ART . STYLE . CULTURE . PHOTOGRAPHY
FRAYED is a free, independent bi-monthly creative arts & culture magazine concerned with the exploration and documentation of expression. Investigating the inspiration behind the art, it provides a canvas for creative people to document their life and work. FRAYED is for those who love creativity in all its forms but long to know how and most importantly - why it exists.
Reverend & the Makers - 6 Girls On Film - 14 Kevin Marshall - 28 Mike Curley BMX - 32 Frayed Issue #002 April 2014 Creative Director Josh Moore Managing Director James Ash Editorial Director Luke Chambers
Thanks to Dean Shakespeare The Welly Club Reverend & The Makers Kevin Marshall Leanne Cloudsdale Mike Curley Animal UK WeThePeople Kara Marshall Sophie Allen Emma Scallan Andy Houghton Josh Wood for submissions & advertising enquiries email@example.com
All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in Frayed Magazine are those of the respective contributors and are not necessarily shared by Frayed and its staff. As we are concerned with the freedom of expression, the interviews presented in Frayed Magazine are documented as spoken. The opinions and perspectives do not necessarily reflect those of Frayed and aspects of the language used may be deemed inappropriate for younger readers.
â€œI see geniuses on the dole.â€?
REVEREND & THE MAKERS Interview by Luke & James / Writ ten by Luke / Photography by Josh
Who: Reverend and The Makers. Yorkshire’s own indie pop legends fronted by ‘The Reverend” John McClure. Where: The Welly Club. Iconic nightclub and music venue famous for messy nights, massive hangovers and amazing music. Music’s all about creating and you’re all incredibly creative people. With that in mind, do you have any memories of the first music you made?
And you’ve got one in the band as well! How did that happen? John - Yeah, I know. That’s a whole other thing! Laura - I met John first. I went to uni in Leeds and the boys were in Leeds and we had mutual friends and stuff. I heard that they wanted a cockney girl but I’m from Surrey so not quite what they wanted! John - We didn’t want a cockney girl. Just a girl!
John - My memory’s not of me creating summat but of Ed creating summat. Me, Ed and Joe went to the same school but me and Ed were in the year above Joe. There are two types of people right? There are musicians and there are scallies who fancy having it! See, I’m definitely the latter and Ed’s most certainly the former.
Laura - And I’d been in bands at school and stuff so they asked me to do some stuff with them. But my first memory of performing is pretty much the archetypal girl of my age school performance. I accompanied myself on the piano doing a Mariah Carey numer! Like the boys, I got a similar feeling of everyone clapping and stuff and thinking, “Yeah, this is fun!” Then I was in a band at school and that was your typical band playing in front of your mates. But yeah, I met these guys at university.
We went to a Catholic school and we had this chapel in the school where we used to have assemblies and all that sort of sh*t. Ed and this other lad did this gig in assembly and I remember seeing them do it and I just thought, “They’re my mates and John - Go on Joe, tell ‘em what you did. He’s had no everyone’s having this!” And ever since then - and I childhood this lad! haven’t even explained to Ed that this was a big moment in my life - I thought, “I wanna f*cking do this!” Joe - No, I’m like Michael Jackson. Apart from I’m still alive! But no, I’ve been thinking about this! My moment when I really shone was an end of season football match in a working men’s club. We had karaoke and for one reason or another I found myself doing Wild Thing. It was a real sink or swim moment. I was either gonna be wild or just be a thing. But So Ed, do you remember that moment and does it as I did it, I thought, “Wow, I can really control this have the same significance to you? room!” So that was my moment right there! It was a seminal moment for me. I think I was about eight. Ed - Oh, I remember the gig. It was the first time I’d played and performed in front of people; you know, So that’s how you started out in music but do you like for real. And yeah, I was proper bricking it. The have a moment when you came together as a buzz it gave me from that moment. I was like, “This band? is amazing!”.
“It was a real sink or swim moment. I was either gonna be wild or just be a thing.”
John - On the first album there was about four or John - The girls it gave you. That’s what you meant! five people I was making tunes with. Most of the time it just ended up being me and Ed though
because he was my best mate anyway and we just fell into. It’s all circumstance; you just fall into it. Then we had a few tunes we got Laura to sing on and then we thought, “Well, you sing on some of the tunes so you might as well…”
You must be with each other so much. What qualities do you each have that make it work? John - They’re all very patient and lovely people. I’m not easy sometimes. I get on one because I’m passionate and it means a lot to me. They’re patient which helps me.
Ryan - Just Marry me! John - Well yeah, now we are married! With these two, I’m a nutter and they are real calm. On the first album there were more nutters involved but it’s better now. It’s definitely Reverend AND the Makers now. There are four calm people now and there’s me, which gives me freedom to do what I do. If I’m around other people who are like me, we argue and also when you get on it, you go the other way. Like when drugs come into it, there’s no one going, “Do you wanna chill out now mate?”. That explains that there’s album one and two and then there’s this big gap where it gets all political and druggy and nobody gives a f*ck. And then there’s album number three which restored us to health and then this one which has gone into the top ten this week. I like to think we’re coming back up now!
“It’s alright if you’re in Mumford and Sons and your dad’s on Forbes List because you can sit in a band for three years and if it goes Pete Tong, you’re coming home and the butler’s serving you tea.”
So John, that’s why they’re so important to you but why is John so important to the rest of the band? Laura - John’s got the drive and you need someone who can put a rocket up your arse. Certainly myself and Ed, we’re proper chilled, whereas John’s like, “I want it f*cking yesterday!”. You need that yin and yang of people. John - Think of a car. I’m an accelerator. Ryan - It helps that he can write a song. When John first came to me and asked me if I wanted to be in this band, he played me his new demos and they were bangers. There’s no looking back! It’s been a mad three years but the best three years of my life. Congratulations on your brand new album entering the top ten on the UK charts. That’s a massive accomplishment but you must still have goals and aspirations going forward. Ed - The north of this country has been brilliant to us but it would be nice to do things in another country. Try and conquer a new frontier.
John - It’s hard to go and break other countries down. It’s alright if you’re in Mumford and Sons and your dad’s on Forbes List because Ryan - Basically, by the time you get to our age, you’ve weeded out the people who had to you can sit in a band for three years and if it get proper jobs for whatever reasons. By now, goes f*cking Pete Tong, you’re coming home and the butler’s serving you tea. It’s difficult you’re looking at lifers. but it would be great to crack it somewhere. There’s no reason they wouldn’t like it. The John - Morgan Freeman man! You’re never Americans went mad when we played stuff getting out now! over there. It’s hard though because you need people to throw you a bone.
I’d like to facilitate a movement in music where good artists are actually getting a chance. I see geniuses on dole. You look at geezers who can write unbelievable songs and in the nineties they’d have been celebrated for that. But now, because their music doesn’t appeal to the target audience of Radio One, you see these people dieing at the root. They’re deing on the inside because they’re not fulfilling what they were put here to do. On a profound level, that’s hard to watch. In Sheffield, it’s full of them people. You see people walking round and you think, “You should have been that guy!”.
We’ve played gigs in people’s houses for the last month for no money and just vibes and afterwards I talk to them and ask them how they feel and they tell me. Things are sh*t because they put tele on and there’s nowt they want to watch. They put Radio One on and it’s f*cking One Direction. Even alternative music is corporate b*llshit written by somebody else. Do you have a message for people out there who are starting out in the industry today?
Yeah, I do. Firstly, conquer the place that you’re If you do out else, you get rewarded for it. In music from using word of mouth and social media. So if you don’t. Unless you’ve got a pretty face or you’re you’re from Hull, become the boss of Hull. Don’t go to London or beg London for anything. You don’t noshing Nick Grimshaw off. I wanna change that. need a label. Let them come to your party. Look at Not for me because I’m 32. Ed Sheeran; he doesn’t look like what they want at It seems surreal that a band whose album has just all but he played 320 odd gigs in a year. He asked charted in the top ten have to worry about financial to support us and he did. After gigs, he was getting security when thinking about breaking other coun- emails and driving it. Working hard on twitter. Peotries. If you’re thinking like that, what chance must ple like it and he wasn’t trendy; he forced people new bands and musicians have to succeed? to come to his party because he became popular. Why get press shots done to send to labels only Beyonce, U2, Arctic Monkeys and Ed Sheeran are for them to put you in the pile of ‘Stupid Northern on one level. Then there’s us and our likes and B*stards’ because thats what they do. F*ck that! then there’s every other f*cker underneath. It’s a sh*t fest man and it shouldn’t be like that. It should You want to know an alarming statistic? Twenty be a meritocracy where if you’re talented, you get years ago, 60% of chart rock acts went to ordinary comprehensive schools in Britain. Now, only 1% there. It should be on a graduated scale and not of chart rock acts attended British comprehensive as clear cut as you’re either a billionaire, you’re schools. Bear in mind that over 90% of people in sort of doing alright or you’ve got no chance. It shouldn’t be like that because it hasn’t been in the Britain went to comprehensive school! We’re the highest British new entry in the charts this week. past. Nowhere across the BBC does our music get Here’s another example of why I want to change it. played. So do it yourself man and don’t rely on the Go to a record label and almost every single per- industry. Do it your f*cking self! son to a man went to private school. Same at NME. The reason is, if you want to work in any of these If you like what Reverend and The Makers have to industries, you have to go down to London and work there for free. Who do you know who can af- say as much as we do and want to support real ford to go and do that? Not one f*cking person. So music, visit www.reverendandthemakers.com. inevitably, it becomes staffed by the same people and what does our music say to those people and their life? Nothing because they’ve got no shared experiences or values.
girls on film.
n a world drowning under a plethora of selfies, it makes sense to remember a time when the only form of photographic instant-reflection-gratification came from the mystical, magical Polaroid. A truly meritocratic format: decadent, glossy and open to those who could afford it, the results were the same regardless of expertise or experience. Since its introduction to the mass market in 1972, it has been exploited and utilised by artists, amateurs and various shady types who preferred not to pay for processing at the local chemists, for fear of arrest or embarrassment. The heartfelt and sincere affection held by many for the pose & peel school of photography is hard to fathom and articulate, but stems from a longstanding love and devotion to all things analogue: a firm, unfailing grip on a legacy of pictorial nostalgia.
nent demise of Fuji 3000b black & white film is all the more troublesome. Why a powerhouse like Fuji would chose to phase out an item of such high quality, seems regretful and short-sighted – especially in the current climate, where movements like #filmisnotdead are gaining momentum, even amidst the unavoidable frivolity of digital and smart phones.
My own experience of the surprising power and gravity of Polaroid came through exposure to books by Ansel Adams as a teenager. His black & white images of the Yosemite National Park in California had me transfixed, and when as an adult I finally visited scenes he had photographed, I was moved to tears. Of course, he also committed to real film as part of his studies of the momentous granite structures, but the fact he’d also chosen to publish his Polaroids struck a chord with many. It proved that instant Universally acclaimed heavyweights such as film wasn’t just useful for testing lighting and Warhol, Mapplethorpe, Hockney, Bourdain and composition, it was a format in its own right. The Tarovsky were once part of a hefty and growing grain and permanency, the wonder of watchroll call of high profile instant film enthusiasts ing as shape, colour and shadows develop are during the Polaroid explosion of the 1970s. But just some of the intrinsic qualities of this kind even more recently, we’ve seen high-end luxury of film. For those who’ve grown tired of the periodicals like Self Service magazine relentinstantaneous cheap hits of digital photography, lessly showcasing the über talents of fashion and in a world where everything is seemingly greats such as Ezra Petronio, whose use of an immediate, the Polaroid has somehow come antiquated 1970s Polaroid camera has definitely full circle, giving us back a slice of something contributed to a significant resurgence in the indispensable, tangible, and romantic. use of this type of film. Which is why the immi-
PHOTOGRAPHY Andy Houghton
ART DIRECTION James Ash
MODELS Kara Rose Marhsall & Sophie Allen
WORDS Leanne Cloudsdale
STYLING & MAKE-UP Emma Scallan
CAMERA & FILM Polaroid 230 Land Camera Fuji FP-100c Fuji FP-3000b
Kevin Marshall Interview by James & Luke . Written by Luke Photography by Josh Antique dealers have come and gone over the years in East Yorkshire. Through times of boom, prosperity and growth to bleak years when property owners were literally posting keys through building society letter boxes.
So I started with 70 quid and It just grew and grew. I just kept investing. The guy who I originally bought stuff off, he saw my potential as an antiques dealer and he made me a proposition to go into business together. He’d get all the antiques but didn’t understand them so I would sort that It’s not long after meeting Kevin Marshall that you realise out. We even decided to open a warehouse. Anyway, the there’s something unique and special about him and his first warehouse he showed me was the size of this office! own interpretation of an Aladdin’s cave; full of vintage fur- I said, “That’s not a f*cking warehouse. It’s a cupboard!”. I niture, retro goodies and a never ending offering of weird told him, “If we’re gonna have a warehouse, we’re gonna and wonderful trinkets. Some items bring back memories have a warehouse!”. from childhood days and some simply don’t make sense. We’re not quite sure if all of it is supposed to but we gladly Apart from the obvious need for money, was there ask the question to find out how and why Kevin finds him- anything else that made you think that this was the life self here at this point in his life. for you? How did you get into all of this? From the antiques to the incredible building we’re sitting in now - how did this all start?
It was like...you know when you’ve arrived? I felt like, “This is me. This is where I want to be!”. I started my career as a seaman. I went to a nautical college school; I was meant to be a captain of a ship! But every time I got to a point, it was I got into all of this when I was working as a steel erector for never happening. It was like, “That ain’t you son!”. an American company. It was in the times of the Thatcher government when she was dismantling industry and With antiques, I felt like I’d arrived. I think I’m a bit obsesdestroying trade unions. I got made redundant like lots of sive and I believe with going with my feelings. I don’t know people; you got made redundant but there was nowhere to how else to explain it. It’s a lifestyle. What else appeals to go! It was like, you had all this ability but nowhere to apply me is that I can buy something that’s so f*cked and I can it. At the time, I’d just moved into a big house and recently see it finished and looking wonderful. I do loads of stuff got remarried. I had four young kids who were the same like that. age, a mortgage, mouths to feed but no f*cking job. This was about 1984. At one time you worked closely with a lot of up and coming bands. How was that experience? I had qualifications to go back to sea but my new missus didn’t want me to go away. What I was trying to do was get I supported them a lot. It didn’t really work out with the work but it was impossible. I started doing jobbing, like bands. A lot of them just self destructed but I supported I was on people’s roofs and plumbing in washers. Then I them because I’m also a bit of a frustrated rock star; I can’t decided to do market stalls so I used to go to Manchester sing, I can’t play an instrument but I wanted to be involved and buy stock from all these wholesalers, which led me to in music in some way. It sounds strange but whenever I doing fancy goods and jewellery. I bought an ear piercing used to go anywhere with the bands, everybody used to gun and I used to sell earrings and pierce ears at parties! focus on me. And they used to get p*ssed off with that. This was in the nineties. Like, 93 onwards. I managed them and I was in this void of drifting from one thing to another, just financed them. I was putting them in a recording studio trying to earn money everyday. Then I went into this second and turning these lyrics into songs and we got some real hand shop on Holderness Road in Hull. See, I’d always good results. been interested in things old and there were some antiques outside and I thought, “I’ll have them!”. I ended up buying It might not have worked out with the bands but it them for 70 quid. I sold the stuff I’d bought to an antique clearly did with antiques. What qualities do you need dealer and I doubled my money. So believe it or not, I went to be a successful antiques dealer? home that night and said, “I’m an antique dealer now!”. You have to be weird to do this because it’s one of the professions where you’ve got to know that much. It’s not like
being a car dealer where you’ve got a guide for this car and that car. In this business, you’ve got to know and be on the pulse all the time. I must admit, I’ve got a bit complacent as I’ve got older but in the nineties, I was on it. I was one of the first architectural antique dealers; they all thought I’d gone mad! I was buying toilets and they were saying, “Kev Marshall’s gone off his head!”. But it kicked in! I was buying stuff for such little money. Seriously. It’s embarrassing. For example, I was buying taps and doing them up. Buying them for 3 quid and selling them for 150 quid. I mean, that’s obscene! Buying sinks for a fiver and selling them for 200 quid. It was mental and everything I did was like that because there was no guide. I was creating it as I was going along. I used to have this conscience and I started to feel weird about it all. My accountant used to b*llock me! He used to say, “Don’t be ashamed to make profit. As long as you’re happy and they’re happy, don’t think about it!”
it all just stopped. After 9/11 my takings were down over one hundred grand in just a few months. Seriously. I was always cash rich, I was always stock rich. I mean, I never ever had an overdraft. Never! Come 9/11, things started to get real wrong. Then it just got worse and worse. After the disaster of 9/11 did you ever think it was time to walk away? What happens then is, you think, “That’s it, this job’s knackered!”. There were warehouses like this all over Hull and they were all gone. Thing is, I’m afraid of failure so I just kept plugging at it. Now, things are feeling like they’re starting to turn a bit and I’m not f*cking panicking every month because I’ve got this daft overdraft I never used to have.
It’s all about hanging on. Knowing in your mind that you need to call it a day but thinking, “Nah, let’s see what tomorrow brings!”. That’s what’s been keeping me going really. Seeing what tomorWhat do you think set you apart from other antique dealers row brings. Then every now and then, I get days when nobody at the time? comes in and you get a bit despondent. Then you get another day when people come in who’ve done some research and they get When I started doing this there were a lot of antique dealers and so excited! It just makes me think, “Yeah, it’s still here!”. In the there were hundreds of them in Hull who used to just want to eighties and nineties, everybody knew I was here. Is it because I deal with the trade. See, I worked with the trade and the public. I was young and out there? I just seemed to have more time then nurtured the public. I’ve patience and I’ll faff with them and that’s and I was everywhere. I was just on it all the time and it was like I one of the reasons I’m still here I think. Other dealers used to say just had today to live and I had to get it all sorted. to me, “I can’t see how you’ve got the patience to deal with the public Kev!”. And I’d say to them, “They’re your future!”. Children Well, it’s a good job you like to see what tomorrow brings of my customers from the eighties and nineties come here now. as you were recently approached about being on a TV show. They trust me and they feel comfortable with me and that’s a What was that like? good thing! With the TV thing, I just got a phone call one day from this It certainly is. So were the nineties your most successful Canadian TV company who make the show Salvage Hunters. They period? asked if I was aware of the show and I said, “Yeah, I’d seen it on the tele.”. They asked me if they could come round with a view to Definitely. Things were booming here! It was when antiques and maybe be in the programme!. I said, “Oh I might do… yeah, I everything was really hot. I got featured in loads of magazines probably would!”. and there were write-ups about me all the time. It was a time when everything seemed to go right. I had international buyers So they came down the next week for an initial meet. This lady from all over the world coming in. comes in and introduces herself, has a quick look round and says, “This is brilliant!”. She wanted to film me and ask me some About three months before 9/11 I was in Miami and staying in questions and you know, once I’m off, I’m on on! I just kept going the Roney Palace Hotel. One afternoon, I went to this other hotel and going and going and stretching my answers out. Anyway, she with my mate where they used to shoot Miami Vice. There was cleared off and then within two days she was back in touch and this big long pool with a couch at the end of it where you could told me how excited her producer was and that they wanted to relax. You’d look down the pool and see that it was where all the come back and film next week! rich people would go. And then there’s me, tattooed up and looking like a right rough arse! We sat there and looked at each other They rang me the day before asking what time I’d be open. They with a grin that said, “We’ve arrived sunshine!”. Then 9/11 came said, “Can you be there for like... half eight?”. I said I would but I and that was it. It was all over. thought, “I’m gonna be there for half seven!”. What happened then was - unbeknownst to everybody in the antique trade - all the foreign clients stopped coming and then
With the interest from the TV show and the potential opportunities that might come from it, do you see 2014 as landmark year? It feels like it’s all come full circle. After they’d filmed all day, the director said, “I don’t believe it. I’ve done seven tapes!”. Seven! That’s a lot of tapes innit? He told me that normally it’s an hour long programme and it that features four different places. Thing is, he said he’d got that much good stuff from here that he might have to make it a full show. Hopefully that will happen and I just hope it does. Thirty years ago in 1984 you had 70 pounds in your pocket and the idea of becoming an antiques dealer. Now in 2014 after many ups and a few downs you’re about to be featured on a TV show watched by millions of people across the world. What has been the secret to your longevity? In my mind and body I have that same childlike enthusiasm and excitement as when I started. When I look in the mirror though, I don’t recognise myself. I think, “F*cking hell, what’s happened?”. With a blink, it’s gone. I’m nearly sixty now but I’ve still got too much to do! All that time, the secret has always been a fear of failing. I still have that fear of failure. When I’ve had enough it’s because I’ve had enough. Not when circumstances are telling me it’s time to stop. You know, just to get into it but when I arrived at half seven they were already here. All parked up; eight of them! I introduced myself and everybody was there. Even the producer. This Caroline Blackadder and apparently she never goes out. I opened up, they came in and they were on it. They absolutely loved it! Then he turns up; little Drew Pritchard who hosts the show. He introduces himself and they just start filming away. I just ignored the cameras and did my stuff as though a punter had come in and we were just bantering and having a laugh. Then I thought, “I’m just going to really pad this out!”. Drew would ask me questions about items and I’d add stories to them and we’d argue about prices and then I’d tell a joke or whatever. You know, just to stretch it out! What he said about me at the end was unbelievable. What happened was, they were supposed to come here in the morning and then go somewhere else in the afternoon. Thing is, Drew said, “I’m going nowhere. I’m staying here all day!”. He was saying this as we were having some grub outside. Then his sidekick, his mate says, “I don’t believe it Kev. He’s gone round again. It’s unheard of!”. Afterwards, Drew told me that out of all the places they’ve been, this place ranks in his top three. It was unreal!
Now you know Kevin a little better, we encourage you to pay him and his warehouse a visit. Five years ago, Frayed’s own James Ash took the hint from a friend who encouraged him to do the same. Since then, James has not only taken advantage of the venue’s wonderfully unique aesthetics for high profile photo shoots but spent numerous hours exploring the antiques and memories that accompanied them. We’re sure that Kevin will welcome you into his world as he did us and be more than happy to guide you through his Aladdin’s Cave.
ike Curley. 20 years old. BMX rider. In BMX, Mike is one of the young up and comers. He’s sponsored by a number of companies who give him free parts, clothes and pay for him to travel around the world all because he rides a BMX. It’s safe to say that things are going well for him. I met Mike seven years ago; not long after he started riding. I was getting into BMX myself and began riding at Mike’s local indoor skatepark Interact in my home town of Burnley. I was never really that good and found it hard to progress. Like most filmmakers and photographers in BMX, I got out my camera and started to take photos of the people who were good. I also had an interest in graphic design so with a copy of Photoshop and some t-shirt templates, I designed a few tees, scraped together my pay from stacking shelves at Wilkinson’s and got them printed. For those who don’t know, the best way to promote your brand is to create videos of people riding a BMX in your clothes and put them on the internet. I was new to it so while I was failing miserably to land barspins, I noticed Mike flowing around the park. He was definitely one of the best riders there. This was the start of Mike getting out there and being noticed for web videos. We’ve created eleven so far and along the journey, I’ve seen a huge amount of progression. We have become good friends and it’s been pretty cool to see someone who I’ve known for five years get to where he is now. Mike came to stay with me for three days in March and over the course of those days, we shot the photos and video for this article; something which shouldn’t have been possible in such little time. As Mike mentions, he has a real drive for what he does and he proved this in his web video for Frayed Magazine. During his stay in Hull, we sat down for ten minutes and chatted about where it all started, his feelings on BMX and where he wants to take it. So first off, how did it all start? Has it always been BMX or was there anything before it? Well, I started out riding a skateboard when I was younger and then I did free running as
Words, photos & video by Josh Interview by Luke
well. I then started riding and that sort of clicked so I stayed with that one. You say it started with skateboarding. Most people I know get a skateboard for Christmas, have one go on it, fall off and that’s it; they would never touch it again. Is it the risk and danger that attracts you to more extreme sports? Well it’s that, yeah and the fact it’s not a team sport means you can kind of do what you want. It’s more free as there are no rules or coaching. You can just go out and have a skate or have a ride. So you say there is no coaching in these sports. Would you say you are self-taught? Yeah, you watch videos on the Internet and DVDs that people make and you start seeing people over and over again. When you start off riding, you start copying the tricks and then eventually over time you will evolve your own style. Who are some of the people that inspired you when you first started out? Were these the people you were watching on DVD’s and the web edits? There are a few: Matt Roe, AK (Alex Kennedy), Dakota Roche, Chase Hawk, Ruben Alecante. People that don’t just do hard tricks. They aren’t just throwing themselves around trying to do the next big trick. Was it difficult watching pros growing up and trying to copy the tricks they were doing? Of course at the start of riding everything is new. You try stuff, you fall off, you try stuff again and you kind of see what works for you. Some things come naturally and some things don’t. Do you think people would and give up. the case for
that fits your personality? Most start it, take that big fall Why do you think that wasn’t you?
When I get something in my head that I want to do, I won’t stop until I do it. Sometimes I wont settle for anything else. I think that’s why I like to do the things I do. Like technical things because they take ages to learn; they are the tricks that you have to try over and over again to learn. I’d rather do something like that which takes time and patience than a massive drop or peddling at something as fast I can. Don’t
get me wrong, I do like doing those but I prefer the technical side. I’d say that fits my personality better.
Shop and ARC Skatepark. Also doing videos and travelling have been massive highlights for me.
How did those sponsorships come about? Do you think people on the outside really appreciate the skill and art form of what you are I first got sponsored by a clothing company called No Stock and I started making videos doing? with them. People started to watch them and were into them and my style of riding. I then I think people on the outside would prefer to see someone back-flip or throw themselves around started travelling more and getting out of my local area and the skateparks there. I went to but when you start getting into it more, you a couple of jams and competitions and it was at start to appreciate how hard it is to make it look natural; like you arent even trying. In my a Rampworks competition in Liverpool where I opinion, taking the easiest thing and making it got noticed by Jason Phelen. He was into what I was doing and asked if I wanted to ride for look nice is better than throwing yourself at WeThePeople. From there, I started travelling something. more, filming more and that’s what has got me to where I am now. So what are the qualities of a great rider? What aspirations are there for a BMX rider in When they are on the bike and everything just looks like they aren’t trying and it just looks your position? Where can you and other riders go from here? effortless; that’s when you can tell they have put the time in and have real patience. I’m not sure as I’ve just fallen into it; I wasn’t planning on getting sponsored or anyMoving on from where it all started for you, what have been some of the key highlights from thing. I would like to travel as much as possible and see the world and do as well as I the past seven years on the bike? possibly can. Lots of things! Getting sponsored by WeThePeople BMX, Animal UK Clothing, The Cellblock BMX
Is there anywhere new you would like to ride and visit? Anywhere new really. Up until now I haven’t been out of Europe so anywhere further would be great. I’m going to the US soon and would love to go to China, Tokyo and other places like that. Just anywhere that’s different. What kind of advice would give to someone just starting out who looks up to you and wants to get to where you are? Just do your own thing and don’t try to copy off other people too much. If it’s going to come, it will come; don’t try and push it too much. Has there ever been a moment when you realised it was starting to really happen for you in BMX? There wasn’t one moment. It’s been a lot of little things, like people noticing you and recognizing you. I would go to a random new place and someone would go, “Are you Mike Curley?’ and I would be like, “How the f**k do you know that?” but I thought it was cool. It still feels weird when people know who I am that I’ve never met but I suppose that’s the way it’s going and I’ll stick with it for a while and see where it takes me. Thanks Josh Moore, Paul Bury from the Cellblock, Jason Phelan, everyone from WeThePeople, Chris McArdle from CSG Distribution, Will Evans and everyone who I have forgotten.
SEE THE FILM AT VIMEO.COM/FRAYEDMAGAZINE/MIKECURLEY
FROM TOP LEFT 1. Animal Shirt & Hoody 2. Passport 3. Daily vitamins 4. Animal Wallet 5. Railcard 6. Animal Evolution Shoes 7. Ankle support 8. Book: DMT Spirit Molecule
essentials 9. Book: The Wisdom of Near Death Experiences 10. Toothbrush & Toothpaste 11. Grind wax 12. Iphone 13. Wethepeople hat 14. Wethepeople BMX