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photo by acosta





TH E R I C O C T H H F S H O W N I N B L A C K P R I N T C A N V A S , R E D S U E D E A N D B L A C K S U E D E . SE E M O R E S T Y L E S A N D C O L O R S O N L I N E A T : D V S S H O E S . C O M






FRONTSIDE FLIP | PHOTO BY ELEMENT ADVOCATE: BRIAN GABERMAN Scan for more on Highlight | Get free App at:

Introducting The next step in Element ’s commitment to skateboard construction and progression. For more about highlight construction visit:




“We’re on the crux of a new type of media gatherer: the multi-tasker.”


t’s hard to believe we used to wait days, sometimes weeks to get photos processed to finally see how they turned out. It wasn’t all that long ago either. Digital cameras were still just a novelty around the time I started Color. Every image in the first couple issues had to be processed, put to contact sheets, carefully selected, scanned, and then spotted for dust before it could be used for anything. Today we have full-length feature films being produced with DSLR cameras. It won’t be long before “taking a photo” will be something you do in post, grabbing stills from a video with no sacrifice in quality. It begs the question: Who then will be the photographer? The person who filmed? Or the one who ‘selected’ the frame to pull out for print?

One thing is for certain, filmers are taking the skateboarding world by storm. If you thought for a minute they were just going to sit around and watch every Johnny Laserflip with a tech new camera wash them out, then… Well, at least for Zach Barton it’s given him just one more reason to concentrate more on skateboarding. For other renaissance men like him who both make films and skate like mad, we bring you an article entitled Polymath (not to mention Zach’s cover). 108 Filmers are a finicky bunch. Fecal even. John Trippe, creator of Fecal Face Dot Com spent his early years as a skateboard filmer as well. This issue’s artist feature chronicles the first 10 years of his famed website, with its recent addition of a physical art gallery, 98 showing works from several accomplished artists who were featured in the anniversary show. This issue also highlights the work of filmer/photographers Greg Hunt, French Fred, Brian Caissie, and Jay Bridges among

Young Zach Barton reaches deep into his man bag past his VX-1 and tailslides the iconic White Spot rail, Vancouver. nicholasphoto.

others 88. And our fashion editor, Mila Franovic escaped the compromising Canadian weather to meet up with the ultimate jack of all trades, artist, skateboarder, company owner, Ed Templeton, who graced us with his mastery behind the lens with an all-film-photo shoot that is this issue’s fashion feature. 82 As one of this issue’s contributors Isaac McKayRandozzi said to me, “We’re on the crux of a new type of media gatherer: the multi-tasker.” We now hold the tools to merge photographer and filmer with a single device, allowing a near-limitless range and mobility. Be it technology or tech skateboarding, if there is one thing time leaves us it’s the tools to continue to progress. Realizing all possibilities and embracing them, not shying away from them, is what it means to be on the forefront of this multi-tasking movement, that has always been a big part of being a skateboarder. Sandro Grison, creative director / editor-in-chief



volume 8

[ o ] OLSON


PETE PANCIERA guest typographer

Drawing his aesthetic and inspiration from times past, Pete’s work has appeared on the pages of magazines like Arkitip, Print, and Beautiful/Decay and on the walls of galleries all over the world. He has had the privilege of working with such clients as Zoo York, éS, Organika, Emerica, DJ Stretch Armstrong and many others. When not designing and art making, Pete spends his time skateboarding and spending time with his wife, Erika.



contributing writer

contributing writer

Dane Collison has been pointing his camera at skateboard action for the better part of six years. Coming from a town where talent is hidden amongst muscles and large trucks, Dane moved to the Vancouver to pursue film school. After a few years of packing boxes, his constant ambition in skateboarding earned him the position of team manager at Supra Distribution. He also loves the bitter taste of a good IPA, and a game of ping pong. If he’s not filming on a nice day in Vancouver you’d probably find him exploring the fine nature the city has to offer. 104

Pryce is a skater/filmmaker from Vancouver’s Douglas Park crew(DPOG). Following his epic part in the Canadian classic, Babysteps, Holmes went to New York for film school, holding it down at the famed Supreme store on weekends. This issue he travelled on behalf of with filmer Rob Harris to capture the golden moments with Alex Olson and the Quiksilver Canada squad. 78






contributing writer

contributing photographer

contributing writer

guest interviewer

Jesse Birch (Nanaimo, 1973) is a curator and artist who has exhibited both nationally and internationally. In 2007, Birch was a curatorial fellow at DeAppel arts centre in Amsterdam. Birch holds a Bachelors Degree in Fine Arts (Photography) from Emily Carr Institute of Art and Design (2001), and a Masters of Arts degree in Art History (Critical and Curatorial Studies) from the University of British Columbia (2008). Birch was CoDirector/Curator of Access Gallery from 2008 to 2010 and has been a member of the art collective Project Rainbow since 2005. 40

Ed Templeton is a professional skateboarder and artist based in Huntington Beach, California. He started a skateboard company called Toy Machine Bloodsucking Skateboard Company that has produced some of the most legendary skateboard videos. In 2008 a book of Templeton’s photographs, Deformer, won first prize at the International Festival of Photography in Rome. He is currently still running Toy Machine whose most recent video, Brainwash, will be released by the time you read this. A traveling museum show of his work titled “The Cemetery of Reason” is currently touring Europe. 82

Jenna Rogers is a musician, writer and artist based out of Toronto. Born in Calgary and raised in the Okanagan Jenna likes to spend most of her time in nature; in water, in forests and on mountains. In 2007 Jenna received her Bachelor’s Degree in English and Music Performance from the University of Calgary, before moving to Vancouver. She is currently living in Toronto working on her first album, writing short stories and working in the entertainment industry. 68

Newly minted pro Chima Ferguson hails from Australia where he wrestles great white sharks and skates the hell out of the land down under. A land where he says “You’re respected for drinking and being a piece of shit.” On a recent trip to Niagara Falls with the Quiksilver team he got drunk with Tom Asta and did a little interview for Color. 138





issue 5 skate [ o ] COMBER



[ o ] O’MEALLY

[ o ] DOUBT

with Hashbrown Think Joel Dufresne asked this West coast Am’ about his nick-name?

72 Through Space & TIME Photographer Arkan Zakharov and the

Converse Canada team worked with different light effects to achieve this gallery of images.

on the cover





Alex Olson 5-0, Toronto

88 JACK OF TWO TRADES Mark Whiteley, Kyle Camarillo, Jay Bridges, William Strobeck, Mikendo, Fred Mortagne and Brian Cassie tell Isaac McKay-Randozzi about their transition from filmer to photographer and vice versa.


What can one say about Zach Barton. Considering he doesn't wake until past noon on a daily basis due to his love of the bong, it would only seem natural that he prefer skateboarding after dark. With the lights turned on Zach avoids the thick foliage surrounding this rail and rides away clean from this lipslide in four tries flat.


Dylan Doubt and Dane Collison take to the road with Cameo, McD, Russ, Joey and Jay Brown to explore the great wild Okanagan.

78 GOING DOWN IN A 110 THE WRATH OF THE POLYMATH BARREL Like those listed on page 88, these multi-talented individuals Quiksilver’s pursuit of the loot in Niagra Falls have a bundle of tricks up their sleeves. The difference is they work both sides of the lens. words by Mike Christie. Please recycle this magazine.



distributed by Ultimate

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10 11 14 18 36


43 ANTHRAX 132 TRAILER 134 SOUNDCHEQUE 140 CREDITS 141 over ‘N out

“Her name was Denise and she was on top.” —Tom Asta on his ‘first time’ 138




53 PRODUCT TOSS Everything you need for your next filming mission.


LA NIÑA We wrangled Ed Templeton into shooting this fashion editorial. Gaze at it on those cold winter days as you try and remember the warmth and light of the sun.


STONED AGE Quest for Fire ís Prehistoric rock

Stroll into Blue Tile Lounge in Newmarket Ontario with Michal Billington and find out why this skate shop is still going strong.


40 ShOW Jesse Birch explores the glowing work of Jay Isaacs, and artist who uses unusual mediums to achieve unusual work.

Jenna Rogers knows what this band’s namesake has to do with Tommy Chong’s daughter. Read the interview and you will too.


Exploring the Unexpected with Warpaint This LA band is living out their dreams in rockfairy-tale fashion. Jackie Linton finds out if their success was all a part of a master plan or if it was a complete shock.



[ o ] IM-R

[ o ] JANSEN






John Trippe currated a show at Luggage Store Gallery in San Francisco to celebrate ten years running the We got it all here with an insider’s perspective on the Dot Com phenomenon and former skate filmer John Trippe himself. Words and photos by Isaac McKay-Randozzi

138 TATTERED TEN Booze, Tom Asta, Chima Ferguson and a recording device. Please recycle this magazine.



MARC JOHNSON mati x s t i c k e r s @ s u p r a d i s t r i b u t i o n . c o m

volume 8 issue 5

How Many Dreams In The Dark?

Take 100: The Future of Film


Taxi Driver

A humbling image of Craig Kelly suffering through brutal temperatures and fog, all crammed into a dual seated chairlift. It’s images like this that remind us that we are all equals. Growing up in the mountains of BC, it’s just a given that snowboarding would play some part in my life and while I find myself reluctant to divulge my experiences in snowboarding, I do so only out of respect for people like photographer Chris Brunkart who really live it. This book chronicles a golden age in snowboarding, one that Brunkart was at the epicenter of. From his time in Oregon to the Swiss Alps, 1990 to present day, How Many Dreams In the Dark is a well designed, superbly printed account of a lifestyle shared by many skaters and snowboarders in the 90s. With the support of Burton, Volcom and Frequency Magazine, Brunkart’s photography book is available in an edition of 1000 copies worldwide and will soon sit comfortably among other books by such friends and mentors if his like as Ari Marcopoulos.

At first the size and scope of this tomb was a little overwhelming, but after leaving it to rest on my desk for a couple of days I finally got up the courage to crack it open. The book features 100 of the best new film directors from around the world who were selected and reviewed by ten prestigious film festival directors. Each director gets 2 spreads that include stills from their films and a breakdown of their bodies of work so far. As we head into winter, its the perfect book to have at your disposal for all those dark, chilly evenings headed our way. Along with hundreds of new films to discover the curators have also include a list of ten film ‘classics’ they recommend. These range from Michael Antonioni’s The Passenger (1975) to Richard Linklater’s Slacker (1991). I’ll probably start making my way through those first and then dive into the rest of the compendium.

Every now and then, a magazine comes along that is so good that it transcends it’s subject matter. Very much in the same way that, I would hope Color is appreciated outside the skate world, Rouleur takes the sport of cycling and packages it up with so much style and substance, that you feel like you have been missing something by not following it sooner. Rouleur is not an industry standardized catalog for cookie cutter carbon frames, celebrity profiles and flashy technical lycra and sport bar reviews. It is a celebration of the most popular sport in the world, and the focus is not only on what is happening in cycling today, but the people, the history and the culture that has made it so. The quality of both photography and writing is top notch, so whether you are looking for the inspiration to spend a day in the saddle, locked in battle with a never ending hill climb, convincing your body that it will make it, or if you just want to take in the beauty that surrounds most of the courses, or just sit back and dig how fucking awesome everyone looked, every issue is a treat to both eyes and mind alike. —dylan doubt

This special edition book (limited to 1000 copies) contains never before seen photos from Martin Scorsese’s Taxi Driver. Photographer Steve Schapiro was the special on set photographer for the movie and it is into his archives that this book delves. The images on the pages offer a look at moments captured during the making of the movie. If you haven’t seen the movie, all I can do is offer up this small taste of one of DeNiro’s character’s musings. Have it running through your head as you flip through the pages of this ode to a movie masterpiece.

chris brunkart (guerilla arts llc.)

—sandro grison

bailey (phaidon)

—j. macleod

guy andrews (rouleur inc)

steve schapiro, paul duncan (taschen)

Thank God for the rain which has helped wash away the garbage and trash off the sidewalks. I’m workin’ long hours now, six in the afternoon to six in the morning. Sometimes even eight in the morning, six days a week. Sometimes seven days a week. It’s a long hustle but it keeps me real busy. I can take in three, three fifty a week. Sometimes even more when I do it off the meter. All the animals come out at night – whores, skunk pussies, buggers, queens, fairies, dopers junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take ‘em to Harlem. I don’t care. Don’t make no difference to me. It does to some. Some won’t even take spooks. Don’t make no difference to me. —travis bickle






WeA c t ivis t A M Y G U N T HE R , L A DY T I GR A , B E N N Y FA I R FA X, VA N E S S A PR A GE R , N I C O L E L E M O I N E & C L I N T PE T E R S O N S HO T B Y C HE RY L D U N N www. we s c. co m

volume 8 issue 5

Blue Tile Lounge

“the perfect coating of olive oil and lavender to an industry of unwashed hands”

wordsby mike billington


photosby jeff comber

’m sorry. I’ve been having a difficult time pulling my hands away from my face long enough to word-process. I just got this new organic olive oil and lavender liquid hand soap [smells hands]. That’s good stuff. While it may sound like a peculiar combination and I don’t even know if I enjoy the smell, I can’t seem to pull my hands away long enough to question what I’m doing, because it just feels so right [smells hands]. That’s essentially how I feel about Blue Tile Lounge.



Usually any type of specialty store can be a rather intimidating environment, and often, some type of inexplicable role-reversal takes place where the customer feels the need to impress the sales person with their vast knowledge of their products. It’s kind of sickening. Yet this never seems to be the case for Rob and Julie, the owners of BTL, whose store acts as the perfect coating of olive oil and lavender to an industry of unwashed hands [smells hands]. Like two perfectly situated tiger paw tattoos, Blue Tile Lounge has secured its place in this sagging economy. When it may have been easier to call it quits and open up the Blue Tile Mattress Emporium and Juice Bar, they stuck around. Quietly building one of, if not the, most popular and respected shops in Canada. Although, if you were to ask either of them what they

did to make this so, they would likely come back with a modest shoulder shrug and a sincere, “I don’t know. It’s weird right? You want to get some pizza? How’s your life?” To be honest, the beautifully finished oak and exposed brick interior seems to house a freak accident rather than a thriving business. Even the most incompetent economist wouldn’t recommend trying to run a company like Rob and Julie of BTL. Step one, surround yourself with only your closest friends (all of which have little to no money) and start making all of your business decisions based on your own skewed sense of humor and fashion—No one sells five-panel hats in 2010! [smells hands]. But as Rob and Julie have proven time and time again, people should take notice. Blue Tile Lounge is the very epitome of the phrase, “I do what I want,” which is probably most

obvious in their choice of irreverent inside jokes and interests that appear as the graphics on the bottom of their branded skateboards. From Frank TJ Mackey (Tom Cruise’s “character” in Magnolia), the Hover board (which came with it’s own commercial, and a number of phone calls asking “Does it really hover?”), to the Brio board (my personal favourite), and Lawsuit Gargoyle (which prompted it’s own unreleased R-rated commercial). All come with a glossy finish and are distinctively Canadian, very much like Rob and Julie. Not because they’re both made in Canada, but because there is a humbleness and sharp-tongued sarcasm that filters through each one [smells hands]. But what else could you expect from an establishment boasting a 12-foot tall APPLAUSE sign. 200 Main St. S Newmarket, ON

Nate Lacoste Backside Flip

photo: David Christian distributed by Ultimate

The Tin Toy Series Series - artwork by Andrew Pommier








K E V I N “ S PA N K Y ” LO N G









volume 8 issue 5



BRANDON WESTGATE ollie to manual [ o ] brook.



AJ MCALLISTER frontside bigspin tailslide [ o ] henry.

DUSTIN HENRY smith grind kickflip [ o ] thorburn.



SEB LABBE 360 nollie kickflip [ o ] zaslavsky.


soul stealer

volume 8 issue 5


Weekend Leisure Network by leah turner


(clockwise from left) karaoke video for Phil Collins’ “In The Air Tonight” video still “Weekend Leisure Network” video still “Weekend Leisure Network” video still



images courtesy Weekend Leisure Network.

t’s hard to imagine that stock karaoke videos could get any (unintentionally) funnier. But in the hands of Weekend Leisure, the medium reaches near comedic perfection. Since 2006, this Vancouver-based art collective (Erich Gerl, Curtis Grahauer, Christy Nyiri, and Pietro Sammarco) has been enthusiastically—and seemingly tirelessly—servicing the locals and beyond by hosting wildly entertaining once-aweek karaoke nights, and, more recently, with their Weekend Leisure Network, a half-hour public access television program produced monthly. In their custom, bare-bones karaoke videos—heavy on (what else?) 80s power ballads—the group deftly blurs the line between parody and homage. We watch an office romance being acted out to “Total Eclipse of the Heart” and its epic chorus; while in another, a mournful lady in red slowly sways to the strains of Chris de Burgh. Episodes of their television show consist of sketch comedy segments, studio karaoke performances, mock-music videos, and faux advertisements. Weekend Leisure Network’s retro-inspired and outmoded aesthetic, complete with cheap and cheesy special effects (think distortion, neon graphics, and fuzzy infrared), yields a hallucinatory effect, appropriate to its 2:00 am stoner-hour timeslot on Vancouver’s Novus network. The show is hilariously absurd: Guava and Mist teach “Assisted Yoga” in one segment; in another we’re privy to the “Stalker’s Guide to Making Friends”, while “Ollie’s Oil Change” and “The Jetsking King” provide more than memorable characters.

The laughs come cheap and easy, but ultimately, the show is not without substance. At the heart of Weekend Leisure’s oeuvre is public engagement and interaction—speaking both to the tradition of DIY public access television programming in Canada, as well as the broader parameters of participation in contemporary art practices. Weekend Leisure Network airs nightly at 11:30 pm and 2:00 am on Novus Channel 4 in Vancouver; weekly karaoke nights are held Mondays at the Astoria in Vancouver. Visit for more information.

Micha Thyge Barbara Cardigan, Yoshiko Top, Shirley Pants

“My life is a mixture of snow/skate/surf & design. My clothing is a bridge between boardsports & fashion.”

Founder/head designer

Laura Hadar Blackout denim Jacket, Divine Shirt, Wild one Jeans


Heiða Dienstag Shirt

volume 8 issue 5

Jay Isaac at the LES Gallery

words and photosby jesse birch

“I’m in the business of effing the ineffable.” —alan watts


s Carl Sagan gazes off into the cosmos during his 1980s PBS television series of the same name, he ponders the delayed travel of light from the stars. He notes that, “space and time are interwoven,” so that “we cannot look out into space without looking back in time.” Watching him gaze out into space from 2010, I wonder if future generations will continue to look back at him looking back in time. Antique Sky, Jay Isaac’s recent solo exhibition at LES Gallery, could be seen through a similar kind of temporal imagination. The thirty-eight works in the show are abstract paintings, made recently and on display at the time of writing, yet the title of the exhibition suggests a view towards the past. If we let ourselves follow this puzzle, we might imagine a viewer from the future looking back at the works on display now. Or, since the exhibition will be over by the time this review is published, perhaps you are already one of those viewers thinking about this work from the future. If there are images accompanying what you are reading now, or preferably, if you can see some of these works in person, you will experience varying patches of bright red, blue, yellow, green, orange, and purple. The pictures are intensely luminous because Isaac’s painting instrument of choice for this body of work is fluorescent highlighting marker. Highlighters were invented in Japan in 1962, and came to be popular in North America in the 1980s, but Isaac only began using them recently through his



ongoing process of actively working out aesthetic problems. He started applying highlighters to canvas, and later paper and board, to recreate a feeling similar to the abstract oil paintings he was making at the time, but with a kind of lightness that is difficult to produce with oils. The depth that is achieved by Isaac’s considered interweaving of transparent yet luminous inks facilitates a sensation of almost physically sinking into the works, while the visible layers of mark-making clearly reflect the temporal process of the work’s creation. Perhaps an encounter with this work carries a spark of what Sagan experienced as he looked to the skies of the past, longing to yield to the call of space. Walking through Antique Sky I was struck by a soft-looking yellowy purple painting on a torn piece of paper that sat high in an arrangement of works. I note the anomaly of the ripped paper because,

while I noticed it enough to mention it, in my eyes the tear did nothing to reduce the work’s aesthetic value. When viewing paintings it can be difficult to ignore the way the surface of a work might have an imperfection, or the way one surface might be more reflective than another, or the way a material reads culturally. But when looking at Isaac’s paintings close up, all that matters is the encounter with the artworks, experienced on their own terms. Now we must, once again, acknowledge that since you are reading this from the future you might not be able to do this, and you certainly wont be able to return to the experience of this exhibition in this particular formation. Thinking of you looking back from the future, there is so much that I want to point out. But I have to come to terms with the fact that while highlighters are used to draw attention to important things, every particularity that I point to in relation to Isaac’s work pulls away from what really matters, that is an engagement with the works themselves. However, lingering here in this text doesn’t bring us any closer to the work, either. Jay Isaac’s works aren’t highlighting anything; they’re highlighting everything.

(from top) Antique Sky installation view, 2010 marker on paper and canvas, various sizes Untitled, 2010 marker on paper, 8.5 x 11



distributed by Ultimate

volume 8


WEAR ‘EM PON DE FLOOR éS has created these Diplo shoes for all of you who know about the danger of lazers and know how to get a girl pregnant on the dance floor just by dancing with her.

Incase has partnered with renowned photographer Ari Marcopoulos to create a camera bag. The bag also comes with Now is Forever, a limited-edition book of unpublished Ari Marcopoulos photographs, which features photos from his travels in Italy, Japan, the United States, France, and England. Take some inspiration from it for your next adventure.


SO CLICHÉ They probably gave Reda a guest deck because they knew it was the only way to shut him up. The nicest part about owning one is that it will never talk back to you.

WE KNOW WHAT YOU DID LAST SUMMER Riley McMaster not only won the Quiksilver contest advertised in our last issue, and the $500 prize pack, but it looks like this summer he won at life too. Here’s how he described his summer: “It all started off in March when I quit my job and hit the road for a solo drive through America. Getting to anywhere hot from Vancouver, BC is a pretty serious trek, but I’ve driven cross-country by myself before, so this was just another adventure. Spent a couple days stuck in the car on some deserted highways. Then tourirized the touririzers in Vegas. Saw some cacti in Arizona. Hunted down some sand dunes in New Mexico. Scoped out the ravages of hurricane Ike and the Gulf of Mexico in Texas. Saw an actual tiger at a truck stop in Louisiana. Pitched a tent behind an emergency room in Alabama. Bourbon St. smells like shit. Went to Baltimore wearing the exact same clothes I did last summer. Ate a vegan pizza burger in Brooklyn. Got called a tall glass of water in Montreal. Won a free pizza in Toronto. Took an 8 hour detour to a ferry in Michigan that didn’t run for another 3 months. Drove on I-69. Had Tacobell at 3am in Minneapolis. Went to Mount Rushmore but it was too foggy and you couldn’t see the heads. Car battery died in Wyoming, then the alarm went off everytime I opened a door until I got back to Vancouver because I didn’t bring the alarm remote. Slept in parks, cars, bushes, on benches, and on floors. Went swimming, climbed mountains, hung out in the forest, loitered on statues. Chased stray cats, blew stuff up, and got psychedelic.” Visit us online to view Riley’s photo essay and see how you can to do it right next year.


THAT’S THE SPOT C1RCA has produced these tees to immortalize some iconic spots. You’ve got your choice of SF’s Hubba Hideout, Pier 7, or the bar. Sounds like a perfect day.

FROM HER HANDS TO YOUR ASS Pick up one of 300 hand-treated pairs of these Volcom jeans. The brand collaborated with musician Jennifer Herrema to create these distressed denims. VOLCOM.COM



issue 5


FUCK YOU ALL Starting on November 6, 941Geary gallery is going to be exhibiting photos by Glen E. Friedman alongside collaborative work by Shepard Fairey. The iconic GEF images are of the folks from the skate, punk and hip-hop scenes that he’s been associated with since the beginning of his career. The show runs until the end of December.


40 Artists 4 Cities

ART & SOLE This shoe exhibition toured across Canada this summer, bringing together a “diverse group [of artists] in both background and approach,” who each lent their hands to a pair of the classic Bob Cousy shoe from PF Flyers. The artist’s contributions were auctioned off at the events with 60% of the proceeds going to the artist and 40% going to charity. The group included painters, sculptors, illustrators, and graffiti artists. The conceptual artists threw down some unreal twists on the classic 1956 Archival Reissue of the “Bob Cousy All-American” PF sneaker. For a more in depth look at what was created, check out:

GIVE CANCER THE BOOT This Holiday season Etnies is teaming up with the Keep A Breast foundation, an organization working toward the goal of eradicating breast cancer. KAB focuses on informing the younger set about methods of prevention, early detection, and support. When you buy a pair of these boots, a portion of the proceeds will be going towards KAB’s efforts.



How can you show your appreciation for the Emerica team’s efforts in the new video? Buy all their decks and create your own wall mural with them.

Ryan Smith has secured himself a place in skateboarding history with one of the most explosive personalities (pun intended to reference his Thrasher “About To Blow” am interview c.2001). Becoming somewhat of a recluse in recent years, only Color has gained access to the Vox shose pro’s personal photo diary... Thank goodness he was too busy rebuilding a motorcycle to notice.

[ o ] MARVIN

BACK TO THE DAY These Supreme x SBs are the newest style to be added to the Nike skate roster. The shoe is appropriately called the ’94, harkening back to the days of Nas and Biggie, and taking its cue from old school Jordans. Snag a pair and pull up a stoop to reminisce about the good ’ol days.

FLEUR DC Who knew an entire province could collaborate with a brand. Well, leave it to Quebec and DC to do just that. Get your limited edition shoes, hat, and “je t’aime Quebec” tee while you still can. DCSHOES.COM

FILM TALK Ben Marvin headed down to L.A. to interview Ty Evans during the L.A. skate film fest. They talked VX-1, DVX, 16mm, 24, and 3D. Don’t worry it’ll all be clear once you see the whole thing online at:



volume 8 issue 5

“Shit got so real so fast.” words and photosby shawn lennon


etting the two frontwomen of Montreal’s No Joy together for an interview was as easy to co-ordinate as it gets. They were working in the same building and getting off work all at the same time on the day of the interview, so meeting in a nearby park for a few words was no problem. For Jasamine White-Gluz and Laura Lloyd the hardest part was putting down their Blackberries and laying off the jokes long enough to give a straight answer. As I found out, though, it wasn’t always so easy to get Laura and Jasamine in the same place. Usually band members live in the same city as they write music, but the girls of No Joy had to move 3000 miles apart before they could start recording their self-titled 7-inch debut. “We had been playing music together for different things and then I was like, ‘I’m gonna run away and live in Los Angeles,’” says Jasamine, explaining why their MySpace lists them as being from both Montreal and LA. “Except then I was like, ‘Oh no, I miss my friends,’ and then we started writing music over the Internet back and forth.” “We started an e-band,” adds Lloyd in a satiric tone. “I came back [to Montreal] over Christmas to play a show and the show was so good that I stayed,” Jasamine declares, melodramatically. “But also, I didn’t have enough money to be there.”



Since that inaugural show, Jasamine and Laura have locked down a solid rhythm section who have proved to be more than just a back line. “We had to get a rhythm section and then our rhythm section happened to be talented, so they also contribute to writing songs now,” says Lloyd. “It’s good because I guess it’s more of a band, no longer a two-piece.” No Joy’s stormy, beefed-up take on classic shoegaze rock didn’t take long to garner attention, either. They quickly found themselves touring with Swedish psych-rockers Dungen, and Best Coast’s Bethany Cosentino called them “the best

band ever.” In fact, their friendship with Cosentino has done wonders to raise their profile, thanks in part to the power of Twitter. They got signed to tastemaking Brooklyn label Mexican Summer and The Raveonette’s Sune Rose Wagner—surely a man who shares No Joy’s love of the Jesus & Mary Chain—signed on to mix their new album. Although engineered in Montreal, their forthcoming full length Ghost Blonde was another project that spanned North America. “Sune has a studio in Brooklyn where he kinda did the magic,” says Jasamine of the post-production work on the album, “Laura was in BC, I was in Maine, but we met on the Internet and we were totally involved in the mixing.” “He would do something, send it to us and then twenty minutes later fix a little piece then send it back again. It was really long, but good,” explains Laura. Label support is new to No Joy, something Laura admits is “kinda terrifying, all of a sudden shit got so real so fast.” “It

is weird that people want to do stuff for you,” interjects Jasamine. “It’s also like these people believe this band has potential, they take you on and hope that you’re gonna be more successful.” “It’s all unravelling really fast right now,” adds Laura. Gluz, a native to Montreal, and Lloyd, a Victoria BC transplant, come off in person as a truly unerring match, often finishing each other’s sentences and constantly cracking jokes. Their merriment on and off stage makes their name truly ironic. With their sincerity, humility, talent, and a good sense of humour, it’s no surprise they’ve found a great deal of much-appreciated support. No Joy debuted in December of 2009 with no expectations, now it seems the expectations are in the hands of the label. Having heard the new album, there’s no question. They won’t be disappointed. Ghost Blonde is out November 16th on Mexican Summer. For more news and info, check out



volume 8 issue 5

Hi-Def Filming can be just a necessity when editing together the perfect clip, but sometimes it’s the borrowed bits that really pulls it all together. For the sleep deprived recluse in your pack anything goes, but blacks preferred.

1. QUIKSILVER byunm top 2. GRAVIS arto shoes 3. CHOCOLATE tone on tone 51mm wheels 4. INCASE sp10 nylon sling bag 5. VENTURE ryan gallant trucks 6. C1RCA kills pocket t-shirt 7. LRG one to grow on pt cargo bottoms 8. GIRL woodies rick howard deck/ gold bearings/riser pads

9. WESC zion jacket 10. HUF new era hat



volume 8 issue 5

Lo-fi Today’s more refined filmers enjoy reinvented classics like corduroys and boat shoes, but aren’t afraid of the newest gadgets either. With a backpack that says “trust me theres no lap top in here”, plan on flying under the radar uninterrupted on your next mission.

1. RVCA colors iv top 2. TOY MACHINE cruisers wheels 3. VANS era 45 ca shoes 4. ALMOST target market deck 5. VOLCOM 2x4 cordoroy pants 6. ALTAMONT rags belt 7. SITKA paddington wallet 8. ENJOI simple pleasure bag 9. INDEPENDENT trucks 10. RAYBAN wayfarer sunglasses 11. C1RCA beer cozy 12. LUCKY riser pads 13. BONES swiss bearings 14. ELEMENT noggin toque 15. WESC flute headphones




volume 8 issue 5

Super 8 For the camera-man on a deadline or just a tight schedule, a trusty laptop bag is mandatory to take him from lunch meeting to early morning cocktails. It’s a wonder he manages to wear such well thought out kits. Only the freshest will do.

1. UNIT tool 2. ALMOST butt wheels 3. INCASE computer sleeve 4. ELEMENT peyton socks 5. GIRL girls, girls, girls shirt 6. Skull skates beast of gevaudan deck 7. DOH DOHS bushings 8. SHORTY’S hardware 9. C1RCA hesh shoes 10. ROYAL jerry hsu pro model trucks 11. PIG piles 1/8” hard riser pads 12. INSIGHT diamondback rattler top 13. EMERICA hsu signature-slim pants 14. RVCA dallas belt/ rvca notes journal moleskin 15. ALTAMONT trade pouch 3 satchel




Mike Mo Capaldi

distributed by Ultimate

volume 8 issue 5

words and photosby joel dufresne


find interviews with people you already know rather awkward, so I picked up a six-pack of tallies to split with Mike to help take the edge off a bit. It turns out that I didn’t really know Mike that well at all. I learned that he just went to his first concert, just got back from his first trip to Montreal, and that he just got his first lap dance while he was out there. I also learned that he can shotgun tall cans like a man. Our drinking festivities lasted long past the recorded interview, and I later learned that Mike became very motivated to skate by his father’s passing due to Huntington’s disease. Walking away from this interview, there are a few things I can say I’ve always known about Mr. Schulze: he kills it on a skateboard, he loves his family, and he’s a great person to be around. This is the Hashbrown interview.

Hashbrown shines some light on a vintage Vancouver set with this lofty switch heelflip.



This is a really awkward spot to skate: you basically run across the grass, hop on your pre-positioned board, and huck. Mike obviously didn't find it to be such an issue, since he did this backside bigspin twice with relative ease.

Mike Schulze: I bet you one of the questions is “How’d you get your nickname?” Color: That’s actually the first one. [laughs] I think it was when I was 13 or 14, when I first started going to the skatepark in Maryville, and there were all these bikers I would hang out with. And one day one of them showed up with a flattop haircut and he was brown, so I was like, “You look like a tatertot.” And buddy said I looked like a “Fuckin’ hashbrown”—it’s kind of a lame story, but it just stuck. It’s funny how nicknames like that come about—do you like hashbrowns? [laughs] I’ll eat them here and there but I’m not a huge fan of them. What’s your ethnicity? I’m Filipino, Chinese, Spanish, and German. My dad was full German, and my mom’s Chinese, Filipino, and Spanish. Pretty mixed. Do you have any siblings? No I don’t, I’m an only child. I’ve got stepsiblings though. Two older stepbrothers and one older stepsister. Do any of your stepbrothers skate? Well, when I was eight, I actually found one of their boards in the garage, and I would just push around on my knees in the driveway. And then I almost got hit by a car, so my mom took it away from me. I didn’t get another board until I was 13. You mentioned earlier today that you are going down to the States this winter, what’s the plan there? Yeah dude I’ve actually never been to California before, I just want to go somewhere warm during the winter and stack some footy. I don’t know the location yet, but I’m doing it for sure. 62


Where have you gone through skateboarding? Montreal, and through the Okanagan. The Ultimate trip was super fun. I went with Spencer Hamilton, Derek Swaim, Matt Berger, AJ McAllister, Arte Lew, Desmond Hoostie, and Danny Empey. It was a really fun—productive trip for sure. I saw some photos from that trip, what was beer-darts about? [laughs] Beeeeer daaaarts, yeah dude! Craig’s homie, we were staying at his house, and he showed us this game called beer darts. Basically the concept is you have two

teams of two and you sit on chairs like 15 feet away from each other. Each team shakes up a beer and puts it beside them, and you throw darts at the opposing team’s beer. If you hit it, the other team has to shotgun it. But Spencer upped it to playing one-on-one where you put the beer between your feet instead so... a lot of darts in the legs. That shit was fuckin’ buck dude! What was the story with birthdates from that trip? Oh yeah! Basically, we were all drinking and somehow we got on the topic of birthdays, and it turns out that myself, Spencer, and

Danny Empey all have the same birthday, August 27th. And Spenny was born the same year, so that was kind of cool to find out. Tell me a little bit about the trip to Montreal, how was your first time out there? Dude, so buck! [laughs] Just like, cheap beer everywhere, good skate spots, beautiful women—an awesome vibe for sure. Definitely worth going out there. You mentioned earlier that you met a lovely lady named Precious there? [laughs] Precious! Uh, well there are a lot

“So… a lot of darts in the legs, that shit was fuckin’ buck dude!”

of strip clubs in Montreal, so yeah, I got my first lap dance out there from this girl— fuckin’ double Ds, big booty—her name was Precious. She was definitely precious dude. [laughs] You’re from Surrey or Delta? I’m actually from Langley. A lot of people think I’m from Surrey, but I just skate out there because there’s actually a skate scene there. How are the spots out there? There are some hidden gems for sure, but it’s not as easy to skate a bunch of spots in one day unless you’ve got a car. Like in Vancouver you can skate around the city and hit up ten spots in one day, but out there if you got a car, it’s pretty good. So you’re putting in some time travelling to Vancouver hey? Yeah, I don’t drive so I have to take transit. It’s like an hour-and-a-half to two-hour bus ride here, and then the same thing home so it sucks. I’m hoping I can move out here one day though. Are there any filmers/photographers out there that you shoot with? No photographers, but there’s my homie Dave Stevens who films. He’s really good behind the lens; always super down to film. You guys are working on a video right? Yeah, the Coastal [Riders] video. I don’t know when it’s going down, but it’s gonna happen for sure. It’s gonna be sick. We’ve got a stacked team: John Hanlon, Magnus, Alien, Swell, Majed [Salem], Adam Fontaine, and a few others. A lot of people. (left) Your board doesn’t need to flip when you got this steezy of an ollie to fakie caissiephoto.



“So many fights broke out, they had bitches eating each other out on stage.”

hard and ate shit; I was hopped up on painkillers the rest of the trip. Where was the skate camp at? It was in Hope through Younglife—this Christian skate-club thing. They try to recruit Christians through skateboarding and they always have guest skate pros come down there, so Jamie Thomas was there the time I went. Jamie hooked up some shoes because I broke my wrist, he felt bad. [laughs] I don’t remember the rest of the camping trip because I was on pain-killers.

What’s that called? I think it’s called Party Skate? I dunno if we’re actually going to call it that though. The TM Damon wants to do it under that name to expand the snowboard brand into skateboarding, but I don’t think the skaters are really into that. We kind of want to do our own thing. What do you do in your down time when you aren’t skating? I just chill, drink beers with the homies, just kick it. The same shit that everyone else does, you know? Playing video games, basically just killing time until I can skate again. Music is pretty dope, I love looking for new music. That’s about it though, nothing really. What are you listening to for music? Hip-hop. Nas, Biggie, Big L, a bunch of shit like that. Da Youngstas—that shit’s good too. 64


That’s a good mix. You went to a Three 6 Mafia show the other night? [laughs] Ah man, that shit was just so buck dude. So many fights broke out. They had bitches eating each other out on stage [laughs]. Just insane. I got last minute tickets, and ended up getting VIP so it was super good. That was my first concert. Do you play any instruments or anything? I used to play guitar when I was younger, and then I broke my wrist and now my hand doesn’t work that well, so I can’t play guitar anymore. What was your worst injury? I broke my wrist, dislocated and fractured it all at the same time—it looked like a fucking pretzel dude, it was so gross. I did it at skate camp when I was like 15—skating this double kink rail with Jamie Thomas. I just gave’er too

If you could live in a movie, which would you live in? I just watched Inception the other night; that’d be fucking dope dude. Just go in dreams and make shit happen. [laughs] What’s your favourite movie of all time? That Commando movie with Arnold—so funny dude. That shit’s like a hidden comedy. [laughs] That shit’s so funny, just crazy oneliners.

Are your parents pretty hyped on skating? Yeah they are pretty stoked on it, but they’re always telling me to get a real job because they don’t really understand the full concept of skateboarding, like how you can make some money here and there. But they just want me to have a good life, you know? They just care. My mom thinks I’m just playing pretty much.

Do you remember your first skate video that you saw? Real to Reel [2001]. I’d watch that shit like 20 times a day.

That’s pretty common with a lot of parents. They must be hyped that you’re picking up sponsors though. Oh yeah, they always ask me like, “Oh, are you getting money?” And I’m like, “No Mom, I’m not.” And she’s like, “Get a real job.” I just laugh at that; she just cares a lot.

Do you have any tattoos? No man nothing. I’ve been saying I want to get a tattoo since I was 14, but haven’t manned up to do it. I want to get ‘roll forever’ somewhere. Just not too sure where yet.

What are you doing for work? Labour. I just go to Labour Unlimited when I need money and they send me out to some random bullshit construction site to dig holes or some shit. I’m looking for a new job this

Also Sabbath, Jimi Hendrix, Pink Floyd.

week, hopefully some warehouse job.

Another classic Vancouver spot that's suprisingly not blown out - mainly due to the on-point security guards that reside at this building. Backside tailslide during coffee break.

What’s your favourite skate video? Right now I would have to say the new Slave video. That video is so raw, dude. It’s got good music too. It hypes me up.

This one’s for the ladies. What do you look for in a lady? I dunno, a cool personality, obviously good looking, you know, a big ass on her. [laughs] The finer qualities.

(opposite) A basketball court, a bench, and a skateboard - spots don't get much more basic than that. The same can't be said about Hashbrown’s backside 180 switch front crooks to flip out though.



volume 8 issue 5

wordsby jenna rogers

by jeremy r. jansen


lthough the members of Quest for Fire don’t cite cavemen as any direct influence, nor the barren landscapes of primitive man as any inspiration, they manage to forge a sound that is savage, versatile, and evolving. Taking their name from the epic 1981 film of primal discovery, this Toronto-based psychedelic/rock/metal foursome have come a long way in a short time.

“We didn’t want to be just another stoner band.” In 2007, Chad Ross and Andrew Moszynski, of defunct Toronto garage-rock group The Deadly Snakes, joined forces with drummer Mike Maxymuik of Cursed and ex-No No Zero bassist Josh Bauman. The four started writing songs and jamming a few times a week. In 2009 the band released their first album: a self-titled six-song burner full of hard psychedelic riffs and doomy jams. Reminiscent of the 13th Floor Elevators, Crazy Horse, and Pink Floyd, the debut set a high watermark for the group. The band’s live shows, with their long-form jams and riff-based songs, eventually gained them a reputation as a “stoner-metal” band in the press, but with their most recent and second release, Lights from Paradise, the group demonstrated a momentum and confidence that defies easy labelling. More than anything, it seems that these guys are taking things as naturally as possible. Whether it is the fine balance between their day jobs and weekend tours, or the homage they pay to folk music and classic rock, these guys are letting instinct lead them in the right direction. Color: So just to start, I wanted you to know I took the liberty of watching Quest for Fire before this interview: Andrew: Yes! You’re the first! Chad: The movie is awesome. Do you guys ever jam over the movie? I think it would sound really great. Mike: It probably would, actually. Chad: No, we haven’t done that but maybe we should try it sometime. It would be like when you play Dark Side of the Moon over The Wizard of Oz (laughs). People are usually just so stoned they think it is actually matching up…

Do you think you could give us a quick synopsis of the film? Chad: A merry band of cavemen searching for fire? Andrew: It’s almost exactly like our lives. Chad: Discovering the laugh, and love…the first fight scene at the beginning is pretty awesome, the weird kind of bad costume war neanderthal. And Ron Perlman is in it too. Andrew: Yeah, Ron Perlman and Rae Dawn Chong—Tommy’s daughter. Are they cast as…cavemen? Chad: Rae dawn Chong is the love interest and Ron Perlman is the one Neanderthal who looks like Tom Waits. (laughs) So what made you think about that to be your band name? Chad: I think it was just a catchy name. I guess the whole idea behind the movie is good, but I think we just liked it. We are all big fans of the movie. We actually get asked about the Maiden song “Quest for Fire” more than the movie. Coming out of your guys’ past bands, The Deadly Snakes and Cursed, what made you want to come together and form a heavy psych-rock band? Mike: For me, I’ve always wanted to play in this sort of band. I came from playing in a metal/hardcore band, and I’ve always known Chad and we had always talked about making music together. Chad: It kind of reflects all the music we all just really, really love. I mean being in a garage band or a metal band, it’s pretty focused on one thing—but with [QFF] we all have this heavy rock and folk music influence. It’s something about this band that’s easier, everything just kind of gelled together. I mean, if we want to play

a loud crazy song, or a slow heavy one, everything just seems to work. Mike: One thing we decided, we didn’t want to be just another stoner band—I remember that was one of the first things we said—I don’t want this to be a FuManchu band. Do you think people consider you a “stoner” band? Andrew: Well, even with the new record, we have people reviewing it and people don’t know what to call it. Even when they try to settle on something, I’ll read one thing one day and the complete opposite the other day, like: “It’s an awesome heavy record” or “It’s orchestral.” Chad: Yeah, in a Pitchfork review they said, “It’s not stoner rock—it’s stoned rock.” Andrew: I’ll take that. (laughs) So you guys just released your new record Lights from Paradise, have you been touring the shit out of it or are you aching to get back in the studio? Chad: I think that’s kind of what we want to do, We all have a lot of stuff we could bring together. We are pretty productive in the wintertime. Andrew: We are in this routine right now where we tour for three days, then scramble back and work all week—so it’s hard to find a balance. It’s okay to be away for weeks at a time when you are 18 and in your parent’s basement—I was never home from like 16 to 26—but now we have more responsibilities so we can’t just take off. I have a dog, too. She’s 120 lbs. and she’s crazy. Mike: We haven’t done a long tour in a while. What happens to me is it takes three days for me to go crazy, and then I settle in.

What music are you guys listening to recently? Andrew: I just saw Human Eye from Detroit and it was amazing. Chad: The last Ty Segall record was great. I’m always listening to old things, I think we all are. Andrew: We listen to The Troggs a bit. We went on this three-hour drive from this cabin up north and listened to The Troggs the whole way back trying to find an instance where the drummer hits a cymbal. It’s because he doesn’t hit the cymbal the whole time. Mike: I got kind of excited about that. (laughs) It sounds so cool, there’s no cymbal bleed in any of the songs. But The Troggs are great, every song is “Wild Thing,” basically. I heard a funny story about your first show and some manager or booking agent you guys had who took a bunch of your money? Andrew: He didn’t take our money, he just ripped it up and threw it in a gutter. (laughs) But it turns out he doesn’t remember it at all. Mike: He was smoking crack all night or something. Andrew: Yeah, I remember he was actually smoking crack. Chad: Yeah, that was the first money we ever made—we still have a corner of a tendollar bill pinned up in our jam space. Andrew: We basically hit the lowest lows already, so we should be good from here. Quest for Fire’s Lights from Paradise is out now on Tee Pee records. For news, tour dates, and other info, check


volume 8 issue 5


ollowing a classic rock band success story, Warpaint built a slow-growing mass of praise for their debut Exquisite Corpse EP, which they mastered with John Frusciante (whom the band’s Emily Kokal briefly dated), and reached a higher plateau of acclaim after being the most talked-about band at CMJ in 2009. The all girl, Los Angeles-based quartet signed with Rough Trade on the strength of their live showcase, and now, one year later, they’re set to release their first full-length album, The Fool. With ramshackle, lo-fi, and bedroom-recorded artists dominating the indie scene, Warpaint represent the increasingly rare phenomenon of a group that seems to have emerged fully-formed, confident, and polished. Their richly-textured art rock shares the moody atmospherics of Beach House or Deerhunter, replete with multi-part harmonies, layered vocals, and songs that constantly shift directions and take odd detours. Often meandering and surprising, their songs are nevertheless always anchored by Stella Mozgawa’s powerful and inventive drumming.

wordsby jackie linton

photoby brayden olson

“Sometimes the best product comes together that way, when you go on instinct and don’t think twice about it.” Pervaded by a sense of restlessness and exploration, The Fool has a depth far beyond what you’d typically expect from a hotly-tipped group of photogenic LA girls with powerful backers and show business connections (their original drummer, Shannyn Sossamon, starred with Heath Ledger in A Knight’s Tale, and left the band to pursue acting full-time). It doesn’t hurt that, despite their sudden rise, the band’s core members have been playing together and incubating their ideas for nearly seven years. With so much potential in evidence, all eyes are on Warpaint. While nerves could enter a situation like this one, frontwoman Jenny Lindberg enjoys the rush of this kind of pressure. And The Fool reflects this kind of confidence better than ever: the record pushes the already-eclectic boundaries of their sound with more acoustic elements, and pushes their organic and intricate approach to song structure as they build more prog-like jam sessions, reveling in the spontaneous. When talking to Jenny, it seems that the spontaneity of the moment is exactly what she and her band lives for. Color: The structures of your songs are very unconventional at times. Just curious if you’re the kind of person that enjoys a good surprise. Has there been a recent surprising thing that’s happened to you guys recently? Jenny: Hmm. Well, surprises are about my most favourite thing. I love them to death. My mother used to throw me a surprise party, 70


like, every year when I was growing up as a child. And somehow I was always surprised every time; it was always really random. But as far as the band goes, like, almost every day is a bit of a surprise for us. Something shocking will happen, or we’ll laugh about something weird. Is every day a bit of a surprise with you guys? Y’know, actually...on this recent tour, not so much. It’s a bit like Groundhog Day. You’re on this bus every day, you see the road, you’re hanging out watching a get to the venue, you load in, and so on. Lately, we’ve been playing a lot of Opera houses, some really classy beautiful theatres—but to answer your question, there's no surprises lately. Every day is great but it's the same. Were you guys surprised when you got signed to Rough Trade last year after CMJ? Yes, but it wasn’t a total had been stewing in the pot for a while. We had been in talks beforehand, and CMJ was the tipper topper where they needed to see us play live before they could sign us. But then that happened and they were really jazzed. But it was rewarding. A little stressful, but it was a good show for us. And it was a cool story, a classic story about getting signed. Compared to the making of the EP, this record came together much quicker. What was it like putting together The Fool

within a year? With the EP, we sat on those songs for a long time. But with this record, some of the songs were already sort of kicking around, and it was cool to work them out and bring a new life to what they were. But we recorded for two months, and then took a month break, and then came back. We just had to do it, we didn’t have time to question ourselves or over-analyze anything, like, if you’re feeling it, just go. And that was a cool kind of vibe. And sometimes the best product comes together that way, when you go on instinct and don’t think twice about it.

these things are more anthemic, but the song really encapsulates the whole history of the band.

It’s great when bands have songs that reference their own band name. On this record, can you tell me about “Warpaint” and how it might relate to the band? Well, the band was initially just called Warpaint out of default, and that was actually the first thing we recorded. It was just a jam session with a drum machine, so we called the rough “Warpaint”. And it was just such an awesome jam, with so many good parts. And throughout the years we have tried working out that song, relearning, and restructuring it. And we’ve had so many changes within the band, so many different drummers have come and gone, and the song has always gone through so many changes—different key parts have been added, the vocals have been switched around—it must have changed seven or eight times. It’s funny that it’s called “Warpaint” because it really speaks to the band in many ways. Usually

Is there something you can tell me about the band that people might not know? Theresa is a really great cook; she makes wonderful raw chocolate!

In terms of other surprises, what can we expect from Warpaint next? Well, we’re going to Australia at the end of the year, and we’re going to be releasing a few EPs on Rough Trade. We have three concept EPs to put out before our next record. One will be all piano-based, one will be all drums-based, and one will be accapella-based. They should be all coming out in January.

And what’s your favourite kind of adrenaline rush? I like skydiving, and bungee jumping. Rollerskating, anything that produces forward motion. I know it sounds weird, but I get a rush from laughing. And sex. And playing on stage! The ultimate adrenaline rush! It’s what I’m a junkie for. I’m always super content and really in the moment when we play. The Fool is out October 25th on Rough Trade and Warpaint are touring Europe for the rest of 2010. For dates and more info, check

volume 8 issue 5

Through Space & Time wordsby sandro grison

photosby arkan zakharov


or those who make the switch to digital photography from film, there can come a time where interest peaks, plateaus, and even sinks into valleys. Through no fault of the photographer’s own, or the medium even, a sense of wonder can be lost. Gone with the waiting process that characterizes shooting on film. Because photography at its root is far from a simple click of the shutter. With long exposures, you drag it out, while bringing in a little ambient light, and, arguably, you’re painting. This is precisely what Arkan Zakharov set out to do with a few assistants over a week’s span. (opposite) Adam Mancini 360 flip 20 seconds Trent Matley Backside feeble grind 25 seconds



“Long and multiple exposures brought the unpredictable and artistic factor back into skateboard photography.�

Brandon Bandula Backside blunt 30 seconds



(opposite) Trent Matley Rodeo ollie

“It was my ambition to achieve this particular light-painting effect in a skateboarding photograph for quite some time,” says Zakharov. Having experimented with these devices in studio, he knew it was a great avenue to explore out in the world, and the possibilities lit a fire under him. He explains, “As the sessions went on, it seemed to get easier, and most importantly we all began to really nail down the timing and technique of making these exposures happen.” The feature you hold before you came to us as a kind of experiment from this Toronto-based photographer, exploring a new and unique way of implementing long exposures in skateboard photography.

Wes Loates Boneless



(opposite) Noah Tynes 25 seconds

volume 8 issue 5

wordsby pryce holmes

photosby jeff comber [ o ] HARRIS


[ o ] OLSON

[ o ] O’ROURKE

1. Torey Goodall lost his virginity wearing IPath Cats 2. Pat O’Rourke gets awkward in elevators with pro skaters 3. Alex Olson’s favorite porn star is Alexis Texas.


was lucky enough to learn these important details about the lives of those in the van with the Quiksilver team for the West 49 “Take the Cake” contest in Niagara Falls. Rob Harris (The Green Diamond) came to document the whole event in HD, with Jeff Comber taking photos, and Dario Phillips providing motivation and management. We were all thrown into a van over the course of four days, on a mission to “Take the Cake”. I filmed all the shenanigans on my Super 8. We were given disposable film cameras to document the trip—the stuff we would probably remember from our daily sessions, and what would become blurry after ‘squadging’ a couple beers.



Alex tailslide kickflip



[ o ] O’ROURKE

Day 3: We decided to leave our van in the garage and have Pat and Jeff take us around the city, which proved to be much more productive than moving from spot to spot. This was the perfect way to end our time in Toronto before heading off to Niagara Falls.

[ o ] O’ROURKE

Day 2: We stopped into a couple skate shops before heading to a bank-toledge spot where Torey and Pat got tricks. We ended the day at an outdoor mini ramp where Alex and Torey practiced their Indy grabs.

[ o ] HARRIS

Day 1: We came to the unfortunate conclusion that Tim Horton’s doesn’t accept credit cards, which threw off our whole day. Despite the setback, we stopped in the Quiksilver store for a couple necessities and shredded until happy hour.

[ o ] HOLMES

Driving from New York to Toronto, Rob and I heard Katy Perry’s “California Gurls” nine times in our nine hours, which obviously got us real psyched for our arrival at the hotel to meet up with the crew. We got in too late to skate, so we ‘squadged’ many a pitcher to put us to sleep for our attempt at an early wake up.

[ o ] O’ROURKE

Torey 180 switch crooked grind

[ o ] OLSON

[ o ] OLSON

[ o ] OLSON

[ o ] HARRIS

[ o ] O’ROURKE

[ o ] HARRIS

[ o ] OLSON [ o ] HARRIS [ o ] O’ROURKE

Day 4: Upon arriving in Niagara Falls, we were smack in the middle of Las Vegas, but only if it had lost all of its money and smoked meth for a year. The weather didn’t help either and West 49 had opted against spending the 15 grand on a cover for the coarse (on the east coast of Canada in October nonetheless) so the contest was shut down before it even started. We managed to reap the benefits though: free beer and the cake that was split up evenly amongst the pros attending. Alex took his ‘winnings’ and we all enjoyed what Niagara Falls had to offer: namely, indoor waterslides.

Alex frontside air (bottom left) Pat crooked grind to fakie

The last day of the trip we all handed in our disposable cameras and gave high fives and goodbyes. In a short five-day period with less than adequate skate weather, we proved to be far more productive than anyone expected. Big thanks to everyone at Quiksilver who helped invent the word “squadge” and made the trip possible.



Grant WESC top VOLCOM pants Ashley MATIX sweater

Rob ES t-shirt LEVIS jeans CLARKS shoes Jackie RVCA sweater MATIX jeans Vintage shoes

Ashley MATIX sweater


Ashley EMERICA youth long sleeve top LEVIS jeans CONVERSE shoes Grant Vintage jacket RVCA top WESC jeans CONVERSE shoes colORMAGAZINE.CA


Ashley ELEMENT jacket Grant C1RCA tshirt Jackie VOLCOM dress RALPH LAUREN jacket Rob MATIX jacket

Ashley VOLCOM sweater WESC blouse MATIX jeans ADIDAS shoes



Grant C1RCA top



Ashley ELEMENT EDEN sweater

Grant INSIGHT top Ashley VOLCOM sweater WESC blouse

Ashley ELEMENT jacket Vintage shirt INSIGHT shorts colORMAGAZINE.CA


volume 8 issue 5

wordsby isaac mckay-randozzi


[ o ] HUNT


he hedocumentation documentationofofskating skatingappeals appealstotoaacertain certainbreed. breed.Perhaps itPerhaps is created it is bycreated too many by slams too many to the slams head toor the something head or earlier in childhood something that earlier skews in childhood their perception—eating that skews their lead perception— paint maybe. Whatever eating lead thepaint root maybe. cause, these Whatever individuals the rootfeel cause, compelled these individuals to capture moments feel compelled of skating to capture that will moments inspire others, of skating highlighting that will inspire the aspects others, ofhighlighting skateboarding the aspects they feelof are skateboarding important. Over theytime feelthey are important. gain strength and Over a sense time they of accomplishment gain strength and from a sense even of theaccomplishment smallest of victories. from While even filmers the smallest have been of victories. underpaid While and filmers chronically have been under-appreciated underpaid for and years, chronically the sadunder-appreciated truth is that few have for been years,able the to sad stand truthout is that fromfew behind have been the viewfinder able to stand andout become from behind craftsmen. the viewfinder For the most andpart, become almost craftsmen. any skater For the can most filmpart, and edit, almost butany it isskater the truly cantalented film andwho edit,can but make it is the skateboarding truly talented look who ascan good make andskateboarding inventive as those lookfeatured as good on and these inventive pages. as At those some featured point, each on these of the pages. following At some documentarians point, each of decided the following filmingdocumentarians wasn’t enough, decided taking tofilming freezing wasn’t their enough, subjectstaking from behind to freezing a different their subjects viewfinder. from behind a different viewfinder.



Gonz - Roof ride.

Omar Salazar - Backside tailslide.

Videos usually follow the same three part pattern that photos do: introduction, middle, and ender, the photographic version being: starting point, skater doing the trick, and the landing area. While it does not seem like too much of a leap from photographer to filmer—both require similar visual and hand-to-eye coordination—the technical and physical demands are different. “Filming was my visual output for skating at the time; photography was for other things—art and documentary. When I started at SLAP it just made sense to shoot skate photos instead of film. I already knew everybody, I knew what to do, and I had a magazine to fill instead of a video part. So I slowly figured out the flash aspect of it, and headed out into the streets,” says Mark Whiteley. Those who are able to shift between the two mediums, and do it well, a very rare breed indeed. But the ones who also exceed at skateboarding are in a league of their own (see Polymaths article, p.XX). For Greg Hunt, his participation in photography first came while he was pro for Stereo. During a 1995 tour his interest became a near compulsion (that still grips him to this day). “That tour was the first trip where I shot a lot of pictures. I came home with so many good photos, so after that I always had a camera with me,” recalls Greg. He shot many photos, and one ended up being the cover to one of Tommy Guerrero’s first albums. “I always have one close by. I go through phases where sometimes a camera is always around my neck even when I’m filming. Other times I’ll be more into a certain video project or something so it’ll be in my bag.” Splitting time between mediums can get tricky for those who actively shoot colORMAGAZINE.CA


92 jacksof. [ o ] WHITELY




Nestor Judkins - Backside smith grind.

and film like Kyle Camarillo. “I’ve filmed people make a trick, and then shoot a photo after. I’ve shot a few catches first and then filmed the make. And I’ve also filmed and shot a photo at the same time. Video in one hand, photo in the other, although I don’t recommend it,” Kyle adds with a laugh. Filming and editing styles differ from the straightforward music video approach of Mr. Camarillo, to the documentary/killer-no-filler style of Mr. Strobeck, who refers to his bold aesthetic and artistic aspirations in this way: “It’s all a document of what I did in my 20s and 30s. Hopefully I’ll be making films in my 30s and 40s, and sitting poolside in a Speedo with beautiful women feeding me grapes in my 50s and 60s.” Whereas others like Mikendo Stanfield edit in a more casual way, allowing the skating to do the talking. But all of them have an overall style that you can see in each of their productions. From William Strobeck’s intimate portraits of his friends and family, to the classic skate images and portraiture of Mark Whiteley, the diversity of subjects that these photographers shoot is as wide as the human spectrum.



Rick - Ollie.

Ryan Decenzo - Bluntslide.

Needless to say that it has been skating that’s opened this group up to new mediums of documentation. Starting out as filmers, Mark Whiteley, Kyle Camarillo, Jay Bridges, William Strobeck, Mikendo, Fred Mortagne, and Brian Cassie were exposed to photography on a firsthand basis; sometimes jostling for the right angle in an elbow war with their lens-man cousin. While there are commonalities in what they do, their methods and ideas on how they go about their crafts differs. Some have sought out new cameras and equipment, others take a different approach. “Creating conditions where you are restricted pushes you to find solutions and come up with new ideas,” Fred Mortagne comments. Whereas William Strobeck believes, “To limit yourself stops creativity. I like the way different cameras look. I love Memory Screen as a whole; I like Trash Humpers by Harmony Korine.” When asked to explain about limitations in order to better yourself in the long run, he replied, “Trying all types of media widens your range. I’m my own worst critic. Aren’t you?” Methodology aside, the end result is all that matters, and if it looks good, well, we’re all the better for it.



distributed by Ultimate

volume 8 issue 5

words and photosby isaac mckay-randozzi


hey say that our early 20s are the years we lose to the fast pace of life, newly minted with all the rights accorded to those over 21. A new world that can involve work, booze, drugs (for some), skating, lacrosse, university, sex, and the feeling of being a fresh young adult with the ability to do anything you damn well feel like. This coupled with the invincibility that comes with the deception of youth, life runs free.



The Dot Com era in San Francisco introduced even more money into a city with an already high standard of living and great accumulation of wealth. It was in 1997, during these frenzied days that John Trippe, a skate filmer and photographer, started up a zine called Fecal Face as a place where his non-skate photos, friend’s art, and tales of drunken times could find a home. It wasn’t like he needed the work. Trippe was already splitting his time between SLAP and Thrasher magazines, and contributing to 411VM, along with filming and editing Credo, a video by Tantrum Distribution, which has long been considered a mid-90s cult classic, with footage of Stevie Williams, Mike Graham, James Kelch, Joey Bast, Jason Dill and others. After some success with the zine, Fecal Face became a website in 2000 after John taught himself web design in the evenings after working his 9-to-5 at High Speed. But why the name Fecal Face? Trippe explains, “It was a ‘zine’, meaning it was a xeroxed, Kinkos-copied, mini-homemade magazine assembled with glue stick. A handmade creation.” But what to call it? As diverse as their formatting, zines have all sorts of random names. As Trippe explains, “It doesn’t need to make any sense... Around this time in my life I had began ‘experimenting’ with ‘the beer’ and found its exciting fun dizzying effects ‘intoxicating’... Wait, I got it,” he remembers, “Fecal Face. It rolls off the tongue. Whatever. Sounds good. Done.”

Booze, skating, and art in all of its multiple forms were featured in the publication and later on the site. The order of importance has varied over the decade as Mr. Trippe’s interests change. For as much as it is a community site, it is John Trippe. His tastes are reflected in the artists that are featured both online and shown in the brick and mortar space of Fecal Face Dot Gallery. Over the years the site has changed, been shut down, resurrected, deleted, sold to Nike (an April Fool’s joke), and started anew. His frankness and honesty about what he was doing, especially in the early years, helped viewers see all of the antics and art that were part of his own life, and of those he documented. In some ways, I still wonder if Fecal Face hasn’t been some sort of medium for John’s own social experiment, his documentation of a movement and how art plays a role in the lives of his and surrounding generations.

Simon Evans, Richard Hart, and others in the notorious San Francisco skate flop, the Howard House. A variety of characters from around the globe slept and lived in the rooms where Fecal Face was started. The randomness of those halls may have had some effect on John and was perhaps reflected in the content, which ranged from interviews with artists, photographers, and art show coverage, to holding “stoop parties” and the adventures of one guy with four drinks looking for any thirsty lady. That transient nature that was, and is, ever-present in the revolving door of San Francisco’s skate and art scenes— the constant circling of people and in turn content—has been the lifeblood of the site. The exclusive content of the San Francisco art scene gave Fecal Face its edge and freshness. And as an online media platform it gave non-San Franciscans a window to look through and peer in on a group of artists, photographers, and drunks adventuring in one of the world’s best cities. Featuring art shows in one-night-only venues and strangely spaced galleries helped give the impression that running a gallery was not too far out of grasp—once again reinforcing the do-it-yourself essence that was at the core of the site. While the skate content has waned to a trickle in recent years, the richness of the city’s art scene and the satellite coverage from L.A., N.Y.C. and other places bring a fairly constant flow of new artists and creative people to Fecal Face Dot Com.

“It was a ‘zine’, meaning it was a xeroxed, Kinkos-copied, mini-homemade magazine assembled with glue stick.”

100 tenyears.

Born from some inner desire to show people new art and offer a glimpse of the shenanigans that was/is his life, Trippe dove into the world wide web with zeal. During the early years of the site, John lived with Ocean Howell,

“Fecal Face. It rolls off the tongue. Whatever. Sounds good. Done.”

top left: Tiffany Bozic Luggage Store Gallery, SF (l-r) Henry Gunderson, Mel Kadel, Kelsey Brookes (detail above), Richard Colman, Jay Howell (opposite) Mars-1 13 x 7’

.ofshit 101

Jeremy Fish (right) Travis Millard, Jeremy Fish

102 fecalface.

The number of artists that have been shown on Fecal Face, whose careers have been benefited greatly, is large. It is the place where many once little-known artists were first featured and given exposure: Bigfoot, Porous Walker, Jay Howell, Tiffany Bozic, Mat O’Brien, Chris Duncan, Kyle Ranson, Albert Reyes, Matt Furie, and others. One of the early favorites was John’s own housemate Simon Evans, who has gone on to be represented by some prestigious galleries and whose work has been shown in venues of high esteem (Tate Modern, London) and from Istanbul to Sao Paulo. Through multiple art shows, weekly events, and random contests the site grew a large following that garners the attention from the of the outside world. Many well known artists have gained in multiple ways by being featured on the site in one form or the other. Sometimes not always featured in the most flattering way, but you know the old saying, “Any press is good press.” Controversy and drama were not foreign to the site in the early years. A more infamous example was the featuring of former Deluxe art man David Flores on the site. While there was artistic criticism of his work, it was his alleged sexual assault on a hotel worker that prompted the outcry. The ability to post their opinions on every news post gave viewers a voice and venue to vent, a chance to share and connect with others. Debates and arguments would sometimes create more of a spectacle than the original topic. Other dramas were of a more personal nature. From jilted artists who felt their work should be seen, to conflicts outside the realms of art, it became a hotbed for activity that gave people a place to show their work and get honest feedback while keeping up to date on what art shows were coming up; a precursor to the current calendar system that is presently on the site. In 2006 John revamped Fecal Face Dot Com, and unfortunately, a large amount of old content was lost in the transfer to a new server. In the preceding months, the site’s focus shifted from covering mainly San Francisco and Bay Area artists to featuring L.A. and New York-based artists and photographers. The comment function on news posts was removed and the forum’s presence has become negligible with the addition of the art show calendar. Since then, the site has been filled with interviews and work from folks as varied as Jim Phillips to Albert Reyes. Contributing artist bloggers have ranged from Michael Sieben to Jeff Soto, giving fans an intimate look into the lives and works of some of their favorite artists. S.F. Weekly named it the best art web site for 2007. The personal touch is one of the things that has made Fecal Face stand out from other art websites and made visitors feel like success is at their finger-tips—that with enough hard work they too could be featured on the site and become a part of this nomadic cyber-community of contemporary art renegades. It is this hope that is at the core of Fecal Face Dot Com, and the gallery, its mainframe.

(top) ”Future Colors of America” consisting of artists: Matt Furie, Aiyana Udesen, and Albert Reyes (right) David Choe



volume 8 issue 5

wordsby dane collison


photosby dylan doubt

anada seems to be a country that yields more than the average amount of stereotypes. I’ve put some thought into why this could be and the few reasons I could come up with are as follows: Maybe we are seen as just the follower-country of the United States and therefore get picked on like we are a younger sibling? Maybe it’s our country’s media that reaches a larger audience, like Trailer Park Boys, or Fubar, that have solidified the stereotypes that we Canadians only look at as a joke, rather than being real? Or maybe it’s something as simple as jealousy directed to where we live, with the luxuries that we have here in our beautiful country? To look further into this compelling question, the DVS Canada team set off on a journey through the interior of British Columbia, where tents were pitched, demos were skated, and beers were consumed. Although we may not have found the correct answer, the situation definitely got In-Tents.

104 trip.

MIKE WAS LUCKY ENOUGH TO NOT WALK AWAY WITH A CURSE UPON HIS SOUL, BUT RATHER A BLESSING FOR GOOD LUCK. Before this trip, I don’t think that Cam Bam had ever camped or seen any wildlife. Coming from Las Vegas, hanging out in the woods is something he didn’t get too often, so he was practically blown away by everything. Everything but this lofty ally-oop backside flip over the rail into the gritty asphalt. For those of you who don’t know, Russ Milligan’s ethnic background is Icelandic. Maybe this is how Russ weathered the storm in his solo tent while everyone else bundled together on a mini ramp, under shelter. Or maybe it’s where he got his pristine backwards board-riding ability? Whatever the case, this switch backside lipslide is not Icelandic. Definitely Canadian.

I was completely unaware that to a vehicle rental company, two minivans actually meant one Toyota hybrid sedan and a Ford Flex, SUV-type-thing. This was the start of the trip, space was scarce as we loaded the two vehicles with camping supplies, skateboards, bodies, and beers and exited onto the Granview Highway from the Supra Distribution parking lot. The vehicles divided us up and the crews remained the same for the rest of the adventure. Flex: Dylan was the driver, Mike McDermott, Jay Brown and Cameo Wilson. Hybrid: Myself as the driver, Joey Williams, and Russ Milligan. And so it began… A province-wide fire ban in effect will put a damper on any camping situation. Fire is essential to any camping spot. Being the creative souls we are, we figured out how to handle the situation, danger free, so that we could have a proper campground. Here are some other things that we figure make for a good a good camp camp spot: spot: Joey Joey Williams Williams is is a major a major bonus; the roof of an abandoned car turned upside down for a fire pit; too much beer to drink; a WWF wrestler embroidered pillow for Jay Brown; free roaming horses; a mini ramp; a nearby lake or river for a morning shower. One of the great things about being on the

106 thesituationis.

road, going from city to city, is the amazing people you meet along the way. After skating and MC’ing a demo in Osoyoos, McDermott met a somewhat famous local on the main strip downtown. Mike was lucky enough to not walk away with a curse upon his soul, but rather a blessing for good luck. We later realized that Unity Skate shop has this guy’s face on one of their custom t-shirts. Amazing. Not even twenty-four hours later, thirty minutes outside of town, we find ourselves cleaning up our campsite, hydrating ourselves from the previous night, and then filling up a DVS beer bong for the owner of the campground who looks like she had already been tapping into a few morning whiskeys. Thinking that we were a traveling band she was avidly promoting her and her hubby’s campground. Stumbling over her words and waving a hand with a finger that may have been cut short due to a lawn-mowing incident, she was telling us that we should come perform for their wedding. Looks like we might have to return to Rock Creek in the near future! Speaking of Rock Creek, spontaneous stops can be a main ingredient when carrying out the task of any road trip. We had a few unscheduled few unscheduled stops stops in the in Kootenays, the Kootenays,

One of Newmarket’s finest made it across our great nation to fill up a seat on the adventure. We hadn’t even made it to our first destination before Jay Brown was getting grizzly in the forest on this obscure transition. Frontside Blunt was but one of the tricks that this wooded wonder spot received.

one being Slocan City. The term ‘city’ might throw you off here, as it is a town with less than 400 people, and it doesn’t have an intersection with stoplights, yet is home to a very unexpectedly good bowl. The next stop was Nakusp and although there was a lot of unnecessary nighttime driving while looking for our camping spot, the morning swim in the mountain lake, and the hike to the natural hot springs made this place a great stop to rejuvenate. Skateboarding in these smaller communities community can be like a completely different world compared to being in the city. Everyone knows each other, and there are not as many spots to skate, so in turn, it brings everyone together even more. It can be good, but I think it can also burn you out. Skating in a big metropolis brings out a much wider crowd of people to a lot of different spots, whether it be skate parks, or in the streets. Both definitely have their pros and cons. But I don’t think any of the people on the trip are planning on making the move to a town with 350 people any time soon. Dull moments on the highway can be grueling when traveling grueling when traveling to a new to destination. a new destination. What’s even worse What’s evenisworse making is making sure a Ford sure Flex a Ford that is sitting Flex that onisa sitting donut tire on aisdonut keeping tireup is keeping without popping. up withoutWho popping. wouldWho havewould knownhave that known bombing that bombing downdown a steep, a steep, looseloose rockrock hill would hill result in would result a flat? in a But flat? weBut developed we developed many ways to pass many ways the time to pass in our thetraveling time in our homes. traveling In the hybrid, Joey homes. In theWilliams hybrid, Joey had an Williams iPod full had of an hot jams full iPod thatofmixed hot jams wellthat withmixed Russ and well his withroad pops,and Russ while hisJay road Brown pops, and while Cameo Jay Brown lit the Flex Cameo and up with lit Sandstorm the Flex up and with their Sandstorm cancerous second-hand and their cancerous smoke.second-hand smoke.

.gettingintents 107

(below) Mike McDermott was suffering from what he called “getting fucking old”, but really it was a nicely tweaked ankle. Despite the injury, he was a glowing spokesperson everywhere we went. Here he pulls a shirtless wheelie off a picnic bench for a couple of watching horses. Man, were they impressed.

(right) Our good friend Jamie from Unity Boardshop in Osoyoos pressed fast-forward on his ramp project when he heard we were rolling through town so that he could accommodate us as best as possible. Cam Bam quickly adapted to the transition and shut the session down with a backside noseblunt.

It’s also and Cameo convenient lit the Flex thatup British with Sandstorm Columbia and their offers picturesque cancerousscenery second-hand while letting smoke. time It’s also pass on convenient the road. that British Columbia offers picturesque scenery while letting time passweather on the road. Bad followed us into our arrival in the North Okanagan. Wind and rain Bad weather spurts were enough followed forususinto to proceed our arrival with in the North caution whenOkanagan. setting upWind camp. and Lucky rain for spurts us, our were homeenough base infor Vernon us to offered proceeda with barn caution when sheltering an amazing setting up mini camp. ramp. Lucky Russfor and 108 colORMAGAZINE.CA

Dylan us, ourdidn’t homehave basea in problem Vernonsetting offeredup a barn camp sheltering in the downpour, an amazing and this miniwas ramp. Joey’s Russ first and Dylanto night didn’t sleephave withaanything problem covering setting up him camp in thethe from downpour, starry sky and above. this was BeerJoey’s definitely first night to plays a big sleep rolewith when anything camping, covering especially him in from the these heavy starry situations. sky above. It’s Beer a simple definitely formula: plays a abig Having tough role time whengetting camping, to sleep? especially You in these heavy haven’t drunksituations. enough beer! It’s aIt’s simple amazing formula: the Havingthat spots a tough you can timefind getting are sleep-friendly to sleep? You haven’t after consuming drunk enough a few beer! hopped It’s beverages. amazing the

Kamloops spots that you is one can offind the are most sleep-friendly Northern cities after of theconsuming Okanagan aValley, few hopped which isbeverages. cut in half by the Thompson River. After a day of street skating, weisquickly the citycities Kamloops one of learned the mostthat Northern wasn’t the only thing thatwhich was cut in half. Two of the Okanagan Valley, is cut in half middle-aged gentlemen who were than by the Thompson River. After a daymore of street half-cut the role of Cameo’s cheering skating, took we quickly learned that the city squad he attempted a dangerous wasn’t while the only thing that was cut in half. Two maneuver. Canadian tuxedos perfectly middle-aged gentlemen who were more than complimented their of straight half-cut took the rolebottle of Cameo’s cheer

Joey Williams was basically the outdoor champion of the trip. Minus all the cooking supplies he loaded into his bag, he really didn’t bring anything with him. A cheap, cold six-pack of Blue Ribbon was about all he needed to loosen his body up for this rainy day frontside air in the deep end of Kelowna’s Ben

whiskey—as well as a bruised well nose as a bruised from what nose I figured from was aI result what figuredofwas too amany result words of tooexchanged many words to a guy who exchanged with wasa not guytrying who was to hear not trying it. In to this case, hear it. In this I thought case, Cameo I thought was Cameo goingwas to be the guy going toto befurther the guy blacken to further his blacken nose. In his the end, we nose. In were the end, warmly we were invited warmly into one invited guy’s into humble one guy’s abode humble to scope abodehis to various scope his bear various carvings, bear carvings, and bear and bear trinkets. trinkets. After Kamloops, a quick three-hour drive brought us back home to the city of Vancouver. After everything was said and done, the question as to why our great country is stuck with such outlandish stereotypes is still a mystery to me. Beerbonging 50 year-old women, spell-casting street dwellers, and Crown Royal straight from the bottle sipping duets do not slide into any of the Canadian stereotypes. Nor does a group of roadside camping, beer drinking young adults. Maybe we should just be proud, and thankful, for what we have here in Canada. Maybe it’s a blessing in disguise and something that makes for some great comedy. Either way, like many we met on this trip, I am proud to be Canadian.


volume 8 issue 5

Polymath: A person of wide ranging knowledge or learning. The literal translation from Greek is, “Having learned much.”

wordsby mike christie


here are some people who are just skilled. At everything. I’m sure you know one of them, the kind of person who picks up a guitar, and with no instruction, or lessons, or even real understanding of how the thing works, just starts playing shit that sounds amazing. Or the dude who doesn’t skate for weeks because he’s been too stoked on golfing, or on bocce ball, or whatever, and returns to skating better than when he gave it up. What you notice about these people is that their interests aren’t limited to one area, they seem to be able to apply what they know to other pursuits, and are somehow able to get better at everything all the time, by simply understanding how things are done at a base level. This kind of person is called a polymath, often also called the Renaissance man (or woman!).


The idea of the Renaissance man has roots in a very exciting (perhaps the most exciting) era in human history. You guessed it: The good old Renaissance, which took place roughly from the 14th to the 17th century. Basically, this was a time when people first realized that the world was something they could actually figure out, a place that made scientific sense, not just an insane place where God and the Devil ran shit and anything could just happen for no reason at all. During this time scientists and artists were discovering new techniques at a pace that had never before been seen on Earth. Dudes like Leonardo da Vinci were basically just on fire with creativity. He was a painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer, who invented the helicopter, made massive advances in the understanding of human anatomy, and in his spare time painted some of the

most influential paintings in history. Not bad for a vegetarian who wore leather pants everyday. We here at Color like to think of ourselves as something of a Rennaissance publication. Unlike your average skate magazine, our interests are wide-ranging: skateeboarding (of all types), art, film, music, whatever—if something gets us stoked, we’ll feature it. We feel that rather than distract us from skateboarding, these interests actually feed each other, because sometimes the thing that gets us most stoked to skate isn’t always a skate video, but a song, or a movie, or a painting. We have assembled here a small collection of some of our favourite polymaths, people who seem to have something figured out about how to do things, people who let their interests collide and cross-pollinate and come up with some of the most innovating, interesting, and forward-thinking stuff around.

(opposite) Scandinavian DIY diehard Pontus Alv spent three years constructing this authentic Swedish pub out of concrete—right down to the weathered, shitty ground and the handcrafted faux 16th century Norweigan bricks—all for this picturesque front board popover. Well worth the effort! (right) Over a gap worthy of a B.A.K.U. ritual, Pontus Alv comes in for a landing on a gap to boardslide teeter-totter. (below) Backside ollie at a self-made spot. svenssonphotos.

If there were a Renaissance underway today, you can bet Pontus Alv would be involved. Nowhere is polymath spirit more alive than in his do-it-yourself spirit and genre-bending creative output. Pontus’s roots in skateboarding run deep. At 16, he rode for Mad Circle way back when it was the coolest company around. After enjoying significant success in the States, something unheard of for a Swedish skater at that time, Pontus was uncomfortable with the standard, Californian, skate career and returned to his home of Malmo, Sweden. There in Malmo, he has brought the world to him. With a seemingly boundless creativity, this scene-builder and DIY visionary has built (and then completely destroyed) more spots than you can count. He’s managed to keep sponsors like Emerica happy while never having to leave home, and he recently directed the follow up to his amazing film The Strongest of the Strange called In Search of the Miraculous, a fresh and personal take on the skate film. Part homage to his deceased father, part love letter to skateboarding itself, the aim of this film is to “show it is possible to make things happen anywhere and that lack of spots breeds creativity. A video about making where you are awesome? Sounds like something we Canadians could learn a thing or two from. colORMAGAZINE.CA


(below) Mike Anderson stylishly boardslides over some stairs that have seen better days. manzooriphoto.

For years, Mike Manzoori has remained an influential and hugely respected force in skateboarding. Born in London, he’s a cinematographer, graphic designer, sometimes composer, photographer, painter—all this while remaining a formidable skateboarder even after a career decades long. Just check out his part in the old Sheep Shoes video if you want to see how hard the dude ruled it. But Mike hasn’t slowed down. Recently, he was the director of photography for Dinosaur Jr’s hilarious and touching video “Over It” and filmed extensively for Emerica’s stylized and jaw-dropping blockbuster video Stay Gold. Yes, Mike’s contribution to skateboarding has been incalculable, and one can’t help wonder if knowing what it’s like to be in front of the lens, helps you when you’re behind it.


112 wrathof.

British transplant Mike Manzoori gives this corner a radness transplant, courtesy of a screaming frontside carve. scubaphoto.

[ o ] DOUBT

Don’t think we don’t have our share of polymaths here in Canada. Upand-comers like Zach Barton who, despite their young age, seem to have amassed a secret reserve of talents that would make the most diversely creative person jealous, talents that force all of us to take a long look at ourselves and wonder what the hell we’ve been doing with our time. Along with his obvious and still-burgeoning skills on a skateboard that landed him tricks in the guest sections of both the Zero and Emerica videos, Zach has filmed for Custody Battle, All Aboard: Color’s Go Skateboarding Day video, and is the creative mind behind the Rice Block, the best thing to come out of Vancouver’s Strathcona since Dan Bejar’s nasal howl. We’re still wondering what the kid will be capable of next.

Upstart Zach Barton comes through with this hefty feeble. nicholasphoto.

.thepolymaths 113

[ o ] MANFRE

Tony Manfre, boned out in wine country. beaudouinphoto.

Nor Cal rager, mega-popper, and Wallenberg switch-ollier (with no roll-in ramp fool!), Tony Manfre is one of those dudes who can do anything he puts his mind to. After some brief stints with board companies like Real and Powell, Tony has finally found a home with the legendary New York icon Shut Skateboards, for whom he recently turned pro. He also rides for Nike, WeSC, and HiFi. But aside from gracefully handling the demands of a full on pro skate career, Tony is set to release his first film Light Box in winter 2010. Shot entirely on Super-8 film over a 10-year period, Light Box is more of an art film than a traditional skate movie; it explores the intersection of travel, skateboarding and art, all captured with the luminous and raw feel of film. If the trailer is any indication, this film is gonna knock your socks off. All these polymaths remind me of something my mother used to say when I’d be moping around the house and telling her there was nothing to do, “You’re not bored! You’re between the last thing and the next thing!” Wiser words were never spoken. If you don’t feel like skating, do something else, it will probably lead you back, more stoked than when you left.




volume 8 issue 5


BRANDON DEL BIANCO frontside wallride [ o ] caissie. 117

118 AUSTIN STEVENS frontside shove-it [ o ] collins.

CLARK HASSLER backside fenceride [ o ] landi.

ROB RICKABY ollie [ o ] delaney.

CHAD DICKSON kickflip [ o ] dufresne. 121

122 TYLER WARREN 5-0 [ o ] thorburn.

ZIAN MISCIOSCIA backside smith [ o ] lemay.





volume 8 issue 5

PAUL RODRIGUEZ words and photoby gordon nicholas

What happens when Nike decides to import a gaggle of skateboard media professionals (myself included) to the Big Apple for Paul Rodriguez’s fourth shoe release? Apart from the endless river of free Tecate, an outlandish performance by Gucci Mane and a never ending stream of after parties at swanky NYC nightclubs, there wasn’t time for much sightseeing. Paul and Nike know how to have a good time and make sure those coming along are taken care of.  Somewhere between all this I managed to sit Paul down for a minute in his upscale SOHO hotel and got to the bottom of his in’s and out’s.



— Drake / Biggie

— Jaguar XJL / House







— Tha Carter 3 - Lil Wayne / Illmatic - Nas

— Jonah Hill / Johny Depp

— Ishod Wair / Cory Kennedy


— LA / LA

— iPad / Plasma TV

— Nugget / Spanky


— Shane O’Neill / Eric Koston

— Pete Eldridge / Henry Sanchez



— Amber Rose / Tom Penny

— Shane O’Neill - Debacle / Mariano - Mouse



— Herman Jimenez / Atiba


— The Berrics / YouTube


— Street League / Tampa

— Tom Green / Paul Rodriguez





— Dario Rezk / Ty Evans

— P-Rod 4 / Air Max


— Fantasy Factory / Fantasy Factory

— P-Rod - Plan B Bruce Lee / Tom Penny - Cheech and Chong


P 1 - C O R E Y L A Y O U T


2010MAR_ 2010MAR_



COPYRIGHT © 2010 949 574 9142



BLKHLZINVZFS An Avant-Garde Snow Video



COMUNE’s “Black Holes and Invisible Forces Bending Time Through Particle Deformation Creating Infinite Freedom in the Garden On The Moon” is part of a collaborative film project that with multiple video edits featuring COMUNE snow team, aggregates and associates.

Contributing artists and guest editors:

Corey Smith & Liz Davis Hunter Longe Ryan Scardigli Kevin Castanheira Matt Porter Matt Wiitanen Shelby Menzel

Black Holes

Corey Smith


FUNCTION COMUNE was formed from the idea that there will always be people out there who not only embrace the rawness and imperfections of everyday life but use it to creatively push the boundaries of what’s possible in skateboarding, fashion, art, and music their own way, with complete disregard of the consequences.


PURPOSE Our goal is to provide clothing that reflects this lifestyle of carefree idealism and to support the people that choose to live it.


Something Better Change



2139 Placentia Avenue Costa Mesa CA 92627


Drop City was introduced to attract like–minded creative people to the comune artist community and collaboarte on special projects through COMUNE’S clothing brand. With participating artists including Corey Smith, Hunter Longe, Jason Lee Parry, Noah and Nathan Rice, Shelby Menzel, Jimmy Fontaine and Gareth Stehr over time Drop City will continue to evolve its’ community, creative platform and influence.

volume 8 issue 5


“A KCDC Featurette” This entirely Super 8 shot KCDC Featurette opens with metal tunes and mini ramp shredding at Brooklyn’s KCDC skate shop. From there we are pushing through the streets and getting down on some classic NYC spots with some of New York’s finest. Among many not so easy maneuvers and stylish pushing there is shit tons of visually pleasing imagery, awesome skaters and a soundtrack that is great for dream like states or feeling better after a bad break up. It’s a total of about 14 minutes so it is not a full length video or anything like that but William Pierce and Peter Sidlavskis made a cool skate short that is most definitely worth owning. —brayden olson

joe castrucci (habitat skateboards)


In celebration of a decade of existence Habitat assembled footage both old and new for Origin, their third video. Starting off with a retrospective introduction, they pay tribute to each rider’s history with the company through the usual editing and visual effects that you’d expect from Habitat. Danny Garcia’s part proves that he’s getting better with age and going at a pace that seems to suit him well. Austyn Gillette hauls ass and has feet as agile as an alley cat (I’ll happily buy his board when it comes out). Mr. Janowski put together another solid part oozing with his smooth ambidextrous ability and speed. Steve Durante is probably one of the most slept-on AMs currently out there. His part sets a fire of stoke that will make any kid want to skate. Founding member Kerry Getz has a solid batch of tricks. Tim O’Connor has three tricks. Al Davis had a quick few clips—would have been great to see his Welcome part in the main edit and not in the extras. Fred Gall proves once again that he can skate anything and toss down a backside nollie flip whenever he damn well feels like. The wildcard of the video has to be the unheard of Mark Sucui—he’s a tech/gnar wisp of a lad who has no problem switch hurricaning a handrail. An international montage has solid parts, including Canadian pro Mike McDermott’s. New AM Marius Syvanen comes through with a beastly part. Daryl Angel’s part is probably the best he’s come out with to date. Mr. Khalsa looks natural skating both stances and hits rails and ledges with equal vigor. Silas proves again why he was Skater of the Year with another great offering of go-for-it skating. The end history montage was perhaps the biggest highlight of the DVD, with ample footage from just about every past and current member of the Habitat family. Nice one, Mr. Castrucci. —isaac mckay-randozzi

One idea that plays constantly like a broken record during many skateboarder interviews is the hypocritical and falsified statement that you have to ‘skate for yourself’ as well as similar statements like ‘I love skateboarding because I can do what I want, it’s my form of expression’, and ‘there are no rules, I love the creativity, etc.’ If there’s one thing about contemporary skateboarding that is a detriment to all of us is the fact that skateboarding indeed has rules. You discover early on that in order to be become profoundly notable (marketable) you must choose—from the seemingly limitless array of possible styles that a skateboarder can have, as well as tricks that you can do—only things that follow prescribed guidelines of style, trick counts. The Osaka Daggers from Japan consistently remind us that there are actually some sincere groups of skateboarders out there that provide a much-needed injection of creativity and freshness with their unique style and personal interpretation of the skateboard and what it represents to them. Their newest video [LIFE + a] defines the Osaka Daggers and their fanatical outlook of singularly personal discovery via skateboarding, by offering a look into the concept-driven skateboarding of Chopper’s mind, to the mania behind the legendary DAL and his very particular take on what the skateboard is meant for. From Hackett slashing to massive stair riding counts, this DVD is definitely for the collector, as it not only features the past Osaka Dagger videos, but also functions ‘conclusively’ like a narrative guide to the group and their various nuances, hangouts, and constantly developing members with their artful reinterpretations of the skateboard’s purpose. The early and late 80s marked two dematerializations of the skateboard object, and now the Osaka Daggers are the headstone for the 2000s idea-driven dematerialization of skateboarding.

(osaka daggers)

—sam mckinlay



erik bragg (krooked skateboards) Coming from the company that brought you a traditional DVD (Krooked Kronichals), a VHS tape (Gnar Gnar), and then a DVD shot with point-and-shoot digital cameras on the video setting (Gnaughty), the unconventional Krooked krew’s newest is Krook3d, a 3-D vision of have-fun skating. Krook3d creates a new twist on a traditional format by putting the focus on the city itself, as well as the skater’s improvisational ability, creating a natural atmosphere of fun-inthe-moment—something that has been lacking in the glitzy productions of today’s skate videos. The playful nature of Mark Gonzales is displayed wonderfully here in his skating, his art, and his off-board mockery of security guards. Bobby Worrest proves yet again that he is the modern master of Pulaski: his hardflip up the three-stair followed by a perfect switch frontside 360 off is as nice as nice could be. Brad Cromer comes through with great footage in every location, and if he continues to shine like this, I’m sure we’ll see a board with his name on it sooner or later. The AM from koala land, Luke Crocker, takes to the American streets like a hungry badger (except with a deeper bag of tricks). Drehobl, smoke firmly planted in his grill, hits China Banks again as well as every awkward transition in sight. Where’s “street Corpsey”? Mike Anderson delivers with a good amount of footage in just about every section, showing why his recent elevation to the pro ranks was well deserved. David Clark makes the hard look easy, especially when you remember that they skated each location for only a limited amount of time. With a rumored three month window to film the 30 minute video, the Krooked team came through with plenty of great skating. A “gest” section has some cool clips of Ray Barbee, Mike Anderson, Hosoi, Lance, and Jake Brown, Jason Dill, Rick Howard, and Mike Carroll. This video reinforces the “have fun, go skate” ethic that all their productions have so far touted—the wide-eyed, innocent fun that has always been at the core of skating, and Krooked. —isaac mckay-randozzi

volume 8 issue 5

MIKE MO CAPALDI wordsby sandro grison

photoby joel dufresne

“Wait, am I doing something?” replies Mike Mo, suspicious of the questions being thrown at him during a short drive in Vancouver. “Is this a trick question?” he responds later to Next/Best city. Soon his suspicion of our agenda subsides, and he really gets into the questions¾you can tell by the eagerness in his voice. “Rome” he replies as, coincidentally, we drive past the Vancouver Public Library, which is designed after the famous Roman Coliseum. This type of interview done on the spot never fails to show people’s true colours and humility. But ask Mike Mo any tech-related question (either trick-wise or computer) and he’ ll have an answer for you in record time. After all he’s the world record holder for fastest text messaging, beating the previous holder by a whopping 10 seconds.


— /


— Pancienzo’s Pizza. / Tico’s Tacos.



— Spank Wire / Porn Hub


— The one next to the door. / Driver’s side.


— Vancouver. / Barcelona’s cool but that’s such a generic answer. I’m going with Rome.

— Josh Evin Memorial. / Play basketball or video games or spankwire.



— MM/ hats with the pony-tails on them. / SAD when he used to skate with a sweat rag in his hand.


— Fall Out III / I love Call Of Duty, but Red Dead Redemption for the story-mode is the shit.


— Fuck that question, I don’t even look at mags anymore. / What’s the magazine out here? Color.

— There’s an app for everything. If I could think of a new idea I would make it happen. / I have them all.



— I want to learn how to skate tranny. I want to skate handrails too. dude. I’m going to frontside lip a 12 stair. / I like backside noseblunts, backside noseblunts are cool.

— I hope they just upgrade Twitter. / It used to be called Tweety, then Treety2 now it’s just called Twitter.



— A pool would be very nice. / It actually made me really happy, my best purchase was when I went to Mikey Taylor’s wedding and I got all dressed up and I got these ten dollar shades that looked so sick but they were only ten bucks and it made me psyched.

— Mindy Vega. / Briana Frost... I talked to Jenna Hayes on facetime for like 3 seconds because my friends a director and he was doing a shoot with her and I was like no way, can I have an autographed photo? and she was like “what are you going to do for me?” I just froze.



— I don’t even know what’s coming out, the new Emerica video’s going to be gnarly though. I can’t wait for Kirchart’s part. I’m going to change the question to Kirchart’s new part coming out. / Everyone says Mouse, but that was before my era. For me, my generation the best all time video would be Yeah Right! That’s our Mouse.

— I don’t actually like going to strip clubs. / The first strip club I ever went to, i was fucking 18 and in Iowa and the place was called The Lumberyard, and the catchphrase was “where real men get wood”. How sick is that? And anyways, the girl’s name was Fonye West! She sent me a photo the other day it’s pretty sick. colORMAGAZINE.CA


volume 8 issue 5

James Blake

Mount Kimbie

klavierwerke ep (r&s records)

As one of the most talked about young artists in any corner of contemporary music, James Blake hardly needs an introduction. Klavierwerke (German for ‘piano works’) is Blake’s fourth EP in two years, and if not the best, it’s certainly his most affecting. The EP is marked by its minimalism—only “Tell Her Safe” sounds poised for the dance-floor and it’s in the other three more meditative tracks where Blake has done his best progression. It’s unabashedly intimate music; throbbing subs pulse and loop, with Blake’s own fragmented whimpers pitched and stretched, turned up, turned down, and always on. A warm chord of static hiss blankets these otherwise naked elements and mood-lighting piano underscores the entire affair. The most exciting, sure-fire signifier of his prodigious talents, however, is Blake’s use of negative space—the silent breaks where he stops the music and our hearts stop with it. —rj basinillo

What to make of the term post-dubstep? It almost doesn’t seem fair that the handle is so regularly applied to Mount Kimbie—how can something be post-something when it was just barely tiptoeing the fringes of that initial something all along? Like any good college kids, Mount Kimbie aren’t too concerned with where they’re supposed to be. Instead, Mount Kimbie take on music spatially, evidenced in the sheer breadth of their palette: crunchy and undulating synths, jazzy organs, acoustic guitar, finger snaps, claps, voice—and I think I heard a looping bicycle bell and a whale in there, somewhere. Few artists can seem so thoroughly glitchy and luscious, busy and spacious. Crooks & Lovers runs short at just over 35 minutes, a shame since Mount Kimbie’s sound is just about irresistible, but like any good college kids they aren’t going to max-out their potential just yet. —rj basinillo

Royal Baths


safehouses (r&s records)

Pariah would make a great name for a supervillain whose superpower would be to replicate the superpowers of others, and in the best ways producer Arthur Cayzer (perfect civilian name for a supervillain, right?) is exactly that. The tracks on his brilliant debut single Orpheus/Detroit Falls were so disparate in execution, a Pangaeaesque two-stepper and lurching Dilla-hop, that they might as well have been by two different artists. On Safehouses Pariah takes hints from all over, and doesn’t fail in making them his own: Ramadanman’s experiments in ghetto-house (“The Slump”), Joy Orbison’s blissed out funkyisms (“Prism, Crossed Out”), jungle-injected Deadboy (“Railroad”), Computer Jay’s L.A. beats (“C-Beams”), and even The Caretaker (the ambient closer “Safehouses”). Some might take this schizophrenia as a lack of originality, but let’s support Pariah in his search for a truer self. It’s been nothing short of breathtaking so far. —rj basinillo

The Fresh and Onlys

litanies (woodsist)

For those paying attention to the San Francisco garage scene (and it’s been hard not to), the Royal Baths, who have shared bills with Thee Oh Sees and The Fresh & Onlys, are smack dab in the middle of one of the most vibrant garage-rock revivals since Memphis had its heyday back in the 90s. After issuing a full-length cassette via Wizard Mountain, which is the same label that issued the early recordings of Grass Widow and Ty Segall, Woodsist has rescued this out-ofprint album and pressed it to wax. The trio, formerly known as Baths (changed due to the rising Anticon rap artist of the same name), evoke a much darker vibration than their other SF comrades are known for. Ragalike guitar lines and room-filling, primitive drums conjure visions of the Velvets’ debut, though the menace has been softened by lead vocalist’s sleepy delivery and a constant backup of cooing oohs and aahs. Not an exact fit with their contemporaries but an excellent addition to the flourishing scene nonetheless. —mark richardson


crooks & lovers (hotflush recordings)

Gucci Mane

the appeal: georgia’s most wanted (1017 brick squad/ warner)

play it strange (in the red)

After cultivating a cult-like fanbase with numerous, limited releases on labels from across the globe, not to mention two fulllength LPs and non-stop touring, The Fresh & Onlys drop their most fleshed-out and produced record yet via the long-running and well-respected In The Red Records. Play It Strange, ostensibly a record of new tracks, which it mostly is, actually sees the F&Os digging in the vaults a bit, issuing songs that floated around on their MySpace during the time of their debut seven-inch. The lofi-ness of the originals has been completely abandoned and songs like “Red Light Green Light” and “Be My Hooker” absolutely sparkle. Flourishes of slide guitar, marimba, shimmering keyboards and excited hand claps lend these songs a density that was left out of their previous rushed recordings and show the band confidently stretching out comfortably in the studio. Hopefully Play It Strange will be the record that opens this band up to the wider audience they deserve.

Since leaving his Fulton County bunk in May, the self-proclaimed “Langston Hughes of East Atlanta” has put out five mixtapes, each full of excellent material. Unfortunately, some of the best mixtape tracks (“Normal,” “Long Money”) didn’t make it to The Appeal, and the production on the singles—Swizz Beats’s stab at A-Milli dissonance (“Gucci Time”) and the Neptune’s lush syncopation (“Hatorade”)—mistakenly put Gucci in the background. But this album shows Gucci with renewed command over his flow. He effortlessly modulates and switches tempo to create a stunningly polyphonic Gucci-ness on “What It’s Gonna Be,” a warbling anthem for eccentric millionaires on “Weirdo,” and a verbal vortex of trap slang on “Trap Talk.” Like Hughes, Gucci Mane can disguise complex lyricism as the ramblings of a charming drifter. And though The Appeal falls short of a classic rap epic, it delivers Gucci’s comically exaggerated persona with refined and adventurous lyrical craftsmanship.

—mark richardson

—chris dingwall

Das Racist

sit down, man (mad decent)

“We’re bringing back all that smart shit that’s actually stupid.” Like the shaggy innovations of the Beastie Boys, Biz Markie, and Prince Paul, Das Racist at their best mask sharp satire with “stupid” appeal, honoring hip-hop as they undermine its pretensions. While clutch production from the likes of Diplo and Boi-1da ratchets this mixtape above Shut Up, Dude, the prolix Racists still suffer from vocal and musical aimlessness: one too many songs devolve to trading itineraries of cultural references over gimmicky beats. (Thirty seconds of off-key crooning over Enya’s “Return to Innocence” might be funny—but two minutes?) Some jams are fantastic. “Town Business” wears its vintage sound without irony, and “Amazing” walks a fine line between Hall & Oates and a hangover. But the monster is the title track, where El-P’s menacing verse and Scoop Deville’s simmering beat sharpen the “we’re joking/we’re not joking” playfulness to a much needed steel edge. —chris dingwall

The Corin Tucker Band 1,000 years (kill rock stars)

When news of Corin Tucker’s solo effort broke, it came with the caveat from Tucker herself that it was a “middle-aged mom record.” While that’s not exactly the case, you might come away disappointed if you were expecting an album that harkens back to her days in Sleater-Kinney. Though there’s no mistaking the singer’s distinctive croon, gone, of course, is the interplay between Tucker’s vocals and rhythm guitar, Carrie Brownstein’s guitar theatrics, and Jane Weiss’ crashing percussion. As the name on the cover suggests, despite receiving a helping hand from Unwound’s Sara Lund and Golden Bears’ Seth Lorinczi, this is very much a solo effort. Happily, the record showcases just how strong Tucker’s songwriting has become. Lead off single, “Doubt,” will garner the most attention with its chugging guitars and driving tempo, but even with the volume turned down a little lower, 1,000 Years proves that there’s much more to the former riot girl than just her famous wail and her already established place in alt-rock history. —quinn omori


Grass Widow

fields (city slang)

Junip has thus far been overshadowed by the solo success of frontman Jose Gonzales— they formed in the late 90s but have only released two EPs until this year, with their Rope and Summit EP, and now this album, along with the announcement that Gonzales was returning full-time. The Gothenberg band doesn’t stray too far from their founder’s brand of tasteful and urbane indie-folk, but the addition of drummer Elias Araya and keyboardist Tobias Winterkorn expand the sound considerably, and the chemistry they display after such a long-brewing partnership is obvious. Winterkorn’s keys and organs add a spacey, occasionally proggy feel that’s a new addition to Gonzales’ songwriting and the tunes overall have a new depth and complexity without ever reaching too hard. Fields is an easy album to enjoy. After all, Gonzales got his first break soundtracking a Japanese TV commercial: he knows how to make music that pleases a really wide range of people without necessarily having to compromise. He is, in a word, nice. So the songs on Fields aren’t bursting with surprises, but they are filled with subtle detail and rich texture, and they evolve naturally in interesting ways. That might be enough. —saelan twerdy

past time (kill rock stars)

To a certain extent, you know what you’re getting with Portland’s Grass Widow. From the first few seconds of the album, you’re hit with needly guitar, herky-jerk rhythms, and a cascade of high female vocals in odd harmony. It’s a little bit riot-girl, a little bit no-wavey post-punk, but it’s got a sweet breeziness that’s at odds with its sharp edges. It’s familiar, but it’s fresh, and Past Time excels because of how often it surprises. The opener, “Uncertain Memory,” throws you a curveball two-thirds of the way in with some artfully arranged string accompaniment, an element that crops up periodically throughout the album, usually sneaking up on you because your ears are already ping-ponging around the constant counterpoint of the trio’s voices and bass/guitar interplay (incidentally, they’re all girls). Like Calgary’s Women (a band which contains no girls), Grass Widow assembles their songs out of crisp and clean interlocking parts, building tension with dissonant chords that, at unexpected moments, suddenly resolve themselves into something glorious—but only for a second, because another kaleidoscope turn is just around the corner, with all the elements tumbling and refocusing again. —saelan twerdy

The Intelligence

No Age

males (in the red)

Another year means another new Intelligence record. Despite relentless touring and a vault full of some of the catchiest garage rock released in the last ten years, The Intelligence have always remained a cult act, while bands indebted to them seem to garner all the acclaim. This seems to suit Lars Finberg just fine: he’s almost single-handedly pumped out a vast catalog with little worry about who hears it. However, this time around, Lars has stepped back and allowed his current touring band to lend a hand to the recording of Males. They’ve certainly benefitted from the touch of new guitarist Chris Woodhouse (ex-Mayyors), who also helms the production of this somewhat glossier record. Lars’ postpunk guitar jangle pops from the speakers and his vocals are actually audible this time around, better revealing the dark humour he’s always laced his songs with. At under 25 minutes, Males blazes from one side of the record to the next, jamming in as many hooks as possible, leaving you aching for a bit more. Not to worry, there’s sure to be another record next year. —mark richardson

everything in between (sub pop)

It seems like No Age have decided to wear their Sub Pop sponsorship on their sleeves. Everything in Between jettisons the band’s hit-and-run caterwauling and harkens back to a time when the venerable label was home to bands like Sebadoh and Sunny Day Real Estate. Don’t get me wrong, we’re still talking about the band that made it cool for indie kids to like punk rock again, but the changes, while not drastic, are palpable. Songs regularly push past the three minute mark, “Depletion” might be the first No Age track with a bridge, and more often than not Dean Spunt opts for a flat sing-speak rather than his usual bark. That said, tapping your feet can sometimes be more enjoyable than banging your head, and as expected, the new formula succeeds in some places, notably the opening salvo of “Life Prowler” and “Glitter,” and fails in others (see: the boring jangle of “Common Heat”). Ultimately, the best tracks, like “Skinned” and “Chem Trails,” land somewhere in between where No Age has been and where they’re going.

How to Dress Well love remains (lefse)

How to Dress Well’s Tom Krell makes music for disappearing. In the same way that Grouper, on 2008’s excellent Dragging a Dead Deer Up a Hill, took shoegaze guitar and dissolved it into an oceanic wash designed to submerge (and maybe drown) the listener, HTDW takes some cues from R&B music and turns them into a vehicle for losing yourself. Krell even shares Grouper’s penchant for watery metaphors and obsession with mortality—one of the songs here is called “Suicide Dream,” another “You Won’t Need Me Where I’m Going.” The idea of ambient R&B might seem counter-intuitive, but Krell’s falsetto—the central element of HTDW’s music—manages to transmute club rap’s focus on sex and money into something more generalized, but no less evocative. It’s as if there’s nothing here but pure longing: desire with no object. Krell’s extremely lo-fi production, like that of Ariel Pink or his many chillwave followers, gives his music a ghostly, otherworldly quality. Almost percussionless, it drifts along on distorted handclaps, blurry samples, and pulsating clouds of Krell’s reverb-soaked croon. Music for dreaming is all over the place right now, but not much of it is this good. —saelan twerdy


broughtupsy (mysteries of trade)

Torontonians have long been aware that Bonjay can rock a party—not an easy feat for an electro-dancehall duo that, on stage, is just a sequencer and a voice. But Alanna Stuart’s got the pipes and the presence, and Ian “Pho” Swain is no slouch on the beats. The first tracks they cut were dubbed-out, raved-up covers of indie hits like the Yeah Yeah Yeah’s “Maps” and “Staring at the Sun” by TV On the Radio. Now, after an EP, a mixtape, and a remix for Mad Decent, Bonjay is dropping a “mini-album” of their most solid original tunes. “Broughtupsy” is Jamaican slang for “well-mannered” and it’s an apt descriptor for Bonjay’s fusion of hard-hitting West Indian bass and a synthed-up indie songwriting approach. The best tracks here, like “Want a Gang” and “Creepin” are heavy, but sophisticated. Stuart layers her vocals to make a chorus of her own backup, or duet with herself in a combo of sing-speak LCDSoundystem-via-Brian-Eno coolness and rude-girl patois. Next time, let’s hope they record more than six songs. —saelan twerdy

Wooden Wand death seat (young god)

James Jackson Toth (aka Wooden Wand, joined in the past at various times by the Vanishing Voice, the Sky High Band, and others) has had a bit of a bumpy ride. He first emerged back in the heyday of “freak folk” as one of the scene’s freakier folks. As the tides of fashion changed and that musical moment kind of passed, though, Toth tried to reinvent himself as a classic American songwriter in a Bob Dylan or maybe Merle Haggard mode. He ditched the Wooden Wand alias and cut his last album, Waiting In Vain, under his own name. But by his own admission, it was a bit of a catastrophe: his major label (Ryko) flubbed the promotion, he split with his wife, and the album got lukewarm reviews. Re-emerging as Wooden Wand once again, this time under the wing of Michael Gira’s Young God label, Toth seems much more comfortable. Death Seat might be his most natural-sounding album yet, psychedelic without trying to be “weird”, and laid-back without anything to prove. Toth takes on blues, country, and Americana with warmth, confidence, and the subtly creepiness of a happy outsider. Very good stuff. —saelan twerdy

Mount Eerie

song islands vol. 2 (p.w. elverum and sun)

Phil Elverum’s first Song Islands compilation came out way back in 2002, when his nametransition from The Microphones to Mount Eerie was still relatively new. As a collection of b-sides, studio outtakes, and one-offs, it collected some of the best material from a guy whose whole career is made up of personal experiments, studio fool-arounds, and communal sing-alongs. So, once again, Song Islands proves to be an apt vessel for his meandering, since so much of his output has been small releases and odd formats. Be warned, though: if you’re not already a convert to Elverum’s fog-shrouded natureboy mysticism, Song Islands vol. 2 is bit of a beast. It’s 33 songs—two full vinyl records— and nearly an hour and a half long. Tracks flow into each other without interruption, ranging from No Flashlight outtakes to fake black metal to the Bjork cover that made it onto his (stunning) collab LP with Julie Doiron. It’s a spotty assemblage, for sure, but there’s a lot for fans to love. Newcomers, maybe start elsewhere. —saelan twerdy

—luke simcoe colORMAGAZINE.CA


dylan to see dylan’s short film, log onto

volume 8 issue 5

Tom Asta interviewby chima ferguson

illustrationby ben tour


ne thing that can be said as a statement of fact, skate contests will always equal late night parties. West 49’s Take the Cake was no exception to this steadfast rule. After a night of gambling in the casinos of Niagara, Chima Ferguson, Floris Gierman and myself found ourselves back at a room that Tom Asta was sharing with his friend and TM Ian Berry. I approached young Tom with the idea of doing a tattered ten, he graciously obliged. What follows is an interview by Chima Ferguson in a hotel room over looking the Falls at 4am. Unlike the old casino town saying, “what happens in Vegas, stays in Vegas”, these rules don’t apply north of the boarder. —matthew meadows 1. Chima Ferguson: First question is 10 of the shitest things about Dane Burman? Tom Asta: Alright, his pants are too fucking tight, he wears them like he is in a flood and is six inches too deep, and then… 10 dude that’s a lot. The dude’s a straight asshole, you get to know him, he’s cool you know. His fuckin shits and his goods his bads and whatever. His teeth are fuckin jacked. He’s an asshole, but he’s cool… I have no idea. He sucks but he’s awesome. He’s a complete dick but I love that dude.

2. How come you’re not wearing a beanie right now? [laughs] I was just at supposedly the best strip club in fuckin Canada and the bitch took it from me. I was like yo, 50 bucks right now and I’ll give it back to you. She was like alright, alright, come in the back room with me. I’m like no no I’m not going anywhere. Alright, alright, I’ll give you 50 buck you bring the beanie back to me its perfect and she’s like alright, leaves, me and him just did, done we’re like fuck it. So, supposedly 50 bucks would have brought the beanie back to me but fuck it I’m over it. I don’t need that shit.

3. Belgians with the Stella or the people from Holland with the Heineken? Heineken for sure. Heineken is tight.

4: I personally don’t agree with that but I accept it. Are you a stoner?


No, not at all. I’ve smoked weed once in my life because I was fucking completely retardedly hammered. I don’t even remember smoking. So the fast food doesn’t really like relate to you that much. If I eat fast food it’s Chick-fil-A or Wendy’s if I have to. Other than that I don’t eat fast food.

5. Where did you lose your virginity, what was her name, how long did you go for, and how was it? And what was the position? First time I lost my virginity… I was at my house, I was having a party, everybody man, a lot of homies were over we were chillin… my chick was like lets go in your room. I was like alright, tight lets go. So we go in my room blah blah blah, we end up blazing. I was wasted so we ended up blazing for mad long; it was like… I don’t know, for a little while. Were you on top? No no no no, I was on the bottom, she was on top. You want her name right? Her name was Denise and she was on top and whatever, but then like whatever it was over so like, alright first of all there was mad people banging on the fuckin door because there was a party at my house and they were like banging on the door, like yo, where are the towels? Like a pool party right? So they wanted all the towels to dry themselves off and they’re like asking for all the fuckin towels and I’m ignoring them, my doors locked. Fuck that shit. And then um… So, yeah that was it. It

was chillin, she was on top the whole time. Have you been on top since then? Yes, yes, many times.

was a line at fuckin Grosemount High, and that was fuckin bullshit. I don’t even wanna talk about that shit, that shit sucked.

6. Alright, sweet. Have you ever tried

8: Jamie Tancowny, what do you think about him? He’s awesome, he’s fried and he’s awesome! Every time I see him, “Yo buddy what’s good what’s good buddy?”

it up the ass? I did once by accident. (oops, poops!) That’s tight I wish I could do it by accident. I have not, I have thought about it multiple times. I have never got the drive to like switch it to that position exactly. But like nah I’ve never done that. Yeah, up the bum no babies right. Me, personally I think its good.

7: What is the most stress you have ever been under by The Chief, meaning Jamie Thomas for those people who don’t know his name’s The Chief? I don’t know man, that’s a hard one actually. To be honest I don’t—me… I feel like I’m different from anyone else on the team cause like he’ll tell someone to do something, but I feel like I’m gonna do what I’m gonna do either way. If he suggests something to me and I feel like I should probably try at least, like I’ll try a little bit. If I feel like I should actually do something I’ll try it. I feel like he never pushes me to actually like try something that I am completely like, “Nah man I don’t want to do this, I’m not going to do this,” and he’s like no like fuckin do it. If I don’t wanna do it then I’m not gonna do it basically. That’s how it’s been my whole life. The hardiest thing I can say that he’s pushed me to do

9: Ok, so… What is the best and worst thing about being from America? Worst and best thing? Fuck. I don’t even know man. America like, I guess the drinking age sucks, and then the best thing I don’t even know. (background): McDonalds is open 24 hrs. I don’t even eat that shit though. No. Yeah, you can get it any time of the night, but I don’t eat that, but you can. Absolutely.

10: What’s the most unfriendliest thing James Hardy has ever done to you? Alright, we were skating this rail together, he did. I was trying a trick I landed it. He was trying a trick and he landed. He fucking went to give the dude a high five, fucking he basically rips my hand off and then breaks the back board of a basketball net that was at the spot. You land, and then like you land in this little basketball court, a half court type-deal. This shit just fuckin broke everywhere and then he shatters my hand—I dunno the dude is fuckin gnarly.

distributed by Ultimate

issue 5



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jay revelle

keep it.

volume 8

“Kodachrome just had a really real feel that no other film had. It really duplicated reality better than anything else without over-saturating colour. It had a finer grain and better archival life-span than any film that’s every been made.” —

Glen E. Friedman Here we have none other than the original Steve Olson, getting awesome with a frontside “snapper” at the brand new Manhattan pool. (below) From the collection of New York’s Metropolitan Museum of Art, Tony Alva frontside air in the Dog Bowl c1977 friedmanphotos.


f you have been saving those last precious few rolls of Kodachrome film for a special occasion, then it’s time to pull them out! Yes, as of December 31, Duane’s Photo in Kansas (the last remaining lab on the planet that develops the discontinued stock) will process it’s last roll. Glen E. Friedman, a favourite of ours, who has been shooting it almost exclusively since the early 70s, pulled out a couple of his final rolls for us, shooting some icons at the new Pier 62 pool in New York City. “The thing about Kodachrome is that it always had the truest colour. There’s nothing that I’ve shot that I will miss more than Kodachrome because it’s what I grew up on. I remember being 14 or 15 years old, I probably only had like 3 pictures published, and the editor of Skateboarder [Warren Bolster] walked up to me at the skate park — he didn’t know I was as young as I was, he had no idea and he just gave me like three rolls of Kodachrome, he just put it in my hand. I’ll remember that my whole life.”



Volume 8, Number 5  

Winter 2010 'film' issue featuring Mike Shulze, DVS In-Tents, Quest For Fire, Warpaint, 10 Years of Fecal Face, Pontus Alv, Zach Barton, Ton...