United States, $89.99 CND for all other countries. Contact Color Magazine with any subscription inquiries or visit us online: www.colormagazine.ca Printed in Canada


www.supradistribution.com


THE PSYCHEDELIC EXPERIENCE

THE MENNONITES

timothy leary, ralph metzer, richard alpert (university books)

larry towell (phaidon)

MONSTER CHILDREN ISSUE #15 the art dump (campbell milligan/chris sear)

The 60s were a joyous time; freedom and free love were in full bloom. What better time could there have been to foster three Technology will be the death of use. We all know it. We are Ph.Ds at Harvard University in their experiments with LSD and killing ourselves slowly with over consumption, over use, and other mind altering substances. Their research, experiences, general neglect. The book offers some warm meditations and interviews with people that celebrate a simpler life. These Men- and teachings can be read within. Based on The Tibetan Book nonites opt for a traditional way of life free from today’s techno- of the Dead, the authors focus on the necessary steps for both mental and spiritual awareness, before and during your trip. But logical complications… no phones, cars, or electricity (though they are known to enjoy some sugary treats). Fuck the iphone! this is more than a guide to getting high, it is a manual on how Get down with the ibuggy. Kick back with some horses, grow a to fully experience the supernatural, on drugs, and off. beard (not a moustache though) and wear simple clothes sewn with love by your mother and all the other womanfolk. PHAIDON.COM

MCSWEENEY’S 24

This magazine serves as a perfect example of my habbit to neglect the very things I enjoy. I mean, when I see something for the first time, I know whether I like it or not off the bat. I borrowed my first issue of MC from Andrew Pommier who had a show at their art gallery in Austrailia. For obvious reasons I immediately felt a connection with the mag (we pretty much make the same product). This review is much harder to write than a bad review. It’s so much harder to pin point why I like something then why I don’t... Or maybe it’s that I just don’t want to complicate such a good thing by breaking it down into reasons. Let me just say this: Issue 15 has two covers, the above art by Travis Millard and a secondary colourful cover by The Art Dump who guest edited the issue. It comes with a DVD of goodies from Stussy, Volcom, EA, Globe and of coarse some exclusive OZ video from Monster Children. It also includes an interview with one of my personal favourites right ­now, Alex Olson, tons of editorial with Mike Carrol, Rick Howard, some Gonz, a little Spike Jonze... However Chris and Campbell pulled the wool over the eyes of The Art Dump to take on such a task is beyond me, but kudos!

ed. justin taylor

MONSTERCHILDREN.COM

McSweeney’s divides people. For some, it’s the four-times-ayear Bible of contemporary American literature. For others, it’s a symbol of the decadence of American letters: a pretentious clique of frivolous post-collegiates in love with their own education and indulging all their questionable whims. LOVE HATE FROM JP Personally, I keep buying it because I can’t get over the insane usugrow (upper playground & fifty24sf) quality of their physical publication standards. A couple issues ago, it was three paperbacks held inside a luxury hardcover This is Usogrow’s first art book offering. It is a beautifully finished hard bound book with a soft satiny black texture and a shell by their magnetic spines (if you had multiple copies, you could stack them into freestanding book sculptures). This ghostly cover image. The artist is well known for his tattoo art, time, it’s a three-paneled clothbound edition that opens from skull imagery, and fine ink drawings, which are all included in both ends and folds out into a double-sided panorama with the book, along with some skate photos and personal photos art by Rachell Sumpter in what the explanatory notes call a documenting his career. bifurcated/recursive linearity trick, which is exactly the kind UPPERPLAYGROUND.COM of showy little stunt that makes you either love or hate these people. Also, half of this issue is devoted to a tribute to my alltime favourite short-story writer, Donald Barthelme, with some semi-interesting eulogies and a couple great, previously unpublished stories. Like most issues, you probably already know if you’re interested. MCSWEENEYS.NET

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bookreviews.

OVENMAN jeff parker (tin house) This book arrived in the mail recently with a note saying that our readers may find this to be of interest. It’s a coming of age story about a Thin-finger, a “skateboarder, pizza slinger and punk rocker wannabe”. A novel about a skateboard is a hard sell, harder still when there is a skateboard on it’s cover. A cover quote from George Saunders though had me interested and then an introduction by “home land” author Sam Lipsyte kind of sealed the deal, so we’ll give this one a shot. Stay tuned, and I’ll let you know how it is. TINHOUSE.COM


www.supradistribution.com


Things to Make and Do. Amy Gunther Steve Forstner Cooper Wilt Clint Peterson Tuukka Korhonen Benny Fairfax This season WeSC invites you to imagine a world where craftiness is king. A chalet where hastiness is traded for hobby, and the day-to-day talents of your friends are known and appreciated. Here the world moves at a slower pace. Letters are handwritten, meals homemade, and moments last just a wee bit longer. Turn off your TV. Unplug your microwave, and trade binary code for conversation and craft. Welcome to your coziest, most creative Fall/Winter yet.


22 METERS 72 FEET MOSQUITO CREEK, 6 FEET DEEP.

words and photosby dylan doubt

paying respects to a haunting spot.

This title is taken from a stanza in a poem found at a memorial for Douglas Lenard “Chewy” Glenn, a young man who lost his life when he hopped over a guardrail to find that the ground wasn’t where he had hoped it would be. Lenard had been partying with friends, got in a bit of a fight, and somehow ended up making this tragic mistake. His memorial sits not six feet away from another one, that of Ryan Morales De La Costa, who less than a year before had made the same fatal mistake. Rumour has it that Ryan was running from the police. The police, of course, claim that he was simply hopping over the rail to “relieve himself”. Why someone would choose the centre of an overpass to take a leak is beyond me, especially (when they’re being pursued by the police) with the police in pursuit. Regardless, it is a bummer. A bummer indeed.

22

extra/random.


As Alex Chalmers led me down the long, dark trail, I felt a sense of unease hanging in the air, which only made sense when Alex told me the spot’s history. The space between the two overpasses has since been filled, but the eeriness lingers. Ryan and Chewy, I am truly sorry. These grinds are dedicated to you.

This may be one of Alex Chalmers’ creepiest spots, but it is just a drop in the bucket of his incredibly deep well of spots tucked in and around the North Shore of Vancouver. By the time, you’ve thrown your board down and made it to the bank, the 5-0 is all sprinkles on the donut. A nice donut, prepared a few blocks away, at Harmony donuts. Delish!

.extra/random

23


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ripping the undead. Because good things never die, we shot this photo so you could take note of the fine black metal inspired products at your local skate shop right now.

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we have the technology but do we have the sense?

wordsby joni murphy

images courtesy Netherlands Media Art Institute, Montevideo/Time Based Arts.

Mark Bain, Janet Cardiff & Georges Bures Miller, Justin Bennett, Jeroen Diepenmaat, Jacob Kirkegaard, Ann Lislegaard, Christian Marclay, Rä di Martino, Antonietta Peeters, Karen Russo, Michael Snow and Imogen Stidworthy. Since Thomas Edison imagined listening to the dead through machines, recorded audio and uncanny sensations have been intertwined. When evoking fear, movie sound designers still turn to the well-worn technique of contrasting what the audience can hear with what they can see. A door creaks, a whisper seems to materialize right in our ear, a shot of dark woods is made terrifying because it’s accompanied by a mechanical laugh. Even after more than a hundred years of mechanically reproduced sound, it’s still possible to feel subtly disoriented when our senses are made to rub against one another rather than reinforce one another. Many of the pieces in the exhibition OFF SCREEN have a somewhat ominous quality because they employ this friction, but subtly rather than with the overt punch of a horror film. In one piece the sound of invisible feet moves across an unsettlingly displaced floor. In another, various empty spaces of the Russian city of Chernobyl appear to quiver with the imagined sound and light of nuclear radiation. In the hallway of the gallery a bomb periodically explodes with a violently amplified telephone ring. The artworks in this group exhibition are bound together by a potentially fruitful but also troublingly vague theme, that is, discrepancies between images and sounds. This group show includes works by Janet Cardiff and George Bures Miller, Christian Marclay, Michael Snow and others. All the works – videos, sculptures, and installations – traverse the soft boundary between seeing and hearing. At points the curators employ this concept productively within the physical limitations of the gallery, but overall there is something left wanting – a position, a clearly articulated question or critique, a more ruthless control of these blurry distinctions. In the sections of the show when a piece and 28

showreview.

its installation were in harmony, viewers were given a chance to immerse themselves in the artwork. The most interesting parts of OFF SCREEN came when I experienced a kind of aural vertigo, a low-grade visual nausea, some physical discomfort. Examples include an installation by Ann Lisiegaard, in which gray floorboards arranged in the dimensions of a small room have been propped against a wall. Moving across this surface are the sounds of phantom footsteps, chair wheel scrapes, a woman’s voice describing her actions in the room. The lights focused on the floor shift from bright to black rapidly. And while what the woman says is quite mundane, her looped and layered voice emphasizes time passing and the actions being repeated in that small square space create a claustrophobic sensation.

to struggle through language in the way that the woman describes her labors in the frozen landscape. The documentation of the piece states that the man in the video has Aphasia, a language disorder which limits his speech and comprehension. He seems stuck behind his speech, floundering and at the same time catching the most physical details of the scene he hears being described. In this piece the austere room of the gallery, the privacy afforded the piece allows one to feel the tension between what is being described and what is being shown. The disorientation is productive.

omnipresent and are regarded as of great importance, but it can be asked whether we are conscious of the enormous influence of sound.” I am inclined to question this premise. Instead I would argue people are, more than ever, aware of the enormous influence sound has on their lives. World service radio reports tell us cell phone rings can detonate roadside bombs. Music available 24/7 over the internet floats free of physical objects like tapes or disks. Political sound bites are served as everyday hors d’oeuvres and even the most mundane walk to the grocery store can be psyched out or slowed down with the aid of an iPod. At this point in time, in first world nations at least, it’s a given that much of what we see can be quite disassociated from what we hear. So rather than just loosely exploring this idea, the curators had an opportunity to take on some of the very visceral implications of all this mediation and disjunction. Rather than just asking if we are aware of the influence sound has in our lives, it would have been more fruitful to explore how we might make sense of this sometimes horrifying, sometimes amazing reality.

Unfortunately, in other instances – as with the video by Janet Cardiff and George Burnes Miller – the installation undermines the potential effect of the work itself. Cardiff and Miller are renowned for their sensitive, Another piece that was displayed effectively complex use of sound and space. Showing was Battles Under the Sea of Ice by British their video loop Hill Climbing on a T.V. in a artist Karen Russo. The viewer, sitting down hallway right next to the entrance completely and donning headphones finds themselves failed to do these artists justice. Rather than faced with a shot of a man also wearing highlighting their use of audio to create a headphones. Here, the viewer and subject full physical sensation, this placement in the is listening to a woman’s voice describe the gallery robbed the piece of its interesting act of digging for a dead body in the ice. The qualities and made it a short distraction rather man on the screen twists his face and speaks than an immersive experience. OFF SCREEN: Spatial Soundings and Silent disjointed phrases that loosely relate to the Musicalities at the Nederlands Instituut voor text the woman is reading. The man seems The catalog essay asserts that “images are Mediakunst. August 25 – October 7, 2007


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hamburger eyes.

Photo Epicenter is located at 26 Lilac St. (off of 24th + Mission) San Francisco, CA Open Mon - Sat 10am-10pm

words and photosby dylan doubt

About seven years ago, Potes brothers Ray and Dave, feeling the lack of anything of its kind, started the low-ish budget photo ‘zine, Hamburger Eyes. About seven months ago, noticing another gap in cultural amenities, they joined together with Stefan Simikich, and took over Colorarts Photographics, a darkroom rental house that had been around for twenty odd years. Ray had been printing there for three years, and the previous owner was ready for a change. It was only natural that the Hamburger Eyes Epicenter was born. There was a lot of cleaning involved, but when the dust had settled, there was a full gallery space, a studio, digital lab, retail space, and Sylvester Stallone paintings – in addition to the already well-stocked colour and black and white darkrooms.

I asked Ray how running the Epicenter compared to its print counterpart, he responded: “With the ‘zine, the work comes in cycles. I can mentally, financially, and physically prepare myself for when it’s go time. Here at the lab, it’s go time all the time... the toilet’s running, the processor’s making a weird noise, there’s a show going up, coming down, chemistry spill, broken glass, etc. etc.” He says the best thing about the space is that they get a “full spectrum” of photographers coming though. “There are students, artists, commercial pros, studio wizards, xtreme sports, bling, punk, etc. We have everyone from Jim Goldberg to Barry McGee.” The Epicenter is located right in the heart of the Mission in San Francisco. Yell loudly, and someone will throw down the keys to the front door.

BURGERWORLDCHRONICLES.COM

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facesnspaces.


www.supradistribution.com


HE SHOT FROM THE HIP

DESTRUCTO ART PROJECT

SUEEEEEEE

TOY2R, Diamond Comics and Toy Tokyo have assembled a virtual “who’s who” list of today’s hottest pop culture artists, designers and illustrators from around the world. Each original figure has been painted, sculpted, and customized to illustrate each artist’s own unique re-interpretation of the iconic character, Bart Simpson, using the 10” D.I.Y. Bart Simpson Blank Qee Figure as a blank canvas. Destructo Bart is a rusty little guy. Kind of like a creepy garden gnome who might come to life in the middle of the night and wreak havoc on your house. DESTRUCTOTRUCKS..COM [ o ] DUFRESNE

We asked for entrants to send in an 8 x 10 photo of something weird or interesting that they happened to see and were able to whip out their camera to capture. We had lots of entries of some crazy stuff, but there can only be one winner, and his name is Aaron Johnson of Vancouver, BC. He wins the massive $1100.00 prize from Parade Portfolio Management of a fully integrated and editable online portfolio management system, plus a subscription to Color.

DC collaborated with famed New York eatery The Spotted Pig to create these sneakers. Originally, only enough pairs of the solid orange sneakers were made to outfit the crew at the restaurant, but after customers started to ask the servers if they could buy them off of their feet DC decided to release the shoe to the masses. DCSHOES.COM

FULLY FLARED

This highly anticipated video from Lakai is, at press time, still cloaked in secrecy. All we know is that all the team riders will be in upclose-and-personal glory as the whole thing is being shot in HD. Can’t wait to see if they were ready for their close ups.

[ o ] JOSEPH

The board says it all. Based on the Crailtap logo this board was created as an homage to that blog-tastic website that features stories, opinions, pictures, and videos from the Girl staff. It’s a great place to waste some time SOMETHING’S FISHY KAYO CORP. +1 at work and find out about the latest industry Each season superFishal will introduce a new Congratulations to Wade Desarmo on turning gossip. series of three collaborative board graphics. pro and joining the Kayo family. His new CRAILTAP.COM The boards are screen printed in small limited DGK decks are available now, so show your editions. The concept behind the series is to support and pick one up. THEKAYOCORP.COM SPECIAL, FOR YOU take two artists with different styles and have We are selling this limited run Tim Barber tee them meet and create really unique board A TOUCH OF EVIL in our website shop alongside many other graphics. Stussy is offering up these little demons to exclusive items. We didn’t print very many, so grace your fingers, pin to your bag and dangle “The Mermaid” with Todd Bratrud get on it quick and be the only one on your from your keys. The Destiny LED keychain lets block to have it. “The Music” with Pushead off a satanic glow so you can easily insert your “The Mushrooms” with Michael Sieben COLORMAGAZINE.CA/SHOP SUPERFISHALSF.COM key into the gates of hell. STUSSY.COM anthrax.

The inspiration for the spring ‘08 line from Altamont was taken from a catastrophic and deadly event that happened years ago and shook the rock community to its core. At a little known concert, held on the slopes of Mt. Kilauea on the Big Island of Hawaii, mega-Metal bands Child, Wizard Hill, and Hematoma combined forces to form the first ever “Monsters of Rock” type of event. Quite suddenly, in the middle of a guitar solo from Bobby Blaze, Kilauea suddenly erupted sending burning hot lava and ash flowing towards the concert goers. There were no survivors, but their story will now live on as Altamont releases never before seen concert and band tees from the event.

LAKAI.COM

IT SPEAKS FOR ITSELF

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BURNING METAL

ALTAMONTAPPAREL.COM

KITSCH SLIPPERS

Tapping into the family sheepskin business, Geoff Dermer and the Kitsch folk are happy to introduce some cozy slippers and a warm hat into the line. Geoff is quick to point out that these are the genuine article rather than dollar store slippers with fancy labeling. Unnecessary maybe, because once you slide your dogs in, there is no question. The Kitsch woolen line will be available in finer skate shops just in time for, ahem, X-mas. KITSCHSKATEBOARDS.COM


Andre Genovesi nollie b/s heelflip www.royalskateboardtruck.com www.supradistribution.com daryl angel / mike mo capaldi / mike carroll / justin eldridge / danny garcia / kerry getz / austyn gillette jerry hsu / raymond molinar / cale nuske / jose rojo / brad staba / kevin taylor


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CHAD DIXON switch laserflip [ o ] doubt.


NICK GENOVA bigspin fakie manual [ o ] norton.

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GUY MARIANO switch noseblunt transfer fakie flip [ o ] landi.


.cmyk

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TIM BREEM switch frontside flip [ o ] clifford.


Timebomb D i s t. : 6 04.2 51.1 097 stic ke r s@ ti m eb om

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bedazzlers. If the beast wore a jacket it would be Burberry Prorsum made of buttery soft leather. This season jackets for dudes are getting a little fancier then windbreakers, for girls its all about the bells and baubles. To take your jacket a step further go buy studs from a craft store and apply them to the seams. x (clockwise) MATIX mens mj dufflecoat LAKAI bomber jacket VOLCOM mens audicious hoodie BILLIBONG wmns joanie hoodie

x

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WE wmns nanne leather jacket RVCA wmns trench III peacoat MATIX wmns casey jacket FENCHURCH wmns ada jacket


Skateboarding, in all its wisdom, has taught us to be able to adapt to any given setting. Dealing with things like strange spots in rough areas of our hometowns is a way of testing ourselves to see how we react when we are taken out of the confines of the neighborhood skatepark. A more intense way of testing ourselves is to take a trip to a new town or city. There, we are on our own to find skate spots, as well as shelter, food, and drink.

words and photoby jeff thorburn illustrationby niall mcclelland

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At some point in the night, we all awoke to the sounds of Crazyhorse (a Regina local who had joined us at Noel’s) sitting at the fire and chanting. He then came to each of our tents and urged us to come drink with him by the fire, but we all declined. Luckily, everyone took this strange awakening in stride, and it provided a mutual laugh for all of us throughout the trip. When we awoke in the morning to find Crazyhorse still up by the fire, we questioned him on the previous night’s antics. Amazingly, he seemed to have no clue what we were talking about.

Edmonton brought more rainy weather and a trip to the Leduc indoor pool. Most of the skating was saved for a barrier spot in a parkade, so we continued south to our final destination.

Calgary brought a spark to the guys, and not because of its skate spots, but because of the ping pong table in Devin Morrison’s garage. Some great skating happened, but the matches that went down in that garage overshadowed it. Ry Guy was dominant – playing him was like playing against a wall. He did not lose. McD seemed to have a bit of nervous energy This intense test is what Mike McDermott, to shake off since he was not able to skate on Immediately after procuring what we deemed Wade Fyfe, Joey Williams, Ryan Blaxall, Nate the trip, so ping pong was just what he needed. to be Regina’s best coffee, we headed north Evans, Ryan McGuigan, and myself sought towards Saskatoon. Unfortunately, while it was Mike was youthful, eager, passionate and out on our tour from Regina to Calgary, via raining, the tarp that was covering our bags on energetic. At times, he would be asleep on the Saskatoon, Grand Prairie and Edmonton. the roof of the van came loose, so within 10km couch, and then inexplicably wake up when it The point of the trip was to take us out of we had to stop three times to adjust it. Joey is was his turn to play. Once the game was over, our element by skating unfamiliar spots and camping out along the way. In the process, we a trooper, and handled the tarp and bags like a he would then go right back to sleep. true boy scout. encountered some interesting characters, fun The In-Tents tour was just that: Intense. spots, concrete and wooden skateparks – and After a two-night stay in Saskatoon, with visits Yet everyone adapted and coped with one great ping pong table. their surroundings. No one ever got mad or to our tent city from Kevin Lowry and Owen frustrated, they just accepted where they were It all starts in Regina. I flew in from Vancouver, Woyotowich, we pointed westward to Grand and went with it. If skateboarding has taught Prairie. and met the rest of the guys who had just us anything, it’s to make the most of what you driven from Winnipeg at Tiki Room skateshop. have in front of you, but don’t hesitate to seek No one expected much from this northern oil Noel, the shop owner, greeted us and after a out new things. fun skate in the wind at the city’s outdoor park, town, but thanks to John at Dark Flavour, it we headed back to Noel’s to pitch our tents in turned out to be one of the best days of our his yard. After a great barbeque and campfire, trip. After being treated to lunch while we waited out the rain, we skated the ramps that we all retired to our tents. he had built in the parking lot of one of his shops. Thanks John!


JOEY WILLIAMS hardflip [ o ] thorburn.

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photo: shigeo


Remember when you had a crush on that person in junior high and didn’t have the guts to talk to them so you made a mix tape instead? Well, pretend we are that special someone by January 6th, 2008 and you will be eligable to win a prize pack from Color and Altamont Apparel (which is just as good as second base). We don’t want you to get sappy though, we want to rock out! So put together your best mix-tape on any format (except reel to reel and a-track). You can put away the Depeche Mode and Sugarcubes albums, you’ll get no extra points for seeming suprisingly sensitive here. Be obscure, but make sure to credit every artist/song and make it look original for a better chance at the swag. Custom cover/inlay artwork is a bonus. 52

contest.

win big with good, obscure taste in music! All digital entries will be made available for download off our website. The person who sends in the best mix-tape or CD will win a wardrobe of pieces from the music-inspired creative forces at Altamont Apparel. Mail your mix-tapes to fourcorner publishing inc., 105-321 Railway St, Vancouver, BC, V6A 1A4 or email a mp3s to contest@colormagazine.ca


wordsby sandro grison photosby allen ying

T

here comes a time when a young skate filmer makes the power move to go out on his own, putting an end to filming for somebody else and start work on their life’s work. That time came over two years ago for New York based filmer Jeremy Scott – a skateboard filmmaker with a different take on the dynamics of skater vs. filmer.

Busy in his studies with film school, Jeremy entered a Sole Tech contest held by eS shoes where contestants had to edit PJ Ladd’s “Really Sorry” footage. Winning the competition, and with graduation around the corner, Jeremy started thinking seriously about skateboard videos again. He told himself he wouldn’t do it unless it would be his way. “I wanted to be working with people, making something together” he says about his vision. “I had stopped filming for a while after getting bummed on the fucking childish problems it can present someone on a daily basis” he says referring to all the elements that go into making a video; “I almost feel as if I just babysat teenagers for a long period of time and filmed the experience.” What started happening next is what set this video apart from any he worked on before. The skaters were ripping and keeping humble despite their excitement. Jeremy believes “the only way to progress is to not get to hung up on what you’ve done already, regardless of how good it is.” And without bursting with excitement, they somehow found a balance, resulting in five seemingly unknown skaters gaining respect throughout a city where respect is a virtue that’s difficult to land. But so is a nollie flip boardslide on a handrail. Jake Johnson grew up in a town called State College in Pensylvania, but gots his higher education with this switch tailslide 270 at Pace University.

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The film was initially planned as a promotional video to help in the relaunch of the Chapman skateboard brand – you may remember them from the late 90s and into the 00s with riders such as Billy Rohan, Danny Gonzales and Anthony Furlong. Jeremy pitched his concept there first, and began filming with skaters he would like to watch in a video, but weren’t being given the chance. Brendan Leddy was the first skater on the roster, and Jeremy’s main influence in getting back on the horse. Jake Johnson and Luke Malaney also have parts and there are also appearances by Keith Denely and Mike Marks. After months of late night filming missions and stress, which resulted in the most promising of the skaters quitting completely, two years later “Short Ends” has

turned into more of an independent film, launching the career of Alien Workshop’s newest amateur, Jake Johnson. Best described as a ‘Northeast’ skateboard video, it was filmed predominately in the boroughs of New York, Long Island, upstate and the city. They also filmed in the Midwest, Maine, Florida [for Tampa am] and in Eastern Canadian cities such as St. Steven and St. John, New Foundland. What makes this video unique compared to most vids out today is that it was made with film and 24P, which Fourstar made so popular with their 2006 release of “Superchampion Funzone”. With technology today, it may appear that this type of indy video is a


“What I have here might just be some bizarre documentary.”

dime a dozen, with many videos coming out of the trenches giving birth to new skaters we’ve never heard of before. “We’re sorta in the same boat [as Canada] to create our own industry out here” Jeremy says. The scene in New York is much like that of Canada, a small flourishing scene of passionate skateboarders doing it right. There’s no promises that “Short Ends” will be the best skate video you’ve ever seen, but we do assure that there’s been a lot of time, thought, and creative energy put into it. Needless to say, everyone involved is passionate about skateboarding first, and the ‘stunts’ are just that, icing on the cake. What makes a good video though is when the love can show through amongst top notch skateboarding, and it does. As Jeremy puts it, “Often times making a part means a collaboration with the skater, not just pressing record.” That is when the magic happens.

From somewhere on Long Island, NY, to Long Island City, Queens, Keith Denley’s fs nosegrind pop out is the best trick done on any of these garage door bumps to flatbar. Short Ends premiered in New York City in October along with Josh Stewart’s new Static installment. It’s being distributed world wide for free as you read this, and will be re-cut for Fuel TV. Today Chapman Skateboards continues to manufacture for brands such as Cliché, Zoo York, and Shut Skateboards.

NUMBERSIX.TV

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People come from all over the world to Lincoln Center in NYC to watch the opera. Brendan Leddy comes from Maine to kickflip noseslide their 20 stair hubba.

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NOW SHOWING


wordsby saelan twerdy photoby chris glancy

There’s a cultural renaissance going on in Los Angeles right now, and No Age are right at the heart of it. Dean Allen Spunt and Randy Randall, the band’s two members, both used to play in a noiserock trio called Wives, and now they help run The Smell, an all-ages venue that doubles as a virtual community center for L.A.’s vibrant young scene. They curated an art show called Get Hurt earlier this year that featured unfuckwithable artists like Ashley Macomber, Ron Rege, Jr., Devendra Banhart, and Susan Cianciolo, and Randall also runs PPM! Records, who put out one of the five 7-inch EPs that No Age released all at once, on five different labels, as their first output. Weirdo Rippers, their debut CD, is a compilation of the best tracks from those EPs, and it’s some of the best new music you could hope to hear. Like Lightning Bolt, it’s two guys making more noise than they have any right to, and like Black Dice at their ecstatic best, they’re powered by psychedelic waves of feedback and delay. But No Age are more personal than either of those bands. Their songs are really bedroom-pop, fuzzed-out and confessional, like the kind of stuff that came out of Olympia in the early 90’s – totally punk in its rawness and energy, but hiding a kind of soft prettiness under every blast of distortion. They have that really rare energy that comes from a life outside the music, connected to people and things that are growing and happening, where every song isn’t just a sound, but a chance to express the thrill of building a new life. It’s a kind of excitement that no amount of cool influences can match, and the fact that No Age have both make them the rarest kind of band: one that’s really doing something new.

“For me the idea is that getting hurt is positive.”

are back to being happy with scars.

Tell me a bit about the people and the stuff going on in L.A. that I should know about. The Smell, Jim Smith, Ooga Booga, Tiny Creamade such a difference? and everything about hardcore really changed my tures, Abe Vigoda, Mika Miko, Family Bookstore, It just made sense. We wanted to play more Teenage Teardrops, Partyfowl, Silver Daggers, idea about music. It kinda went from New Kids simple music, more stripped-down and stuff that On the Block to Guns n’ Roses to The Misfits. The Bicycle Kitchen, M Cafe, Part Time Punks, Randy and I actually like to hear. We both love Fuck Yeah Fest, The Soft Boiled Eggies, Ariel The last stage spoke to me in a way I had never melody and noise. We thought that was a good experienced before. Punk like the Dead Kennedys Pink, Lavender Diamond, The Cha Cha, Not Not place to start. We definitely reference punk, we and Faith and The Ramones scared me and made Fun, the beach, the valley, the inland empire, Ima are a PUNK band. In a tradition of LA punk bands me want to be a punk. It made my mind free as Fucking Gymnast, Aaron Rose, Keep shoes, there before us like The Germs, Gun Club, Black Flag, is so much awesome stuff right now, you could a bird. The Urinals, we can understand where they were probably google search any of this stuff and be coming from because they were all referencing amazed for weeks. Positiveness and creativity. I know the name No Age came from a comp stuff before them, and making it their own thing. of instrumental music that Greg Ginn put The Germs were caught up on glam, Greg Ginn together on SST in the late 80s, but how about What have you got planned for the next while? Color: How long have you two known each on playing the blues, The Urinals on surf music We are working on recording stuff always. We Get Hurt? It’s come up as the name of an art other? and so on. We are trying to play timeless music are trying to figure out how do get health care to show and a 12”. Is there an idea wrapped up Dean Spunt: About six years, maybe seven. We people who participate at the Smell. We are makin that? met when Randy came to my record store looking that sounds old but like something you have never heard before. And loud. ing a secret installation. Recording peoples’ conFor me the idea is that getting hurt is positive. for an MC Hammer tape. I told him to fuck himself versations. All sorts of stuff. But most importantly After a painful experience I always end up more and we have been friends ever since. making music and trying to be healthy. mature and stronger. It is a catalyst. An emotion What kind of albums first got you into music Whether in Wives or No Age, your love for and how did you get to where you are now, in we are always running from, but in the end we can’t and it is such a natural human feeling to be No Age just got signed to Sub Pop and are already hardcore punk is pretty clear, but you’ve terms of your musical interests? working on a new album. Weirdo Rippers is out now moved into far more positive and open and Like you said before, I was floored by punk music. hurt and let down and crushed. It is amazing to on Fat Cat Records. me how you can flip-flop and get so depressed accessible territory (all in your favour, in my From Crass to Bad Brains. To Minor Threat to opinion). How come making a trio into a duo The Pixies. Nirvana to Reagan Youth. Punk music one day and after time, maybe one moment, you 58

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french. words bynicholas brown

Brixton, UK-based artist French makes the kinds of drawings you wished you could make when you were sitting in class doing your best to render the cover of Cannibal Corpse’s Butchered at Birth. The difference is French is willing to take the time to render every bit of bone, sinew, hair and amorphous goop that lay beyond your teenage attention span. His meticulous shading and hatching brings an obscene amount of detail to some equally obscene subject matter. This is the kind of obsessive activity we’ve come to expect from metalheads, and French doesn’t disappoint, whether elaborating on the slimy ribcage and vital organs of a dismembered body, the hair and festering beards of satanic monks, or the decaying flesh of rats and wolves. While it goes without saying that French’s work is not for the faint of heart, it is, well, heartening to know that there are people still willing to spend the better part of a week painstakingly transcribing their most vile thoughts onto paper. It’s actually quite inspiring.

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ALTAMONTAPPAREL.COM


wordsby nichlas brown

For anyone who’s ever worked retail, be it a clothing store, a coffee shop, or any of the multitude of low-paying, entrylevel jobs, there’s something deeply satisfying about leaving a customer bewildered and mystified. That’s what first drew me to the St. George Marsh when I entered the diminutive south Main Vancouver corner store in July of 2005. There was nothing even remotely explanatory about the shop’s haphazard, but meticulously arranged collection of objects, which varied from a collection of masks (goalie, gasmask, balaclava), ancient wooden tennis rackets, weathered paperbacks, maps of interior British Columbia, and what looked like someone’s personal video collection available to rent. At the counter, one could pick up standard convenience store fare, such as candy, soda, laundry detergent and kitty litter, all from obscure and often obsolete brands. For the average neighbourhood walk-in customer, the place was bizarre beyond comprehension; for a select audience, the project was immediately identifiable as the work of artists Jacob Gleeson and Gareth Moore.

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he fact that the Marsh was an art project was only hinted at by some of the wares on display: theoretical texts, video art DVDs by Emily Carr graduates, and of course, the corner of the shop dedicated to rotating exhibitions (a funny sort of meta-articulation of the space as a curatorial venture). But it was crucial that the two proprietors understated the shop’s premise, allowing each patron to experience and interpret the shop on their own. By appropriating an increasingly untenable business model – the ‘mom and pop shop’ – the two made use of their autonomy as artists. Without the need to be financially viable (they both worked regular jobs on the side, and took turns operating the shop at unconventional hours), they were left to explore their eccentric sensibilities, mining the endlessly amusing patron responses.

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While it was clear from the beginning that the project could never last – it officially “went out of business” in September 2006 – it was Gleeson and Moore’s commitment to the project’s impossibility as a real business venture that made it a success, of sorts. And now the Marsh is refusing logic even in the afterlife, having been carted off to a loading bay and offered up for sale en masse (nobody took the offer). Left to languish in a storage locker, the project was reinvigorated this summer when UBC’s Belkin Satellite gallery, located in downtown Vancouver, offered the artists a chance to reinstall the Marsh in a proper gallery setting. If there was something lost in the Marsh’s rehang, it was the sense of mystification that came from those not in the know, which was arguably the ideal audience for the shop’s hundreds, if not thousands of unexplained objects. But it offered yet another episode in an ongoing set of context shifts that kept us all hanging, confused but delighted by so many objects, rituals, and miscellaneous eccentricities.


Color: Could you give a bit of background about the neighbourhood in which the St. George Marsh was located? I understand that the name was related to the neighbourhood’s origins, but could you elaborate on how the history of the location contributed to the way you conceptualized the project? Jacob Gleeson: We did some research on the area and found some interesting things and sort of played on those to build the mystique and channel some of that past, you could say. For instance there was a soda brewery not far away and the marsh was all around, ‘Canoe Creek’ went through there, Saint George was a newer street name but we like ‘Olde English’ reference and the cemetery rounded it out (kidding). Actually Fraser Street was known as Cemetery Road for a while which it kind of still is in a business sense in that area of Fraser. Maybe that’s why we never considered attempting anything commercially viable. I think it was more the fact that we wanted to experiment with unique (not necessarily conventionally ‘valuable’) objects and display methods in a store-like setting. We had already been individually collecting things over the years which provided a basis for what we wanted, but the area did provide more layers and not just in a historical sense. For instance, having the Punjabi Market nearby resulted in us discovering Thums Up (no ‘b’) which was one of the top selling sodas in the store! The coconuts at a local Filipino grocery store spawned our ‘Coconut Ceremony’ which entailed sacrificing a young coconut with a machete and serving it with mesh tops, bells, incense and tribal rhythms. I would also say in a broader geographical context inspirations were drawn from the local history and aesthetics of rural and wilderness life. This brought out the small town museum and rustic outdoors themes that were quite prominent. It seems that both you and Gareth have built your art practices around engagements with environments and spaces and their histories. Collecting material related to these locales (maps, samples and images of physical environments, documentation of architecture, etc.) seems to resonate quite nicely with the kinds of material offered up for view and for sale at the Marsh. Could you describe how this project came about between the two of you and how it may or may not reflect your individual projects and the collaborative mode you developed together? Just similar interests and inspirations and the desire to do something different after art school really. The space just kind of presented itself through a friend who purchased the building and I brought it up with Gareth and we just got excited about it. We had to rent out the suite attached to it as well so Gareth volunteered to move in there at the time and I’m actually living in there

cared for that same can before... maybe because when we used to put it in front of the store somebody would inevitably come out of the woodwork and throw a bag of dogshit into it! What was the story with the “going out of business sale”? Could you explain how that came about, and whether or not you felt it a satisfying “end” to the project? That was an opportunity generously provided by (gallerist/dealer) Catriona Jeffries to take advantage of her newly renovated gallery space as a place of dispersion for the dying Marsh. We decided to use the loading bay instead as it was an ideal way of holding a bankruptcy-type sale, which we did for a week at the end of last summer (‘06). I think Gareth and I appreciated both having a place to see it off and having a different context with which to do so. The fact that it’s an internationally successful commercial gallery makes the scenario more complicated in various ways depending on one’s perspective. I think we both found it amusing and interesting to attempt to sell a dead store out of a gallery’s loading bay in East Van. I should mention it was for sale as a whole of its parts, not individually. Visitors were a bit miffed when we broke it to them but they usually laughed as they put their treasures back and left. It carried on the Marsh’s tradition of being a frustrating place to shop.

now. I don’t think either of us had thought much beyond an enjoyable and unrestricted project that could develop according to our own sensibilities and impulses. As far as other things we’ve done and will continue to do, there are definitely correlations as our interests probably haven’t changed a great deal since then. Speaking for myself I’d like to use less stuff in future endeavors if possible! Sometimes you don’t have a choice though, the stuff finds you… But seriously I think we’re just working with what’s significant to us, things we come across that seem phenomenal on some level. One can do that alone or with other people where one sees fit. What kinds of challenges did you face in undertaking your residency at the Belkin? Were there any pieces or sections of the original Marsh that proved particularly daunting? I guess figuring out how to represent the Marsh for what it was and what it is now was the biggest challenge. Finding a structure that could hearken back yet reference the transition to its stored and somewhat homeless state. (Unless you consider a warehouse in Delta a home? I’ve seen living rooms and jam spaces set up in storage lockers…) But anyways, the daunting part was probably recreating the floor out of the shipping crates that now house all of the Marsh’s contents. We decided we wanted to tile the floor just like the original, as that

red vinyl tile was an ever-present part of the experience. That was a pain in the ass to actually physically do as the crate lids, which became the floor, are thin and ribbed so we had to tile around all that and tetrus them together to meet up with each other and balance on the crates underneath. It’s not very interesting to mention but it’s satisfying to draw attention to. Upon completion we actually joked about having a sign that drew attention to the fact that the floor was tiled bloody crate lids! Could you pick a couple of your favourite pieces from the collection? What kinds of considerations were made when installing them in the Belkin? We don’t like to pick favourites as the objects are sensitive. Generally, we just kept repositioning stuff until it materialized into something we liked and also captured the present state of the Marsh as more of a historical exhibit. New arrangements would often bring out new qualities in a piece and that would alter its worth to us in a way as well, keep us from replacing it. Some things actually became more favourable in the Belkin display like the garbage can mounted near the front of the exhibit. It contained a bubble tea cup with a Lowenbrau tall can inside it that our friend Sandy had left at the store one hot afternoon. We both quite liked the connotations of a garbage can installed on the side of a shipping crate. Yet we never

Could you describe the daily experience of working at the Marsh? The neighbours, the walk-ins, the reactions, expected or unexpected? What products were your best sellers? We had some busy days but generally it was slow going, when it rained often nobody would come in. When they did it was usually eventful though, especially if they just stumbled upon the place. That is what inspired us from the beginning I think, creating the kind of place we would like to come upon by chance and have an unexpected experience with. There were some regulars, so to speak: the aspiring chef with no money or socks but he did have a cell phone. I think he bought some Worcestershire sauce once and he was always arguing on his phone with a girlfriend that may or may not have existed. This guy in a muscle car always pulled up and bought a couple root beers. We sold a lot of ice cream in the summer, that was our ‘money-maker’. A Scottish fellow would come in and have us remind him what flavour he had the day before and on the way out he’d yell at us for not having Coke. There were these teenage girls who bought a lot of candy, they had distinct East Coast accents and would use words like ‘classy’. My favourite moment was when this completely inebriated man who had wet himself came by and told us in not so many words that our store was a failure and to give it up. He stated that he could recognize a worthwhile venture and this certainly wasn’t one. BELKIN.UBC.CA/SATELLITE It was a tough one to .st.georgemarsh

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words and photosby dylan doubt captionsby jamie thomas

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t was a hectic schedule. Nine days, eight demos, four flights, and one precious day-off tucked in there somewhere. There were some epic moments, but quite honestly it’s all a bit of a blur.

There was an incredible performer who goes by “Normand” selling his records at a truck stop. He must have been in Quebec somewhere because he could only have been Quebecois. He had recorded some 80 CDs in the past four years in six languages, the voice of god singing through him, from folk to opera, to rap, he had covered all the genres. I did buy a CD, you can track me down if you want a listen. It’s pretty good stuff, but we only got through about three songs before it was ejected to save it from being thrown out a window. 64

intheflesh.


This is an example of when all the elements of an epic skate photo come together; a picturesque obstacle at sunset with Tony Cervantes gracefully soaring a judo air. The Forks in Winnipeg, MB

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When visiting certain cities, there are some spots that you have to skate. Normally, it’s quite difficult to bring anything new, but here Josh Harmony offers a simple yet new perspective to a classic spot. Ollie wall banger. Toronto, ON

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It had to have been Toronto where we stayed in the artist-designed hotel – where else could you wake to find yourself laying under a peacock bedspread surrounded by lavender and 80s teen pinups. And where else but Winnipeg would some little bugger steal James Hardy’s skateboard from under his eyes, as a ridiculous amount of free Fallen booty was being distributed throughout the crowd. It is amazing how many kids you can connect with over such a short period. Everyone was stoked. When Jamie Thomas sits down and puts a team together, you know he isn’t one to mess around, and the Fallen team is no exception. He’s put together a pretty raging roster, most of whom were present for their first cross-Canada tour. Chris Cole has been on the team from the start and must have been an obvious pick. He is a machine. Not afraid to pull out a backside 360 kickflip down a double set at the demo, in fact, if need be, he’ll hold a demo down all by himself, and still manage to muster up the strength to skate a street spot afterwards. Most importantly, he’s one of the funniest men I know, and a delight to travel with. James Hardy is a bit of a monster. He’s soft spoken, and has a gently powerful style that dwarfs most obstacles. “James, you are massive,” Chris would blurt out at the most inopportune moments. “Shrek”, and “James and the giant peach… you are the Giant Peach” were but a couple of the bullets fired in Chris’ never-ending assault. When James was a much smaller young man, eyes shining with skateboarding dreams, he found himself staying on Heath Kirchart’s couch. To commemorate James’ 16th birthday, Heath and friends decided to torture him all night, and leave him hogtied, wet, covered in flour and alone in the backyard. Lucky for Heath, James doesn’t appear to be of a vengeful nature, because that fist would leave one hell of a mark. Billy Marks is a quiet man, happy enough with cigarettes and a little poker. If the gambling doesn’t work out, there’s always the whole ping-pong ball thing to fall back on. I think

Chris Cole gave a pre-demo demo at these historic Quebecois banks. Pyramid ollie over to pivot fakie. Quebec City, QC

After the demo in Edmonton got rained out, we rerouted to the Avenue Skatepark. Although fairly new to skating tranny, Billy Marks didn’t hesitate to taking his twinkle-toes into the bowl. You can call it a switch blunt, or you can call it a fakie noseblunt, but either way, it was on a borrowed board, and it ruled! Edmonton, AB

that one of his finest moments was doing fakie noseblunts in the deep end of the bowl at the Edmonton park on an extremely borrowed board. The demo was over, and this one definitely wasn’t for the kids. Tony Cervantes is a pure ripper. His tranny skills go leagues deeper than the token pivot fakie and crailslide. He seems born into it, and can shut down a double set as easily as a vert bowl despite the fact that he would rather be chilling in L.A. at his backyard ramp with his homies.

Sweet sounds from the duo, who will soon be a trio as there is a mini Harmony on the way. He’s a good-natured shredder who smiles when he slams. After the tour had ended he called me up for motorcycle advice. The next day he followed up with a triumphant report that he’d found fluid in the carb floats, a simple problem that has stumped many a veteran wrencher. He is a welldeserved owner of fine British iron.

Jamie of course needs no introduction, from his dirtbag days as an Alabama transplant sleeping at EMB, to the ever-famous shaved-head one day interview, to his current spot at the top of one of skateboarding’s heaviest families, he is a pure To say Josh Harmony is nice is like saying that skate rat to the bone. His mind is an encyclopea bear wears a funny hat, or shits in the woods, dia of random skate knowledge. If you are trying to remember someone’s part from any old skate or wait, maybe that was the Pope. Well whatever it is, he is one hell of a dude. Somewhere video, chances are that he knows his name, who in the Tum Yeto camp I’m sure you could track he skated for and what his last trick was. On one late night drive, we got to talking about the down the sweet collection of music that he recorded with his wife. They are the Harmonys. Spitfire video that came out in the mid-90s. .intheflesh

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In small towns, strange lurkers lurk. We waited out the rain, and made a late start. Our friend was on his way to the gym when he stopped to watch a mellow session. He eventually approached us, and was blown away to find out that it was none other than Jamie Thomas from that Tony Hawk game. He was tripping… “No way, I’ve totally played you. You have to ollie me.” Jamie obliged and then moved in for the kill with a bean plant. The dude was stoked, “That was bad! Jamie Thomas ollied me… I just got ollied by Jamie Thomas.” He kept muttering to himself as he reluctantly continued his walk up the hill. Stories for the gym... I wonder if his spotting partner will be so psyched. Kamloops, day eight.

Making his mob work for him, Billy Marks puts down a hardflip for the homies. Kamloops, BC

While we were still basking in our childish memories, Jamie got on the phone with Jim Thiebauld to suggest he re-release it. Jamie is a man of action. I wish we had gotten onto the topic of the 40s clothing video, “Amigos”, but maybe another time. In Edmonton, killing some time before a demo, we wandered into a pawnshop. It was a crazy scene. It seemed as though there were ten 68

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people hanging out. Like the skate shop lurkers, but middle aged and talking about muscle cars, hunting bows, and watercraft. There was a man trying to pawn an antler sculpture. It was a single antler crudely mounted to a piece of wood. I think he needed some money to cover a trip up north.

“That’s deadly. Did you make it?” we overheard one of lurkers ask as his friend assessed its value. “Yeah,” the man answered. “It’s fucking deadly.” “Well, no. I had it made.” “Well, whoever made it, it’s fucking deadly.”

“Fucking deadly” indeed. Shooting an article in such a short timeframe, with such a hectic schedule may seem ridiculous, but somehow I think we may just have pulled it off.


I might look reasonably relaxed in this photo, but I was actually on the edge of a breakdown. With my madness at an all time high - traffic, pedestrians, wind and a shop full of kids waiting for us to show up at a signing, riding away from this back lip felt like I had just won the lottery. Montreal, QC ­— Jamie Thomas

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Opposite page: While angry clouds creep, Chris Cole puts the hammer down with a varial heel. The clouds applauded with a downpour that quickly turned the rest of the day into a shopping spree. Toronto, ON

James Hardy is a beast of a teenager, some demos he would easily break 2 or 3 boards. Here he gets lucky and hucks his 200lb carcass down a staple Montreal gap without having to breakout the tools. B/s 360. Montreal, QC

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he drive from San Diego to Culver City where BLK/MRKT Gallery is located can be a bit time consuming, especially when dealing with a motorcycle collision and five hundred honking cars ahead. This allows plenty of time for me to realize how surprising it is that I am on my way to interview Dave Kinsey. With his first solo exhibition in over four years taking place at BLK/MRKT being less than two weeks away, and his being in the middle of creating work for the show, Kinsey made some time for my poking and prodding.

Sitting in traffic, moving at a turtle’s pace, I received a call from Kinsey informing me that he had to drop some paintings off at his framers and would be running a half hour late. This worked out great, considering I had missed my exit and was relying on my gut for directions. Two exits and twenty minutes later I realized that my “gut instincts” suck, so I resort to getting a shitty map drawn on a napkin by a taxi driver in some sketchy parking lot. What do you know, the taxi driver didn’t fuck me around, I actually made it to BLK/MRKT with three minutes and a quarter tank of gas to spare.

words and portraitsby dustin koop

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Previously I had imagined that Kinsey must look similar to the aged men that he had previously painted, he however was quite the opposite. The artist and full time graphic designer who is responsible for the creation of the DC Shoes logo, designed for Blunt magazine, created his own shoe model for Adidas, and has been featured in Transworld, Juxtapoz and just about every other skate or art magazine that comes to mind, is vibrant, down to earth and was open to showing me his studio and how he works.

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The Last Emperor mixed media on canvas, 91x61 cm Intermission Mechanism mixed media on canvas, 76x76 cm


Your current exhibiting work is quite different in tone and colour from older work, such as “Suffer” (1999), What has personally changed for you in the last seven to ten years to get you to where you are now? I feel it’s been a pretty natural progression to where I am now. My work just keeps evolving as I experience more in art and life. Having such a recognizable style, do you find it difficult to expand or even experiment with new styles and ideas? No, not really. I feel my style is important but not restricting – for instance, with this new series of work, I further explore abstraction and am able to keep within the boundary of what people might recognize as my style. I mean, if I started to paint seascapes with dolphins or something way off-base it might get wacky, but I wouldn’t want to do that anyway. Do you have constraints such as size, colour, or / formal construction that you have locked up in your head? Generally, no, except when I’m creating a body of work for an exhibition and then I do consider these things in order to make a body of work that works as a whole in addition to being viable single pieces. How do you come up with the titles for your work? Does this come about before, during, or after the process of creation? Most of the titles come forth during the process of creation. I write the title onto the wall in my studio or onto a napkin if I’m out. It’s actually kinda weird ‘cause during the process of creating the piece and/or at the completion of the piece a name may pop into my head without me really even thinking too much about it. If I force myself to think of a name, nothing happens. Later, when the painting is done, I start to notice numbers or shapes or words in book pages that reflect the meaning of the title – it’s pretty spooky what the subconscious is capable of. Hands Of The Angry God mixed media on canvas, 102x81 cm

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Warborne Blvd. mixed media on canvas, 91x61 cm

In regards to the numbers and words, it seems as if there is a strong absence of typography in your new body of work (namely stenciling). Was this pre-meditated or just a different direction you chose? It is a different direction from what I’ve done in the past. With this new body of work I’m trying to blur the lines of representational imagery by using abstract forms – the stenciling I used previously was an element of typography which I loved, and obviously more literal. I’m currently still integrating typography and words but in a more fragmented sense. Broken-up graffiti, abstract letterforms, iconography, symbols, etc... represent the modern fingerprints of the urban environment. All these elements act as a dialogue of conversations, identities and messages. In your previous work the women were often hidden. With your new work there is a lack of female presence, was this considered? I generally paint men not to exclude or de-emphasize women, but simply because there is more of a visual story being told in the life maps of older male faces. One thing that always has me curious about your work is why you choose to not put pupils into your character’s’ eyes? Was, and is, this still a conscious effort? Eyes, to me, reveal too much emotion—leaving the pupils out adds a more challenging aspect to the figure. I’ve been doing it for 15 years now, so it’s not really something I think about any more, it’s just become a very natural part of my style. Your new body of work seems heavily influenced by neo-dadaism and Rauschenberg. However, the piece “The Last Emperor” distances itself from the rest of the collection by being more abstract, with volatile brush strokes and a shift in the colour palette. In my mind, what looks to be an arm pointing a gun at the character’s chest may actually be nothing but a splatter of paint to someone else. Are you intentionally having the viewer search for iconic imagery, similar to the Rorschach [ink blot] test? And, how does this piece fit into this new series? My influences are a combination of many movements. I’d say the originators of abstract expressionism, pop art and neo-dadaism have played a part. Jasper Johns, Franz Kline, Warhol and Lee Bontecou to name a few. With these new pieces, I’m trying to push the viewer into a more confrontational place with my work. What’s revealed beyond the representational is up to the viewer. You may see a gun, others may see a violent ocean or part of a letterform that speaks to them. Hey, some may see nothing at all. 78

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I notice the majority of your subjects have black faces, yet the piece “Somewhere between” has heavy roller-brush markings painted in white over a pre-painted face. It feels politically/racially charged. What was the message you wanted to communicate? “Somewhere Between Happiness and Sadness” is the entire title for this piece. It’s actually about the complexity of identity and emotion in the current state of world affairs, but again, it can be about anything the viewer projects upon it.

do you feel you can address them? Corrupt politics, global warming, the downward spiral of the human race… ya’ know, nothing to really worry about. I address these issues through the use of dynamic colours, deep layered blacks and rather melancholy looking figures. The striking bright orange act as warnings, cautioning against the dire consequences of our bad habits. This notion of an apathetic culture, is this something you have felt yourself lapse into, or is this something you view from the outside? The commentary is about capitalist society as a whole.

such as Ian Francis or Ben Tour influencing and challenging how you work? Yes, having the gallery has really enhanced my approach to creating art and what I understand about the creative process as a whole. Each artist’s’ approach to conveying a message is so different. Although all artists seem to love beer.

How has the dual role of gallery owner and artist effected your art? Having a gallery has definitely enhanced my life, artistically and beyond – being around such a vibrant, eclectic group of individuals is inspiring and being able to support them is a What were some issues that you felt strongly about when making this body of work? How Are some of the newer artists you represent very fulfilling thing.

Consumer Comfort For Your Pain and Suffering diptych, mixed media on canvas, 122x61 cm Somewhere Between Happiness & Sadness mixed media on canvas, 61x46 cm

Kinsey’s show “Sure Why Not” will be held at BLK/ MRKT gallery, October 20th –November 17, 2007.

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wordsby jay revelle

It is now fairly well-known that in the 10th century, the Vikings landed in northeastern Canada a full 500 years before Christopher Columbus. The proof: the existence of ancient Viking villages in Labrador. In the 21st century, from September 7-10, 2007, five different groups of skateboarders in cities across Canada marched headfirst into the unknown as well, bringing back images of boardriding that are epic in their proportions.

F

or these five groups of visionaries, this year’s Red Bull Shoot To Thrill contest was a lesson in bravery, cunning, adaptability, perseverance, and a million other such virtues, the likes of which we all wish we had more of. A contest that has outdone itself from the previous Shoot To Thrill adventure, this year’s event involved teams operating in different cities and included the medium of video and Super 8 movie film – in addition to still photography – to exemplify the limits of the ability of the skateboarders, filmers, and photographers involved. Their goal: to

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spend three days in their respective cities filming, shooting skate photography, and in the end, submitting by a due date and finally receiving back their footage to be edited, resubmitted, and ultimately judged for the prize money. Yes… for these modern-day explorers – selected from a pile of applications – life in those three days would be a step into the unknown, a blind leap of faith, a simple hope of reaching something… anything – a task of seemingly Viking-like proportions. And, so it was...


[ o ] NORTON

Toronto’s Lee Yankou blasts a boneless on a tidal wave of concrete. Last day, solo session.

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captioned photography bydylan doubt

BEST LINE:

Quinn Starr, nollie up, FS 360, FS 360 off (filmed on Super 8)

BEST DIRECTION:

Ming Juice by Knife Fight

BEST PHOTO:

Quinn Starr, BS tailslide up the coping (Bonsor Bowls) by Dylan Doubt

Lord Adams, “The Director” and our humble leader. He is a true man of action. Without him, there is nothing.

While Viking expeditions made it to Labrador, as far as conventional archaeology is so far aware of, no Vikings ever made it to modernday Vancouver. However, as far as Shoot To Thrill is concerned, they live and skate there right now. Take Vancouver’s team, for example. Known as “Knife Fight”, and comprised of filmer Corey Adams, photographer Dylan Doubt, and skaters Rick McCrank, Quinn Starr, and Mitch Charron, this group of delinquent deadbeats and rogue misfits had no problem pillaging Vancouver’s back alleys and hellholes. What’s more, they fit right in! I got Corey to speak on the events surrounding his three-day Shoot To Thrill adventure, and he kindly spilt the beans. They fell to the floor; I picked them up, fried them, and made a burrito. Interviewing has its perks.

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Color: So what was the highlight of the Shoot To Thrill weekend? Corey Adams: Well, for me the highlight was just finishing the shoot, I guess. We didn’t really go the route of just skateboarding, so there was a lot to get done in just a couple of days. I guess another highlight was my friend having a Super 8 camera to use when on the first day of shooting we found out mine was busted. What were some things that went down? There were many. We had Quinn in a canoe and Mitch with a wooden leg. We also stuck Rick in a tunnel that smelled of fresh vomit and blasted a large amount of wind and paper on him. Mitch lost his cell phone within the first hour of shooting, and so at certain points over the shoot we were driving around trying to find him.

Was it difficult to perform as needed during such a short time period? For some it was, Quinn had to take care of his new child during the days of the shoot, so we would only get him from 8 p.m. and on. He would be exhausted, and then we would try and go skate. He still managed to do it, but it was tough. I think for anyone it's hard to get a bunch of tricks shot, especially using film where you only get a few takes. Luckily, our shoot wasn't really "trick"-based, so they didn't have to blast themselves down a million stairs. How did you guys go about planning what you were going to do and how you were going to do it? We wrote a small plan of attack the day before we went out, which we used as a rough guide to what we needed to get shot.


The talent: Rick McCrank. Quinn Starr. Mitch Charron. Ming in every one of ‘em!

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“The weather was perfect here in Vancouver, so we spent all day and night on it.” —Rick McCrank How do you feel you made out looking back on it? I am more than happy with the end result. In fact, it turned out better than I had even imagined. What were the stumbling blocks, if any? Probably a reel of film getting lost, which had our end scene on it – that kind of threw things for a loop. Then, to top that off, one of the ideas I had planned that would be done in postproduction didn’t work out. So, after the initial “Oh shit”, we gathered some thoughts and figured out how to make it work. Then, once we solved that problem, it ended up being better than it would have in the first place. So, there is a lesson there: let the mistakes happen and roll with them. Mistakes are your friends and are only popping up to help you – although, at first, you hate them. How would you characterize your team? They are just a bunch of sleazeballs: two fathers and a couple degenerates. Lazy bastards – definitely unemployable. Did you happen to notice how well they fit in while consorting in back alleys and other areas filled with common filth? They are actually lovely people – true Canadians – wood lovers. We all ate a wonderful pancake breakfast every morning before the shoot with some of the finest maple syrup made right here in this country. These people may seem like they fit into these piss-ridden alleys at first glance, but if you look closer and give them a moment you may come to realize that they are some of the finest humans around – true patriots. To me, the skateboard is the next notch down from the circus clown, and to be a great clown you must never break from the performance. Every move must be that of the clown. As soon as you make a gesture that is wrong, then it's over. That's where these men excel. They wake up in the morning and paint their face, ready to go. It's like the poet, H. Kaus, once said: "Don't want to be the clown? Don't go to the circus”. Hall of wind had the crew huddled among newspapers, dust and debris. Small sacrifices for true artistic vision. This is officially the first photo shot on what has since exploded into Vancouver’s newest hotspot. Soak it up. Rick McCrank scratches the frontside feeble off the nonexistent ABD list.

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Quinn soaks up the sights at the “piss cent� theatre. Having to spend his days with his beautiful daughter, his was the night shift.

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How did your experience in filmmaking in general help you deal with the short-term demands of Shoot To Thrill, and in what other ways did your experience help you? Was the Shoot To Thrill adventure an easy thing to take hold of and run with? It helped with just knowing what needed to be done and doing it. There is always a time constraint in film, so this wasn’t unlike any other shoot. Where did the name “Knife Fight” come from? The name came from a café that we frequent located on Hastings. The first time we went there, a drunken man was arguing with the waitress who was in her 60s. As they argued, we watched him slide a steak knife into his hand, concealing it under his sleeve like a prison shank. Things got tense, and we thought we may have to jump him. Luckily, he ended up just staggering out the place; hence the term, “Knife Fight Café”.

As the golden hour waned, and spot after spot fell into the pit of impossibility, Mitch propped a small concrete square against the curb, and blasted a couple kickflips for the team off of an extremely uninviting mini-woofer. (here) Yes, it’s wood. Made entirely out of wood.

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captioned photographyby ian snow

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wentieth century poet John Ruskin once said: “What we think or what we believe is, in the end, of little consequence. The only thing of consequence is what we do.” In the case of Group C, they did lots – waking up early, resisting the ever-enduring urge to party, and remembering one of skateboarding’s basic tenets: have fun. Consisting of filmer Rob Thorpe, photographer Ian Snow, and skaters Devin Morrison, Reuben Bullock, and Kevin Lowry, this crew has known and skated with each other for so long, teamwork was just innate. For when you take time to help a man up the mountain, lo and behold, you will have also scaled it yourself.

“I felt really sick, mentally off of it. It was a lot harder to get this project done than I thought it would have been.” —Kevin Lowry

Rob had to pose motionless for three hours to get this portait of him, done just right.

Color: So what was the highlight of the Shoot To Thrill weekend? Rob Thorpe: We didn’t get kicked out of any spots all weekend. There were incredibly polite police, security guards taking cigarette bribes, and generally reasonable (drunk) citizens enjoying the show. What were some things that went down? There was lots of skating, safety meetings, and road sodas. Everyone just tried to make the most of the weekend and have fun with it, which meant early mornings (on Saturday and Sunday). There was no partying in order to facilitate the early mornings. We just tried to stay motivated from sun-up to sundown. 98

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Was it difficult to perform as needed during such a short time period? Definitely. I was in rough shape just trying to film as I pulled my neck at work on Friday, and I had it easy. I really felt that the guys must be feeling some serious pressure, but to their credit they all performed pretty admirably for three days. It was no easy task given the nature of our spots. What is the nature of your spots? Our spots are generally pretty rugged and rough. How did you guys go about planning what you were going to do and how you were

Kevin Lowery landed this back smith just as lightning cracked the sky and the rain began to pour.

going to do it? After several plans to shoot pre-conceived intros and skits, we decided on Friday afternoon to go with the default/classic plan: go skate! Then, there were the spot lists, reasonably easy ABD’s to save film, and watching the local videos for ideas. Did you find it intimidating at all? After realizing the competition was as stacked as it was, we decided we needed to have some serious fun for the weekend to work out at all. I believe we achieved our mission.


I think they capped these planters as a result of Devin’s backside tailslide.

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As usual for Reuben, this switch boardslide was landed on first try.

How do you feel you made out looking back on it? Honestly, I couldn’t imagine the weekend going much better. We had a great crew with fairly diverse skill sets between the skaters, so everywhere we went something would go down. By our standards, we certainly did tons in three days, but I’m sure all the guys would’ve liked to get more. What were the stumbling blocks, if any? The only problems we had were sore legs on Sunday. There were no busts and no serious injuries – relatively smooth sailing, all in all. Did it turn out as you had hoped or expected? It turned out like I hoped it would. We had fun 100 groupc.

and made a short skate video in three days. Word to that! How would you characterize your team? We’ve been skating together so long that we’re way past all that. We know how to have fun at a sesh, and that’s what matters. What are your team’s advantages and disadvantages? Our team’s biggest advantage would have to be our intimate knowledge of the spots here in Calgary, and the fact that we’ve all skated together lots and get along probably didn’t hurt either. Biggest disadvantage: Calgary in late September isn’t ever gonna be Barcelona!


“Rob, the steel worker. Reuben, the construction worker. Devin, the maitre’d... If Kevin got a job we would almost have the village people.” ­—Ian Snow

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captioned photographyby geoff clifford

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hile only discovering that they were going to be in the Shoot To Thrill contest the day before shooting, this Montréal group of marauders, whose members were filmer Jeremy Elkin, photographer Geoff Clifford, and skateboarders Andrew McGraw, Phil Knechtel, and Ryan DeCenzo, managed to do their own fair share of raping and pillaging throughout the limitless skateboarding landscape that is Montréal. Just ask the security mutant on Rene Levesque how it went, for it was he who had his point-and-shoot digital camera pillaged at the hands of Phil Knechtel, who didn’t appreciate security trying to take a headshot for later incrimination. Phil commented: “I needed a digital camera anyways.” Color: What areas did you specifically try to skate in, and why? And, how Sweet jesus! Andrew McGraw throws down one hell of a flatground kickflip. After a long first day, the crew takes a breather and grabs a bite to eat at Eddy’s on de Maisonneuve. Montreal is full of unique little spots like this. cool, unique vibe even if the poutine Isn’t quite up to par with la Banquise.

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Phil Knechtel, switch ollie

did you map out where to skate? Jeremy Elkin: We tried to go everywhere in the city to give people a feel for the random, unknown Montréal spots that are out there. The first day, we went around my part of town in Atwater and a bit downtown. The second day, we tried going downtown and that didn’t work because we got kicked out of everywhere. So on the final day, we went up into the hills at the University of Montréal and had our most productive day, despite the fact that my digital camera got all glitchy because of a prior camera drop. Luckily, it was on the final day and I had shot primarily with Super 8 all day, so it didn't matter much. How would you characterize your team? Our team was diverse, expressive, and hard-

On the first night after a long day of skating, we decided we’d go to a gap-to-street at an office building downtown on René Levesque Street. Everyone got set up, and Ryan did a few warm-up tricks and seemed to be really feeling the spot. After about 10 minutes, a security What do you think are your team’s guard came outside, began taking pictures of advantages and disadvantages? the session, and seemed pretty annoyed that Being able to skate relatively unknown no one was paying attention to him. We started spots and knowing the city well are definite making him look stupid by putting our decks advantages. I don’t think we could have in front of our faces as he took the photos, but achieved the same results doing this in an Phil wasn’t too stoked on the idea of getting unfamiliar city. Our team was very wellhis picture taken, so he told the guard that if he rounded; a ninja, a wise old man, and a beast-mode rail murderer made for some very kept taking photos of him he’d take his camera. A few seconds later, Phil is walking down the productive days. What was the highlight of the Shoot To Thrill block like nothing had happened with a newly stolen camera in his hand. The guard didn’t weekend? working. None of the skaters on Team Hendy gave up on a trick unless we were being kicked out of a spot, snapped a board, or got a minor injury.

Ryan Decenzo bondos a crack. Welcome to the east.... perfect ground for days.

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104 teamhendy.


“After Ryan rolled his ankle for the fourth time in three weeks on the Friday night, I didn’t think he was going to skate flat ground for another week.” —Gabriel Authier, red bull canada

RYAN DECENZO ollie [ o ] authier, shoottothrill 105


Ryan Decenzo, halfcab to the street.

block like nothing had happened with a newly stolen camera in his hand. The guard didn’t make any effort to get it back, and the rest of us walked in the other direction. What were some other things that went down? I really enjoyed Phil’s ollie-up bench tricks in Westmount Park. I’ve taken countless numbers of people to that spot over the past few years, and no one had ever gotten a decent trick on film because of the slanted slippery wooden bench that you have to pop onto and the fact that you have to calculate your speed or you’ll wind up with a bashed knee on the top of the other bench when you finally commit to a try. Ryan’s Camilien-Houde session was also pretty fun to watch. There are very few people I’ve seen skate eastcoast handrails like that before in Super 8, let alone digital. Another stand-out trick in my opinion was Andrew’s noseslide on a tall, flat rail off a small set. We chanced upon it walking up a hill on the way to another spot. The chest-high bar was at a McGill College residence and didn’t look skateable whatsoever, but Andrew committed and christened a fresh spot. Did it turn out as you had hoped or expected? Well, Ryan was the only one expecting to be involved in it and the rest of us just tagged along – thanks Sandro for the last minute call! I think it turned out the way I had hoped, I really like the way the footage looks all put together, so I couldn’t ask for more. Did you guys maintain a hectic schedule? Not really, but the first day was kind of hectic. We met up around 1 p.m. and finished around 11 p.m., but the other days were much more laid back because I had school until noon and work sometimes. It was hard to coordinate everything on such a short time frame. The next morning after getting the call to be involved in it, we were out shooting. 106 shoottothrill.


captioned photographyby andrew norton

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espite being a longtime skate mecca, Toronto will always have surprises up its sleeve. Evidenced by the Toronto contingency, Licensed to Thrill, made up of filmer Tomas Morrison, photographer Andrew Norton, and skaters Nathan Olokun, Lee Yankou, and Jeff Folgmann, this crew of plunderers happily skated past the point of no return on this expedition. If this were the early Middle Ages, they would’ve fallen right off the map. Nevertheless, there was a ledge over the edge, and they landed on it. I think Nathan even threw a krooked grind on it – savages!

108 shoottothrill. LEE YANKOU ollie


I thought we may be walking away from this spot without getting anything. Jeff Folgmann’s heel had separated off his shoe and was in desperate need of some shoe-goo surgery. So everyone was stoked and in disbelief when he rolled away from this longass backlip.

“Jeff Folgmann has no fear though, and I’m not just saying that to make him sound gnarly or nothing, but he actually doesn’t give a shit if he dies trying retarded inhuman shit.”

“Friendship carve”

Color: So what was the highlight of the Shoot To Thrill weekend? Tomas Morrison: The highlight moment I’d say would be Jeff Folgmann's insane roll-in at Waterdown. He rolled in on this 14-foot cement bank that goes straight into a 5-foot kicker – clearly nothing good was going to come out of that situation. We all tried to tell him to not try it, but Jeff said, “Well I’m going to do it so if you wanna shoot it, I’m going now.” So, Andrew set up his flashes, and I started to film. As he rolled down, it seemed like everything in the world went silent, then when Jeff got to the kicker on the other side of the roll-in, it seemed like time froze. As Jeff’s body flew through the air, it seemed like it was happening in slow motion. 110 licencedtothrill.

He landed on his ribs and we all went silent, you could hear his lungs crush up against his ribs. We were all speechless until Jeff slowly got up and said, “Holy shit, it was like I was flying or something, man!” We all started to laugh once we realized Jeff was okay. When you see the footy you will see how raw the whole situation was. What were some other things that went down? Before we all met up for the contest, we told each other to write down spots or tricks that the skaters would like to hit. Lee took us to this 10-stair on the first night and told us how he was anxious to somehow make a pole jam before the set. We were all like, “Aight, aight

whatever man, well see if you’re feeling it tomorrow.” Sure enough, we go there on Day Two and Lee does the pole jam over the 10 in two tries. He just flowed over the pole – it was so perfectly done – exactly how you would like to see it done. Also, another sick thing that went down was Jeff Folgmann’s backside lipslide down this long, mellow handrail. Once again, Jeff doesn’t hesitate to try it, it was like child’s play for him. Two tries into the trick, the sole on his shoe blows out and the gel pad flops out. After trying it a couple of times with a shady shoe, his other heel blows out. As he is taking run-ups to the rail, you can see his soles flopping around. I suggested putting stickers to his shoes to try to mend them together again, but that didn’t work so there Jeff was with two

blown-out soles backside lipsliding a gnarly rail. He finally started to get pissed and finally he did it. Was it difficult to perform as needed during such a short time period? As far as time went, I would have to give a lot of credit to our photographer, Andrew Norton. He kinda organized what spots to hit so we just hit like 2-3 spots in one area at a time. I think bringing out the generator was a fun experiment – I have never shot Super 8 at night so I was curious on how it was going to turn out. Basically, everything looks good on Super 8 and it worked out fantastic. Was it intimidating at all?


“We skated natural skatespots, ditches, etc. We didn’t want to have to deal with people.” —Tomas Morrison

This thing was a mission to get up, let alone drop into. Nathan Olokun shows the way.

BEST SLAM: Jeff Folgmann, drop-in (p.150) Honourable mention: Barry Walsh, FS ollie into Big-O

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have it for themselves and for their own video projects. I feel that Super 8 and digital don’t mix well, so I was telling Andrew how I was just going to leave out the digital footage because that wasn’t the video I was going for. He wasn’t too stoked on that idea due to the fact that his vision of the video was to have the gnarliest tricks go down, making for a sick video. Clearly, both of us have very strong personalities, so we stood up for what we believed. It wasn’t anything too serious, but it caused some pretty heated arguments. What was it like having to work with a photographer, while maintaining your own artistic vision for the film? Andrew Norton has the most drive I have ever seen in a photographer. He is always down to shoot – it’s obvious if you read any Canadian magazine these days. It also seems rare these days for a photographer to be so driven to shoot and I really like that in a person who works in the media side of skating. I really enjoyed shooting with him because we both work well together. I always ask, “Am I going to be in the frame?” and vice versa. During the film extravaganza weekend, we both realized that we enjoy working with each other in smaller doses, but that goes with everyone. If you hang out with one person long enough you can become very irritable toward them. I definitely admire Andrew’s drive toward his work, and he definitely is a hustla’. How would you describe the diversity of your team? I liked the blend of skaters, it shows in the footy. We skated tons of different spots, and everyone was very adaptable to the spots we went to. I don’t know how I’d characterize our team though, it’s hard to say.

I was super intimidated when I saw the list of skaters. The guys from the other provinces were big-name dudes from skate videos I own at home so it was, like, weird being a part of something like this. I also got really nervous because with Super 8 you can’t watch the footage until it has been developed so you kinda just gotta keep your fingers crossed. I also got nervous when my Super 8 camera broke down. I spent about half a day trying to fix it. Finally, some tinfoil did the job. How do you feel you made out looking back on it? Looking back on the whole experience, I couldn’t be happier with the results. We basically just had a nonstop skate weekend, 112 licensedtothrill.

and people threw down. The skaters cooperated very well with each other, so it was a good group and experience. What was the hardest part? Trying to satisfy everybody’s needs was difficult. The skaters in our group were down with anything for the most part. It was basically Andrew and I having conflicting ideas of what the final product was going to look like. He wanted to get the best and gnarliest photos, where I was more or less trying to just go with the flow of the session and capture the lifestyle and such. I tried to only use Super 8 footage for the video, and then if a super gnarly trick was going down I would normally start shooting digital so the skater could

This ledge is a monster. Not much had been done on it aside from the basics. Lee told me he’s been thinking of doing this bluntslide for a while but finally sealed the deal with the generator cranking and security breathing down our necks. “I’ll give you five bucks to do a backflip into the lake” So it goes, Lee is out five bucks and Folg is a little richer. His body probably also has higher levels of lead now, but damned if it wasn’t entertaining. Even the cops came over and tried to get him to do it again. They weren’t putting up any cash though, or even giving up their Red Bulls. If anyone is reading this though, he will gladly take a case of the stuff in retroactive payment. A spot where you have to take a wilderness hike to get to is a refreshing break from having to deal with traffic and security guards. Lee knows the journey is half the fun.


captioned photographyby dan mathieu

H

annibal, who is popularly known as one of the finest military commanders in history, once said: “We will either find a way, or make one.” No other such phrase embodies the attitude and spirit of the second Montréal expedition involved in Shoot To Thrill, consisting of filmer Eric Lebeau, photographer Daniel Mathieu, and skateboarders Alex Gavin, Barry Walsh, and Marc Tison. The team refused to be intimidated by the three-day-only shooting timeframe, and instead, the Montréalers simply saw it as a great opportunity to showcase everyone’s long-standing career in skateboarding, while also illustrating what being steeped in Montréal culture is all about.

Eric Lebeau: a lazy paparazzi hard at work on the Jacques Cartier bridge.

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The most gratifying labour ever. Bailing a pool is like rolling a joint: the outcome is pure pleasure.

Color: How did you guys go about planning what you were going to do and how you were going to do it? Eric Lebeau: We just managed our time well, I guess. I storyboarded all my ideas and sent them to the team. We met a few times beforehand and prepared for our mission. It was a daily war 7 a.m. to 7 a.m. Our plan was: “Shoot To Thrill them all!”

Montréal. I’m pretty stoked on the shots on that bridge with Alex. It feels so good to see the city from the middle of the St. Lawrence River. The bridge shakes so much when you are up there. Then, there was the pool session. We had a BBQ with nice scenery, since the pool is north of the island. The air was so pure; it was a great evening out of the city. Barry always brought his boombox and portable record player.

What were some things that went down? Our Montréal army woke up ready. We started with Barry at McGill campus – awesome scenery and pretty good ambiance to start a mission. However, we got bombed by the enemy when Barry was hitting on a drop-to-rail – a concerned McGill professor wasted our film and broke the tempo pretty cold. We then headed downhill from McGill to downtown, and the French girls warmed our tempo back up. We then hit Jacques Cartier Bridge because it’s the most famous door to

Was it difficult to perform as needed during such a short time period? For shooting film it was perfect. The 30 minutes of Super 8 I received was so hard to cut, but being realistic you require the impossible. So what was the highlight of the Shoot To Thrill weekend? Receiving the film was definitely a highlight and so was Barry’s determination with his dislocated elbow – that .tarnishedgoods 115


Marc Tison scoops a backside ollie at the Monarch pool: Beware he’s possessed to skate!

“Putting all three of us together, the total age was 101… ‘nuff MTL roots and culture to say the least.” — Marc Tison

was great proof that skating keeps you young. There was also Gavin’s mad drop-ins and pop-ins, and I have to mention those sweet powder carves in the cemetery. Also, in 15 minutes, Marc Tison TKO’d the Big O with all his bag of tricks. Dan Mathieu is the best man for Rambo missions like this. Time, for him, is the disease, and he’s the cure! Was it intimidating at all? It was more like a great opportunity. I was stoked to be part of this adventure. Sight and Sound: A boom box always hypes up a session. We are definitely not vegetarians!

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ALEX GAVIN backside melon [ o ] mathieu. 117


Alex Gavin puts his knees and ankles to the test. Taildrop.

BEST SKATER: Alex Gavin Honourable mentions: Lee Yankou Ryan Decenzo

BEST TRICK:

Barry Walsh, fs air over Marc Tison’s backside smithgrind Honourable mentions: Jeff Folgmann, BS lipslide Ryan Decenzo, BS overcrook

BEST VIDEO: Tarnished Goods Honorable mention: Ming Juice by Knife Fight

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There isn’t much room for error when you’re doing a doubles at the Big O. Barry Walsh blasts a FS air over Marc Tison’s back smith

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[ o ] MATHIEU

“By the end, I ended up in the hospital with a severely dislocated elbow from an ollie gone wrong off a roof into a tight transition below! From Alex pouring cold water down my back and puffing me on a joint to calm me from the shock and pain to Dan running red lights to get me there quicker, in the end I have no regrets. Those three days of hardcore, intense skating were priceless. Seeing my homeboys taking risks in order to rise to the challenge to represent the crew and the city of Montreal made me proud and honoured regardless of the pain and suffering we would endure. Win or lose, we brought the fire as a roots crew from Montreal. Tarnished goods for life! Thanks again, Sandro, for giving us the chance to Shoot To Thrill!” —Barry Walsh

An unknown poet once said: “Footprints on the sands of time are not made by sitting down.” The vikings that took part in this year’s Shoot To Thrill have all made their mark, regardless of who won what category. All five teams embodied what Shoot To Thrill is all about: a visual documentation of the life, successes, energy, and trials and tribulations of skaters and their relationships with themselves, their peers and colleagues, and the outside world at large. It’s also a means to encourage creativity within skateboarding. That said, all teams shot and thrilled to the utmost, and in substantial ways, the map of Canadian skateboarding has yet again expanded. 120 shoottothrill.

Thanks to all the teams for the hard work, dedication, and undying love for the one thing that keeps us all pushing the limits. In the end, I think Thin Lizzy say it best, from the lyrics of the song, “Do Anything You Want To”: “You can do anything you want to do. It’s not wrong what I sing it’s true. You can do anything you want to do. Do what you want to.”

The Shoot to Thrill DVD is being released in extremely limited numbers. It’s going to be very hard to get your hands on, but very worth the effort. The DVD features all of the 5 minute Super 8 film segments submitted by each team. Check in at COLORMAGAZINE.CA for updates and info on where to view or buy the DVD.


www.supradistribution.com


wordsby saelan twerdy photosby chris glancy

W

e could probably fill up a whole issue connecting the dots from No Age to other Los Angeles entities of note, and a great guy to help us do that would be Cali DeWitt, owner and operator of Teenage Teardrops records, who put out one of the five 7-inches that No Age released this year. If that alone wasn’t evidence enough for Cali’s high standards and good taste, take a look at the rest of Teardrops’ catalog: there’s The Sads, the musical project of curator/artist/publisher Aaron Rose, who ran NYC’s legendary Alleged gallery for ten years; there’s Soiled Mattress and the Springs, whose skewed take on cocktail jazz might compel you to watch more old Looney Tunes episodes and late-night talk shows; and there’s Issei Sagawa, whose raucous, blown-out noise from Arizona will have you spray-painting your own walls. So far, all Teardrops releases have been limited-edition, vinyl-only, and pressed in multiple colours, with an attention to artwork and packaging that ought to be the damn standard for everybody. We called Cali up for some lessons in quality control. Color: So, how did you get into the record business? Cali DeWitt: I don’t really think of myself as being in the record business. When I was younger I worked for a couple of bigger labels, and it was a miserable and awful experience that I wouldn’t wish on anyone. Teardrops is just a way for me to release things that thrill me. How did you get to know the different artists on your roster? The artists that I release things from are friends of mine before the fact. I am lucky enough to be friends with people who inspire me and knock me out. Aaron [Rose] and I have been almost landing in the same room for 17 years, he is a few years older than me but we went to the same high school, both wound up living in NYC at the same time, have been running with the same groups of friends all along. It seems to be destiny for him and I. When we finally met 122 teenageteardrops.

five years ago all of the previous near misses have slowly but surely come out to amaze the both of us. Now we live a couple of miles apart and hang out on a daily basis. As with all of my friends, I feel lucky to know him and he is an endless source of inspiration for me. No Age are difficult not to know in Los Angeles. They have a thumb in everything I enjoy in this town and the more I get to know them, the more my heart swells with pride and admiration. What’s the guiding philosophy behind Teenage Teardrops? The guiding philosophy is simply to trust what inspires me, and if I am lucky enough to find something that inspires me, then I should do my best to present it in the strongest way possible. I am lucky to work with the people I do. Are you planning on limiting your output to just vinyl?

I will not be limiting my releases to just vinyl. Really, anything goes so long as I am in love with it. Where are Teardrops records available? Teardrops records are available in the finer and more tasteful shops, like Ooga Booga and Family in Los Angeles, Other Music and The Cake Shop in NYC, Rough Trade in London, and Colette in Paris. We are distributed by Forte in the UK, Morphius and TMU in the US. I also do a lot of mailorder direct, which is the most fun as I can throw in little notes or whatever and personalize it. So far all your releases have had pretty awesome art. Who’s responsible for the designs? The bands and I usually talk about different artists we both like and take it from there. I firmly believe that each release should be a work of art, and that design and printing are

things you cannot skimp on. Some of the fine, fine people who’ve made them look so good are Matt Leines, Amanda Vietta, Mark McCoy, Alain Levitt and Matthew Thurber. I notice that your website’s music player is graced by a very shapely, tight-jeans-clad ladybum. Any comments on that? That is a trick photo. It is my friend Betsy and she has the smallest butt in the history of butts. What are you working on next? Up next are: Help Yourself Help Yourself – a book by Patrick deWitt – a 7” and a 12” by the mighty David Scott Stone, a 12” by Abe Vigoda, a 12” by Soiled Mattress and the Springs, California – a book by Amra Brooks – and so much more. TEENAGETEARDROPS.COM


NOLLIE B/S 360. SEQUENCE: MAPSTONE.


126 DAVE CADDO ollie [ o ] worona.


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IAN TWA backside 5-0 [ o ] caissie.

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JAMIE TANCOWNEY backside lipslide [ o ] downhoney. 129


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PAUL MACHNAU wallie [ o ] pommier.

TERREL SAFADI half cab kickflip [ o ] dufresne. 131


JUSTIN STRUBING ollie to fakie [ o ] landi.

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DENNIS DURRANT backside nosegrind [ o ] landi. 133


134 ZANE CUSHING frontside boardslide [ o ] doubt.


MIKE VINCE backside nosegrind [ o ] doubt.

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136 ADAM GREEN backside smithgrind [ o ] andrews.


wordsby saelan twerdy photoby tim barber

We can barely go an issue around here without mentioning S.T.R.E.E.T.S. somewhere in the magazine. For six years, they were one of Vancouver’s proudest exports and most revered underground bands, ultimate experts of the timeless arts of skating, getting wasted, puking, and partying. They mastered the formula of 80s crossover thrash and then totally transcended it to become quite possibly the most essential (and most under-exposed) skate-rock band of our era, fully worthy to stand next to pioneers like Suicidal Tendencies and D.R.I. When they called it quits in the summer of 2006, caps were doffed, heads were hung, and forties were poured into gutters, but the swift emergence of new projects like Mike Payette’s Pride Tiger and James Gnarwell’s Bison kept the flame alive. Jonny Ollsin was the band’s most colourful member, though, so when the three-song demo from his new band, Children, arrived from New York, it was practically an office holiday. With every song nearing or clearing the tenminute mark, it’s the most epic post-S.T.R.E.E.T.S. project to date, and it absolutely fucking rips. We called Jonny right away to get the score.

Color: Can you tell me a bit about what led to S.T.R.E.E.T.S. breaking up and you moving to New York? Jonny Ollsin: Well, this might sound like a bit of blasphemy, but probably the booze and the endless party is what led to our hiatus (who said we broke up?) It’s hard to stay rad for that long at a time, after six years or so raging straight you have to take a little break, drink some dandelion tea (it’s good for the liver) and catch a couple nights of rest. As far as the New York thing, secretly since the first time I came here I wanted to live here, and then I met a beautiful girl who happened to live here and I married her.

138 children.

How do you like NYC? Well, let me start by saying I miss Vancouver, there is still some kind of bohemia going on out there (a bunch of wasteoids sitting in a park) which is virtually non-existent out here, mainly because you can’t walk out the door without spending twenty dollars, not to mention the rent! That being said, it’s NEW YORK! The energy is crazy out here, there are a million things going on, there are tons of random jobs for good money and people are into shit.

I met Skygnar on a party mission in L.A. – we formed a ten day band called Twisted Wasted and knew we would play music together, so when I moved to NYC I called him up and asked him to move out here to start a band with me. Then we were DJing a bar called Motor City in the L.E.S. on Monday nights and were playing one of our favorite bands, Sorcery (thank you Robert Dayton) when this dude walked up in a Slayer shirt with cut off sleeves and started singing along. Very few people in this world know all the lyrics to Sorcery, so we Who are the other guys in Children and how were stoked and it turns out his band, Early Man, was touring with Three Inches of Blood, did you get hooked up? Children is Adam Bennati on the human skulls, so I went to see them and we starting talking Skyler Spohn on the shred machine and primal about shit and hanging out and boom. screams and me on the axe and banshee wails.

What would you call the music you’re making with Children? It seems like “skatethrash” doesn’t quite encompass the epic quality of what’s going on. I call it peace metal but it’s kinda apocalypse metal or something like that. What connection, if any, does Children’s music still have with skateboarding? It seems like your lyrical themes have broadened a bit, maybe gotten more serious (Third World War, etc.) Well, we had a pretty epic living room session before our last gig. Adam has got a mean pressure flip and impossible. But lyrically I am more interested in the end of this bullshit society and the rebuilding of something


banging. But that’s what S.T.R.E.E.T.S. was about too, destruction and rebirth: the old classic. The amount of bullshit one has to deal with day-to-day is fucking crazy, America is even worse than Canada and every fucking store is filled with garbage. We spend all our time trying to get a piece of paper with no intrinsic value then trade it for predestined landfill, it’s ridiculous, it’s satire. What inspired you to start writing these really long songs? Well, one of the last S.T.R.E.E.T.S. songs, “The Dark Ages (Tony’s Jam)” was ten minutes long and when I stared writing songs for Children it just seemed like a good format, I have a bunch of like five minute jams that are in the works too,

but I have always been a fan of the long jam. Are you planning to tour any time soon? I want to go to Japan real bad. We are just growing our wings right now, I mean we just played like our sixth show and we have some more coming up. To be honest I have enjoyed having a year or so off from being in a serious band but I am feeling the call of the road, so I definitely want to get out there. It’s weird, I guess it’s just growing older or something but I want to kind get my shit together before we go out, like not just a hell ride for kicks. What kind of stuff were you listening to while you recorded this? Is there anything (musically or otherwise) that you’re really stoked on right now?

“destruction and —rebirth: the old classic...” jonny ollsin Well, first off let me say Mercyful Fate is the baddest shit, Skyler pretty much listens to Celtic Frost and Immortal, Adam has got like an insane collection of rare proto-metal 70s bands like T2 and Socrates (Drank the Conium) and I have been listening to a lot of Bison, Pride Tiger, Ladyhawk, Jerk with a Bomb, Love as Laughter, just music that my friends make. There is a band called Endless Boogie out here that is fucking killer. Oh, and I forgot Van Halen and ZZ top have been very influential, but that’s like ‘Duh!’

Children are unsigned at the moment. If you want a copy of the demo, email the band at totallynuclear@gmail.com. S.T.R.E.E.T.S.’ third and final record never got a proper release, but Hit the Deck records out of Calgary is finally putting it out on vinyl, so keep your eyes peeled for that, too.

MYSPACE.COM/CHILDRENOFTHEMUSHROOM

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CHILD

blood in (altamont) Child was one of three epic underground metal bands that played together for the first and last time at the legendary Inferno Festival in the foothills of Mt. Kilauea, on the island of Hawaii. The festival came to an abrupt ending, when the volcano erupting, taking all band members, and the entire crowd with it. Though there were no survivors, it is said that it was a bone shattering guitar solo, by Hematoma’s Bobby Blaze that set the old lady off. This album is the last known recording by Child. A brutal assault that leaves no question as to the dark powers a guitar can hold. It isn’t an easy record to track down, and you may find yourself having to miss a couple months rent, but fuck it. It’s all worth it. You can’t put a price on what Child, Wizard Hill, and Hematoma have sacrificed for you.

wordsby saelan twerdy

THURSTON

trees outside the academy (ecstatic peace!)

Hey look, it’s Thurston Moore’s first proper solo album in twelve years! Considering how much time the Sonic Youth frontman has spent lately promoting experimental noise bands and collaborating with freaked-out jazz improvisers, you might expect this to be another outlet for his weirdo juice, but it’s actually the opposite. As with 1995’s Psychic Hearts, he’s cooling down with a set of tunes are more or less straight-ahead: Dinosaur Jr.’s J. Mascis lends some subtle electric solos and NYC psych-folk songstress Samara Lubelski ornaments a bunch of the songs with her violin, but maybe most surprisingly, Thurston keeps it acoustic for almost every track, exhaling loose-limbed stream-ofconsciousness lyrics in a style that’s intimate, but still too cryptic to be confessional. Lyrically, he’s as wrapped in music as ever: every song has its scenes and satellites, amplifiers and electric noise. They’re not metaphors for life, they are his life, and maybe that’s why even at his most low-key and sensitive, he still sounds cool as fuck. It’s simple and spare, but Trees Outside the Academy proves that, even as he’s pushing 50, everything Thurston Moore does is worth a listen. 142 soundcheque.

LIARS s/t (mute)

Depending on where you stand, you might expect the Liars’ “return to rock” album to be either a cop-out or a welcome relief from the abstract noise they’ve been experimenting with since they fired their rhythm section and dropped out of the dance-punk race. Thankfully, it’s not really either. In the Liars’ tradition of doing the opposite of expectations with every new album, their shot at being a straightforward rock n’ roll band nets some weird results. Probably owing to Angus Andrews’ intent to revisit the music of his adolescence, a lot of the tunes here come off like reinterpretations of the art-rock of the late 80s and early 90s: pre-Geffen Sonic Youth, The Jesus and Mary Chain, and even a little bit of Beck on the shuffling, drummachine driven “Houseclouds”. Like the awesome, David Lynch-y video for “Plaster Casts of Everything” suggests, the general vibe is a paranoid, leather-clad highway chase, but it’s not a violent trip: icy synths predominate, guitars hum and shiver rather than riff, and Angus’ falsetto vocals exude distracted melancholy even on the upbeat “Freak Out”. Apparently it’s lonely after the apocalypse.

PREFUSE 73 preparations (warp)

Might as well admit it, it’s been a while since Guillermo Scott-Herren (aka Prefuse 73) was really on top of his game – probably since 2003’s One Word Extinguisher. Sure, Surrounded By Silence had its moments and the Savath & Savalas album he put earlier this year was pleasant, if none too exciting, but the man, whatever his talents, has three major flaws: first, he collaborates too much, second, he never slows down, and third, the style of cut-up, jazz-inflected glitch-hop that he all but invented has just gotten a little stale by this point. With Preparations, I think it’s clear that Prefuse knows that his stock has fallen and he’s really making an effort to get back on top of his game: this album is by far his most banging and beat-heavy in years, and aside from a guest spot from Battles/Tomahawk drummer John Stanier, he doesn’t spread himself too thin with collabos. Naturally, being the overachiever he is, he had to go and include a second disc of modern classical pieces composed and performed by himself, but as it’s being kept under wraps and will only be available to those who buy a physical copy, you’ll have to wait to find out how it is.

ARP

in light (smalltown supersound)

Alexis Georgopolous is the kind of globetrotting tastemaker that can, and seemingly has, done everything. Aside from being the principal songwriter for San Fran dub-funk-punks Tussle and playing in The Alps, he’s curated art exhibitions featuring Beautiful Losers Jo Jackson and Chris Johanson and written about art and music for i-D and Tokion. In Light is the result of Georgeopolous’ experiments with “natural” electronic music (recorded live and analog without loops or drum machines), originally presented in one of five “habitats” designed by architect Kyu Che for an art show in San Francisco. The music elegantly references various touchstones of enlightened sound design: the hypnotic classical minimalism of Steve Reich and Terry Riley, the warm kosmische explorations of 70s German pioneers like Harmonia and Cluster, and the timeless ambient music of Brian Eno. It’s a familiar aesthetic, but you can never really have too much utopian peace-out music. This edition from the always-excellent Smalltown label features art by Turner Prize nominee Tacita Dean.


SERPENT THRONE

ride satan ride (season of mist)

When this record first landed in my hands, I was stoked beyond belief. The cover art and liner notes proclaimed it to the soundtrack to a lost documentary about a satanic bicycle gang called the Shiloh Cult, recorded at gunpoint in a commandeered studio by members of the cult itself. The tunes held within are all chugging instrumental takes on the typical early-70s stoner hard rock idiom, in the vein of Sabbath, Blue Cheer, Pentagram, etc. Hinting at the eventual release of the film, the liner notes promise documentation of “vile rituals, orgies, acid trips, and depraved deeds”. So I was disappointed to discover that Serpent Throne are in fact a current band from Philadelphia and the film Ride Satan Ride doesn’t actually exist. As a consolation, though, the songs are pretty righteous. Like Witchcraft and The Sword, Serpent Throne is content to forget the last 30-plus years of music and hail Satan the old-fashioned way.

THE CAVE SINGERS invititation songs (matador)

There are a lot of reasons to love the Cave Singers. Maybe it’s that guitarist Derek Fudesco played in Pretty Girls Make Graves and before that in the legendary Murder City Devils. Maybe they touch your soft spot because they’re pals with Vancouver faves Black Mountain and Lightning Dust, whose Amber Webber and Josh Wells play on a couple songs here. More likely though, you’ll dig them because they play folk music in a way that few artists (indie, trad, or otherwise) do these days. Singer Peter Quirk’s spinetinglingly high and nasal voice sounds straight out of Harry Smith’s Anthology of American Folk Music, suffused with an Old Weird America that doesn’t have anything to do with shoelace headbands or heavy drug consumption (though I wouldn’t rule it out completely). Their music isn’t psych or soft, hokey or pretentious: it’s sparse, melodic, creepy, and alluring, like the widow mourning graveside in Johnny Cash’s “Long Black Veil”. Step into this darkness. You might not want to come back.

CIRCLE

katapult (no quarter)

You never quite know what you’re getting with Circle. This veteran Finnish output has been subjecting various genres to their weirdo kraut/psych/prog treatment for over 15 years now. Their last couple albums, they’ve been slapping the letters NWOFHM (New Wave of Finnish Heavy Metal) in the artwork, regardless of whether they were playing hard boogie punk or just spacey piano ambience, but this time it really applies: Katapult is their black metal record, with Jussi Lehsitalo contorting his voice into keening hisses and guttural growls over blast beats that they bury way down in the mix so they’re just a wall of noise. The lyrics are typically tongue in cheek and the song titles give you a pretty good idea of what you’re getting: “Black Black Never Land”, “Understanding New Age”, and “Skeletor Highway” (which is, apparently, a “busdriver’s nightmare”). It’s a hilarious prank, a bizarre exercise in genre fusion, and a totally awesome metal record all at the same time.

SUNSET RUBDOWN random spirit lover (jagjaguwar)

Whether it’s as the more tortured and obtuse of Wolf Parade’s two heads, as the Son in Swan Lake’s Holy Trinity of Canadian indie rock (is it going out on a limb to proclaim Dan Bejar the Father and Carey Mercer the Holy Ghost?), or constructing sets for fantastic dramas with his own group, Sunset Rubdown, Spencer Krug has earned his place at the Last Supper of contemporary songwriters. Darker than his breakout album, Random Spirit Lover is a fever dream of silent-cinema smoke and mirrors that maybe spends too much time referencing Greek mythology, but never dials down the intensity. It’s got sturm, it’s got drang, it’s got hairraising haunted-house organs and a fog of crystallized guitars that sound like nothing else going. It’s self-indulgent and introverted to the max but Spencer Krug is like an oracle prophesying catastrophe: if you don’t listen now, you’ll probably be gnashing your teeth later.

DEVENDRA BANHART smokey rolls down thunder canyon (xl)

If a rolling stone gathers no moss, how about a rolling smoke? On his fifth full-length, The Bearded One rambles far and wide, but he doesn’t go it alone. He’s already got a faithful band of fellow travelers nestled deep within the fragrant furrows of his facial foliage, and he’s opened his Topanga Canyon hideaway to a picaresque variety of genres and guest stars, including such diverse luminaries as Vashti Bunyan, Gael Garcia Bernal, and The Black Crowes’ Chris Robinson. The result is an even fuller and more classic-sounding album than Cripple Crow, redolent with the perfumed breeze of South American sambas, the organ-spawned haze of the Doors, and some none-too-serious stabs at doo-wop and reggae that demonstrate that Devendra knows how to leaven the bread. It’s conclusive proof that omnivorous rock-n-roll excess is alive and well, and that Banhart is no mere flash in the pan, but a worthy heir to the likes of Neil Young, Skip Spence, and Caetano Veloso.

THE FIERY FURNACES widow city (thrill jockey)

To be quite honest, I’m at a bit of a loss to explain to you how incredibly awesome this album is. It beggars description. I might as well just put up my feet and crack a beer, because there’s not much I can do to prepare you. Okay, imagine this: Led Zeppelin albums played at double speed in chopped, thirtysecond clips while a tough, gorgeous girl (Eleanor Frieberger, the best female singer in modern rock?) narrates a Russian novel over top. If you’re familiar with their earlier efforts, I’ll grant you might be skeptical: nobody ever wants to hear the Friedberger’s grandmother “sing” again. As keen as this band is to never do things the normal way, they occasionally sabotage really good songs for no good reason. Rest assured, though, that Widow City is the perfect amalgam of everything they’ve ever tried to do. It’s still probably too dense and quirky for a lot of tastes, but for what it’s worth, it’s the best rock opera you’ll hear all year.

DIRTY PROJECTORS

rise above (dead oceans)

Dave Longstreth is a genius, but geniuses are infamously difficult to get along with. On his previous albums, this Yale dropout tackled bizarre concepts with an indiscriminate arsenal of weird musical ideas: abrasive folk, R&B vocals, Gregorian chants, whatever. Impressive stuff, but a bit of a slog to sit through. With Rise Above, though, he’s hit on a concept that really, really works: a song-by-song reconstruction of Black Flag’s Damaged, from memory. Longstreth takes his usual liberties: he mixes up the song order, cuts out a couple tunes altogether, adds a verse in Esperanto, and plays the whole thing in a West African guitar style with female backup singers, but it comes out sounding so loose and soulful that it’s difficult to believe a) that this is the same Dirty Projectors and b) that Black Flag wrote these songs. You get the impression that Longstreth is revisiting something that meant a lot to him in a rough time, and by playing it against the grain, he can express how he’s overcome all the darkness that Black Flag helped get him through in the first place. Rise Above sounds like victory.

CLOAK/DAGGER we are (jade tree)

Between Fucked Up and these guys, Jade Tree looks to be making a come-back from emo and post-emo suckitude and actually getting around to putting out some shit-hot punk rock. Now, Fucked Up have spent the last couple years trying to expand the sound palette of hardcore, first with the epic themes and dramatic strings of Hidden World, and then with the massive space-rock opus of their Year of the Pig 12”. Cloak/Dagger go the opposite route. We Are is an exercise in getting the most out of the least with lean, cutthroat, minimalist hardcore that explodes out of the speakers and gets straight to business. It’s got the hard-driving urgency of Drive Like Jehu and Hot Snakes and the fistin-your-face bluntness of Black Flag. It may not be a new sound, but it’s a sound that’s raw and honest and rocks, and Cloak/Dagger have nearly perfected it.

.soundcheque 143


With heavy parts in both the new Volcom and Nike videos, Lewis Marnell is coming out strong. Fakie flip fakie nosegrind shove. downhoney photo.

NOTHING BUT THE TRUTH (nike sb) lionel goldstein (nike sb films)

This is Nike’s first full length, and it is clear that they have put a lot of time and energy into it. The soundtrack is by none other than Mark Mothersbough of Devo fame who has also composed soundtracks for “The Royal Tannenbaums” as well as other Wes Anderson films. There are shorter parts than you would like from rulers, Brian Anderson and Gino PRAY FOR ME BRA BOYS Iannucci, but a surprisingly good showing for Todd Jordan. steve nemsick (david rogerson) sunny abberton and michael lawrence Wieger Van Wageningen is a little mind blowing, and Danny Supa stills keeps you guessing as to which way he skates. The current crop of skate icon documentaries is a bit of a The current crop of skate icon documentaries is a bit of a Dan Murphy is a powerhouse. The whole Am team is pretty mixed bag. You can never go wrong with old footage and mixed bag. You can never go wrong with old footage and out there, but in a good way. Grant Taylor is a refreshing never seen outtakes, whether you are reliving your youth, or never seen outtakes, whether you are reliving your youth, or seeing it all for the first time, it is awesome. No one can take seeing it all for the first time, it is awesome. No one can take reminder that there are still young kids out there who have no desire to be the next Ryan Sheckler. Clark Hassler does a slam like Jason. The problem arises when the filmmakers a slam like Jason. The problem arises when the filmmakers a good job of bouncing out of obscurity with a memorable try to find a greater purpose to it all. Does Jason Jesse’s try to find a greater purpose to it all. Does Jason Jesse’s part, and Lewis Marnell is definitely ripping. Daniel Shimizu is story really warrant and hour plus? Maybe. I guess this film story really warrant and hour plus? Maybe. I guess this film has me wondering if the skater doc isn’t better handled with has me wondering if the skater doc isn’t better handled with keeping it awesome and Chet Childress seems happy to get the most out of Nike’s first class travel program, exploring the smaller pieces like what “epicly later’d” does so well. That smaller pieces like what “epicly later’d” does so well. That globe to find natural street spots that cater to his own special said, any footage of Jason skating is simply inspiring, plus said, any footage of Jason skating is simply inspiring, plus brand of gnarliness. Stefan Janoski lives up to what you I could listen to Jeff Grosso’s stories for days. There are a I could listen to Jeff Grosso’s stories for days. There are a would expect, but for me, Omar Salazar’s part has to take the couple kooks, but these are skateboarders (and worse still, couple kooks, but these are skateboarders (and worse still, motorcycle enthusiasts) reliving their glory days, so that is to motorcycle enthusiasts) reliving their glory days, so that is to cake. The kid has a rawness that makes every move seem incredibly dangerous. There is something about someone be expected. Fucking handplant fakies... proper handplant be expected. Fucking handplant fakies... proper handplant fakies, the kind where you wait until you are about to fall over, fakies, the kind where you wait until you are about to fall over, who is always on the edge of falling that can’t be paralleled. Of course Paul Rodriguez swoops in with an honest curtain and then if you hang up on the way in, then so be it. and then if you hang up on the way in, then so be it. worthy part, but personally I’d rather watch Omar’s chaotic bombing of hills (not countries). The skate parts are broken up by glimpses into the feature film that Nike seems to be producing, starring the sb team. Rumour has it that the film will be released later on along with a separate skate only version of the video. Smells like a special edition box set to me.

THE MAN WHO SOULED THE WORLD

LETS LIVE (volcom)

mike hill (whyte house)

dustin dollin, peanut and jaime fazackerly

Whether you like him, simply admire him, or downright hate him, it is undisputed that Steve Rocco was without a doubt one of the most influential people to ever have their hand in modern skateboarding. THE MAN WHO SOULED THE WORLD sheds the light on his almost Shakespearean story. Wee Man, Jesse Martinez, Rodney Mullen, Jason Lee, Steve Rocco himself, and many other skateboarding elite figure heavily into this documentary, which makes for fascinating and insightful recollections of one of skateboarding’s biggest movers and shakers. From the loan sharks that Rocco initially borrowed money from to the ways in which Blind, Plan B, 101, Big Brother, and World Industries all began to take shape, this must-watch film details everything about the Steve Rocco Inc. world domination empire as it left skateboarding shocked, electrified, and never the same again. Hail Rocco?

To a believer it might seem as though Shane Cross, Dustin Dollin, Jake Duncombe, Lewis Marnell, Chima Ferguson, Chris Wood, Joe Pease, and Shane Azar are the reincarnation of some pack of hyenas that got eaten by lions and came back as skateboarders to have way more fun than they ever did as hyenas and show those lions that there’s more to life than eating zebras and hanging in the sun all day. With the antics resembling recess at a grade school, this tribute to Shane Cross works for them by capturing a spirit the whole team seem to share. Chima’s part is pretty amazing and Shane’s closer showing his skating develop from around the age of twelve to twenty one is really great to watch. Filmed all over the world their talents are staged with some diverse backgrounds then stitched together with some creative after effects work from Peanut and Dollin. If that’s not enough the team is joined by Mark Appleyard, Rune Glifberg, Darrell Stanton, and Nick Trappaso to ensure viewer satisfaction.

144 videoreviews.

ÉSPECIAL (eS footwear)

scuba steve and mike manzoori (sole technp;pgy) Remember when you put a tape recorder up next to the tv speaker so that you could record the stereo video soundtrack? Well, you may not find yourself doing that. While the soundtrack may be a bit too tripped out for these ears, the skateboarding is nothing short of ripping. The whole team is nuts. That is of course a given, and while this video couldn’t possibly hold up to the epicness of menikmati, it is an indication that they still take their team pretty seriously. From Silas Baxter-Neal’s banging opening part (which is just a glimpse into what he must be sitting on for the habitat video), to Rick McCrank’s extremely skate-enducing ender, there is enough “rad”-itude to go around.


ADRIANLOPEZ

Día de los Muertos

WEAPONS GRADE ALUMINUM

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2nd annual liveblock party. Last year set it off, but this year really hit the nail on the head. After a summer of rained-out skate events, we were lucky to have the weather cooperate on Sunday, September 9th for the second annual Livestock Block Party.

photosby gordon nicholas, jennilee marigomen, chris bone

(top) gman (livestock/timebomb), garry bone (livestock/ ie:) - tina ok, andrea, adam slack (invasives), kevin wood - um, girls. - seb’s ramp - (row2) - shawna olsten (quiksilver), camille kelly (spiewak), malania dela cruz (CBC) - margherita porra, freddy ouano - nat psarros, grania mccall, shannon linde, alexis ronse - rory kirkham (complex) - (row3) - rick klotz (freshjive), paul ismirnioglou, dj sincerely hana - jon gara (sticky media) dave birnie (timebomb) and Colin Adir - lina caschetto, tonyX (half alive), dj sincerely hana and dani (the makeout!), and friends - carrie wong, janine prevost - (row4) - shoppers - mila franovic - dj jr. flo, rico uno - gman, wu gagnon, kristie forwick, pete - (row5) - brian mendoza, skam, beth richards - djs seko and cherchez - team canada djs - dax!

With the main selling point being the free beer for most, limited edition product releases from Stussy, Vans, Puma, Adidas, eS, Brknhome, Nike, The Hundreds, and Livestock x RMK brought barrels of fashionable kinds to the yard. But their block ain’t better than ours… Together with eS Footwear we had a brand new mini ramp for all to session. The cash started being tossed around on the ramp by four o’clock for the crowd pleasers. The jam continued until 6:00 when the winners were announced, cash was paid out, and we all got to enjoy the many fine things a block party has to offer: local vagabonds, scenester girls, the djs, the break dancers, the high and mighties, all the industry heads in town for Know?Show, and that dude you haven’t seen since back in the day. No matter what brought you down to the block (Abbott St. btw Water and Cordova, Vancouver) It was bright, sunny, and officially the last party of the summer. Once all the free food was nabbed, the tables served as a good spot to post up and watch the flat ground sessions. That was until one side of the table caved in and it became an obstacle for wally crails.

TAIL TAPAS RESULTS highes air to fakie: dave priest, Best doubles line: mickael ‘givr’ mcclleland, cody herridge (plus jimmy miller to make it triples). Best trick and skater of the day: dan pageau, best line: jonny b. honorable mentions go out to jeremy (france) Chris Connolly and everyone who came out to the Block Party and Color contest on the eS ramp. It was figured that about 4000 people clocked in at the block that day to partake in the free food, drinks, tunes and good times. I wonder if next year will be as good as this one… Even if it is, it will be tough to match the smell that was coming from any near by alley, due to the long garbage strike that was going on this summer. But it’s things like that which keep these memories fresh in my mind. Deejays included: Team Canada Dj’s (DJ Grand Theft and D.R. One), DJ JR.Flo (Toronto), Flipout (Those MF’s), DEADSTOCK.CA

146 lastnite.


with wade desarmo. wordsby luke tanner photosby brian cassie

Well it’s about 12:30 a.m. after a nice Sunday evening and we’re sitting at the [local bar] El Furniture Warehouse, about to do a couple of Petron shots to get Wade nice and tattered to answer some good questions. I don’t even drink tequila but I’m going to do it anyways because it would be disrespectful at $20 a shot. Wade has consumed a 6er and almost a full bottle of scotch he acquired through a friendly donation. He doesn’t seem to mind footing the bill for us to see him drink and answer a bunch of random questions. baggier pants wear baggy pants ‘cause it fits nice, dude. But tight pants I don’t understand it, you shop in the ladies section, you’re not a man… you know what I’m sayin’... you might as well get a fuckin’ gender change… I can go on for days about this motherfuckin’ subject. But Yo! If you’re a dude and you wear ladies jeans there is something fucked about you, dog! You need to go check yourself in… if you have a girlfriend I’d be 2. What are five things you dislike about the Plaza? I have to say it’s those wack ass fools on them 4. Rumour has it that you have a black belt? worried if I was your girlfriend… You wear Do you think you could go head-to-head with tighter jeans than her, that’s fucked up… emo ass bikes, dude! Like rollin’ up to the Plaza with those gay ass bikes, peep the 70’s a street fighter like let’s say… Brian Wherry? My boy Gio wears tight pants but he don’t Well, word on the street is I don’t have a black shop in the ladies section, he don’t look back to the future bikes with Mike who-everbelt… I have a second degree black belt and for them tight ass, stretch ass jeans. I’m his-name-is rollin’ deep, rollin’ up with your friends with a lot of dudes that wear that Wherry, he’s my boy and I love that fool to skateboard on that shit thinking you big and shit, but it just doesn’t make sense to me. bad with your emo ass jeans, that’s what it is. death, but YO, he would get TOOLED in a fight one-on-one, you know what I’M SAYIN’! I see hella good skaters tryin’ to learn hella To the tight pant, women wearin’ bitches in the Wherry, I know you’re going to probably wack tricks. Like skaters that look up to read this and I love you, but yo! One-on-one, industry – and this ain’t for the rippers in the some real people they really tryin’ some dude, that street fightin’ shit ain’t gonna hold women’s jeans ‘cause I know Reynolds got busted ass shit, you should know better. that good Altamont shit poppin’ and it’s good to this karate combat. Yeah dude, you know I get to see people I hate everyday and uh, for you tighter wearin’ people – but this shit is my boys gonna jump in, 1278 got more boys you know what it is, I see them and they see going out to this Corey Duffel motherfucker. than that ‘fuck shop crew’ and that’s what it me, whatever. You get to see the same ass Dude, he tryin’ to rep that women’s shit and is. C’mon dog, bow down… we beat you in people everyday, it’s the good and the bad poker, we will beat you at fightin’ too! We beat then tried to holler at my boy Stevie… And these motherfuckas get on your nerves. Stevie said he ain’t good in Philly, and he you in that skate game too! Yo, you know my Another negative about the Plaza is that I number if you got a problem with what I said. ain’t good in Vancouver, neither… And you should be out filmin’ when I’m actually at the know he knows what it is, he ain’t stepped Plaza, that’s a pretty bad thing when having foot in Vancouver yet… You ain’t steppin’ 5. Where do you stand on the girls’ denim a career and I’m at the Plaza skatin’, doin’ pants subject in skateboarding? Does that to our shit… You stayin’ near your home random shit. When I should be out doing my and filmin’ your video part and talkin’ shit… shit fit in today, can you respect that? job. I don’t even know if that’s a good one we go where we talk shit… Be where we Super tight pants, in my perspective, dude, but fuck it. We get some Petron shots… at. Corey Duffel is not good wherever he’s doesn’t make any fuckin’ sense because at. Remember what you said, homey! 3. How far were you into your DC contract that shit went out in the fuckin’ 70’s or 80’s. I respect people that wear pants that when you decided to go shoot a cover 6. Who’s doing it right in Canada? fit and it looks tight on them but eh! Any with a DC tee and Jordan 3’s on? I ain’t gonna drop no names but them fools call me out for wearin’ baggier shit, Ah, aight. First, there was no contract motherfuckas that be doing it for the love it’s better than wearin’ them tight ass jeans between me and DC, I was riding for DC and doing it for no image they be going out and going skating and fuckin’ stressin’ out. direct and I wasn’t getting the shoes I like and just skating. All the homies that roll and I was in Philly and what happened with me, dude, I ain’t even tryin’ to front Yeah yeah yeah, you like Reynolds, he’s was I acted like I lost my whole shipment makin’ them [jeans] so he can get rich off you! but all the homies doing it for the right of DC’s ‘cause I wanted to rep my fuckin’ motherfuckin’ reasons and I ain’t sayin’ that I hope you know it! Those fools who wear Jordans and that’s what it was and I skated 1. Give me five things that you like about the Plaza Skatepark (Vancouver, BC)? 1278 crew, Tri Color Mexicanos holdin’ it down hella hard, a.k.a. Jeremy Rogers – Robbie I don’t know if you should be all up in my top three… I love you but I hate you. I see the same ass fucking people everyday, dude, that’s what it is. It’s the Plaza baby!

148 tatteredten.

the Jordans and made up some bunk ass excuse and I got a cover, couple of photos and lines and that’s what it was… I got what I needed out of them joints. Those were the best shoes I ever skated and that’s real and coincidentally the next sponsor I had [was] Nike, and I got on Nike somehow and yeah that shit was tight! And now I’m on Reebok and yeah, so the story goes…

all the other motherfuckas are doing it for the wrong reasons… but all my personal fuckin’ homies, we rollin’ and we rollin’ for the right reasons. We dress the way we feel – we ain’t wearin’ any ladies pants. We go out and skate for the right fuckin’ reasons. You see those motherfuckas, they be at the plaza doing it for the image shit. Everyone knows it’s for the image and that’s what it is. 1278 holds it down, Bonnell, LJ, Spenny, Luke, Gio, and all those boys in the 1278 crew… in #801, Paul Trep in that #803, even that Corey Tufts rollin’ dirty and he ain’t even skate and he do it better than all y’all fools… Drover, Jamie, Jonno… if you seen ‘em down at the plaza you be scared ‘cause they’re real ass fools and that’s how we do, we roll real… DGK WE DIRTY ALL DAY… y’all. 7. The “push” is a huge part in skateboarding. Who are your favourites? First thing that comes to mind is that Enrique Lorenzo. That dude holds it down with ill ass push. And the next one that comes to mind is German Nieves with that gangsta ass push in that EST video, dog. Kalis obviously, Stevie, JB got a ill ass push too! Mariano’s tight. Number one though is still Enrique. [Ryan] Bonnell has a crazy ass push but I like it. It’s kind of emo at the same time, you can feel his pain in what he’s going through at the time but you can tell how he’s feelin’ in his push. Ryan, I love you but your push has a lot to do with you, dog. On the days you go from bad to good you can tell – your real homies can tell when you’re on or when you’re off. Ohh oh, Ryan Kenrich, you got a steezy ass push. Ricky Oyola, he’s got muggin’ ass street push. 8. A lot of people have been getting into the poker game lately, who’s got the poker game: 1278 crew or the West End Chateau? Alright, hey Color magazine dog, this is Wade D’s Tattered Ten, and I love you but you don’t


“Playa, you gonna skate it and enjoy it ‘cause we raisin’ that cup and you raisin’ that board up ‘cause we goin’ all the way.”

play poker the way we play poker and that is what it is. Your whole crew plays poker like you: Joey, Stenger… alright, Stenger has a cold poker face and we can’t get a read off of him… Everytime we go over there you guys try to take us but we still runnin’ you, dog… We go over to your crib and one of our fools takes it. The title always comes back to 1278. Twa, Stenger, Joey, all you. Wherry, I know you just started playing poker but you involved in that same shit… You all just started playing poker, you can’t fuck with these poker heads over here. We play online like it’s our second income… You play poker for fun and that’s what it is. And I’m talkin’ shit on you. West End motherfuckas who want beef, you know where to find me: at the 1278 all fuckin’ day.

9. Since you have gone pro there has been word of an Ottawa Senators-inspired graphic. Everyone would like to know how come you guys couldn’t handle the triple deeks, knuckle pucks, and the flying V’s from the Mighty Ducks? This is a sensitive one. I’m going to tell you what happened to my boys. We killed it in the season… Like 5-0… 11-3. We fuckin’ taken fools out. You up against a cheap team [Mighty Ducks], y’all Canucks got eliminated by this team. Y’all should feel my pain. At least we got that Eastern Conference Final banner hangin’ in our arena… Wait ‘til this year, dude, that’s all I’m going to say. We are the only team in the NHL to go 6-0 pre-season this year. This is our year, dude, that’s what it is.

You come holla at me if the Sens don’t win the cup this year. Sens might have chilled thinkin’ more about golf than hockey with a week break after every series. So that’s what happened, we got lazy – we were thinking of eagles, pars, and birdies on the golf course and that’s what happened. Alfy’s probably a killer golf player. He could probably take Tiger in a series, you know what I’m sayin’, that’s how fuckin’ on point our team is, but your team in Vancouver ain’t holdin’ nothing down compared to the Sens. Y’all gonna know what’s good with that Sens graphic this year. Playa, you gonna skate it and enjoy it ‘cause we raisin’ that cup and you raisin’ that board up ‘cause we goin’ all the way.

10. You wake up to your building on fire and can only grab four items on your way out. What do you grab? Choose one in your order of highest priority. (a) Your dog Banks, your pro model board, 8 pack of coke, computer; (b) Carton of Marlboro’s, meatball sub (a foot long!), poker chips, bottle of Hennesey (c) White tees XXXXXL, more white tees XXXXXL, your dog Banks, your diamonds. (Wade chooses option c)

.tatteredten 149


“Holy shit, it was like I was flying or something, man!”

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Volume 5, Number 5  

With the addition of this volume's "special editions" 5.5 enters dark territory moving beyond the "quarterly cycle" to bring readers even mo...

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