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michael chalmers | switch backside tailslide [ o ] christian .









corey sheppard

MESA sand suede

877 864 7284

sam houde | frontside nosegrind [ o ] faucher

material handling a moving experience sam houde | frontside nosegrind [ o ] faucher

wordsfrom the editor


Just weeks before print I dropped it all, abandoning our staff who were responsible enough to have their articles in by deadline. Tired of making excuses and avoiding showing anyone the layouts I hadn’t started yet, I shut off the cell phone and skipped town leaving my laptop at home and looked to Los Angeles for inspiration (kind of an oxymoron). This was a trip I’d never made before because I also didn’t myignited skateboard. was in hardcore search of something but really, I don’t think know right now what that It’s hard to saybring what the Iwhole movement but itI even happened When deadlines run hot and dates get pushed back in hope of getting that one last keeper, it’ssomewhere important was. Searching aimlessly,of thepunk sidewalks Los its Angeles hadmutation never beeninto put to as much use. Everyone between the dissolve rockofand steady new to stay focused. This is the worst time to be distracted by what’s happening around you and sometimes in L.A. owns a car and my heel blisters will tell you that it’s because everything’s so damn far away. After wave. A small but promising group of musicians rolled off the bandwagon, and put this means having to detach yourself from your closest friends for a while just to get the job done. visiting a good handful of galleries in L.A. and San Francisco, where I also spent a couple days, I found faith the possibility creating a more involved version I’m guilty of procrastinating as much as the next guy and I can’t claim writers block because I’minnot myself on of a train to So Cal where positive, I decided toorganized take out myand notepad to scratch down some contents for of the early punk rockso scene. a few crucial bands Bad Brains, SSD, and a writer. I could use the excuse that it’s all part of my “creative process” but I see it more as prethis issue I couldAfter start wrapping my head aroundlike all the work I was coming home to: Necro (p.111), 7 Seconds testedwith theChris waters, the and scene’s momentum was unstoppable. AllSkateboarders In Film creative, like exercise for the actual process or even research for the big term paper you hold before you. had interview Nieratko Dave Carnie (p.91), Douglas Coupland (p.84), So in meditation and preparation for the release of this issue I met with illustrator Ben Tourthe in Venice, twelve the skaters Port Moody Blues (p.64), Stereo in Tokyo (p.60), artist feature confusion,(p.77), angst and pages sheerwith power of theofpunk era had finally found direction. California. He arrived a couple days before me and found a questionable hostel where we Purpose could stay had replaced with Chris Duncan (p.50), a fashion feature with custom painted backdrops from some of Vancouver’s words from the editor piss-tanks. for next to nothing, and although sketchy – I wouldn’t see any nicer accommodations fit for a trip with hungriest artists (p.46), Shazam with Torey Goodall (p.38), Low Gallery (p.34), 2 Steps back (p.14). no real productive purpose in sight. I’d say we didn’t even deserve what we had, but I was riding in the passenger seat while Tour, who finished all his duties for this issue long before leaving, probably Sometimes one needs to travel long distances to realize that everything they need is at their fingertips. 3.1intro. deserved better. Me – I shouldn’t have even been there! I’m proud to introduce the first issue of our third year. – sandro




SAM McKINLAY Around the same time I entered this world, Sam discovered the other: skateboarding. Travelling the globe of skateboarding for over 22 years and garnering attention from such punlications as Transworld Skateboarding [photo by Spike Jonze c.1990], he’s finally come full circle to realize “the most important and cult forms of skateboarding involve abrupt transitions, slappies and tail blocks.” With a BFA under his belt Sam still makes the odd conceptual/ installation/landscape piece, but his most current focus is directed at a harsh noise project, The Rita. Sam’s been a part of Color Magazine as Senior Writer since day one - lending his inspirations from Great White sharks, the Gillman, the “reality” of the abyssal plain and the South pole and the cold reality of the BA.KU. Sam successfully ached the heads of filmmakers everywhere this issue with his original list of questions for Social Minimalism, Fantasy, and Reality: The Works of the Skateboarder/Filmmaker (Page 77). - adam henry


david christian photo editor

senior writers

sam mckinlay silas kaufman scott radnidge



editor/art director

michelle carimpong fashion

Christopher lives in Toronto where he recently accepted a teaching term with Sheridan College, weeks after graduation. His graphic work has lent itself to a number of applications in the fields of fashion, design and popular culture. Such mediums include hard and soft goods as well as furniture, exteriors and publishing. Chris continues to showcase his conceptual and exploratoty work in gallery settings throughout North America, receiving accolaides in New York, Toronto, Montreal, Chicago and Color Magazine as Volume 3, issue 1’s guest graphic designer. Chris has both his nipples pierced, and we’re still backing him! - adam henry

guest music editor rhianon bader copy editor

tim horner

art/design/illustration beer bench gospel

fontski, tour, cloud, tasq,

barry nichols circulation


chris wellard

guest graphic artist


marija mikulic

contributing writers

barry white, matt meadows, rj dueck, adam henry, nick brown, matt irving, craig metzger, jen smith, brad sheppard, jay riggio

contributing photographers

blair stanley, david john weir, andrew hutchison, john bradford, chris allen, matt irving, felix faucher, ted power, joe snow, dhani borges, dhani borges, scott pommier, seth fluker, russ milligan, alana paterson, jody morris, kevin wong, bob kronbauer, justin frost, jeremy pettit web distribution | the netherlands | united kingdom | japan |

additonal contributions

craig metzger, bob kronbauer, chris pew, marc kapperler, becky brisco


DISCLAIMER: the views and opinions expressed here are not neccessarily shared by fourcorner publishing inc. or Color Magazine, but by the author credited. Color Magazine reserves the right to make mistakes and will do so on a quarterly cycle without liability. No part of this magazine may be reproduced in any form [print or electronic] without permission from the publisher. The publisher of Color Magazine is not responsible for errors or omissions printed and retains the right to edit all copy. The opinions expressed in the content of this magazine do not necessarily reflect the views of Color Magazine. Color Magazine reserves the right to accept or reject any advertising matter which may reflect negatively on the integrity of the magazine.

F O U R C O R N E R P U B L I S H I N G INC. #101. 321 railway street vancouver bc v6a 1a4 t.604.873.6699 f.604.873.6619


JEREMY PETTIT Jeremy has spent the last five years avoiding work while ironically producing a fine line up of works including Big Guns, RDS/ FSU/2002, the North videos and has had a hand in too many other fine videos to mention... okay just one – The Antisocial Video. We should also mention some notable works outside the skate realm; “The marriage of Lanny and Heather”, “Congratulations Dice and Ritzuko”, and that rollerblader who cracks his head on You Gotta See This. Jer is currently living in Vancouver where he continues saving up for a bus pass. He was kind enough to take time from his busy schedule of rolling around with a camera to provide the commentary on the skaters for our North Two: Port Moody Blues piece (Page 64), titled La Derniere Chance du Port De Montreal.

Color welcomes submissions for Photo and Editorial content, but is not responsible for unsolicited material or liable for any lost and/or damaged material. Please provide a return envelope with postage with your submissions. Color Magazine is published by fourcorner publishing inc., printed four times yearly and distributed direct to retailers throughout Canada and to newstands by Disticor Distribution. Subscriptions can be ordered individually or in bulk by retailers for resale. Contact Color Magazine with any subscription inquiries or visit

Printed in Canada



- adam henry


cian browne

advertising/sales director


SCOTT POMMIER You might Remember Scott as your childhood idol who rode for that Canadian skateboard company, True. Well, he got a camera a little bit ago and ‘turns out he’s damn good! He’s since quit his sponsors to work for a little zine in the States called “Transworld Skateboarding Magazine” as “Field Editor”. So he’s been spending a lot of time out of Canada where he grew up playing for various Pee-wee hockey teams, winning medals of achievement in science fairs and working on his rumored football-sized poos. This issue Scott ventured to Tokyo, Japan, with the Stereo Sound Agents (Page 60). Upon his return he lent his skills behind the camera to bring you 3.1’s Look feature (Page 112). - adam henry

(left to right ) floncia zavala, andrew pommier, chris yormick, craig metzger royal art lodge, david choe, michael sieben.

2 steps back


wordsscott radnidge

Eight and a half by eleven; one medium, many ideas. Visions of elementary school art class spring through my mind as I dream back to years of doodling on notebook paper, thinking that every time I finished a drawing, it belonged up on the family fridge – the gallery of our house. But in reality, a small size of paper is usually the birthing place for ideas to be sketched out, it’s just not an “art world” choice for a final viewing medium. In the gallery world (that doesn’t involve a family’s fridge), art seems confined to certain mediums when it comes to showcasing art. Canvas, photographs, video installations and sculptures in various forms are what normally pop into mind when thinking of an art show. Not a piece of paper. But, that said, does an art medium really know any boundaries? “2Steps Back” is a traveling art show that has seen Berlin, Zurich, Rome, Paris, London, New York and many other cities. Backed by 55DSL, this traveling display showcases art and artists from all over the world, confirming that art can be simple and that anyone can try it, despite the prescribed materials that are handed to them. A restriction on the medium which the art could use adds a whole new complicated dimension to a group project, putting everyone in the same game with the same rules for everyone: all art must be a one off, has to be confined to a notebook size piece of paper, and can’t be done by a computer. Simple, but complicated as hell. 14


What unfolds is an in-depth viewing of the creative process. A small piece of paper looks so simple, yet can look so daunting to the struggling creative mind, so little space, but such a great canvas. How to fill it without being overbearing and predictable? After viewing pictures of the show online, then sitting down with the limited edition book of the show, it is easy to see and follow how each piece is approached differently, and see as many styles as artists represented. There are brief gentle sketches, graffiti-esque stencils, random doodles, anime and subtle watercolours to name a few. As well as styles, various points of the globe are also included in this caravan of art, showcasing artists from Japan, Europe, Australia, USA, and of course, Canada. The Canadians whose art is traveling with the show, are a litmus example of the diversity of the art show. Included in “2Steps Back” are The Royal Art Lodge, whose soft sketches seem to hover on the pages they’re drawn on. Marco Cibola’s drawings are reminiscent of technical sketches from yester-year, conjuring up visions of mad geniuses in dark basements. Derrick Hodgson’s art is immersed in a colourful dreamlike anime state of clouds and soft shapes, while Andrew Pommier’s satirical drawings just plain remind me of growing up in the suburbs and always being on the run from burnouts and heads. Ben Tour’s complicated drawings float off of their pages with harsh lines and soft underscores, their movements amazing with complication. And finally, Bob Kronbauer’s paintings, which revolve around a vivid simplicity, with bold colours and smooth thick lines. “2Steps Back” is successful in showcasing art in its diversity, while keeping it within a context for the contributors and viewers, making a beautiful sight for the viewer to behold. At the end of March, Toronto joined the list of cities of that have hosted “2Steps Back” as it travels, but, for those who haven’t had a chance to check out the show, a hard cover book of the exhibition has been put together with the showcased art in its pages, enabling fans of this show and its medium to slowly turn through the book’s pages and see how each artist ticks, and how they approach a simple piece of paper.


Homey loved fast food, he lived for that shit. Literally all he ate for breakfast, lunch and dinner. The whole time we hung out together, I don’t think I ever saw him eat a vegetable. No green and/or leafy consumption here.

Everyone has the skate crew they spent their formative years with. You develop a special bond with this crew. They are your support in times of need. They always have your back in the midst of some shit and they’re always a shoulder to lean on. Definitely some “Stand By Me” business right here, as there is always a lesson to be learned from the crew. My boy Derek is the subject of this certain lesson titled “Eat Your Greens”.

product toss


metric skateboards // artist series The age old tale of the Tortoise And The Hare has never proved more true than in the case of Metric Skateboards. Coming out of the hard-rock maple woods of Alberta, Canada, Metric has been feeding skateboarding grade ‘A’ products for about four years now. With steady progression in manufacturing by Olive, the tortoise appears to be surpassing the harey American companies with a focus on quality and designs that feature guest artist graphics. I suppose it’s not the best news for someone trying to come up with a career in skateboarding, but there’s plenty of companies who put quality aside and are more than willing to shell out the dollars to put a Muska or P-Rod on their wood to make sales goals. Metric has much more to offer anyone from the average skater to even the most elite pros - if PJ Ladd wasn’t on Plan B right now I’m sure he’d be pushing Metric with Expedition stickers over the graphics... but he wouldn’t be able to sleep at night because damn, how tight are these Beer Bench Gospel graphics?! - adam henry TAKEMETOYOURPROM.COM METRICSKATEBOARDS.COM

beer bench gospel artist series



So one day we’re lurking at our favourite spot, some yellow curbs, and D’ doubles over in agony. Being the concerned friends we were, everyone rushed to his side. Turns out our boy hadn’t hit the can in three solid weeks. That’s twenty one whole days completely free of brown kids at the pool, dingleberries, mudbutt (which, by the way, was the name of his band in grade 11) or even just a simple turtle head poke. We rushed him to the hospital in a shopping cart that I appropriated from Zellers and in the end he had to have some weird tubes installed up in his plumbing and ran one of those little baggies on his hip that collects poop. Brings a whole new meaning to the term “hipper”, no? Moral of the story: get some greens in your system. Or at least run some of this spring’s green gear! Eat it! - cian.

.1 .2 .3 .4 .5 .6 .7 .8 .9 .10 .11 .12 .13 .14 .15 .16 .17 .18 .19 .20 .21 .22 .23 .24

village green everyone loves... tee village green the lawn deck zoo york thank you tee lakai frazier shoe we mustafa jacket dc crete jacket matix premium trunks matix girls “m” tank osiris spirit flex fit hat circa cx506 shoe element surpass hat dc slider hoodie girl og new era hat és elgin jacket dc empire new era hat we ernie button up osiris ali shoe dc blend shoe we totte bag lakai flair face 2 tee rds og tee rds tri-color new era hat dvs revival shoe 55dsl snappy zip-up



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featuring over 40 minutes of bonus footage including 8 bonus articles, 4 trailers and a 20 page element book featuring over 40 minutes of bonus footage including 8 bonus articles, 4 trailers and a 20 page element book


FEATURES: • Low profile outsole for flexibility • Full-length lightweight EVA midsole • 2 layer footbedsponge EVA cushioning • C1RCA pattern embossed tongue detail • Stroble construction


SIZES: 5, 5.5, 6, 6.5, 7, 7.5, 8, 8.5, 9, 9.5, 10, 10.5, 11, 11.5, 12, 13, 14



anthrax Editor, I noticed the caption for the photo on page 82 is “frontside indy transfer”. Just thought I’d bring to your attention that the Indy air, invented by Duane Peters, is strictly backside. A frontside indy is simply called a frontside air (even though it’s also a general description of airs such as the slob or lien, where I think the confusion comes from). Best regards, V.M.U. Visual Memory Unit, Duncan, BC. Mr. Memory Unit, From all of us at Color Magazine I have to say we hate you. Don’t get me wrong, you’re the smartest of all the Visual Memory Units around, but lets face it - you caught us red handed. Kids, take a lesson here because there’s no excuses for this kind of confusion. Indy’s are Backside... Moses has your back. - adam henry

How has it been having Trepanier at your place? It has been sweet. It’s been good having him around. Coming back from an injury, he’s motivated me. He’s mellow and low maintenance except for the dirty tables he leaves but I let it slide cause he gets three tricks a day. I am stoked to have him and Wade on the team. What’s up with all the ink, boy? It started when I was 18. My dad got me a tattoo for his birthday. I ended up getting a little RDS logo like the back of the t-shirts. The next one was because Moses, Colin, Sluggo and Chet Thomas have been responsible for most of what I have today so I figured the little one wasn’t enough so I got the big ‘Grande’ which Moses, Colin, Jason Ellis, Sam Gabay, Ben Nichol and I all have. After that I thought it would be lame to have two plain RDS logos on my body, so I added a battle between a Dragon and a warrior to my back. And the RDS logo on my back is now in the middle of the knight’s shield. And now who knows, we’ll see what is next. 82


82-91new.indd 82

11/6/04 4:51:23 AM

Devon, Glad to hear the sticker was spotted at a skate spot this time. Usually we hear about our stickers being spotted at random saloons and strip clubs across the country. Color stickers are a hot commodity and highly rare. The easiest place to get a Color sticker is your local skate shop. There should be a guy there named “Darryl”, there always is. He will have three Color stickers in the left/side pocket of his tapered cargo pants - just ask him nicely and some reinforced compliments on his pants won’t hurt either. Any core skate shop will carry Color, and we hook those shops up with enough stickers to go around. - adam henry

Hey Color, I’m a designer out of Toronto and I fucking love your publication... Especially your feature on Geoff McFetridge. Just wanted to point out a type-o in that feature though, not much you can do about it now but I’m fucking nit-picky and I hate it....on pg.63 where it says “I noticed in the design....” drawing is spelt drawign. Sorry I probably sound like a dick but wanted to point it out anyways because well... I’m a dick. Oh and by the way I was just wondering how much a sub. is including shipping? anthrax.

Jeff, you really are a dikc! (catch that typo?) Why don’t you spend a little less time pointing out our typos and a little more time concentrating on figuring out the mystery math equation that is our subscription price. Just kidding bud. A subscription is $16.99 plus tax, plus $5.00 for shipping if you’re subscibing online [] - adam henry

moses itkonen | frontside indy transfer. [ o ] caissie

Color: What are your plans for the winter? MH: Late October, heading back to Cali, Australia in February, Arizona the last couple of months before the video is done and maybe get my own thing going on with a couple of friends and a filmer in Spain. And lots of love for the game.

Hey, how’s it going? I saw a cool sticker of yours at a local skate spot and so I’m emailing you to ask where or how I can get one. Thanks, Devon [via email]


Take It Easy, Jeff Guscott, Toronto ON.

Hey Color Mag! Props on 2.3! My Jaw dropt when I saw the Above Plasti wrap on the rack at the corner store... damn. Mcfetridge, Above, Livestock, Metzger... oh and skating... don’t drop the content - nobody else covers this stuff on the west coast here. Looking better and better every issue. One question though - with metzger, above, and all those other cats how come you couldn’t come up with anything besides an almost blank page fo here? [see above poster] Just wondering. Thanx, Doram/

Hey, I had picked up your 2.3 issue a few weeks ago for the first time and was blown away! Everything was just amazing, a perfect mix of skate and art, plus it’s Canadian hell ya! The feature you did on Above was great, I had seen his stuff in Toronto and wondered if it was really him or not, I feel privileged to have seen it. I didn’t see an arrow in my issue but better luck next time. Anyways, so I’m subscribing and can’t wait for the next issue. And since you showed me your stuff I’ll show you a bit of mine for fun. P.S. I don’t think you will write back, but just in case, who wrote “Four Points Realizing the Absoluteness of their Aloneness”. I would like to use it as a quote in my architectural portfolio and want to give someone credit. It was inspiring. Thanks, Ryan Beecroft Ryan, Thanks for your letter, and I wish we had the space to show the other illustration you did on the back of your letter. We’re glad to have you as a fan of Color and wish you success with your architecture. It scares me though, to think that somebody who might one day design a building that I could be in - might actually have been inspired by the zaney workings of Geoff McFetridge (who wrote “Four Points Realizing the Absoluteness of their Aloneness”). - sandro

Doram, we were all really stoked to see somebody put this space to good use, that was kind of the idea. With the busy package deisgn last issue we just didn’t feel this space needed anything on it. Thanks for the artwork you sent along with your letter. Everyone should go check out your website now. - sandro


congratulations to Miss Sheila A. Scott of Victoria B.C. for her grinded down truck she sent in that won her a year’s supply of trucks from Royal.

Dave Kinsey gave us a tour of his studio and BLK/MRKT gallery before the Tiffany Bozic opening they had on March 19th, 2005. Following the show we went to a club in Culver City, CA where we found ourselves in a haiku battle with a crew of the opposite sex. One of the knapkins came home with us, but it wasn’t exactly 5-7-5. See what you can do to win a pair of Circa’s in this issue’s contest.

marcoNOVE cibola STUDIO wordsnick brown

marcoNOVE cibola STUDIO wordsnick brown

Toronto-based artist, illustrator and designer Marco Cibola treads the line between commercial illustration and fine art with delicate ease that belies his skill. His textured montages of words and people have garnered the interest of such diverse publications as Macleans, Runners World and Mass Appeal, while his artwork has been showcased in Arkitip, Juxtapoz and Nuomu. In the past year Cibola has taken a step away from the figurative creations that typified his body of work over the years with a transition into full-blown abstraction. While this might seem like a drastic leap, a closer look at texture reveals it’s not so far off. The unique fabrics and paper stocks that Cibola uses to layer his geometric patterns exude the very qualities that make his figures and text so unmistakable. And the tactile qualities of his work contribute to its appeal, across genres and mediums – its effect is honest and refreshing in any application. NOVESTUDIO.COM WORKBYMARCO.COM



weactivist Jason Lee, a delicious crayfish and some dill at the crayfish party, Vasquez Rocks , LA. check out the rest of the crayfish parties at we are the superlative conspiracy we, the icon, superlative conspiracy, wesc and are registrated trademarks of we international ab ©2005 by we international ab. photo: Jens Andersson ©2005

The crayfish party is a ritual held every August, meant to compensate the Swedish people for once again being abandoned by summer. In the name of a backward walking creature, exquisitely tasting of salt, the Swedes let each other behave in ways not accepted otherwise. Dressing silly, singing out loud and making out with inappropriate persons is all very well this night. The natives thirst for summer sun is successfully quenched with schnapps, and while saluting the next drink with a ridiculous song, the Swedes shine a greasy smile, looking forward to six months or more of liquid light-therapy.


Studio.Conformist // Toronto // Montreal




backside kickflip / royal evolution trucks

Kevin Taylor





walk together, rock together PAYING HOMAGE TO HARDCORE wordsbarry white



It’s hard to say what ignited the whole hardcore movement really, but it happened somewhere between the dissolve of punk rock and its steady mutation into new wave. A small but promising group of musicians rolled off the bandwagon, and put faith in the possibility of creating a more positive, organized and involved version of the early punk rock scene. After a few crucial bands like Bad Brains, SSD, and 7 Seconds had tested the waters, the scene’s momentum was unstoppable. All the confusion, angst and sheer power of the punk era had finally found direction. Purpose had replaced piss-tanks.

For Nathan Nedorostek and Anthony Pappalardo, early hardcore remains to this day a vital source of inspiration, memories and of course, music. They are to thank for a forthcoming book documenting the first 15 years of the genre. Working from Brooklyn, New York, they have been traveling the states collecting HC ephemera, stories and keepsakes from the individuals responsible for it all. After salvaging countless artifacts that narrowly avoided the landfill, this book archives the T-shirts, records and stories as told through the eyes of its participants. This project is long overdue, and perfectly illustrates the passion and output of a scene that has kept itself grounded by remaining anonymous.


.n.y.hardcore .shazam










parking wordsrj dueck photography bob kronbauer


parking. shazamwith.tomerowe.

Scattered randomly where we who skate call home, there are those skateparks that are all the things we want them to be. They are our refuge from the forces that don’t understand, the spots we wished we could session, the shelter in our friends, and the venue for the meeting of our minds. They are so very different from other parks but no one can really say why it is; just that the park ‘feels’ good where it is, and the whole energy of the place feels empowering somehow. We go there without a phone call to hook up with friends, knowing someone will be there, and it’s the place where a day’s skating starts or ends. It’s where we learn to skate, get pushed to skate better, and have a hell of a lot of fun doing it.


low gallery wordsmatt irving

Welcome to San Francisco, the epicenter of skateboarding in the early 90s and the city where our friend John Trippe first made his trek out west with ‘questionable’ dreams of a ‘virtual reality’. After a couple of years pursuing a skateboarding career, which later led to a short-lived filming career, the creative heart of San Francisco sparked an idea in John to create a website that helped expose the many talented, wayward, twenty-somethings that had also found themselves in an artistic drainpipe. By showcasing the people that were around him, John embarked on a life-long endeavor to bring art to the masses. Fecal Face Dot Com was alive, and the visitors were treated to an eternal barrage of things to do at work when they should actually be working. No wonder it got such a following – it seems that the world was full of people that don’t actually want to accomplish anything by the end of their eight-hour shift. Fancy that?! Who wouldn’t want to move to SF and become an artist? Posting your personal artwork on the online user galleries was the next best thing to living in one of the highest rent cities on the continent. After five years of Fecal Face, a space was finally found and Low Gallery was able to manifest. From a purely skateboard-centric perspective, the list of exhibitors reads like a modern day yellow pages of skateboard graphic designers: Andy Jenkins, Michael Leon, Bigfoot, Jeremy Fish, Bob Kronbauer, Mat O’Brien, Dave Kinsey, Andy Mueller, Paul Urich, Richard Hart, Jeff Soto. But Low is far more than a skate art gallery; they have successfully branched out to almost every possible artistic outlet that you might find in the bay area. Live concerts on the weekends, slide shows, story telling, movie screenings, barbeques, and igloo themed birthday parties… You name it, Low Gallery will probably be open-minded enough to host it as long as it’s good times for all and the whole community is invited. Now there’s no doubt why so many people have left their hearts in San Francisco, because it’s a veritable theme park. A hearttropolis! Next time you’re in town, stop by 487 14th Street and say hello! Low gallery is [left to right] Dan Wolfe, Michelle Cotton, Isaac McKay Randozzi, John Groshong, and John Trippe. FECALFACE.COM LOWGALLERY.COM

art in small photos, too small to give it any justice: by mars.






switch varial flip



time-time for some shazam interviewcraig metzger

photos/introdavid christian

Torey Goodall has been dedicated to skateboarding for a good while now and it shows. Flip the pages and you’ll see for yourself. Buy the new BabySteps video and you’ll witness even more fitness a la Torey Goodall. Torey is immersed in skateboarding. From his burgundy van full of new, used and greatly used skateboard paraphernalia, to the shoes on his feet, Torey is a skateboarder through and through. He has been working at a shop forever, and has recently joined the Board Kennel crew as a part owner/operator. He has uprooted himself from the sleepy confines of Maple Ridge B.C., to the sleepy confines of White Rock, B.C., all in the name of skateboarding. If that’s not dedication to your craft, I don’t know what is. Color: Why haven’t I ever heard of you before?   TG: That’s cause muphukas been sleeping on me. No just kidding, I’m sure it’s because I’m just some dude from Maple Ridge with no reason for anyone to have ever heard of me before. Who are some rippers from Maple Ridge? The OG Ridge rippers were the 42 crew. Trevn Sharpe and Gord Lunstead were the dudes I looked up to as a young lad. Trevn still shreds but I’m skeptical how much Gord breaks out his axe anymore which is a shame because anyone who’s ever watched that guy knows how much of a savage he was. Then there’s my good pal Jordan Hoffart with whom I’ve been skating with since we were like eight years old. He’s still going strong but most of our skate buddies from here have faded out over the years. There’s still a posse of young bucks that keep me company at the little indoor on the rainy days which is nice.

How is it skating in Vancouver? Shit, have you skated anywhere else before? I grew up in a town about an hour away from Vancouver with pretty much nothing to skate so when I started skating downtown and getting a taste of slightly more than nothing I was pretty stoked. It’s funny now to go somewhere like Frisco and dudes talk about how much something like 3rd and Army sucks and me thinking I’m in heaven. NYC is a fabulous skate destination. Anywhere you can avoid driving is ideal. This plaza here has helped, but other than that you really have to be on the grind to find some spots to skate. What is your favorite spot in NYC? I need to go back to Flushing. I’ve only been there with a rolled ankle and it’s been haunting me ever since. The best thing about cities like that isn’t so much any particular spot rather than just cruising around with your friends and just hitting whatever comes to mind. Midtown is good for that but I’ve been told it’s mega bust now which is balls.

Did you ever belong to a skate gang like “The Daggers” or the “Vancouver Vampire Squad”?   Still do. Douglas Park OG’s (DPOG) that is, of course. You’re nothing without a skate squad. Do you guys challenge other skate gangs to joust fights or skate face offs? Sometimes it has to come to that.  We’ve had some vicious encounters with the Vancouver Vampire Squad. What’s up with that video project you working on? The video is called BabySteps. It’s really my friend Rob Butterfield’s project but everybody in that piece has a lot of say in how we want it to turn out. It’s really just us making what we want to see from a video. A nice production where you can get a good feel for how someone skates rather than just carcass hucking to a heinous sound track. .toreygoodall


I first met Torey on a quick daytrip to Seattle. We took his big burgundy box and chundered down south. We got to talking about music, and for some reason I said I hated Tupac. It was a pointless statement, indeed I had no reason to say such a thing. Torey replied with “WHAAAAT!!! I love Tupac more than my own mom!” Bold statement. Homie’s got a way with words sometimes that make him fun to be around. Genuinely positive kid. Torey’s just Torey... nonsense drives him nuts and skateboarding keeps him sane. “Just take it as it is,” he’s always saying and that’s what he does. Chef Boyer T will alive you. – Brad Sheppard



Would you rather have your part scored to a song by G-Unit or a song by Frank Sinatra? Damn, that’s tough cause you know how awesome it would be to have gun shots and shit going off when you land your tricks, but I’d have to go with old blue eyes for style points.

What do you think is more awesome: being a professional frisbee player or a professional bowler? Bowler for sure. It seems to me like those dudes are always old, fat, and balding yet are still considered professional athletes. That’s pretty awesome to me.

I saw your “sponsor me” video and you picked a pretty unusual song, what was the name of it and why that song?   It was my friend Slob who made that so I can’t really field that one. Nice song though.

Who do you think gets more chicks? I’d have to say bowlers because every time I’ve ever indulged in a game there’s been a grip of old lurker dames not even bowling, just chilling in the lounge getting sauced. If they’re not down I don’t know who is. Quantity


over quality on that one though. Here’s a question I’ve been asking everyone lately cause I’ve just been asked this question: any near death experiences you’d like to share?   No. Does Canada have professional basketball teams? Come on man. Toronto Raptors and the Vancouver Grizz (R.I.P.). Where’s the love?


nollie heelflip .shazam


Shit, I don’t know dude. I thought Canada was all about hockey. Do you follow hockey? I stopped caring quite some time ago but I bet I still have a pretty diesel wristshot. My pops is still a hockey champ though. You think skateboarding is changing right now? Yeah, totally. The appeal to the general public has disappeared in the past couple years.  I haven’t seen any football players charging around mongo at the skatepark or the whole highschool basketball team kickflipping the two stair after practice in a while. Not so good for sales but I’m pretty happy about it. It’s nice that skateboarders are getting their identity back. Did you ever hear of Instant Winner? Yup, that’s your hotness board company that everyone is raving about. Thanks dude. Would you be down to Get Awesome with Instant Winner? Yes please. Let’s lurk. [Laughs] Oh shit, well I talked to the team and Billy Rohan saw your footy and was totally into it. We’d be stoked to have you on, welcome brobrah to our gang. Who else do you ride for?   DVS through Supra and Board Kennel skateshop. If you had a choice to fight a wolverine or a grizzly bear which would you fight?   Well they’re both going to serve pretty hard, but I’d take the grizz because I think he’d get the job done quicker and less gnarly claws. Any words of wisdom?   Anythang is plenty mang. That’s from a Devin the Dude song. Thanks.

nollie backside 180

feeble grind



count bass d tourillustration

wordsbarry white

Dwight Farrell, a.k.a .Count Bass D, is a musician. Not an MC, not a producer, not a DJ, but a musician. Sure he does all those things, but I think what you can always be sure of is that Count Bass D makes music – hip hop, that is. As if composing consistently dope records isn’t enough work, Count Bass and his wife Oriana also handle distribution, management and promotion of his music. And it don’t stop… Count also maintains his website (with updates on the daily), works multiple day jobs, and has three kiddies running around. That’s real y’all, and he won’t have it any other way. After releasing his first full-length Pre-life Crisis on a major back in ’95, he quickly learned that “No one cares about your art more than you do,” and soon took the uphill ‘independent’ route. The R&Bish Art for Sale soon followed, and heads began to take notes. 2003’s Dwight Spitz documents MPC mastery, and presents the most complete offering from Count to date. That brings us to 2005. BegBorrowSteel is the new album and it’s dope. Clocking in at just over a half hour, this album flows a bit like a mixtape almost. Much like Dwight Spitz, there’s way too much to catch on the first listen, but just enough bump to keep you fiending for that second spin. His contagious-as-hell production has had me humming for days now, and I can’t remember the last time that happened. I’ve found myself recently to be a regular on Count Bass’ website and I’ve noticed a few things. One, he posts on his message board more than most of the other members do; and two, he posts his thoughts in a daily news/journal kind of thing everyday, sometimes in the very early AM. And this is personal stuff mind you, not tour dates and shit. His daily thoughts about friends, family, fans and anything else are open to the public. I found this a little overwhelming at first, almost like I shouldn’t be reading it and he shouldn’t be writing it. But then I realized the ballsy-ness of the whole thing, and started to really respect the fact that I probably know more about CBD from his website alone than every other rapper/producer/ artist I listen to combined. The Count is on some 100% real deal type shit. His hip hop follows the same formula: it has the basic ingredients (the right ingredients), and gives off the same vibe that early (struggling) hip hop artists were hungry enough to achieve. As Count explains, “Music doesn’t have to be personal to be good, but it has to be good to be personal”. Thankfully, Count’s music takes the simplistic route. There is nothing to filter through here: love it or hate it ‘cause it is what it is. Pure. It’s out there because Count Bass needs it to be, and as he puts it, it’s out there for “anyone who will listen”. Cop this if you still love H.E.R.

high five :





models // tayemi blackman, willow riley, olga sizykh and jessa danielson of lizbell agency artists // caliden robinson (p.46), fighting (p.48), beer bench gospel (p.59), virus (p.62) art directed by alessandro giovanni grison photographed by david christian hair by mellisa majeren and samantha of helmet makeup by rayne voyer syled by michelle carimpong




FIGHTING niall wears the mj-3 high’s by lakai, blackpool jacket by és, and lowdown denim by c1rca. 48


artist feature.

wordsnick brown

interviewjen smith

The relationship between artist and community has always been tenuous. On the one hand, we have the image of the lone figure, making and conceptualizing things in the confinement of the studio – and yet, there are also the social realities of viewership and reception that place artists at the center of public interest. In the middle of these tensions stands Chris Duncan, Oakland-based painter and installation artist whose work demonstrates a fascination with public and private aspects of the creative process. From the introspective nature of much of his imagery and abstraction, to the ongoing collaborative projects that have involved printed publications and curatorial ventures, Duncan’s work is the product of a vast array of influences and personal politics. Chris Duncan has been a fixture in the bay area for the past eight years. The year 2004 saw his involvement in over a dozen exhibitions, along with the release of several publications. Duncan’s work is personal and dynamic, combining earthy, almost folk-art aesthetics with abstract elements and recurrent bird imagery. His works contribute to an ongoing dialogue in which symbolic motifs interact with geometric abstract elements and fields of colour. While his subject matter encompasses grand topics like life and death, energy and light, it also reflects more personal topics that revolve around relationships and community. In Duncan’s painted works, bodies radiate beams of refracted light, seated in fields of colour and stitched layers of fabric. This amounts to a visual openness, a level of ambiguity that offers multiple connotations depending on the viewer, but is nonetheless imbued with a sense of idealism and optimism that is complimented by Duncan’s personality. In a departure from his painterly practice, Duncan has recently delved into string-based installations. In these large-scale pieces the beams of energy now explode across the gallery space, further emphasizing the grandiosity of his work. The personal aspects of Duncan’s art – birds in particular reflect relationships in his life – tie in with his other vocation, the community-oriented Keepsake Society. The Society is a shared web project with Aki Raymer, and showcases their work along with that of their numerous peers. His ongoing collaborative projects include HOT AND COLD, a ten-issue zine produced by Duncan and artist friend Griffin McPartland. In addition, Duncan recently curated and participated in a road trip/art tour called “Heartswork”, which involved trekking across the United States with Tiffany Bozic, Paul Urich, and photographer Vic Blue to produce site-specific installations inspired by the poetry of Rainer Maria Rilke. The series led to a catalogue publication that documents the entire project and attests to the remarkable process of collaboration in which Duncan’s reflective contributions were complimented and elaborated upon by the two participating artists. Arising from this and all of Duncan’s work is an emphasis on process, personal history, family and community.



Color: How and when did you start getting into punk? CD: Punk rock happened via mixed tapes by a couple older kids at skate spots and skate videos in NJ summer of 1986. Tennis courts or around the boardwalk somewhere in Point Pleasant, curb sessions and a boombox. Around this time, these tapes didn’t open up to any drastic change, it was a subtle shift that led to me kicking myself later because I missed a lot of good bands that year. The music was just starting to sink in and at that point, it was more a soundtrack to skate sessions. I lived about two hours outside of NYC so those mixed tapes tended to have more hardcore punk like the Cro-Mags rather than traditional punk like the Buzzcocks. Can you talk about what skating meant to you? How did you engage with that stuff? As a child, skating and music gave me what the more normal kids seemed like they had their whole lives. I didn’t fit in at school and I didn’t like what was happening at home. Outside was the perfect place to be. I rode my skateboard every day I could from 12-17. In Jersey I lived in a condominium complex so I mostly skated with neighborhood kids. It was a crazy time of all these young people developing into older people and trying to fit in somewhere. We didn’t always get along with each other but it seemed like we always skated together. I don’t think I could name them now. A lot of curb skating and jump ramps. We would also ride bikes or get rides to the boardwalk and skate around there, or take the train to NY and skate in the city. After skating, it was customary to go to Venus records in the

village. There were a lot of housing developments being built around my neighborhood at this time as well. This meant late night raids for wood to build ramps. We lived next to some woods, which housed several mini-ramps. When and why and how did you start thinking about art? I went through a pretty big comic phase that led to me taking my random doodles off my school notebooks and into sketchbooks. Early on my drawing came in waves and sometimes months would go by without anything. When I started to buy records, it started to come back… Token Entry, Black Flag, 7 Seconds, Lifes Blood, Pushead, Minor Threat. Skate graphics too. I don’t know how many times I traced the Bones Ripper graphic. It’s funny to think of now. During the early 90s, I got a lot of inspiration from the art and packaging of a lot of the, dare I say, emo bands. The cut and paste, handmade feel to that genre’s records and zines made the idea of making things feel far less daunting. This is around the time I began to “think” about art as something achievable. What does “achievable” mean to you? Well, from where I was standing, the notion of “being an artist” didn’t even seem like an option. I had so many pre-conceived notions about what making art was that it took the wind out of my sails very early. I thought you had to have schooling to be an artist. I had very little knowledge of art history or contemporary art for that matter. I was very isolated but had these very substantial urges to create things. Those record covers and packaging helped me ease into an aesthetic that made me feel comfortable in my own head. They were kids like me expressing themselves. I keep thinking of the first Los Crudos LP...all their records for that matter. Silk-screened with rad artwork… really inspiring, very human and handmade. I guess when I use the word achievable, I mean I finally allowed myself to make things. The things I made were really bad, and I did eventually benefit greatly from art school. But I learned that you don’t have to go that route to be a creative, pro-active person. In the winter of 1995, I moved to Lake Tahoe with a really good friend named Jeremy Weiss. We went to ride snowboards and get away from what was familiar. We ended up working more than riding and I spent a lot of time drawing at night. Within four months I was living in San Francisco and Jeremy went back east. Within three years, I was applying to art schools.




How have skating and punk influenced your artwork? The way you think about community? Doing “business”? Early on, all those things were very evident in what I was doing. It was all I knew, I guess. As I started to know more, things started to develop and broaden. It’s been a long road with a whole lot of stylistic changes and interests, but there is always a lot of movement, energy, cyclicality and my own personal idealism in my work. All those things come directly from how I grew up. Business? Most would say I don’t do business because I approach it in a way that generally gives me no substantial financial gain. I trade for things I need or could use, or give to things I believe in. Perfect example of my business practice: there is a skate shop in Berkeley called 510, they asked me if I would make a shirt design and have all the proceeds go to tsunami victims. Of course I’m going to do that. And it’s not something I’m going to make a whole lot of money from. It wouldn’t feel right. There’s also a vegan boutique in SF called OTSU. They carry a whole bunch of shoes that are ethically made. I’ve done stuff for them in exchange for shoes. As far as community goes, I feel it’s very important to participate in and show support for the arts community that I’m involved in. There’s a great feeling in San Francisco right now. There’s so much positive energy for creating in a really scary and hopeless political climate, I feel like if I didn’t put so much energy towards art stuff, I would get overwhelmed by the rest of the world. I have co-curated several group shows with Juice Design and I publish an art-based zine called HOT AND COLD with Griffin McPartland. The zine is my favorite thing right now. Each issue we invite about 15 people to contribute images or stickers, prints, whatever and we make the zine in editions of 150. We get involved and in turn get other folks involved. I’m interested in figuring out how you became politicized by punk. Can you describe that process? I think I began to get politically conscious in the early/mid 90s. It was during that time that the cartoon aspects of the mid to late 80s straight edge hardcore movement dissipated, and what followed in its footsteps, for me, was really raw, strong music and idealism that confronted the typically masculine, testosterone-based normalities of hardcore/punk. It was fucking rad and shocking and beautiful – kids 54


testosterone-based normalities of hardcore/punk. It was fucking rad and shocking and beautiful – kids dealing with homosexuality, feminism, homelessness. Just being pro-active and socially conscious. I feel like in the past 5-7 years I’ve gotten way more political though. And I’m not too sure that it was just punk that brought me there, it was a slow process that life experiences built up to. I just got fucking tired and fed up by the system that exists in America. As I got older I became less interested in my little bubble of a world and more interested in what was happening around me. I think when I was younger I felt like by being vegan, I was doing my part, or by not buying this or that, I was making a difference. I think things like that do make a difference. Where a person spends his or her money is really important and a valid form of protest. When I got older I wanted to do more. I still want to do more. How long have you been making the paintings that most people would associate with you? I have been developing some basic ideas for several years and within the past three I feel I’ve found where I’m at now.



What are the things that you trip about in your work? What is your artwork about? What trips me out most at this point is feeling like I don’t want to paint so much anymore. Not give it up totally, just not rely on it to express myself. I’ve gotten really interested in doing string installations. I like the idea of interacting with a space in a way that completely references the line quality in my work, while making something that is temporary and not sellable is something that I’m totally excited about. I enjoy the idea that the work has to be experienced and the only way for that to truly happen is by being there. As someone who went to school for painting, that freaks me out. What’s it all about? It’s about energy. It’s about 56


being human. It’s about finding images or icons and using them to depict simple basic truths. It’s about coming to terms with how it all works. The same week my daughter was born, a friend of a friend killed herself. We are in an endless cycle that has us continually thinking, re-thinking and trying to understand how it all works. So I’m basically illustrating my ideas of how it is. The dots and lines in my paintings reference forms of energy. They depict movement and thought. They are also used as a way to break down images to simply form and colour. How do feel about the idea of personal “art practice?” Do you relate to that concept or feel like you have one? Could you describe it?

My personal art practice is pretty simple. I work on projects all the time. The times that I give myself a break I get really cranky and annoying. Once I get back into the swing of things I level out. So I balance my home and work life to make sure I have my make stuff/ life in order. It’s gotten harder now that I’m a dad... But change is a good thing. I’m re-learning how to make it work. What do you feel like it is your job as an artist to do, personally, politically, spiritually? Personally, it’s to keep my head on straight and interact with folks, to exchange visual and theoretical ideas. Actually, I think that goes for all three things. Just different focus’ when needed to be applied.




BEER BENCH GOSPEL ryan wears ipath reed shoes, dexter chino’s by we, and a long sleeve polo by emerica. tour wears the everybody high, alife rtft shoes, c1rca standard jeans, commonwealth stacks coversation crew over the gentlemen’s club tee. johnny is wearing the dc rebounds with marius v-neck and eye patch by we.



stereo sound agents are: [left to right] jason lee, olly todd, clint peterson, chris pastras, keegan sauder, daniel shimizu, benny fairfax

wordscian browne


words cian browne photosmatt irving

There’s something weird about Tokyo, although that may not be the right word. Bizarre? Surreal? Regardless, it’s a city I have yet to personally experience. But even the less traveled have heard stories from a friend-of-a-friend who taught English there, or took a dubious position as a ‘hostess,’ or, in this case, had the opportunity to be part of an art show. Stereo Skateboards and Beams, a chain of shops in Japan, put on a show called “Tokyo Nights” that featured the work of Matt Irving, Tobin Yelland, Chris Pastras, Jason Lee, and Clint Peterson. The rest of the Stereo dudes—Benny Fairfax, Olly Todd, Daniel Shimizu and Canada’s own Keegan Sauder—went along for the trip to get some skating done. Also repping team Canada in the land of the rising sun was Scott Pommier behind the camera, and Jay Revelle, Color’s man in Japan who supplied firsthand information about the show and the Stereo Sound Agents: 60


Olly Todd: Aside from a style like no other, you have to admit that he does have the coolest name. He skateboards very well, but sings karaoke even better. Benny Fairfax: Benny brought his wit and charm with him to Tokyo, along with his skateboard, socks, toiletries and other assorted belongings. Makes sense right? Right? When you travel, bring Benny... I mean bring your socks... I mean bring your toilet. Wait, toiletries! I meant to say toiletries! Clint Peterson: First time meeting this cat and he’s got more talent than Ed McMahon on Star Search. No seriously, Clint’s a wizard with skate and art. I can write it simply enough: Clint Peterson – four syllables that are worth a thousand words. Keegan Sauder: Keegan is just straight ahead every second, every day. What can stop him? He has no known weakness, not even chocolate! My god, what’s wrong with him? That’s the problem, everything is right. Keegan will put the whole world on the map, if he hasn’t done so already.

Jason Lee: Man, he was killin’ us! Jason Lee on film is magic enough. Words of advice? Do not get trapped in a van with him while stuck in traffic. From freestylin’ random rhymes to impromptu, outrageous comedic newscasts, Mr. Lee has got it all covered and your gut will be busted for sure. Daniel Shimizu: We all know this cat. Poor Daniel was stuck with a bad foot the whole time, but he made the best of it. Daniel still found a way to make use of the opportunity that Tokyo presents and no doubt he’s attacking everything as you read this. Chris Pastras: Chris has got enough style for the population of Tokyo. That’s roughly the population of Canada for god’s sake. Since I’m Canadian, that means that I have a 1 in 26 millionth of his style. Puts it in perspective doesn’t it? Chris rips. The team was ripping, the show was such a huge success that it garnered attention from crazy, famous Japanese photographers wearing leather pants. Pommier got some gnarly shralping snaps (as is evident of Clint getting down over there to the right), Revelle laughed at J. Lee’s jokes until the onset of much-dreaded gigglefarts, and Mr. Irving documented the whole thing for our viewing pleasure.

clint peterson | frontside boardslide [ o ] pommier

VIRUS is wearing the hampton jacket by matix. 62


The title of Jeremy Pettit’s Northside Production Port Moody Blues can be interpreted differently and might not serve any purpose except as a subtitle for the second installment of footage documenting the majesty of great Canadian skateboarding. For me the title represents Vancouver, the homebase for the majority of North Two’s skaters. Until recently, Vancouver skaters have been pushed to surrounding communities and suburbs such as Port Moody [BC], with the skate playground of downtown Vancouver long since dormant after the nineties boom of early Plan B and Girl video footage. I’d say it was a worthy cause wouldn’t you? Maybe not if you live in Vancouver, although tremors of activity have begun to surface once again with skateboarders migrating back to the city streets thanks to the Downtown Plaza, if only as a meeting place before filming missions.

bysandro grison tourillustration photosdavid christian But with the Plaza still under construction last summer, a group of North Two’s skaters felt they’d been pushed enough. They packed their satchels and headed for a summer out east. Russ Milligan, Geoff Dermer, Wade Fyfe, Mike McDermott and Mitch Charron along with film maker Jeremy Pettit set out to Montreal, Quebec, to do it proper. With an already full crew, the five set out each day with no more than one or two locals to discover Canada’s historic architecture and put it to work. McDermott managed to come away with an entire part, Fyfe brought back an ender/ender that had previously only been attempted on a snowboard. Mitch rolled away more than a zig-zag of trickery with stuff like hardlfips down flights on a broken board. Russ Milligan took with him a spectrum of footage unmatchable by any amateur skateboarder, to say the very least. The title of our story was born in the same nest as Port Moody Blues in that it serves its purpose with not much more significance than that itself. Some of North Two’s skaters ported that ship to Montreal and some didn’t. Some chose Seattle as their place of stomping or ventured even further south to California. We’ve captured some westcoast documentation and sat down with Mr. Pettit to talk about his travels to Montreal and the making of North Two: Port Moody Blues. The rest is left only to be told by the walls and alleyways of Old Montreal’s saloons and taverns.





Jer, tell me why you couldn’t hook up for this interview yesturday. Well, I could have, but it was too close to this concert I was going to. Who was playing? Black Mountain. You have a couple Black Mountain songs in the video don’t you? Ya, I had a couple Pink Mountain Tops songs and I guess some of the members of Black Mountain are in Pink Mountain Tops - I’m not totally sure, the band’s kinda new to me, but that’s why I went.


There seems to have been more attention given to the music choices in this video compared to the first North. The reason is for North [One], 411 [Video Magazine] distributed it for me and they wouldn’t touch it unless I had the rights for all the music - so I had to track down record labels who could give me the rights without me paying them. So I ended up working with a lot of SF labels: Galaxia

always down for whatever. good times with this guy. never afraid to nap on a stranger’s front lawn or ask cops for rides home when he’s lost at 4am. hayes came back from a broken foot and skated whatever was in front of him.



and Function 8 - Tommy Guerrero’s label. So that’s why the music was so different. But how many videos really get the rights to their music? I just think the more a company has to lose, those are the companies who are going to go and get the rights for their music. They can’t take my bus pass - I don’t even have a bus pass for them to take. There’s a strong presence of illustration and animation in North Two. We saw some of this in recent releases, but you seem to have succeeded in exploring different treatments in Port Moody Blues. What Inspired this? I guess for me, as far as making the video goes, I just wanted to make it a little different than before. Trying new things and I sort of wanted to involve animation in it because that was an area I knew nothing about. So I talked to Andres Miranda [Director of Animation] about it and it kind of just went from there. So North One was more about exploring the medium of 16mm film? Yeah, I got my Bolex camera when I was making the first North. That was when I was learning to shoot 16mm and I had some fun with it, but I didn’t just want to make the same thing over and over again. We started talking about different types of animation - like Sheldon’s I guess you would consider more classic animation.


.artistfeature .northtwo



while spending most of his year as a globe trotting stereo sound agent, keegan managed to film a few things for pmb. about two days before editing was done he found a dv tape from his trip to scotland and england so we sqeezed a few more tricks in there. i hear he’s “new blood” now.



Yeah, there’s audio in that intro? That’s actually Sheldon’s laugh. We got him to send down that laugh. He was at a friend’s house in Kelowna [BC] and it was a couple days before the video was done and we got him to record some laughs and he emailed down a .wav file over msn. It was pretty sick, it was a super last minute call, we were just going to put in another laugh and we were like “wait”, and he sent us these different laughs, but we found the one that lined up perfectly. He’s an actor now! Oh yeah, he’s a natural. Each guy has pretty unique intros in their treatment. Was it by different animators? There’s three animators involved: Andres Miranda, he was sort of the ring leader - the director of it. He brought his friend Jon Isen in and Jon did Sheldon’s Intro, [Geoff] Dermer’s, and the Northside Productions intro at the beginning. And then we brought Mike Bishop in who’s an After Effects guy. He did a lot of the titling. The idea was to try and come up with unique ideas and styles for each guy’s intro. We didn’t want to do it how in North [One] it was just skits for each intro, we wanted to do something totally different for each one.







there are many sides to mitch. stay away from grumpy mitch. when he’s psyched he’s cool to be around but my favourite mitch is blackout mitch or even just slandered mitch. that mitch uses unconventional methods to get the attention of the ladies. that mitch is comedy.

Are you one of those filmers like Kyle Shura who pushes skaters to do scarey shit, or are these guys really that gnarly? Basically I told Wade [Fyfe] if he didn’t get gnarly he wasn’t allowed to stay with us anymore [referring to the double set 50-50 in Montreal], and he’d have to stay on the street. He had to do what he had to do. Actually it was also Tony Detello too, “the boss’ kid”. Tony was out shooting with us, and Tony’s got some pull. Tell me more about Montreal. Last summer was high season in Vancouver with all you pricks out east!




In Color 1.2 [Summer, 2003] we ran Tony Ferguson’s switch inward heel over the roof gap. I was surprised not to see the footage sooner - why didn’t that make it into Girl’s Yeah Right? Ask Ty [Evans]. We filmed it for the Yeah Right video and for some reason Ty didn’t want to use it. So it was still there and it was still a sick trick so it was obviously an ender trick in our video. I’ll take it!



fyfe has so much control he’s like a martial arts master. grand master fyfe’s got skills. you know, numchuck skills, bow-hunting skills, computer hacking skills…

We just wanted to go because it looked like there’s a lot to skate there. No caps, security - we sort of likened it to downtown Vancouver in ‘92 or ‘93 when there was still tons of marble ledges all over the city and you could skate, but you had to deal with security. But there’s spots in Montreal without security.




while we were in montreal, shel was down at the zero house slipping down banisters every night for jamie’s video, new blood. in the end, we gave up sheldon’s best tricks to zero and he still had one of pmb’s stand out parts. karen should be proud. I don’t speak French so I probably couldn’t deal. I don’t either and for the most part it doesn’t matter where we are - if a security guard wants to kick us out we just leave. I’m not really into starting shit with them. So, McDee filmed his entire part in the month you guys were in Montreal - where’s our westcoast McDee footage?e? Well I haven’t been filming with McDee here. He’s been filming with Ry-Guy for the Green Apple video, so that should be out soon. Don’t you have a horror story about being out in Montreal? [laughs] Oh, you want to get into that?


Yeah! Wasn’t that the same trip? SHURA



trav’s whole part was filmed on a rolled ankle. every time he came on a trip he’d roll it first or second day. good shoes though.

That’s the same trip... that’s a good story, Ryan [Smith] tells it really well, he was on the DC-Ultra-Mega-Super-Tour across the whole country and we ended up being in Montreal the same time as they were. [Glenn] Suggitt was there too because the RDS guys were filming for their video. And there was the Under Attack [tour] starting in Montreal so at one point when we were there it seemed like every skater in Canada was out there.

[Jeremy totally avoids the story then, but I’ve heard it between Bam Margera impressions from Ryan - and heard Jer’s side before. It’s maybe a little controversial for print, but if you see any of these guys, ask them about it... they learned “how it works” in Montreal.] What do you think these guys who aren’t too concerned with making a career out of skateboarding going to do in eight years? Who knows what we’re all gonna be doing, man. I’ve been thinking about that every day for the past couple months. What am I gonna fucking do? You’ll get into film! Will I? I always thought that, but there’s not a lot of work in the film industry right now and I don’t know - I think a lot of these guys have other interests. Russ has told me he’d even be stoked to get into film. And I think he’s planning to go back to school next year. .portmoodyblues



I guess Mitch has nothing to worry about following “Mitchapalooza”. What was with that? I think I saw flyers for that in Vancouver, and wasn’t it in Montreal? It was Mitch’s career launch party. We were launching his career and we wanted to do it right. We were in Montreal where everyone’s down to party so we did it up. He didn’t really have a choice in the matter although some of the guys might argue it was more me who wanted to have a party. We went out and canvassed the city with flyers, but it was a typical skater party. Nobody showed up except the skaters we knew and I went out and put almost two hundred beers on the Northside Productions expense account. Whatever, all the beers got drank. Did you guys go to the Alena shop there? Where was your spot? Yeah, Phil [Knechtel] rides for them. I don’t know, we always ended up there though. Those guys are cool. Jessie Bowden [Tiger Distribution] was such a good host. He showed us the city and stuff, although he was working pretty hard the whole time. We had such a good time. We just wanted to go out there and have fun and hopefully get some footage. And we ended up getting a bunch of footage and had some really good times.






I don’t know what possesses this guy to skate the shit that he skates. Fuckin’ sketchy. His clothes are straight outta’ That 70’s Show. Push like you mean it, kids.




social minimalism, fantasy andfantasy reality social minimalism, reality A DISCUSSION ONand THE WORKINGS OF THE SKATEBOARDER/FILMMAKER A DISCUSSION ON THE WORKINGS OF THE SKATEBOARDER/FILMMAKER wordssam mckinlay biosrhianon bader

wordssam mckinlay some timebader now biosrhianon

Areas of the fine arts have been covered in Color magazine for in an attempt to make certain distinctions and parallels between the works of installation, and even the world performance. Areas of thepainting, fine artsgraphic/commercial have been covered art, in Color magazine for of some time now In one of the previous of distinctions Color, we had a special video grab article on the in an attempt to makeissues certain and parallels between the works of aesthetic and work ofgraphic/commercial the antisocial skateboard which prompted some of Areas of the fine arts have been covered in Color magazine for some time now installation, painting, art, andvideo even the world of performance. us to look more at the imageswe onhad the – the boldness against the in an attempt tointernally makeissues certain and parallels between the works of In one of the previous of distinctions Color, ascreen special video grab article on the subtle backgrounds, the tovideo the viewer through the digital installation, painting, art, and even the world of performance. aesthetic and work ofgraphic/commercial themovement antisocial projected skateboard which prompted some of capture, theinternally usage ofatstory when,we really, it’s just –athe skateboard video. is In of and the previous issues of Color, special video grab article onOrthe us one to look more the images onhad thea screen boldness against it? Skateboard videos use a subtext of story and placement gain the videos aesthetic and work ofthe themovement antisocial skateboard whichthat prompted some of subtle backgrounds, projected tovideo the viewer through the digital infamy through the varying degrees ofreally, powerful parts, theboldness assemblage ofOrthe us to look more the images on the it’s screen –athe against capture, and theinternally usage ofatstory when, just skateboard video. is personalities presented, and the overall feeland for the viewer company’s use the of timing, subtle backgrounds, projected to placement the through digital it? Skateboard videosthe usemovement a subtext of story that gain videos editing, and manipulation of order induce sort commercialization capture, andthe thethe usage of story when, really, it’ssome just a skateboard video.ofOrthe is infamy through varying degrees ofto powerful parts, theofassemblage thatSkateboard can also entertain and creative sidecompany’s of thethat skateboard(er). it? videos use arepresent subtext ofthe story and gain videos personalities presented, and the overall feel forplacement the use the of timing, infamy varying degrees parts, theofassemblage of the editing, through and the the manipulation of orderoftopowerful induce some sort commercialization personalities presented, and the overall for the use of timing, that can also entertain and represent the feel creative sidecompany’s of the skateboard(er). editing, and the manipulation of order to induce some sort of commercialization that can also entertain and represent the creative side of the skateboard(er).

Skateboarding has had a social dynamic to it that has been covered in a bazillion ways, but the video portrayal of the “art-form” of skateboarding is a concept that achieves sudden familiarity for the viewer as he/she instantly relates to the moving images that place the viewer right into the circumstances of Skateboarding has had a social dynamic to it that has been covered in a bazillion ways, but the video the skateboarder in the video (if the death lens isn’t completely killing the aspect ratio). Skateboard portrayal of the “art-form” of skateboarding is a concept that achieves sudden familiarity for the viewer videos on a whole are a look into one team’s or person’s working space on his/her skateboard, much as he/she instantly to thedynamic moving images that the viewer right into the circumstances of Skateboarding has relates had a social it that hasplace been covered a bazillion the video like a German realist or Italian neo-realist to film captures and depicts ainworking andways, living but environment. the skateboarder in the video (if the death is lens isn’t completely killing the aspect ratio). Skateboard portrayal of the “art-form” ofbehind skateboarding a concept that videos achieves sudden the viewer But the commercialization most of the skateboard seems to familiarity hinder thefor outlook and videos on instantly a whole are a look one team’s or person’s working space on his/her much as he/she relates to into the moving images that place theground viewer right into documenting theskateboard, circumstances of presentation of the video “piece”, resulting in some sort of mid between skating, like skateboarder a German realist or Italian neo-realist film captures and depicts a working and living environment. the in the video (if the death lens isn’t completely killing the aspect ratio). Skateboard and the particular motivation behind the video piece. Luckily for us, a lot of the skateboarders today But theon commercialization behindone most of the skateboard videosspace seems to hinder the outlookmuch and videos a whole are a look team’s orvideo, person’s his/her skateboard, step out of the confines of into the skateboard andworking use their pastonexperiences in skateboard presentation ofrealist the video “piece”, resultingfilm in some sortand of mid ground between documenting skating, like a Germantowards or Italian neo-realist captures depicts a working and living environment. videography somewhat more creative endeavours. and the commercialization particular motivation behind the of video Luckilyvideos for us,seems a lot oftothe skateboarders But behind most the piece. skateboard hinder the outlooktoday and step out of the confines of the resulting skateboard video,sort and their past experiences in skateboard presentation of the video “piece”, in some of use mid ground between skating, The skateboarder that stares at the aesthetic of a ledge, wall, or parking blockdocumenting may reach for a still videography towards somewhat more creative endeavours. and the particular piece. Luckily lot ofcome. the skateboarders today camera or pen to motivation document behind the actsthe ofvideo skateboarding that for willus, or ahave So it’s only natural step of the confines of the skateboard video, and use theirit past experiences in or skateboard that aout videographer will also conceive of these notions. Taking beyond the camera pen, the The skateboarder thatsomewhat stares at more the aesthetic of a ledge, wall, or parking block may reach for a still videography creative endeavours. videographertowards can step from the confines of static imagery to perceive movement in some other way camera or pen to document the acts of skateboarding that will or have come. So it’s only natural than a person simply (although very cult) doing a slappy on a curb. Color magazine has assembled that a videographer will also conceive of these notions. Taking it beyond the may camera or for pen, the The thatthat stares the aesthetic a ledge, wall, or parking block a still someskateboarder skateboarders haveatdone just that; of explored motion and experience withinreach skateboarding videographer can step from the confines of static imagery to perceive movement in some other way camera or pen to document the acts of skateboarding that will or have come. So it’s only natural to develop their own criteria outside of the activity, but within the same realm of video and film. They than aa videographer person simplywill (although very cult)ofdoing a slappy on a curb. Color magazine has or assembled that also conceive these it beyond the camera pen, the were each given the same series of questions, andnotions. here areTaking the highlight answers. some skateboarders that have just that; explored motion and experience within skateboarding videographer can step from thedone confines of static imagery to perceive movement in some other way to develop theirsimply own criteria outside thedoing activity, but within same realm of videohas andassembled film. They than a person (although very of cult) a slappy on athe curb. Color magazine .film were each given the same series of questions, and here motion are the and highlight answers. some skateboarders that have done just that; explored experience within skateboarding to develop their own criteria outside of the activity, but within the same realm of video and film. They .film were each given the same series of questions, and here are the highlight answers.


77 77



Whiterock, B.C. native Jon West decided to pursue filmmaking beyond the skateboard realm when one of his first short films was shown at a Foundation skateboards video premiere, “People laughed, and cheered. At that moment I knew that’s what I wanted to do”. Originally filming skateboarding, he’s been behind the lens for all the Board Kennel videos [Art Bars, Bastard of Life] as well as a contributor to several skate video magazines. After studying lighting and cinematography at the Vancouver Film School he is now directing his own projects and working as an independent director of photography. In the past few years Jon has been involved in over a dozen non-skate film projects and has most recently been working on a script about “a man’s struggle with his desires for a little girl” to be shot on 35mm. His non-school training includes observation, thinking, and learning from mistakes.

1. All of you have at some point held a camera in front of a skateboarder. How has your experience filming skateboarding had an effect on your past or present works, or is it completely unrelated? Dave Metty: I started filming in the early 80s, I was influenced by Stacey Peralta’s work. Everything I did had a storyline to it and does to this day. In the words of Dave Payne, “Filmers? We are the story tellers”. I love documenting and recreating a moment with music and images; it’s touching, it’s memories. Check out our videos First Step-Getting Started and Basic Tricks to see what I mean.

Greg Hunt: I don’t think I’ve developed a technical “style” outside of skateboarding. Not yet. That takes time for most people. But skateboarding taught me to look at things inside out. It made me really paranoid of imitation, but confident with my own judgment. This had a huge effect on how I approach everything in life, including filmmaking. It’s ironic that of all things, the skate video format has been the hardest for us to break out of. As far as tools and gear are concerned, they aren’t very important to me, just whatever’s best for the project.

Justin White: Filming skateboarding has definitely had a direct effect on both my present and past work. There are many aspects of skateboarding and of filming skateboarding that most often go unnoticed by the general public (arrests, tickets, harassment of skaters and filmers, etc.) which have lead to recurring themes in my non-skateboarding related work such as alienation and seclusion and the ongoing theme related to society’s expectations of its youth.

Justin White: In terms of camera movement, my experience with filming skateboarding has certainly directly affected my composition of shots and scenes of animation – specifically, I often try to exaggerate the motion or body movements of characters or clay creatures as much as possible. Filming skateboarding has also influenced the post-production side of my work in that I usually accelerate or speed shots or scenes as much I can, stopping just before they become something the audience is unable to understand.

2. How does your involvement with skateboarding influence the technical style of your video projects outside of skateboarding (e.g. you film a fast skater with quick edits; do you do the same for a drama or concept video piece)? Discuss the importance of the video formats and tools in regards to your work.

3. Skateboarding is often filmed on the spot in public areas with unexpected confrontations and public reactions (awe, anger, harassment). Skateboarder’s videos that have nothing to do with skating have a tendency to involve a human focus (acting/drama) in their films rather than portraying aesthetic issues involving concrete or natural surroundings. Is this the case with your works, why or why not?

Jon West: I think the most obvious thing would be editing. When cutting skate videos, I usually lay out and cut up the song first, that kind of dictates the visuals. With “normal” film editing, this isn’t usually the case – the editor cuts the picture more linear, then it’s sent off for sound design, scored, then mixed. The other thing would be that with skateboarding it’s just you and the camera, and a lot of the time the camera becomes an extension of your body, like filming without looking through the lens, it gives you such a good understanding of lenses, angle of coverage, etc. I don’t think that there are a lot of non-skateboarder filmmakers that would ever consider, or feel confident shooting something without looking through the lens. As for the format and gear, it’s very important. It’s kinda annoying when everyone is obsessed with having the best (most expensive) gear. They are just tools, and you pick the best 78

tool to suit the project, that’s it. They should shoot the TV show Cops on 65mm – that would make sense.


Jon West: Anything that happens in someone’s life makes them who they are. The fact that skateboarders are fortunate enough to deal with these issues just means that they are constantly exposed to all these emotions, or stories, and... yeah. Basically any filmmaker is telling a story, or trying to say something, regardless of the type of film, and I’m not going to tell a story about fish because I don’t know anything about fish. Cole Mathews: For me it’s all right to show real people in their environment dealing first hand with the skaters if and only if it’s appropriate. To just show some people breaking there boards or getting kicked out of a spot is way too typical of a skate video cliché. Cooper Batersby: One of the most exciting things to happen in cinema in the past 10 years has been the resurgence of cinema-

verite brought about by small digital cameras. Skateboard culture and videos have been leaders in this resurgence: Larry Clark’s Kids (1995) and Landspeed:CKY (1999) leading the pack. I find these films/videos and their contemporaries fascinating to watch. I love them. Confrontations, youthful exuberance, danger, idiocy, the complete disregard for people outside your circle of friends… It’s awesome, a fucking force to be reckoned with. I am in awe of the people who live their lives like that. I am in awe of work that uses this format, (realism and intentionally provocative situations), but I am unlikely to use it myself. My experiences as a skateboarder in similar situations – fighting with security guards, lighting fires, or breaking windows, being incredibly cocky with everyone I met – have made me not want to be in situations like that now. I see the thrill in it for the people who do it, I envy the naivete that allows them that thrill, but it can’t happen again, for me. It is a one-way operation; the operation of empathising with others. I allowed myself to empathise with others, because I was forced to interact and care about people outside the small invincible circle I was a part of (most notably my partner of 10 years, Emily Duke). So yes, skateboarding has influenced my style of filmmaking, greatly. I do not shoot in public. Anything I shoot myself is in my apartment, or another controlled space. I just don’t want to bug people. I don’t think they deserve it. It’s not uncommon, and possibly immoral but I’m perfectly happy to watch other people be assholes, I just don’t want the guilt of being one myself. 4. Do your films tend to reflect a sense of realism or fantasy/ the abstract? Corey Adams: My films are definitely more along the lines of fantasy or absurdity... but I still try to keep an element of realism in them. I like to create worlds that do not necessarily exist but at some moments in life they almost seem real. Like in a short I made last summer there is a shot of the main character walking down an alley, just walking towards the camera. But in the background appeared a man digging through a dumpster with a stuffed unicorn under his arm. Then in the same shot he mounts this rare pony and gallops out of frame while a businessman crosses his path. All of this happening without my knowledge. I was too busy watching the main character and the framing of him. Not until I watched the footage from that day did I realize what I had captured. It is those rare moments that really get me excited. It was real, but if you watched it you would think that it was staged.


Greg Hunt has been involved with some of the most well-known skate videos in recent years, including the Transworld Videos [Modus Operandi, Videoradio, The Reason] and The DC Video. His non-skate repertoire includes the eclectic mix of Mark Gonzales’ short film Weapons and Armor, the Yeah Yeah Yeah’s live DVD Tell me What Rockers to Swallow, and the Brad Pitt/Jennifer Aniston wedding. Greg is currently working on DC’s What do you see? ad campaign and videobook, Alien Workshop’s newest video, and is also shooting still photos, which is where his photographic training lies. He lives in San Marcos, CA, and has been skating since 7th grade, minus a brief lapse, though he “still can’t do frontside flips”.


Dave Metty’s skateboard films include Real skateboards’ The Real Video, The First Step instructional videos, and contributions to 411VM since it’s creation. He started filming at 13 (in 1983), inspired by the Bones Brigade videos at the time, and never stopped filming. He is constantly doing “weird skits” in addition to skate videos, and is an associate producer of The Captain and Casey show for the FUEL TV network where he’s sure to include skate segments. Other titles Dave currently holds include president of the Academy of Skateboarding, Element YMCA skate camp director, media director of an online skate community called and soon-to-be father. Regarding his involvement in filming and skateboarding, the Detroitraised, now Visalia, CA, resident says: “It’s what I’ve always done whether I had loot or not, and it’s paying off”.

John Trippe: I’m more interested in reality and emotions. I think everyone has a drive to express an emotion that they can’t express in any other art form. I’m a bad communicator in the sense of expressing this feeling that I need to get out. I hope to express how I see the world through films. It seems like the only way I can. Photography does to a point, but it’s so two-dimensional whereas film has so many more layers to work off of. Movement, light, and sound. It’s a visual, audio, beauty dance.

and nothing more. The video medium is my personal route to attempting to move an audience through visual atmospheric moods combined with a dynamic aesthetic of the act that is at hand. Anything more than that… and I think that that is where you get into spelled out, commercial sellout disasters that please the masses – and THAT is what is ruining the industry, I think, today.

Dave Metty: I like goofy weird stuff and very real pieces about people’s lives. On video did a great job.

6. How do you view the importance of audio-video visual work among other forms of “high art”? Have you had issues with video misuse (commercially) over the years?

5. Some skateboarders consider the video/film medium a way to portray society and its issues. How do the social issues that arise from urban skateboarding (cops, friends, jams, etc.) fuse into your filmmaking?

Corey Adams: With audio-visual work there is more stimulation of the senses for me. If done well it can trigger an almost euphoric effect after you have watched it. Like in a scene where the visuals and the sound go so well together that it is just like a magic trick. That’s what it is... it’s magic. Not “high art” at all, just trickery. People don’t usually cry from looking at a painting but almost everyone cried in the theatre when I watched E.T. As far as misuse goes... well most of the big studio movies that come out of Hollywood nowadays could be considered misuse.

Cole Mathews: Skateboarding for me has always been the coolest thing out there; I believe that skateboarding has the biggest influence on what people think is cool. So for some, skateboarding becomes a platform for them to voice their opinions and views. But on the other hand, making skate videos that are informative and teach the viewer something about morals or even the history of skateboarding don’t sell, it seems like all kids want to see is Johnny No Name jump down 11 stair handrails. Learning, reading, social issues, all of these things for some reason go right over the top of kids heads, there’s no appreciation for those trying to spread knowledge through skateboarding. Dave Metty: This is a fun one, I love it when I toss a clip of a cop or a shot of a glue-sniffing child in Brazil into the storyline. The viewers are usually quiet until that clip pops up, then we start interacting while watching. “Damn that’s gnarly, bro that shit’s real man, kids do that there”. It’s important to have purpose when filming and editing. Mike McKinlay: For me, video is the perfect medium. For unlike writing or, say, painting, it is my way of telling a story purely through moving images. I don’t like dialogue in my films unless absolutely necessary, for I feel as though if a story cannot be told in a shot by shot sequence without spelling it out verbally, the objective has not been accomplished in its own artistic, true form. Original short films from back in the day were just that… silent moving images

John Trippe: People are so over-saturated with visual stimuli through the TV and elsewhere. Viewers are able to grasp so much from so little being shown. It’s a language that a filmmaker has to learn how to speak. Getting caught up in the overly edited style doesn’t interest me too much. I always hated Transworld videos. Like you take Fucktards, the Antihero video, and you can see the difference. It’s about the content. All the tricks and gadgets don’t interest me much. Jon West: Breaking it down to the very basics, it’s probably one of the easiest to get into. Anyone can pick up a video camera, shoot something, edit, and burn a DVD at home… and voila! Instant filmmaker. Some people may argue that this is “misuse” or sucks that it’s an oversaturated industry, but it’s like anything. I think this is a great thing, it gives anyone a chance. If you complain about it, it just means you’re insecure with your own work, and quite honestly, the day that I am more concerned with what other people think over what I think is the day I’ll stop making films. 7. Does your work involve planning a piece for a crowd (gallery presentations or premieres/openings) or is it primarily

personal (just for a couple of guys in a living room with a TV)? Cooper Batersby: My work is made for people at home and people in theatre situations, but not for video installation situations. My videos are experimental, but rely heavily on the sequential structure that is unique to time based media. It is important to me that people who want my videos are able to get them. I give them away free often, and make them available on DVD or VHS for home use. One of the ideal viewing situations for me is when people love the videos, own them and watch them with their friends. Corey Adams: The early stuff was more about just a few friends around the television. Now when I am making something there is the thought of an audience watching it. I don’t really plan the piece for the crowd ,I just do what I want. Also most of the work I do involves very little planning. Well, I mean, there is planning... but I like to leave room for improvisation, and you don’t always know where a film is going to turn to when you start shooting. It’s sort of like 70s rock or early jazz where the musicians have a loose structure that they know they have to follow, but what happens between point A,B,C, and D you might not completely know until that time comes. And then through all of the things that have happened, all of the improvisations and lucky mistakes, you can figure out what comes next. Like if you’re shooting at a farm and you just happen to come across an underground bee hive with hundreds of bees swarming out of this hole in the ground, you kind of have to incorporate that into the film... I mean how often do you see a b-hole. Which, in a sense, does not always make for easy editing and financing, but the end result is usually fantastic. Greg Hunt: My rule is that the first viewing is absolutely the most important thing. It shouldn’t matter whether the audience is at a massive premiere or alone on their couch. That initial emotional experience is everything – it’s what stays with you forever. For example, think of your favourite skate video. Do you remember the first time you saw it? Of course. That’s because you were affected emotionally. Your emotions are so much more powerful than your mind. So that’s what I try to shoot for. .fantasyandreality




Cole Mathews has made over 15 videos with 411VM and On Video, and is currently a “We activist and Stereo sound agent trained in cinematography”. His non-skate film work includes the Explosion video for Virgin records, other music videos, and some documentaries he made while in school (which he ended up quitting… with a debt, of course). Besides filming Cole is into shooting photos, painting, and “knoodling” in Long Beach, CA, where he moved to from coastal town Atascadero, CA. Cole skates everyday, and says, “Plus, I get paid a very small amount of money to hang out with my friends and create something that all of us are happy with. It’s a good feeling”.


Mike Mckinlay is a “self-taught, well read” filmmaker with a background in nature photography, and is also a sponsored skateboarder (Emerica, the Westbeach shop, and Ruca). With almost 20 years in skating, and a Barrier Kult membership, he has also coproduced and shot the recent Barrier Kult Horde video, in addition to The Nature of Skateboarding. Non-skate film work includes The Jade Book, Benches and Bicycles, various promo videos and stock nature footage compilations. Mike is from Kelowna, B.C., though he lives in Vancouver where he also occupies himself as a production coordinator/motion capture skateboard director for a local production company that is currently creating an animated Tony Hawk film. His current personal project, SKIM, is about “a young man’s struggle with the death of his father, and an undying love for skimboarding and the beach”.


Corey Adams has been making short films since the early 90s, most recently including Of Wolf and Limb, Drawing Face to the Outside World, and a 24 episode series entitled Swampdonkey. His current film project is in pre-production as part of contest he won through the Fuel action sports network. His project is entitled Harvey Spannos and will feature Rick Mccrank and Keegan Sauder. Corey hasn’t had much interest in making skate videos, with the exception of contributing to the antisocial skateshop video. He doesn’t have any official training in filmmaking, but possesses six years experience working as a special effects makeup artist for film and television. His current occupations besides film are as a “burrito consultant” at Budgie’s burrito’s (44 Kingsway, Vancouver), and skating (since ‘86), even though his “legs are getting old now”. He grew up in Langley, B.C., and now lives in Vancouver.


Cooper Battersby was born in Penticton, B.C., and is currently living in Halifax, N.S., where he has been working collaboratively in printed matter, installation, curation and sound (primarily the production of single-channel video). His works Being Fucked Up (2000), Bad Ideas for Paradise (2002), and most recently I am a Conjuror (2003) have won various film awards and been exhibited in galleries and festivals in Europe, North/South America and Asia. He has little experience filming skating because when he was skateboarding: “videos were not being made by everyone with a computer and a camera as they are now”. He has a diploma and Masters in computer programming and is currently teaching part-time at the Nova Scotia College of Art and Design.


Raised in Toledo, OH, and now living in San Francisco, CA, John Trippe [creator of artbased Fecal Face Dot Com] has filmed for numerous skate videos, and was a 411VM filmer for awhile. His non-skate film projects include a documentary of Michael Leon for a board series he did for Element skateboards, and his current project of two years, Fecal Face, The Movie. Filming was his first obsession as a kid, which led to skate videos of friends and eventually a job at a TV station in Ohio, that wanted John “to be the weekend weather man if you can believe that!” Besides film and his website, he also owns Low gallery in San Francisco. John says skating has “been my life for so long, it’s who I am. I think a lot of the attraction in the beginning was the whole scene and the people involved in it. They were weird and funny and outside of everyone else. Well adjusted people don’t interest me too much”.




Justin White has contributed to skate videos for Stimulus, Instant Winner, Flatline skateboards, and currently Other film projects include Excitement is Exciting [feat. in Underskatement 2005] and Hansel and Gretyl. He’s also a film student at the School of Visual Arts in NYC. Justin’s been skating for several years and filming since he was seventeen. Originally from Windsor, Missouri, he now lives in Hillsdale, New Jersey.




With ten published fiction novels, five non-fiction paintingjonathan paulsen

wordsscott radnidge

books, and numerous art installations under his belt, Douglas Coupland seems to be the busiest person in the literature/art world. His career is one of a creative dynamo, him constantly enlarging the boundaries of the written word, all while finishing multiple projects that run the length of the mediums he actively pursues.

too (the Vancouver connection.) I don’t know why this is. Maybe an unwillingness to self censor and simply get things done. And now that energy is morphing into film and games. It’s kind of wild and can’t be denied. Color: God and the afterlife play a large part in your stories as your characters try to figure out their lives. In Eleanor Rigby, your main character and her son seem to be on the verge of finding something, even though they outwardly look to others like they’re on the verge of losing it. Douglas Coupland: I’ve never thought about it that way. I wish I’d put that on the jacket copy. It’s really good.

With his first book, he immediately coined the nickname that defined a generation, and he hasn’t looked back. Generation X propelled Douglas Coupland into the stratosphere of popular culture, giving his name a legendary status and making him a voice of seemingly a whole age group of people. Starting a career off with such a bang would have done most writers in; either leading them to a quick pay-day of endorsements and movie deals, or scaring them into seclusion and the “where are they now” pile. Happily, he chose neither, instead opting for a life of writing for the sake of writing, and doing what he wanted to do for the sake of wanting to do it. And this attitude sounds very familiar. This do-it-yourself approach mirrors the way people in the skate world have gone about their transformation from outsiders to the main attraction. Not a lot of people would see a similarity between a popular-culture author and the skate culture, but both mirror one another as they show the power of getting out there and trying one’s hand in everything, and going for broke. Why stay where one is comfortable, when you could be out somewhere else, pushing the boundaries of what you know and what you think you could do. In the twilight of 2004, Douglas Coupland released his tenth piece of fiction: Eleanor Rigby. On the outside, it is a tale about someone (Liz Dunn) who suddenly finds themselves the center of attention, after a life of waiting in the wings. But as the reader moves through the pages, the theme of a profound loneliness and longing for something just out of reach becomes the bigger story. Recently, I was given the opportunity to ask Douglas some questions about his new book, skate-culture, and life in general. And even though his answers were brief at times, looking at what he said does give an insight into his world of words, views and art.



Do your personal beliefs play a large role in your stories? Only inasmuch as the stories act as a laboratory for pushing various strains in new directions. With Eleanor Rigby, your tradition of having a dysfunctional family as a center of your story continues. It’s the most universal story of all. Do you truly believe that all families are psychotic, and why does the dysfunctional family fascinate you so much? All families are disasters. They just are. Nobody escapes. Lonely people like Liz Dunn are perhaps everywhere. Do you think that a lot of people out there in society today are like her? Far more than you think, and far less able to cope with it than Liz. It’s sad. Is it easier to be a lonely person in this day and age of everything being available 24/7? Actually it is. All the new couples I know met online. Today at lunch I was in a cafe and these two people were having their first offline date. It was a disaster. People either make eye contact then rent a motel room, or they pack it in right there. In your books, you have always been able to describe fringe groups and counter cultures with accuracy. Over the years, what kinds of counter cultures have inspired you? I think what people perceive of as outsider culture is merely the fact that I live in Vancouver where a lot of new ideas get their start. And the fact that pretty much everybody I know is creative. Skateboarding has become huge in the last decade, going from being a fringe group of “outcasts” to a massively targeted group of consumers. Looking at the skateboard culture, what do you see? I got to be friends with Spike Jonze just after he emerged from BMX culture in 1992. He and Andy Jenkins and Mark Lewman started Dirt magazine and I quickly learned that much of the verbal and visual vitality in our culture comes from bike and board culture, Skiing,

Recently, you have been publishing as many non-fiction books as fiction ones. Do you find writing non-fiction a release from writing fiction? Very much so. I came from art and magazine culture and really enjoy working with images and words together which you can’t do in generic books. Which is easier for you? Neither. On a word-count-per-day basis they clock in at about the same. How do you prioritize your ideas? It’s pretty much intuitive. I tried reading one of those “Successful Habits”-type books and it was really depressing. Do you rotate from fiction to art to non-fiction, or is it the best idea that is burning in your head the one that gets immediate attention? You have to work on each project at least once per day. A lot of it is simple discipline. Of all the people who’ve told me they’re working on novels since 1990, maybe 50 people or so, only one has ever actually finished one. Novels don’t happen without the application. Your early books were set in the United States, but now, the dominant location for your books is in Vancouver’s Lower Mainland. Do you get flak from readers or publishers for setting your stories on the west coast? The opposite. People tell me that Super-Valu and Rogers DVD rental shops are exotic and weird. Does music influence your writing? With fiction. A sound track evolves along with the novel. You remain positive about the future in your writing, even though the world seems to be getting worse every day. It’s always been getting worse. The 1970s were appalling. They make right now look like a birthday party. What keeps your writing positive and keeps you from being cynical? I think cynicism is lazy thinking posing as depth and coolness. How many times have you ever heard of a hot young cynical artist who flamed out and was never heard from again? All the time, because there’s no nutrition in cynicism. Not that you have to be a goody-twoshoes, but your ideas have to be coming from a real place.




elemental awareness wordsscott radnidge

I can’t help but smile as I think of the many great stories I have heard from Mike Kershnar of Elemental Awareness. His tales are deep yet awesome, eerie yet sometimes insanely funny. Some of the stories make me wish for a great walk in the woods, and others chill me to the brink of, well, um… nausea. He’s told me of people starting fires with their hands and talking to squirrels, and has had me squirm with tales of car/deer collisions (which are my favorites of the bunch). There’s some consolation, to make a long story short: the suffering deer that have been hit by cars are put out of their misery, and then every inch of the deer’s useable qualities are put to use, giving the animal some form of honor after a gruesome and unnatural death. But in the end, hearing about what the guys at Elemental Awareness do and reading what they write, these guys are coming from a place that seems to be disappearing in the world today. There is an apparent contrast between skateboarding and nature; how many times has a skater looked at a rolling grass hill and wished it were paved? In the hustling city and the world of skating, we dream of concrete and skate parks, downtown landscapes and endless cement roads, never seeming to stop and wonder about what was there before the concrete and where the wood for the boards we ride comes from. All of these thoughts lead to the question: what is life like outside of the urban box? Many young kids who live in big cities never get to see real nature. Wide open spaces of trees and fresh air, undisturbed by the constant taint of the growing city. Their years are spent playing in unattended parking lots surrounded by chain link fences or the odd school playground with burnt grass and small withered trees, where the most nature that they see are the mountains through the smog in the distance, leaving them wondering what life is like outside the concrete mess that they live in. Taking skater kids out of their environment, pairing them with mentors and helping them experience 88


new things are the passions of Mike Kershnar and Todd Larson, who together head up Elemental Awareness. Their motto is simple but deep in content, revolving around the belief that everybody can make a positive difference in the world through their passions. People who have met the guys from EA talk about a deep experience, yet also of crazy times, and it’s not always as serious as their words let on. A friend of mine likened the EA guys to a bunch of youth leaders, full of energy and exuberance, willing to try everything and anything. They act like crazed mentors, who are eager to lead by example as they run into the woods, where people can learn and grow as they get back to basics and down with the land. Mike and Todd’s passions are skateboarding and wilderness survival skills, so it seemed natural for them to combine these two things and work with kids through these avenues. Mike mentioned a thankfulness that both he and Todd have for the best people in both of these subcultures who help them out: Element Skateboards and Tom Brown’s Tracker School. “Survival skills are appealing to skaters because they promote self-reliance, self-confidence and a satisfaction not unlike skating,” Mike says, “creating your first bow drill-fire is like landing your first kick flip – completely unforgettable and very satisfying. Learning these skills are magical, few people have ever even seen a person in real life make a fire by rubbing sticks together, people know it is possible but actually experiencing it yourself is totally different. It demands a great deal of precision.” It is easy to see the passion for what they do pouring out in what he speaks, and in his parting words to me, he hit upon once again the belief that learning these skills forms a real and lasting relationship between people and nature, “something that leads to a feeling of interconnection and belonging that most people in today’s modern society cannot even fathom; an idea much like the connection between skaters and the streets, but ancient and more all-embracing.”

tosh townend | halfcab nosebluntslide fakie [ o ] bradford



A long time ago I used to be a radio DJ at a local college station. My show was popular for reasons different from why most shows gain popularity. Although I played good music, my listeners tuned in for the fights. The show was a big local hit here in Calgary, Alberta, because people love to be abused. Chris Nieratko joined Big Brother Magazine around the same time I left my radio show when I decided to go back to school to become a teacher. In Big Brother interviews Nieratko always sparked confrontation similar to how I used to fight with my listeners so when it came time for me to find myself a new assignment here at Color Magazine I decided to track down Nieratko and perhaps verbally sock him in the face and find out what would happen. Unfortunately the first interview was lost due to the ultimate rookie move of not pressing record on the recorder, yet one thing stuck out in that first conversation…

bysilas kaufman

mtv thinks they can handle what we know and they want to make a show...

Perhaps our favorite staff of Big Brother might not be out for the count after all, and just maybe, they have a reality TV show with MTV in the works. I can only speculate as to what it is about, but Chris said (while temporally in a headlock), that they might have a new magazine called The Future and maybe, if I can speculate further here, that The Future will be tied into the reality TV show? To confirm all this I called up Dave Carnie who wasn’t into talking about The Future in too much detail due to some superstitions, but our interview gave me back the confidence to call Nieratko again. We had our rematch over the phone and it was considerably less violent. Which is fine, I wouldn’t have won anyhow.



“It’s a Man!” “Well,

I want to get on this Bush thing, I love it that you trash him. I think every Canadian kid loves it – Did you see that he just visited Canada and even here in Calgary we were protesting? Yeah Bush’s trip to Canada was on The Daily Show last night. Bush had a little joke about how “I appreciate all the Canadians that came out and waved their support, especially those that used all five of their fingers! Heh heh heh!” They cut back to Jon Stewart and he was making, like, this stupid face, and he was like, “I’ve got issues with George Bush, but even I have got to admit that was a good joke.” And that was actually kind of clever, kinda funny. It’s almost, I don’t know, there’s nothing really to talk about, you know, it sucks. I had a friend in London at the Daily Mirror, and the cover was just a picture of George Bush, and it said, “How can Fifty Nine Million People Be So Dumb?” There’s another English paper where the cover was all black and in small font in the middle it just said, “Oh God.” Me and my fellow American friends are just astounded. Do you have to deal with Republicans frequently? Do you have run-ins? I have imaginary conversations with them. I had one the other day. Most of them, this whole Christian thing in middle America, they’re pro-war, you know, they love killing people and then, at the same time, they’re anti-abortion, they won’t kill an unborn fetus. In my little imaginary conversation I was having, I asked, “Even if you were raped by some huge mentally diseased black man (you’d throw in the black man thing because they just hate blacks) you’re telling me you would still have that baby.” In my imaginary conversation the woman would say, “Yes, absolutely” and then I would say, 92


if you weren’t so fucking ugly I would rape you right now and make you go through with that.”

So Big Brother has closed its doors. In those last moments, what were you thinking? I wish your name was Bob or something and I could launch into Sports Talk. Like, Larry Flynt passed the puck down to me and he shot it into the deep end and you know, I just chased it down there and you know, I beat the defense man down in the corner, centered the puck, and I put it on Gretzky’s stick and he put it into the net, you know…I just lost… What was I thinking? I don’t know, Brad. What were your final thoughts? You know what we were thinking, we were thinking we were going to start it up again, that we were going to find another publisher. I was trying to get as many photographers their photos back and at the same time I was actually holding onto the issue that we were currently working on, thinking, “We could just get another publisher – fuck it – Big Brother is huge, people will totally want to pick this up, and we’ll just get another office and we’ll be working next week.” And oh, the naiveté. The numbers were horrible. There’s just not any money in skateboarding to support that many magazines. And over the years, Flynt never supported us properly. We were competing with two huge magazines with huge staff, marketing teams, merchandise and everything. Flynt knows how to make porn. And you know, when you make a porn mag, you just put it on the stands and it sells. It’s a porn mag. Skateboard mags are a little different. It’s amazing that it sold at all. It was a

magazine on the stands in a sea of other magazines. They didn’t seem to understand how important swag is, and product and merchandizing. Every kid knows what Thrasher and Transworld is because every fucking pro has a t-shirt with their name on it or a sticker on their board. And it wasn’t like pros didn’t want to wear Big Brother stuff, we didn’t have any. Astoundingly incompetent in that building. So that’s one of the main reasons it died. Another thing that I think hurt us in the long run was Kosick. He was kind of looked at as a doof and it kind of reflected back on the magazine and we fired him way too late. What about the last Big Brother video? Did that ever surface? Steve, the intern, was over the other night, and he reminded me how much shit actually was and is ready to go for another video. Why that never happened – LFP didn’t want to pay us. The videos did very well for them. They wanted two videos every year. Oh ho ho! Certainly! Two videos a year. We could barely fucking do one, let alone a magazine every month. They didn’t seem to understand like, I’m making a video in my free time, and I’m making a magazine 24 hours a day, seven days a week with this tiny, tiny staff. And then you want us to make a video on top of this. Well, I’m going to try, but then they were like, “How bout you just give the footage to our in house production people and they’ll edit it” And I was like, “Nooo, it doesn’t work that way.” We wanted to do a box set and put it all on DVD but we never got any of the music rights for any of the videos and they were like, “Well, why don’t we just put it to new music?” And I was like, “It doesn’t work that way. The music is an integral part of any skateboard video.” If there’s any group or company that’s known for their music in their videos it’s Big Brother and how crappy it is. You know, I can’t listen to Whitney Houston without seeing


Chad Fernandez dodges paparazzi in Hollywood following his stunning performance in the movie “Grind”.

Just skate. Don’t say anything. Just keep your mouth shut. Because anything that comes out of it is complete crap.

Earl Parker popping a zit in the back of my mind. Was there stuff that didn’t make the magazine that you really wanted to make it? One of the first things I remember that never made it in was an article on bestiality, you know, “How to fuck different animals.” Dog, cat, sheep, snake. Sean had drawn these cute little illustrations for each animal. LFP went, “No. Out. No way,” and I’m like, “No, wait, c’mon.” And that was the first time they said, “No” without negotiating. The reason why was because Hustler was stopped at the Canadian border for some photo or article or something that had bestiality in it and they lost a lot of money on it because the issues never got across the border and were all sent back. So, bestiality was a no-no. So we took the little animal faces and arranged them at the bottom of the page. And it just said, “Fun with animals! Cut them out and put them in your mouth!” Another thing that never made it in, towards the end, and I would always erupt into a tantrum and threaten to quit, because it always bothered me… They didn’t like retards. And three things in a row got rejected. I had this video, it was this self help or instructional video for parents of a retarded female daughter. It was basically an instruction video of how to fucking put in a tampon for a retard. And the star of it is Jill. And Jill is mighty retarded. I’ve watched it many times. And I laugh my ass off every time I see it. The older sister shows her how, and Jill drops fucking trow, and, “One side’s sticky! One side’s smooth!” That’s when Dad comes in and he’s like, “Hey guys, what are you girls talking about?” “Periods, Dad! Guess what we’re talking about, periods, Dad!” It’s totally fucked. We became fascinated with Jill for a few months. I wrote an intro, introducing her and her role in our magazine and that got shot down, “No, that’s just tasteless.” And I’m like, “And shitting on a pair of Nikes isn’t?” We could never figure out the line that we couldn’t cross. It moved all the time.

Do you still have Whalecock going? It’s hibernating. It’s trawling the depths. I’ve got a list of people, and I’m wondering if you would put them on your team, and why or why not? Poncho Moller. No. No reason? The main reason is because I don’t want anyone on my team. OK. How about Arlo Isenberg? That’s a possibility. How about Danzig? No. Because

Morrissey is going to be on the team, and Danzig and Morrissey are not going to get along.

How about Josh Kasper? He’s a good guy, he means well. But, just a dipshit. He’s just… Fuck it. I’ll stop right there. Another person like that is Chad Fernandez. You know, good guys, but shut up. Just skate. Don’t say anything. Just keep your mouth shut. Because anything that comes out of it is complete crap. Both have lost sponsors – Do they talk trash? What do they do? Chad Fernandez. He’s hit on my girlfriend, like twice. The shit that came out of his mouth is like, “Hey baby, do you want to come fuckin’ into the back with me?” “No.” He’s like “C’mon! You can bob on my knob!” She’s like, “That’s just, Ok. You’re just… awesome. What the fuck did you just say? Bob on my knob.”

First he says that. And second of all it’s kind of his approach to everything. I said something about The Grind, “the stupid fucking movie you were in” and he was like, “Carnie, why do you always gotta be like that, why are you such an asshole about everything?” “Do you really want to know why I’m an asshole?” He’s like, “Yeah.” and I’m like, “Are you ready though, because I’m going to tell you –” “Yeah.” “Well, because you’re a fucking idiot. Just shut up.” And to his credit, he sat there and listened. I explained to him that, “Look, you’re a good skater, but you just talk. And when you talk, you say the wrong things. You’re not the smartest dude in the world. You’re a great athlete, but your brain doesn’t work at all. Let’s not use it.” So what’s the future for you? Well my future is way different than your future. See, I’m already in the future. Nieratko is here with me, too. Well he’s there, actually – in the future. I just came back to talk to you. See your future, your tomorrow, that’s like our last week. We’re way ahead of you. If I told you the shit I know, you’d be fucked. MTV thinks they can handle what we know and they want to make a show out of some of the stuff we know. We can’t tell them everything. Are you guys going to be the stars in this? Yeah. And Clyde of course. He’s actually the one that showed us the future. I’ve always felt that Clyde is a goldmine of comedy. Yeah, unfortunately, like gold, he’s really hard to find.

Color: I wanted to talk about the end days of Big Brother. Nieratko: Are they over? I don’t know. You guys had to leave the office I assume, at one point, and then, not really return. Yeah, that kind of ended the production of the magazine. But when you love something so much, it can never die. What was going through your minds when you guys were packing up your offices and you had to leave? “Dude, where is my Zeppelin IV CD? Who the hell did I lend that too? I know Carnie’s got it, I know he’s got it.” Pretty much the last five days that was the only thing that was going through my head. Is that denial that things were happening? No, definitely that Zepplin IV CD was gone, there was no denying that. Did you know Carnie when he had the moustache? I don’t know that Carnie had one, I thought that was me. Was it you, that… You did it! That was me. I knew him when he had the beard. Oh wait, that was his whole life. You know that Consolidated graphic by Todd Bratrud where it’s got a picture of a little baby, and it says, “It’s a Man!” like she’s giving birth to a man. That’s the picture that I have when I think of Carnie in the delivery room, with a full beard with long hair and a glass of wine. But you had the Hitler mustache. How did that work out? I think, famously. I think it’s one of the greatest, most bastardized moustaches in history. All I’m trying to do is show people that

one man cannot single handedly destroy a moustache style.

It’s got nothing to do with loving Hitler, or being a Nazi. It’s just, fuck! That’s a great moustache style. And there’s really no reason, aside from a few million or so dead, that we shouldn’t continue rocking that moustache style. I generally do it for Chanukah, that’s the time that I usually grow that. Whoa, dude. By no means is it a racist thing. It just happens to fall around that time of the year that I get the bug to grow that mustache. Just total coincidence. And one time I was at a Christmas party in L.A., and some dude is eyeballing me. And I’m like, “Did I fuck this guy’s girlfriend or something?” I finally just asked him, “What’s your fucking problem guy?” And he’s like, “You’re fucked up, that moustache blah blah blah I’m Jewish, my people have suffered blah blah blah.” And I just laughed in his face. He said, “What are you laughing at?” And I said, “Dude, if you‘re so Jewish, what are you doing at a Christmas party?” That only incensed him more. And then I did the typical get out of the fight sitcom maneuver. He said, “Let’s go outside,” and I said, “Let’s go,” and I opened the door for him, he walked out, and I shut the door behind him and locked it. I think he knocked for a while and probably gave up once he heard everyone inside laughing. Because that move really isn’t supposed to work except on television. Nobody falls for the ‘After You’ move! And then they get locked out. No one falls for that. Except this guy.

magazine? Did I guess right? Yes. Whatever you want it to be, it will be. What we’re creating, it’s kind of like a personalized crystal ball for each and every viewer. When you look into the crystal ball, you will see what you want to see. If you’re the type that likes jokes and jokes and jokes, then that’s what it’ll be. But if you wanna learn something it can be that kind of a show. It can be a dance program, it can be a competition to see who is a better singer, it can be a sports program, it can be a country western romance for the cold hearted. It can be whatever you want it to be. Basically, we are giving MTV a black screen. We’re just going to say, “This is the future. Do you see it?” We’re selling them the emperor’s clothes, basically. We have no idea what we’re doing. If I was in charge I think you guys should do a magazine and we would be watching you do the magazine. That’s not a bad idea Silas. But if it comes to a matter of legality, just assume that I’ve already had that thought. And that what you’re saying is not an original thought and that I don’t owe you anything by you saying that. I accept. It’s totally your thought. I give it back to you. Thank you. I look forward to seeing it and I don’t think it will be jinxed. I think it will go out there and you’ll be famous. It’s a shame that Canada will never get to see it. I’m going to give you a list of names, and you tell me who you would put on your team for your shop. Billy Rohan. I don’t know if I would put Billy Rohan on the team. Billy is an amazing skater. But the problem with him is he’s gotten his act together over the past few years. The Billy Rohan that was marketable was the crazy Billy Rohan. I don’t know why no one jumped on that because everyone needs an image these days and what’s better than the Crazy Guy? All these kids doing these nutso handrails, that’s crazy, yeah, but

Stevie Williams. Stevie Williams is probably one of my favorite skaters because he is the inspiration for me to try to lose weight.

That guy did a hardflip at a contest with a blindfold. C’mon. It really depends on which Billy Rohan I’m getting. Crazy Billy Rohan, he’s on the team. Normal Billy Rohan, I’ll give him a free t-shirt.

Stevie Williams says I got titties,

Ryan Smith. I love Ryan Smith. He’s my favorite skater that I’ve never seen skate.

and I thought, “Man,

and I don’t think I wanna have titties. So I’m going to get rid of these titties and I’m going to show Stevie. Look I got breast reduction.” Have you lost weight? Yeah, but it’s chasing me. I’ve lost a ton. I go to the gym seven days a week with my lady, three hours a day. That’s serious. That is your one moment of seriousness in this interview that I’ll give you. Even that is going to sound funny. I’m all hot and stuff now. Ok, who else have we got. Clyde. Clyde. Clyde is hands down, my favorite human being on the planet. Nothing to do with skateboarding. He’s a great skateboarder. I just love Clyde, I love him like a brother. We are twin brothers, we went to Twins Day in Ohio. We dressed in the same outfits and people loved us. We have our best times together when we’re yelling at each other at the top of our lungs, just trying to dispute each other’s thoughts. There’s no way to have more fun. We could be drunk, surrounded by a harem of anally savvy women, and we still probably wouldn’t have more fun than just yelling at each other. He is a gem.

Excellent. What was the question?


Nate Sherwood. Fuck no. I wouldn’t even tell him where my team was going on tour so he could watch us skate. Every time I run into him, it’s just ablahblahblah ablahblahblah ablahblah blah. I don’t even know what you’re saying guy, you’re speaking Spanish to me, what is it? He’s a sweet kid, he’s got bad teeth but he’s a nice guy. But fuck, dude. I can’t deal with him. But I do love Nate Sherwood and what he stands for. Whatever that might be.

foaming at the mouth – that’s something that Jamie Thomas can’t touch.

Is this assumption correct - You guys are going to do a reality TV show based on a magazine that you guys are creating? I really can’t talk about it.


Rodney Mullen. I’d have to not put Rodney on the team, for the same reason that I wouldn’t put Dave Carnie on the team. I try to not surround myself with people smarter than myself. It makes me look bad. I like to feed my team disinformation. Like one time I was driving through Texas and there was a Pearl Harbor memorial highway and I told the guys in the van that we should pull over and have a moment of silence for the bombing of this place. And they did, and they were like “Fuck, I can’t believe this is really it.” And they really had a moment. Like some of the guys were misty-eyed thinking we were at the site of the bombing of Pearl Harbor. I really like to lie to people who don’t know any better. So Rodney Mullen is just too smart for my team.

Really? The guy rips. Hence, you wanna be ripped? No, no, it goes a lot deeper than that. I’ve known him for years, he’s a friend of mine. A while back I was just a complete pile, and sloppy from years of destroying my body with alcohol. And he goes to pinch my nipple, and he realizes there’s a lot more than nipples, and he says, “Damn, Nieratko, you got some titties,” and I laughed and I said, “Yeah, I guess I do.” And then I thought about that for a while,

You and Carnie are now working on something for MTV. Carnie didn’t want to talk about it, and then he talked about it. I love that. He said, “I don’t want to talk about it, because I don’t want to jinx it.” But you guys are going to do something for TV? You see, I have no problem talking about it, because him and I, we’re already jinxed. So by talking about it, it’s kind of a double jinx, which un-jinxes the first jinx. So fire away.

The question is what are you guys doing for MTV. Is it the

He’s the only am in the years of torturing ams through the Goddamn Ams interviews that had any spine whatsoever to tell me off, to yell at me, to be confrontational right back. Honestly, of all the next generation, regardless of where his skating goes, that’s a true man, because he’s got a set of balls between his legs. Sure, he makes the team.

Ryan Smith models his new pro model shoe [ o ] moser

Is he comedy, do you laugh and drool when you laugh? I don’t know if he’s even that funny. From afar, he’s funny. In print, he’s funny. In person, he’s retarded. And that to me, is funnier than anything he’s ever done on video or print. He says the dumbest shit. He’s going to be a huge part of the interviews on the show. What happens is I say “Don’t say anything, I’m bringing you just so you can meet this person.” And he’s like, “Cool, yeah, I wanna meet this person.” But I know in my heart that Clyde does not know how to keep his mouth shut. So we go into the interview and he tries to get in and ask a few questions. And they’re always the worst questions. I think he once asked Luke Campbell if he knew Tony Hawk. And I lost my mind, and I said, “Dude, shut the fuck up, who cares? Who cares if Luke Campbell knows Tony Hawk? That’s stupid, no one wants


someone make up a word better than genius. to know that.” And right there he got so pissed that I tried to son him in front of this man that he started yelling. Well, I started yelling right back. And twenty minutes later, Luke Campbell’s publicist had to come over and say, “All right, your time is up.” We wasted all our time with Luke Campbell yelling at each other. Not one question was asked of that man. He’s definitely a genius. Him and I together in a room, someone make up a word better than genius.

Dave Carnie’s skateboard company, Whalecock, is in repose as he creates blanket caves for his cat Gary. He has also been doing freelance work for the likes of The Skateboard Mag and Rolling Stone, along with a heap of other obligations that a writer incurs, including writing a book, scripts, TV treatments and drinking. Chris Nieratko started a skate shop, NJ Skateshop and has been going to porn conventions on assignment with Bizarre Magazine ( Along with Brian Monihan and Bruno Musso he is venturing into commercials, television and movies with a production company called Fresh Kills. Prince Paul recently had Chris do some vocal work on his latest album (during that time Chris sat in the same cab Dave Chappelle sat in not 30 minutes before), and Chris is still very talented at nocomply frontside finger flips.

Code 80. That’s stupid. No it’s not, because with the school board, Code 80 means you’re a genius. Well, then I’m code 81, bitch. Clyde and I are Code 81. I think we should mention Fred Gall. I think Fred is kind of mislabeled as, whatever he’s mislabeled as. Freddy is probably the most underrated skateboarder of our generation. When the West Coast had Salmon Agah the East Coast had Freddy Gall doing everything switch. That kid didn’t know regular from goofy. That kid hit shit whichever way worked the best. Those two guys both ushered in switch stance skating. But, I guess now with the new generation, they’re both overlooked. But the older guys know what’s what. Fred Gall is on a mission right now. He’s getting so much coverage. He’s got interviews out the ass lined up. He rips. And he doesn’t get the credit he deserves. You said it perfect. He’s the East Coast Salmon Agah. We grew up skating the same area, and I watched him being a little tiny ass kid ripping, seeing him progress all the way to where he’s




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jesse de champlain | switch crooked grind [ o ] christian .



sheldon meleshinski | tailslide [ o ] christian .



alien | frontside boardslide [ o ] christian .



mike mcdermott | backside 5.0 [ o ] pommier .



kellan chilibeck | nosebluntslide [ o ] borges .

leks baris | gap kickflip [ o ] mccourt .



yoni amir | nollie heelflip [ o ] power .

sam houde | ollie [ o ] faucher .



nick wilton | pivot fakie [ o ] power .



andrew mcgraw | switch frontside noseslide [ o ] power .



elliot macdonald | backside smith grind [ o ] mccourt .



graham shiskov | 360flip [ o ] wong .





Photo by Leo Romero



Go Skateboarding Day!

JUNE 21 20+ Million Skateboarders All Riding At The Same Time!

No School. No Work. Nothing But Skateboarding! Today Is Our Day. Join In The Grind Heard Around The World! For a list of Go Skateboarding Day events happening near you, or info on how to organize your own, go to your local skate shop, or visit:


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name on card Color Magazine is published 4 times per year. Please allow 8 to 12 weeks for first issue and free limited edition tee shirt to arrive. All prices payable in Canadian funds. Applicable taxes not included. United States: $26.99, Other foreign: $86.99 with an international money order in Canadian funds. PAYMENTS MUST BE ENCLOSED FOR ORDERS OUTSIDE CANADA. Please send payments to : Subscriptions c/o Color, 2871 Lakeview Rd, Kelowna BC V1Z 1Y5, Canada. exp.12/01/05 fourcorner publishing inc. *limited artist t-shirts only available while supplies last.

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name on card Color Magazine is published 4 times per year. Please allow 8 to 12 weeks for first issue and free limited edition tee shirt to arrive. All prices payable in Canadian funds. Applicable taxes not included. United States: $26.99, Other foreign: $86.99 with an international money order in Canadian funds. PAYMENTS MUST BE ENCLOSED FOR ORDERS OUTSIDE CANADA. Please send payments to : Subscriptions c/o Color, 2871 Lakeview Rd, Kelowna BC V1Z 1Y5, Canada. exp.12/01/05 fourcorner publishing inc. *limited artist t-shirts only available while supplies last.

“...I’m th in about w king or with Liza king M on a solo inelli joint...”



ts fair share of artis has spawned its p ra s cts ar pe ye as l the h sia Throug controver d a shitload of rs of that have exhibite so-called offende e es Th n. sio es pr ex wide l rld ica lyr wo ir ies the in and dadd ve left mommies -wearing, hn Jo an pure thought ha Se ir otective of the and all snippy and pr ts like 50 Cent ing offspring. Ac g ell sin sm erpis wd of n po baby the notio ked around with cial rap er mm co Eminem have fuc nt rre ver, all of the cu wn people off. Howe mes to laying do ’t shit when it co ain w no Brooklyn ht th wi d ire stars rig pa en dirty ass filth wh some real deal, cro Ne , MC e nativ

. Color: Youʼve be en in a lot of fig hts, is there any prefer to snort or drug youʼd inject before a fai rly hefty brawl? Necro: No, I’d rat her be drug fre e, that way my refl instincts are intac exes and t, no need for dru gs. Plus I don’t anyway so I would take drugs n’t even know wh at to use to aid brawl, my aggressi myself in a on itself is a dru g. If I’m pissed my will drug me up en adrenaline ough for combat. but whatʼs sober for two years now, Your Uncle Howieʼs been do? him n see r eve ʼve you the gnarliest thing my I Need the crack hotel shown on I guess shoot heroin up in video and leave the needle in his arm for like 10 minutes Drugs t die from fucking his hit up and he migh while he complained I was off. cut arm a heart attack and have his

You own Psychological Recordings, how did that get started? Yes. 100 percent. I started it in Nov 1999 with $1,000 I made from selling a beat. I just built it from the ground up with blood, sweat, and tears. Still grinding, gonna take shit to another level in 2005. Whatʼs the deal with your porn company? It’s on hold for now while I concentrate on my record label, I sell more records on my label than the best selling porn in the porn business, so I’m better off sticking with records for the moment. How are your videos different from other porn stuff? My porn had ill rhymes and beats on it, Necro porn style, and I had Jerry Butler on it, Uncle Howie, so it had more flavour. My first porn was decent but not on the level of some other shit out, just like most people can’t rap or make beats close to as ill as I do. I won’t claim to be on the level of a Rocco Siffreddi or Sineplex video, I would have to make porn 24/7 like I do hip hop.

words jay riggio ntour illustratio

As a pro of Psyc ducer, lyricis t, ho indepen logical Record pornographer dent fr and fo om any s, Necro is d melds h under/ oing sh and all is it his o owner mainstr that are background wn w e in a gnarlier m restr death m an aba aints. N ay, etal wit ndoned than a Satan ecro h u n parall ic s ba Necro’s obvious rnyard. Nervo acrificial snuff eled lyrics u I shot s w fi lm sho it and to about fa the kin t in cing th o g’da g o The res ult was f smut rhyme mned busy w e wrath of s some ith othe backgro some in r s q und sto s ries and ight into Nec uestions via e hit, ro’s futu -mail. the pro clamati re direc on that tions, I was a fag. now? , s you’re into right to: Slayer, Metallica Are there any band I grew up listening t shi the all e lov ent, a lot of shit. I Yeah I tam Tes , dus Exo Sepultura, ly, I Megadeth, Obituary, I play a lot of shit dai I got two guitars so a year from ut abo in , listen to it all now and ers fing on guitar with my ked can even play Bach ill now since I re-pic k, cause I’m getting now I’ll be real sic the shit up.

Favorite type of woman? Just hotties, sexy females with nice bodies and pretty faces. I’m into porn looking bitches, but I like all kinds of hot ladies from any culture as long as they follow directions, bitch suck dicky! What’s your connection to hardcore and death metal? Well as far as hardcore, when I was 12 I was in a band with Jorge of Marauder who is part of DMS, a famous hardcore clique, and right now I’m down with Ezec who is also part of that clique. I was never an actual hardcore kid, I was a metalhead, deathmetal thrash cat, and I played death metal/thrash in a group called Injustice. We used to open up for a lot of groups at the famous Lamours Brooklyn club, we would play with groups like Sepultura, Obituary, Biohazard, etc. So we were always in that scene which was metal kids and hardcore kids, but since we were rugged from the projects we were always cool with the hardcore kids who were more rugged than your average metalhead, and that’s the story. Also, Goretex was a hardcore kid at one point, he had a bald head and every hardcore 7 inch out at the time and would go to CBGB’s every week. He used to get into beef with a lot of black kids in the projects over that shit, cause they didn’t like skinheads back then with all the media painting kids with baldheads as fucked up.

What’s your take on skateboarding? I used to have a board when I was a kid, I wasn’t good at riding or anything, but it was good transportation in the projects. Even some of the black kids in the projects fucked with skateboards cause it was fun to go up ramps and shit, but I didn’t delve into it deeply. But once again Goretex was all into skateboards, he would be in front of his building and they had ramps they built and all that shit, right in the middle of the projects, back in the day. I never had enough courage to taste my own cum, but I like to believe it resembles a mango curry. Have you ever tasted your own spooge? That’s a fucking faggot question, you must be a homo. Name three things you love in this world. Hot pussy, money, and hip hop, and honestly I love much more: music, metal, guitar, knowledge, women, etc. I love a lot of shit, as well as good food. Any interest in doing a Jean Benay Ramsey tribute album? No, but I’m thinking about working with Liza Minelli on a solo joint, maybe producing it and have it feature Carcass. PSYCHOLOGICALRECORDS.COM



left \\ lucy has on dvs juliette lewis shoes with the yagga tee, track star, cotton twill shorts and iron lion bag from billabong. 112


hair/makeupmichelle carimpong photographyscott pommier

here // lucy is wearing the avoca cotton twill cargo dress with rib from dc. dill4 shoes by dvs. .look


North Two: Port Moody Blues

I somewhat disappeared from the Vancouver scene a few years back due to California, severe injuries, and Tsawwassen park. So now I get handed this video and I checked the names. Some I recognized as homies from back in the day, some of the newer generation I’d never seen. So I popped it in, expecting to see some familiar faces doing familiar stuff I’d seen them do from years back. WTF? All I can say is Vancouver has stepped it up. - j.dashney

$old Out

Blind Skateboards At long last Blind has finally released What If?

its second full-length video titled What If. Considering that Video Days was the company’s last full-length video, there was a lot of anticipation and hype surrounding What If. And even though to call this video amazing would be an understatement, I think the best part of the DVD is the bonus section. From Corey Sheppard’s art, to a hidden copy of Blind Video Days, to enough Ronnie Creager footage to remind you that he is still the best tech skater that has ever lived, this DVD is bound to keep you entertained for hours. - meadows

Digi vs. 16mm, 6 stairs vs. 12 stairs, and shoe goo vs. shoe deals, but it’s still skateboarding. That’s what this video is about.  They skate in the snow, and not exactly at Love Park. There are still slams, still surprises, still temper tantrums and skits that I’m sure are more for the benefit of the creators than the viewers. This is no Ladner video, but it still makes me want to have fun and film and put it together for the sake of doing it to share with your friends. Hooray for Final Cut Pro. By the way, there’s a kid in it named Rob Jeans.  I think that’s the coolest name I’ve ever heard. - j.dashney

Pit er Pat Shakey Thrill Jockey


As any Canadian skateboarder is well aware of, almost all shredders promptly migrate to Vancouver as soon as they drop out of school/save enough money/get tired of being the only ‘old’ person at the skatepark. Being one of these migrants myself, I’d like to clear up the misconception that Vancouver is where all the good skateboarders are, and I can’t think of better evidence than the most recent video out of Calgary, entitled Collective. A sequel to Stay Down which came out a few years ago, I must say that Collective is an impressive step up in terms of editing and filming, and has a refreshing, updated lineup that includes the veterans and younger cats that are killing it in Calgary, snow or shine. With short and sweet parts (some not long enough!), and documentation of pretty much every skateable and notso-skateable spot in the city and elsewhere, Collective is worth tracking down. ( - r.bader

Marlin Tree House Radio Independent

Soooo well. – s.radnidge

MF DOOM MM FOOD Rhymesayers

It’s come to the point now that buying a Doom album is a weekly routine. Besides the hipster “cross-over” appeal that seems to be lurking around, he’s basically the best thing to happen to hiphop in recent memory. Anyway, after hearing Mm Food, the long awaited follow up to the now classic Operation Doomsday, its safe to say Doom has (out)done it again. He‘s still got that no-fail combination of jacking beats off AM radio, inventing slang and making me wonder what the fuck he’s referencing that makes me wonder why I even pretend to comprehend how next-level this shit is. Seriously, is this even real? - b.white

ALL ROADS TO FAULT Yourcodnameis:milo Beggars Banquet

With a shotgun blast, we’re off down the lane of Yourcodenameis:milo’s newest release, All Roads to Fault. Sounding like a distant cousin of The Refused, Yourcodenameis:milo happily bludgeon the alleys of emo with abandoned glee, aided and abetted by the knob twiddling of Steve Albini, who can make anybody sound like Nirvana, a la “In Utero.” In the beginning, the album is pedal to the METAL, but sadly, the later songs lose the “fuck yeah” edge that the earlier songs had, aided by the fact that in the end, the singer really starts sounding like that whiney dink from Our Lady Peace. The music is great, but man… that voice, they should just tell him to shut up so they can play! Anyway, too bad, cause they started so well. 114


If I could translate Pit er Pat’s newest album, Shakey, into a simple sentence, it would go like this: beep bop ping twang beep beep bap ping dum dum ping beep. I swear, that’s what it sounds like. It’s like a nest of stoned wasps invaded my picnic, and as I listened to them coming, I kept on swatting around my ears to try and brush the sounds they made away. Somewhere out there, Stereolab must be pissed off, cause Pit er Pat has literally translated Stereolab’s album titles into music: Dots and Loops, Transient Random-Noise Bursts with Announcements and Peng!. That’s what the music sounds like, I swear! So if you’re down with computer sounding noises generated by people playing musical instruments, and something to keep you as far away from figuring out a song as humanly possible, these guys are for you. – s.radnidge

Precious Fathers Self-titled Independent

This completely instrumental album from Vancouver-based band Precious Fathers is straight up good music. A definitely mellow, potentially inspiring sound from people who know what it takes to achieve proper melody. The songs have a consistent feel that makes the entire album a good listen, lacking those out-of-place songs that you always feel inclined to skip. There are several layers to the music that keep it interesting to listen to over and over and the tracks are so distinct that one is sure to play back in your head after the first listen. The absence of vocals leaves nothing to be desired, and also makes the Precious Fathers album perfect for listening to when you need to concentrate on a project at hand, but hate the empty silence of this cold, cold world. To find out where you can pick one up for yourself, contact preciousfathers@ - r.bader

A humanfive illustration with mostly random, international words dons the hand-sewn packaging of Marlin’s Tree House Radio. As it turns out, this is fairly representative of his work. The tracks on this double-disc album pretty much run the gamut of the DJ/ producer scene. From intrinsic hip hop, to mellow, melodic beats with angelic singing in foreign tongues, from jazz (check track 12, disk one - so lovely) to some straight up rasta shit ˆ this mix is hot. Some tracks show definite Latino influence, while others throw in the kind of guitar riffs that make an indie rock song highly catchy. I tried studying to this and it didn’t work. This means it must be too stimulating for my little mind, which can’t handle distractions. I gained a partiality for disc one, though I’m unsure why, but it definitely gives the illusion that you are out at a club somewhere that is actually playing a constant flow of good music to move to (too rare). Those of us on Canada’s Pacific side may actually be lucky enough to experience Tree House Radio’s diversity and goodness firsthand whenever Marlin feels inclined to canoe on over from the Sunshine Coast. - r.bader

Catholic Boys Psychic Voodoo Mind Control Trickknee Productions

The long and short of it is this: a new release form one of the best young punk rock n‚ roll (yes, there‚s also some roll) bands in America today. Full in length, but short songs, direct and to the point. Somehow, this band neither leans too hard on the current trends (i.e. no screamo bullshit), nor rely on old stock contrivances. At this stage in the game, when everything sounds derivative or tries too hard to not sound derivative (therefore paradoxically end up sounding derivative in the end anyhow), this balance is unheard of. Highly recommended. - t.horner

alex chalmers | smith grind [ o ] morris .

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Volume 3, Number 1  

Original Print Edition (published Spring 2005) available for purchase, here: *Cover, winner of “best cov...