Volume 4, Number 4 (Special Edition)

FineLine Technologies JN 84210 Index 1 80% 1.5 BWR PD V4 4 ISSUE

04

0

74470 58053

9

CDN PUBLICATIONS AGREEMENT #40843627

KOSTON SELECT SHOWN IN BLACK NUBUCK & BLACK / WHITE SUEDE. ALSO AVAILABLE IN NAVY / BLACK SUEDE. TO VIEW ALL COLOR WAYS CHECK OUT THE FOOTWEAR SECTION AT LAKAI.COM LAKAI LIMITED FOOTWEAR / The Shoes We Skate / 955 Francisco Street, Torrance, CA 90502 / ad #93 / photos and drawing by andy mueller / www.lakai.com : www.crailtap.com : www.supradistribution.com

50-50. JOE BROOK PHOTO.

MODEL FEATURED: RYANSMITH’S PRO MODEL THE 1.5 FOR MORE INFO ON RYAN’S NEW SHOE VISIT: WWW.DCSHOES.COM / SMITH 1.5

COLLABOTATIVE PROJECT NUMBER TWO

Every so often, I reflect back on what we’ve done, past and present, and think about what made the good stuff good, and the bad what it was. I realized that if you’re too aware then you’re missing the point of spontaneity and run the risk of creating something contrived or natural. Thinking back as far as Color goes to the premiere issue in 2003, I remember the mixed feeling of uncertainty with simultaneous complete confidence. There was a void to fill and if we couldn’t do it, I hoped we would play a part in striking the mind that would.

Today, finally reaching our goal of printing four issues in a year’s cycle – it feels much more suiting to write this now than on any sort of “anniversary”. And as I blaze through our first testament (1.1), the changes that have transpired over the years are more than evident.

Color magazine 1.1

c.2003

Although it was only a few years back, much has transformed from the growth in digital technology (Issue 1 didn’t have a single digital photo), to the length of Chris Haslam’s hair. Friends I skated with now work at a desk beside me and now I can grow a decently dirty beard… needless to say, I’ve gotten past the teenage angst stage I may have been in when I started this thing. But maybe that’s what we needed to take Color as far as it has come? The biggest change I’ve had over the course of four volumes is that what was once an outlet to show my art has totally encompassed me to the point of becoming my art itself.

When I was first sent a print for the Said And Done project (p.52), I had every intension of completing it. Six months later, Dustin Koop and John Antoski, who put together the project, were in Vancouver showing the prints at a gallery along with the launch of Color 4.3 and I’d still yet to finish my print for any show. It wasn’t until then that I could stop thinking of what I was going to do with the print and realized my role in the project, finally finishing my piece. You’re holding it.

Color 4.4 cover [ o ] doubt.

Spencer Hamilton, switch pop shove it nosegrind 180

The Said and Done project is about collaboration and art. That’s it. It doesn’t cost money and it doesn’t make money. It just is. It’s about hundreds of creative minds collectively contributing to a single cause, collaborating in the environment given to them by two artists who previously collaborated before them. Many of these artists come from skateboarding, work in the industry or just inspire us. Michael Sieben, who collaborated with us this issue as guest title designer, does Bueno Skateboards and works as illustrator of Thrasher Magazine. Nathan Fox (p.57) has illustrated board series’ with Instant Winner and Real Skateboards. You’ve seen Aaron Horkey’s (p.84) work on decks by Santa Cruz and Consolidated. Randy Laybourne (p.64) has played a part in the images you see from Sole Technology, Giant Distribution, Spy, and most recently as Art Director of Transworld Skateboarding. And you’ve seen the work of Andrew Pommier for Toy Machine, Girl, Element, Fourstar Clothing, RVCA and most prominently, Momentum Wheels. With the spirit of collaboration and illustration we also asked artists to work with photographers in the Fotofeature (p.126). Quite possibly the first skateboard magazine to send an illustrator (instead of a filmer) in the last seat of the van for a skateboard trip, Ben Tour brought back a new perspective in skate trips (p.116). And it wouldn’t be the illustration issue if we didn’t talk some smack with one of skateboarding’s artist offspring for the Tattered Ten (p.133).

There’s no better way to close the year, and we’re excited to bring you two additional issues next year that will follow suit with the same ideals we came into this game with.

We aim to please, but most importantly, we please to aim our sights on that which hasn’t been done before. We hope you enjoy this product from Color, Said and Done, and all of the contributors involved.

8

four.4

RYAN OUGHTON switch backside lipslide [ o ] doubt.

42 SEAN MACALISTER

how a calgary native went from homeschooled insomniac, to fine-arts student/ aspiring english major.

52

SAID AND DONE

a collaborative project by dustin koop and john antoski featuring randy laybourne, ben frost, aaron horkey, josh holinaty, shawn o’keefe, ian francis and many many more artists from across the globe.

108 CMYK

featuring paul rodriguez, nathan evans, magnus hansen, and mark appleyard.

114 SMALLTOWN SUPERSOUND

joakim haugland confirms why you should open your ears to contemporary jazz and set your sights on graphic/recording artist kim hiorthoy of norway.

116

A TOUR STORY

jamie tancowney, mike mcdermott, wade fyfe, justin allain and zane cushing posseed up with Color’s dylan doubt and artist ben tour in search of dry land and a new perspective on skate-trips.

126

FOTOFEATURE

illustrated by andy jenkins, tony larson, andy mueller, andrew pommier, and lori d

133 COREY SHEPPARD

a tattered ten questions with one of skateboarding’s many fine artists.

DEPARTMENTS 8 intro, 9 contents, 14 contributors, 16 inspiration bound, 20 anthrax, 28 product toss, 34 faces n’ spaces, 36 city, 49 contest, 124 trailer, 134 sound cheque, 138 over and out, 140 credits.

9

intro.

field testers_mcCrank, Tx., ladd, eldridge, nuske, sarmiento, huston, baxter-neal, worrest, garcia jordan hoffart_pop shuvit photo: caissie square one_brown/gum_esfootwear.com TIMEBOMB_604 251 1097 www.timebombtrading.com

Nollie Crooked Grind. Zurich, Switzerland - circa 2006 PHOTO: BROACH ©C1RCA 2006. Featured Product: Select Custom Fleece, Scope Tee, and Select Plaid Fitted Cap.

Committed to Skateboarding. www.C1RCA.ca

DYLAN DOUBT

TYLER McKENZIE

LUKE RAMSEY

LORI D

MICHAEL SIEBEN

A photographer, writer, skateboarder, motorcycle rider, beard grower, whiskey drinker, baby haver, storyteller, thing collector, dark apartment dweller, goodbook reader, tea drinker, i-chatter, friend hugger, vinyl record listener, well brewed coffee appreciator, auto trader, bargain hunter, a fearless expedition leader, a lover and most certainly not a fighter. Dylan Doubt is our Photo Editor.

Tyler is an island dweller who’s photographic artistry is surpassed only by his rapacious appetite for mayonnaise. He built a camera from scratch (sorry DJ’s, not that kind of scratch) and is definitely the kind of guy who will draw you a diagram. He is currently refurbishing an Airstream trailer and owns only one pair of pants. He brings to you his self proclaimed last photo ever. But we’re not buyin’ it... we also aren’t paying for it, Ha!

Luke was one of the earlier artists to become involved with the Said And Done project. Having talented and well crafted artists such as himself involved helped our project grow and gain credibility. He recently started up a small publishing and residency on Pender Island BC. Luke has been a strong collaborator for many moons. To see his most recent collaboration with Pete Taylor pick up a copy of the last issue of The Drama (RIP). If interested in doing an artist residency or just looking at some great work, hit him up!

Lori D is an artist not only by trade but by nature, everything she does is approached from an artists perspective, everything. She has an eagerness to learn new things and an endless drive to be helpful to others.

She is a prolific painter, illustrator, web designer, and animator. She is currently working on an animation for her thesis for Cal-Arts and living in Draper, Utah, where she has infiltrated the Mormon housewives in a search for quilting skills.

Lori took a different route with the Fotofeature while accenting photography with her illustration skills.

Michael is one of those guys that makes great work, and his work is even better once you start corresponding with him. His favourite recording artist is Willie Nelson, his pets have people names, and he really loves the way an ollie blunt feels on a parking block.

You may have seen his illustrations in Thrasher magazine or rode a board from Bueno—he’s runnin’ the visuals over at that camp.

But not from California, this guy is doing it in his underwear from home in Austin, TX. That seems to keep him somewhat removed from the business side of things.

This issue Michael did the department’s typography for us and pulled through like a champ.

DYLANDOUBT.COM

PAGE 126

ISLANDSFOLD.COM LORI-D.COM

MSIEBEN.COM

14

contributors.

EXIT STRATEGY MAGAZINE #2 Abide Visuals Multimedia Juggernaut Cover: Jesse LeDoux This LP-sized issue includes 70 pages of art and interviews with such artists as Attaboy, Angel D’Amico, Patrick Rocha, UPSO and P. Williams, just to name a few. With a running theme as ‘The Outbreak b/w The Break Out’, artists were asked to keep with the tradition of two sides creating work not as spreads, but instead, two separate pieces not unlike the two sides of a record. The key to Exit Strategy is its commercial-free aesthetic and limited edition “White Label” run of 100 copies packed full with stickers, a record and inserts. I was just lucky enough to receive one of the 500 standard editions and that’s just fine with me! —sandro EXITSTRATEGYMAGAZINE.COM

MCSWEENEY’S #21 McSweeney’s is a literary magazine. No don’t stop reading. It’s a really good literary magazine. Oh, this isn’t going well. Ok, it’s a book that comes out four times a year that features some of the greatest writing I have ever read in my whole life. Issue 21 features cover art by the once Vancouver based artist, and all around fantastic individual, Keith Jones. It also contains a story

by Greg Ames called I Feel Free that is so hilarious it made me feel a deep need to give somebody a very sincere high five. But unfortunately reading remains an activity best enjoyed alone. This is something we shouldn’t blame McSweeney’s for. ­­­­­­­—m.christie

GRAFUCK #2 peter Vattantham and Fiel Valdez

MCSWEENEYS.NET

GRAFUCK.COM

MUSHROM GIRLS VIRUS Deanne Cheuk & :B Publishing

THE DRAMA, ISSUE NINE A Quarterly Arts Magazine

I love the feeling I get looking in the mailbox to find a freshly wrapped book. I am a whore for a well constructed and designed book, such as this one. It is completely embroidered from front to back with amazing production value throughout. The book is a guide to the identification and study of Fungi with special emphasis on the edible varieties. Deanne Cheuk’s georgeous watercolor and ink illustrations are top-notch. You may have seen her work in Tokion magazine or just witnessed a lot of other people’s work biting her style, any way you look at it, her work is next level. —koop

Run to the computer, go to The Drama’s web site, and order this magazine, because sadly, The Drama’s Issue Nine is their last.

Inside Issue Nine are over one hundred pages of amazingly well crafted art, interviews and fiction. From art and illustrations by Henrik Drescher, Brian Chippendale, Lori D. and Keith Jones, to the well written fiction piece by Adam Levin, The Drama Issue Nine is a must pick up, if only to see what you have been missing from the last eight issues. —s.radnidge

This book is for everyone, it is a topic that the human race has been down with since day one.The topic is sex, this is porn for designers/artists. Looking through it I saw so many different styles that inspired me to create. The book has no boundaries and is a lot of fun with most of your favorite lo-brow artists involved. If you are thinking about picking up the newest issue of Swank think again and drop your cash on 250 pages of pure bliss. —dustin koop

THEDRAMA.ORG

MUSHROOMGIRLSVIRUS.COM

16

THE FEAST Permanent Marker Art Society

OUTERSPACE HILLBILLY RVCA/Artist Network Program

Up until a few years ago I would never have associated Canada with anything but old maids that painted landscapes. The Feast is a Canadian based showbook that has some bad-ass artists, such as Luke Ramsey, Shawn O’Keefe, Ben Tour, Pete Taylor and 48 others. She’s 176 pages of crisp black & white illustration and inspiration. For the $15 it costs, you had better buy two of ‘em. The landscape has been changed. —koop PMNTMRKR.COM

This 160-page, full colour catalogue printed by RVCA is taken from 2003’s Outerspace Hillbilly art show at San Francisco’s the Luggage Store gallery, featuring works by Clare Rojas, Barry McGee, Leif Goldberg and Andrew Jeffrey Wright. This reproduction is finely illustrated in full colour on thick stock, giving the viewer an excellent view into the 2003 art show, and making the book an excellent affordable addition for anyone who appreciates the cutting edge art that these artists create. —s.radnidge LUGGAGESTOREGALLERY.ORG

inspirationbound.

Let’s get physical with Jason Lee

producttoss.

producttoss.

[ o ] DOUBT

LETTERS. OH, YOU WANT SOME? WE GOT SOME!

We asked you readers to give us your thoughts and in exchange, we gave you some free gear. Here is a taste from some of the things we received.

Keep rocking the good shit.

—Chris Zawada, Port Moody, BC

You guys fuching ruuuulleeee.

—Jessica, Vancouver, BC

Its gay, fuck you.

—Sean Curtis, Jefferson City, MO

Color is the shit! Keep up the amazing work!

—Kris King, Toronto, On

WE GOT A RAMP!

WHO KILLED POINTILISM?

Skateboarders Against Violence’s, “Until We Get Leeside pt.2, a tribute to Lee Matasi and Rachel Davies” is now underway at Antisocial skateboard shop. They have built a slightly more conventional ramp than last year, and this installation will hopefully be around for a while. Everyone is welcome, helmets are optional, donations are encouraged, and radness is a must. Keep the tail stalls to a minimum, and get some grinds.

Mavie, Seb, Luke, Trevor, Chris, Shane and friends are responsible for planning and labour, Girl skateboards and Color magazine made sure that the wood was paid for, and Michelle Pezel is the mastermind that kept everyone happy and will never accept the credit that she deserves.

To many, the X Games represents the commodification of skateboard culture to the masses – the “extreme” divorce of the reality of skateboarding for so many into a jumbo-tron spectacle and celebrity freakshow. Perhaps in the face of such cynicism, it’s refreshing to pull out a gem like Alien Workshop’s “Welcome to the X Games” poster, in support of the 2001 Philly event. Staring into the bulging eyes of a fisherman (bearing a striking resemblance to Iron Maiden’s Eddy) who is reeling in a massive, meticulously stippled catch, it’s hard to imagine anything less congruent to the glossy televised event being advertised. Even better is the miniature text at the bottom that reads “SAVE POINTILISM” [sic].

Keep on keepn on… more art more, skateboarding, more music.

It’s for the bros by the bros. Its focus is well rounded and doesn’t exactly care about what’s “hot” in skateboarding. They talk about guys who shred on a skateboard, guitar, or canvas and show lifestyles and not stuff like ‘yo, i’m so cool i just turned pro and blew my first paycheck on an escalade wit fat rims and fitty pairs of Nikes in rainbow colors to match my outfits and some grills, dog’. They get guys like Reynold who live through skateboarding.

—Ashton Beebe, Virginia Beach, VA

Artistic style and how you could almost use the mag as a coffee table book or something, but you guys still manage to keep it grounded in skateboarding. The artists coverage and music and random product keep me interested too.

—Dylan Sweeny, New Maryland

If you want to tell us what we’re doing right/wrong and have a chance to win a free pair of shoes and/ or a subscription to Color, logon to our website at HTTP://WWW.COLORMAGAZINE.CA/CONTEST/

Or do people still use postal service? You can mail whatever you want to us and we only might throw it away without looking at it. Most of the time we read it really closely just in case there might be something about a cheque coming to us.

20

anthrax.

[ o ] PRUGINIC

—Tristan, Maple Ridge, BC

FURNI There may have been a better example to show rather than an alarm clock because who in their right mind has a good relationship with the item that wakes them up every morning? Well what if you could replace that with you favourite pro skateboarder? Weird. Well, Montreal-based design company, Furni, has released its new line of custom furnishings and if it wasn’t for their item names and superior quality ­– you just might mistake them for another homogenized piece from a company like Ikea. But Furni items won’t typically be found in your sister’s basement suite.

Their items are limited and hand crafted. All named after professional skateboarders from the 80s, it seems legends never do die. Furni offers many fine products such as shelving, wall-clocks, lamps, magazine racks, clever toilet paper dispensers (suitably named after Mike Vallely), and the Gator, which is the alarm clock shown above. Let’s just hope it can deal with daylight savings time and doesn’t go bonkers.

FURNICREATIONS.COM

Unsurprisingly, the image actually has nothing to do with the X Games – it was produced in 1989

by Phillip Duncan, a friend of Alien co-founder Chris Carter. Hanging in the offices since 1992, the image and its pro-pointillist message would appear to be at its most confounding when put in the service of advertising the X Games. But it gets better when you look at the history of pointillism, located primarily in the period of 19th century French post-Impressionism. The term began in reference to Seurat, whose use of dots of varying colours surrounded by negative space created an opposition to Impressionists like Monet and Gaugin, whose works were characterized by the dynamic blending of colours. The tiny points of colour would create optical illusions and even intentionally alienating visual effects, such as Seurat’s jarring use of geometric angles and disharmonious colours to throw the viewer into an increasingly difficult process of perception.

Fast forward one hundred years from Seurat to Alien Workshop, and the attempts to save pointillism from the dustbin of history are looking grim. Where’s the colour? The mass of tiny black dots of varying intensity represent a pretty gnarly stipple job, but nothing in the seafaring illustration represents the colour theory put forth by the PostImpressionists. Let’s face it: pointillism is dead. But the X Games never looked better (and probably never will!). ­–n.brown

NEW PRO

TONY TAVE PRO MODELS AVAILABLE NOW

om

www.elementskateboards.c

producttoss.

26

anthrax.

Shaman, Omar Salazar

by Alien Workshop x Anthony Yankovic COROFLOT.COM/JUNKDRAWER

Bulldog Skates, World Tour

by Stussy x Wes Humpston

BULLDOGSKATES.COM

Natas by Designarium x Dalek

DALEKART.COM

Argyle Rain by Source x Sandro Grison TAKEMETOYOURPROM.COM

Biebel Wooden OG 6 by Girl x Andrew Pommier ANDREWPOMMIER.COM

Shut x Phil Frost

JACKSHAINMAN.COM

Slayer, Danny Way by Plan B x Slayer SLAYER.NET

Rodney Jones,

by Powell x Steve Caballero STEVECABALLERO.COM

7 Sins Series, Lust by Instant Winner x Nathan Fox FOXNATHAN.COM

Delphi, Black by Element x Matt Irving DELPHICOLLECTIVE.COM

Late Night 5 Train

by 5Boronyc x Dave Reinbold DAVEREINBOLD.COM

Rasa Libre x Bigfoot

BIGFOOTONE.COM

Fine Art Sirees by Krooked x Mark Gonzales KROOKEDSKATEBOARDING.COM

Manik x Maya Hayuk MAYAHAYUK.COM

COLLABORATIVE ARTIST x DECKS

28

artistseriesdecks.

ALL OVER PRINT TOPS.

C1RCA, Billions

KREW, TK Live

They may not look their best displayed all together like this, but maybe that’s the appeal of this season’s most exciting trend. All-over-prints have a life of their own. We’ve put together a selection of Color’s favourite all over print tops that we assure will stand out in the crowd.

VOLCOM, Cheque-It

LAKAI, Tack

SHUT, Pusher

ZY, Reversible GRNAPPLETREE, Sage THE HUNDREDS, Pins RDS, Rockefeller INSIGHT, Pusher LRG, Port of Monaco FOURSTAR, Eagle Print DARKSTAR, Dungeon ROCKERS NYC, Exploding Sky FRESHJIVE, Minigram EZEKIEL, AOP FOURSTAR, Fisher GIRL, Allover Logo

DC, Noc Fill SLAP, Gonzai BLACK LABEL, Rollover INSIGHT, Totally Dude OBEY, Antique Vultures DIAMOND, Cairo STUSSY, City Splatter ALTAMONT, AOP MATIX, Asher INSIGHT, Auto Junkie EZEKIEL, AOP DVS, Flybutter LIFETIME, Connect The Dot ADDICT, Rae Vest

30

alloverprints.

THE SHECKLER. LOOK DEEPER... WWW.ETNIESSKATE.COM TIMEBOMB DIST.: 604.251.1097

COLLABORATIVE

Guest artist shoes are a treat for any sneaker fiend, whether they be limited edition, an unique colour way, or not available for purchase at all. Here’s some of our top picks in artist collaborated shoes.

ARTIST x SHOES.

WRENCH PILOT x LAKAI howard select

ANDY JENKINS x LAKAI cordoba

NECKFACE x VANS av era

GONZ x ADIDAS stan smith

KATSUYA TERADA x NIKE zoom url

PUSHEAD x NIKE dunk low

MIKE HERNANDEZ x NIKE zoom, paul rodriguez

SCUBA STEVE x éS accel

IRON MAIDEN x NIKE dunk high

MELVINS x NIKE dunk high “blood”

WRENCH PILOT x LAKAI telford

MARK GONZALES x ADIDAS skate mid

EVIL MONITO x CREATIVE RECREATION capone p.

JEFF HALLIDAY x VANS demand

FOS x EMERICA ridgemont

GONZ x ADIDAS super skate slip-on

CLASH x GLOBE .45

MEAR ONE x OSIRIS canvas

MICHAEL LEON x DC arkleon

METHAMPHIBIAN x DC methamphibian

LIVESTOCK x MADFOOT kenta goto

32

collaboshoes.

CUBANBEE x PUMA rs100

REAL x C1RCA ramondetta

DELPHI x ELEMENT matt irving

www.supradistribution.com

RECEIVER GALLERY. wordsby adam henry

illustrationby ben tour

To many people, the term ‘art community’ is more likely to cause alienation than elicit any warm, fuzzy feelings. Just a hunch, but it might have something to do with the kinds of people that often come with the territory – the nexus of activity that encompasses making, exhibiting, selling, buying, and viewing art can breed a level of competitiveness that makes notions of community look like utopian fantasy.

But thank god for San Francisco. Compared to its neighbour L.A. and its coastal opposite New York, San Francisco is a glimmer of hope for emerging artists who want to actually make friends instead of trample over their peers to the top of the heap.

Receiver Gallery is a prime example of the potential for such a group mentality—and it’s not just because their group shows are so packed with familiar S.F. and Oakland faces. Sharing its walls with a design studio (headed by owner and operator Jafön Hakkinen) and directed by exhibiting artist Chris Pew, the gallery is a constant hub of creative activity. And its location in the Mission District makes the best of a good environment – surrounded by a ton of great bars and restaurants, and just off the BART line, the gallery is free to emphasize their social function.

Perhaps an extension of the gallery’s proximity to graphic design (Receiver Studios specializes in print design), the prevailing aesthetic is for flat colours, heavy linework and an affinity for illustration. Among the countless artists who’ve shown on the diminutive space’s walls are Paul Urich, Craig Metzger, James Jean, Tiffany Bozic and Maya Hayuk. Also exemplary of the design influence is the gallery’s emphasis on multiples: their current exhibition, “I Think We’d Better Split Up,” has Receiver teaming up with art product company Poketo to produce a series of t-shirts and gifts at a variety of price points. The exhibition, like many before it, reflects design-inspired attitudes towards the accessibility of art objects that further emphasizes the gallery’s place within their artistic community at large.

“I Think We’d Better Split Up” runs from December 2nd To January 7th.

34

raymond molinar / switch crooked grind - supradistribution.com

evolution crailtap wrap

words&illustrationby fighting

EATS.

SHRALPS. Finch Parket: long curved ledge over dirt gap.

Commerce Court: right downtown.

Moss Park: (on friday night) community run indoor park. bring a friend. don’t wander, you’re near the hood.

Skydome Banks: of course, and right next to the tallest thing (man-made) in the world!

Adrift: Flatground; skip school to miss the crowds at the indoor mini park.

36

facesnspaces.

Bo De Duyen 254 Spadina for the vegetarians.

Pho Ruau Vang (Golden Turtle) 125 Ossington people that couldn’t tell tripe from tendon gossip about how good the noodle soup is here, but it’s true—big bowls.

Tacos El Asador 690 Bloor St. West holy tamales, this place cooks mexican as if there was a mexican community to feed in this city. there isn’t, but who gives a shit.

Bacchus 1576 Queen for amazing goat roti. get your gruff on or some street urchin’ll grab your lunch.

Tony & Nicks 1470 Dundas for real pizza, great spicy veal sandwiches, deep-friend panzerottis, bright yellow and lime decor, no seating and a foxy blonde forty-something behind the counter make this place the strangest eatery on our list.

CHOPPING: Rotate This 620 Queen the best record shop when we were in grade school is still the best record shop. it really hasn’t changed in over a decade.

Adrift 299 Augusta good people, they’ll take care of your skate needs, and if you bring two beers they’ll shotgun one with you and give you 5% off—stronger beer means more % off.

GoodFoot/Nomad/Ransom goodfoot for nice shoes, nomad for nice adult clothes, ransom for tees and and whatnot. great quality goods. smart concept.

Klaxon Howl amazing old army gear, solid shit. right near the park too.

Honest Ed’s/ Mirvish Books got a buck? need a toque? or a salt lick, or something old and neat? go to honest ed’s to furnish your life if you don’t care about anything except price and looking canadian. the book store adjacent to it is not the same - its tasteful in it’s indiscrepant acceptance of material.

BINGE DRINKING.

SLEEPS.

Ronnies Local: 69 Nassau st. - the name says it - just some guy around town. it doesn’t try hard like most of the kensington ton speakeasys.

Michael’s: Queen and Bathurst - heavy skid bar, just order your beer and don’t fuck around. metallica on the jukebox and cheap draft.

751: 751 Queen - cheap joint with a dance floor and good music, it’s kinda collegiate at times but when you find the good nights its great.

Communist Daughter: 1149 Dundas St. West - good little spot, you can’t fit many people in here which is good, fuck packed places. good juke box.

Sneaky Dees: 431 College St. - this place is epic, it’s been there since 1783, there is a million aspects to this place that exude awesome charm. big nachos, loud farts.

A Friend’s House: canada is small. what? you don’t know anyone who lives here? please, start knocking on some doors, folks are nice.

The Royal York Hotel: although we know you can’t afford it. princess di stayed here. it’s really nice actually, you should go for a walk around it, all sorts of awesome rooms. try turning a door handle, you might get a suite on the house. be up before housekeeping is.

Adrift: if you know who to ask. adrift is pretty much the one-stop-shop isn’t it?

Hostel: they’re all the same, pick one and hook up with some aussie.

Motel: there’s a few downtown, pick one. the travelodge on King St. is kinda the strangest. close to the titty bar and the mini dealership. take a stripper for a test drive and see if the back seat’s more comfortable than a volkswagen.

.city

37

p Brad Shep

Timebomb: 604.251.1097 converge.

TimebombTrading.com emericaskate.com

/ ard: b

ut. v-it o u h s i de s tails

Trying to contact Sean for this interview proved tough.

He cut contact off with the world by deleting his Myspace and email accounts, as well as phone and internet services. The only way to get in touch was by either writing a letter, or meeting him by chance. We met by chance, writing letters is for the birds. This interview was the strangest I had ever conducted, Sean didn’t want to do it

over the phone, he was more interested in doing it over an instant messenger program. The strange part was we conducted the interview on two separate computers at my house, not more than five feet from each other in the same room. Sean is one of the most approachable and non-linear humans I know, let’s hope he has some photo incentives in here that will help pay for the internet.

en lars tian red hris y ja koop b s id c id v n o i a r t d s polo by du w& sno ds wor sby ian o t pho

42

43

[ o ] KOOP

[ o ] CHRISTIAN

KICKFLIP BACKSIDE TAILSLIDE

Color: Lets skip the stock questions and get this thing rolling. The rumour about home-schooled kids is that they are socially inept, does this ring true for you?

SM: That generalization couldn’t be more true. I really couldn’t get along with any of the other kids too well... being home-schooled set me up to exist in a sheltered environment where I wouldn’t have to deal with the stuff going on in the public education system. Most kids my age (seven, at the time) were really warped by the situation, they had virtually no concept of ‘real life’ outside of their living rooms. I spent most of my younger days walking around the neighborhood looking for kids to hang out with, I soon figured out they were all cooped up in schools, so I started lurkin’ outside the school yards during recess and lunch breaks. Some of these kids had skateboards, and that’s how I got into skating.

44

seanmacalister.

How long were you home schooled for? And why did that end for you?

Well, I was home-schooled from grade one to grade 10. Since I was home-schooled, I developed some semi-lethargic study habits and began to really lose my motivation for learning between grades nine and ten. As a result, my parents cracked the whip and sent me to the public system against my will.

So what you’re saying is your first year of public schooling was equivalent to the standard grade one experience?

Yeah man, exactly, it was pretty nuts actually. I wasn’t used to having deadlines to get a project done, and had never written a test in my life.

When I was home-schooled there was this lady from the school board that would come to my house twice a year to evaluate where I was at in my education, I would basically tell her about the new sports teams I was on,

[ o ] CHRISTIAN

FRONTSIDE WALLRIDE

or the recent pictures I drew, and every year she would hand me a certificate signifying my advancement to the next grade. So the public system hit me pretty hard.

What do you mean by it hitting you hard?

From day one my parents wanted to me to learn how to learn, and that’s why they home-schooled me. But the public system is all about learning how to be told, and it really contradicted my notions of how education should be facilitated. I wasn’t used to all the deadlines and exams, it really stressed me out. In grade eleven I was having really bad anxiety and insomnia so I got put on all these medications.

Medication, really?

Yeah man, in retrospect it was a bad move, but at the time I felt like it was my only choice. I couldn’t sleep, I would sometimes stay awake for three days straight. When you don’t sleep everything starts to get messed up. So they prescribed me some sleeping pills and some anti-depressants.

What was it like taking all these heavy medications?

It was nuts, man, they totally changed me for a while. The sleeping pills made it easier to sleep, but that created a vicious cycle – that’s all I ever wanted to do. I ended up abusing it and overdosing a bunch, just to get out of stressful situations, I ended up getting addicted. The anti-depressants really messed me up too, I was taking this stuff called Lithium, and it was really dangerous if you had too much of it in your system, so I had

to get my blood taken weekly to see what the lithium level in my blood was. The side effects were countless...

How are you doing now? Are you over the addictions?

I’m doing a lot better, when I finished high school things really started to clear up for me. I wasn’t as stressed, I was able to get off the pills, it took a long time to get them out of my system and be able to sleep on my own accord, but I finally can.

That’s great you kicked that shit, I see you picked up a new long-term habit. Why the hell did you start smoking, are you fucking retarded? (laughs) Yeah, I don’t know man, smoking really kinda tapered the withdrawal effects from when I was quitting my medication, so I guess I’m a smoker now... teen apathy!

You have now graduated high school and somewhat straightened yourself out, what was next on your plate?

When I graduated, I went on a road trip with myself. I went sea-kayaking for ten days off Vancouver Island and slept on random islands and peeped wildlife, I then headed over to Vancouver to do some skateboarding. I didn’t have a place to stay or anything... I intended on sleeping at the plaza, that’s when I met up with Geoff Dermer. On my first night he introduced himself, letting me crash at his house. Geoff introduced me to Dave Christian and so many other people, he hooked me up really good. I stayed at his and Jai’s [Jai Ball] place for just under a week before I ran out of money and had to Greyhound it back to Calgary, .interview

45

[ o ] SNOW

BACKSIDE KICKFLIP

You were going to sleep at the plaza for a week? You really are crazy.

Bloody hobo style.

Yeah, I don’t know, it made sense to me. Geoff couldn’t quite figure it out either.

You are pretty modest about your skateboarding, it seems you unintentionally met a few people this summer. I heard you had dinner with Mic-e Reyes and Tony Trujillo, how was that?

Yeah, I don’t know man. It was during Slam City Jam, we went to Caesar’s steakhouse and that’s where I met Jarred White, as well. They all seemed really mellow. It was kinda weird, I brought my skateboard with me to dinner and was riding a TNT Antihero board at the time, Tony didn’t even recognize his own graphic. That meeting started the process of me getting on Real.

Now that the winter has hit, what are you doing to pass time?

I’m in the art school vortex right now at ACAD (Alberta College of Art and Design), so that has been keeping me pretty busy, that and working at Home Depot.

How is art school going for you so far?

It’s going really good, I’ve really enjoyed it so far. I only wanted to go to art school so I could stay warm in the winter and look at other people’s work.

46

interview.

Do you find that you are making more work now that you are living on your own?

Definitely, my output is totally increased. I have my own studio space and it’s a much different environment compared to my parents’ house. I live in a really artistic atmosphere, as well, my roommates are artists and musicians, so we really play off each other positively.

We have covered portions of your past and your present states, what’s in the works for the future?

I am going on a skate trip to Denver in the spring with the Source team, so that will be awesome. Other than that I want to finish art school, then go to university and get my English degree, then a teaching degree, continue skating and creating, then become a high school English teacher... yeah that works for me.

That’s officially the worst answer in the history of answers, you should have said that you wanted to go pro for Nike and have NewEra create a custom fit cap in an expensive box with your name on it. Oh well, your loss. Here is an original ender question: “Any shouts outs”? (laughs) Yeah, don’t get me wrong, it’s almost coming across that my involvement in skateboarding is sort of complacent, but it’s not at all. Skateboarding is one of the most important aspects of my life, it is by far my main vehicle of creative expression and has provided me with so much

[ o ] SNOW

OLLIE INTO BANK, calgary. seanmacalister.

47

ROCK 360 SHOVE IT DISASTER SHOVE IT OUT?

joy and perspective in a broader sense. Skateboarding is freedom.

Anyways, back on track, I would really like to thank all of my sponsors for their support: Lifetime Collective, Circa, The Source, and Real. The following people have helped me out a lot: Dustin Koop, Reid Stewart, Geoff Dermer, Ian Snow, Dylan Doubt, Dave Christian, Mike Kozan, Zev and Mike from Circa, Jarred White from S&J, Josh Anderson and Devin Morrison, James Barry, Jared Larsen, Leejay Dunphy, Kevin Mitchell, Rob Thorpe, and my close friends and family.

48

seanmacalister.

WIN 1 of 5 COMPLETES signed by Said and Done artist, Andrew Pommier

YOU WOULD NEVER WANT TO SKATE. IT’S EASY. TEAR OUT THE PRINT ON THE PAGE PREVIOUS. DRAW INTO THE EXISTING DESIGN USING WHATEVER MATERIALS YOU WANT! When you feel it’s finished, mail your art to “Said and Done” c/o fourcorner publishing inc. 321 Railway Street #105 Vancouver BC V6A 1A4 Be sure to include your full name, website (if you have one) and your email address (winners will be notified by email).

Be one of the first five artists to get a finished print in and you could win! Submissions will be judged to determine whether they are in fact art or not. All entries will be considered property of the Said and Done project and may be used in future gallery shows. So, c’mon, get serious. DEADLINE: FEBRUARY 1, 2007

50

fashion/irration.

52

collaborative project number two

53

ORGANIZING CHAOS

WITH DUSTIN KOOP & JOHN ANTOSKI. wordsby apefluff

photoby graeme owsianski

The Said and Done project was created by Dustin Koop and John Antoski as a means of uniting artists from communities around the world. The project to date consists of 225 original serigraph prints (7x11”), produced in collaboration by Koop and Antoski. These prints were distributed to select artists along with a set of instructions: the artist must sign and date the back, and the format must remain the same size. Beyond that, the project is open – each artist is encouraged to collaborate in any way that they choose, using whatever media and creative approach they find suitable. Upon completion, the prints are returned to sender, and thus considered finished. The goal of this project from the beginning has been to challenge and push the creative process of the individuals involved, and, in turn, fuel the collaborative process. All works are made available to view on the Said and Done website, which accompany links to relevant websites, as a means of promoting each artist and their abilities. By heightening awareness of artists and their communities, this project is intended to fuel further collaborations and bring about a level of dialogue amongst such a diverse and international group of participants. Visit www.saidanddone.ca and get involved.

How did you come up with idea for the Said and Done collaboration project?

KOOP: The idea somewhat stemmed from two different places. In 2002 I tried to do a small book of artists sketchbook work titled Precursor. I had the book designed and ready to go but there was no money to get it off the ground. I then moved from Calgary to California for a year to art direct Skateboarder Magazine. In that time John Antoski created a project titled Cherry Bomb and it was the same idea as Said and Done but with friends from our art school at ACAD (Alberta College of Art and Design). The prints were scanned and made into a book, (one book unfortunately). So after a year I moved back to Calgary and we teamed up to do a bigger and better version of Cherry Bomb.

JOHN: Yup I remember Precursor, I think I had some work in it. The initial idea of Cherry Bomb, was a way of uniting the artist community at ACAD, as well as push my own creative outlet.

Cherry Bomb was different as once the prints were returned to me, I would work back into them, developing the composition until I felt it was successful. The result was a pretty polished series of one-off prints. I Learned a lot from each artist and developed better understanding of what could be achieved within my own work. Koop returned to Calgary the next year, having worked on one of the 54

saidanddone.

first series of prints, and was interested in continuing the project. This time we developed the prints together, deciding on placement, patterns, colour, yadayada... I wanted to keep the purity of the collab and chose to not alter the prints after they were returned. Thus, Said and Done was created.

This is project number two. How successful was the first one?

K: Like I said before, the project John did titled Cherry Bomb went well within the art community, but that is as far as it ever went. Our goal was to push our self’s to get artists from around the world and advertise as much as we could with a budget of zero dollars. That takes creative thinking.

J: Cherry Bomb was pretty exclusive to my own community, I thought that would be a great start, seeing how segregated It had felt at the time. The book and selected prints were shown a couple times, with good reception, but really pale in comparison to the second project. It wasn’t until Koop and his networking mastermind combined with his A.D.D., that the full potential of the project was realized. The website played a key roll in the project’s success and continues to, but It’s really the acceptance of the creative people out there that are down for whatever, that make us so proud of this project.

Which ‘S’ and ‘D’ print is your favourite so far?

K: Thats like a mom picking her favourite kid, (laughs). I have many favourite prints, the prints that are my favourite are the ones you can tell that a lot of time and energy had been spent. I do have a print that won’t be going up for a while that was done by Aaron Horkey that is nothing short of amazing, he is pretty much a master painter, I needed a magnifying glass just to see the brush strokes.

J: Yeah, that one was well worth the eighty-nine dollars in shipping fees. I however, lean towards the prints that use the suggested patterns and colors to fuel their composition. These artist are able to adapt and be flexible, a true skill and talent. As far as a favourite, I’m with Koop, any one of them are brilliant in their own way. I would be happy to have any one of them on my wall.

Who are your favourite artists alive today?

K: That’s a great question, a lot of them are involved with our project. I have been influenced by artists and designers since I was seven and started to skateboard. So a lot of my influences for the past 20 years or so have been Ed Templeton, Andy Howell, Natas Kupas, David Carson, Martin Venezky, Barry Mcgee, Randy Laybourne,

[above] John and Dustin enjoy their beverages of choice after the first showing of Said and Done at Antisocial Gallery Vancouver, November 2006.

Sean Cliver, Don Pendleton, Kelsey Brooks, Ben Tour, Rod Henderson, James Jean, Marco Cibola, Michael Sieben, Mr. Cartoon for his jail-house typography. Dan May, Robert Crumb, David Choe, Pushead, Ben Frost, Neckface, Banksy, Brian Gaberman, Jeremy Fish, Jose Parla, John Pound (did the Garbage Pail Kids) and local artists such as John Antoski, Josh Holinaty, Ben Jaques, Mike Carter, Sam Webber, Chris Millar. That does not even skim the surface but it gives you an idea, sorry for giving you eight years of crap to read.

J: We pretty much made a list of about 200 or so artists that we wanted to be involved with Said and Done, a wish list I guess. The funny thing about it is we got a bunch of ‘em. Goes to show how open artists are about an idea. So without repeating Koop’s list that I totally agree with I will elect to name drop some more. Marcel Dzama, Matt Greene, Anna Sigmond Gudmundsdottir, Dr Lakra, Ricardo Lanzarini, Julie Mehretu, Porous Walker, Jockum Nordstrom, Ernesto Caivano, Amy Cutler, Mars 1, Kinsey, Clayton Brothers, Ryan Mcginness, Ghostface Killah... Some locals include Rick Gorenko, Don Kottomann, Chris Cran, Kaiti Pasqualotto, Phill Revard, Daniel Ducheck, Maraigold Santos. If your name isn’t on this list don’t fret, you know you’re dope.

Who have you worked for and what jobs have you had?

K: I was asked to move to California in my 3rd year of art school to become the art director at Skateboarder Magazine. Before that, I worked at Radio Shack and Chapters; I would rather be on welfare than work retail. I need to be creating in order to feel somewhat satisfied, whether it be working construction and building a house or painting.

J: [I’ve] Worked a few jobs that include bagboy, delivery guy, house painter, demolition, carpenter, skateshop employee, art director, and my favorite so far: an artist.

Is there going to be a Said and Done: 3, for all the hundreds of illustrators and artists who couldn’t get involved this time?

K: John and I were just speaking about that, and yeah, I think it would be a great idea. I love seeing artists that are mind blowing that no one has ever heard of. I have already started a list of artists that I want for S and D 3, I just want to get this project off the internet and into some great spaces for the public to see.

J: I think that’s the beauty to the title of this thing.

When will it ever all be Said and Done?

Shouts?

What’s in-store for the Said and Done project?

K: The project has grown leaps and bounds from what we had expected. We are hoping to show at as many galleries around the world, but due to how large the show is, we now need financial support for shipping. Since we have nothing to sell, the private galleries want nothing to do with us. So we need to approach artist run galleries that receive funding from the government. So we are in the midst of writing proposals. We also are interested in doing a book.

K: Shouts out to all of the artists involved with the project. Big ups to Apefluff for creating and hosting version 2 of the site. Michelle at Antisocial for taking a chance and giving us our first show. Last but not least, Sandro at Color magazine for being so supportive and generous, you kick ass.

J: Everyone involved, you all are awesome, thanks for participating, Koop, thanks for being so down for the cause. Apefluff for the site, Wu-Tang for your beats, and my mom for birthing me.

.collaborativeprojectnumbertwo

55

MIKE MAXWELL, El Cajon, CA, USA

NATHAN FOX, Fairway, KS, USA

ANDRES GUZMAN , Aurora, CO, USA

AMIR FALLAH, Los Angeles, CA, USA

BRETT HESS, La Quinta, CA, USA

ANDREW POMMIER, Vancouver, BC, Canada

SARAH ONESCHUK, Calgary, AB, Canada

ALIST, Oakville, ON, Canada

SCOTT RADNIDGE, Vancouver, BC, Canada

POROUS WALKER, Napa valley, CA, USA

KELSEY BROOKS, San Diego, CA, USA

64

randylaybourne.

RANDY LAYBOURNE carlsbad, ca, usa // www.lookforwardtothepast.com Originally from a small town on Vancouver Island, Canada, and now living in Southern California, did you find your new environment changed the themes that run through your work?

Living in California makes it super hard to get art done. Growing up in the rain makes you want to take advantage of good weather and be outside. Since California is nice almost all the time, there are very few moments of contemplation. I feel guilty being indoors when it is sunny out.

As for the visual influence, I think it does. It seems to all blend together in my mind. Paul Klee wrote about the mind’s eye, the world in my head is a mix of the past and present. The other day, I noticed I drew a lot of interior space when out at college in Halifax.

Guess it was because I spent 80 per cent of the time inside my apartment, NSCAD or in a pub. For myself I have list of things I need to do and just plug away at them. Some of them take money to do but others just take the time. The magazine has a very predictable schedule so it is a lot easier to plan my personal projects.

Do you have any exercises to get inspired?

Every workday I try to make a new desktop for my computer. I started doing it when I worked at Giant Skateboard Distribution (Sept. 2001) and have kept doing it for the past five years. It forced me to open

up my thoughts about photos, drawings and type.

Now I have hundreds of little digital ideas I can use as inspiration rather than going to a design annual or some artist book. The book series will be called “Company Time” but I don’t have a publisher yet.

What do you do in your spare time?

Spare time? I don’t think that exists. I’m constantly taking photos, getting a drawing project that has taken almost two years now down, sketching, trying to get another zine done and of course skateboarding and now surfing. You can sleep when you are dead, I’ve heard. I don’t understand people who say they are bored. Even if you live in some crap-hick town there is tons to do.

When Mike Vallely was starting a brand through Giant I did some board graphics because I was all eager to help. He got pretty offended that I was doing stuff and sent me an email basically saying he didn’t want or need any of my help. Needless to say the brand lasted about eight months.

Being a fine artist and a graphic designer, does that clash at times?

At TransWorld I’ve been reluctant to use my illustration. I’d rather use other guys’ like Andrew Pommier, Travis Millard, Shawn O’Keefe and Keith O’Brien as much as possible.

Jerry Seinfeld had bazaaro Jerry, is Nobumasa Takahashi (Said and Done collaborator) the bazaaro Randy?

That guy better watch it when he comes to North America. That would be kind of rad to collaborate with him. My drawing is more related to the architecture of Canada and United States. There are times when I think it would be fun to be an architect but I don’t want to wait till I’m sixty years old to do stuff. Wouldn’t it be funny if he looked exactly like me but darker and different eyes?

Have you collaborated much in the past? If so, did you find it to be mind opening to new ideas?

I haven’t collaborated much other than getting Dustin Koop, O’Brien and O’Keefe to submit images for my zines. I tried to do something with Porous Walker but it is taking us both forever and a day to pass the book back and forth. He has it right now.

I was just in a show (Shanty Town) at Lab 101 in Culver City and there was an amazing construction out of cardboard. I didn’t get a chance to help with it since I was in Hawaii kind of trying to surf. It would be fun to work with Travis Millard and Sieben on something that gets built.

.saidanddone

65

66

benfrost.

BEN FROST Surry hills, Sydney, Australia www.benfrostisdead.com

In your paintings you create an almost nightmare world of mashed-up logos, brandings and cartoon characters, mostly doing things they’re not supposed to be doing—where does your obsession with popular culture come from?

Living in the city, I can’t walk five meters down the street without having something or someone trying to sell me a new magazine or the latest celebrity fragrance. Whether it’s on a billboard, on the counter in a 7-11 or on every TV channel, these things are so a part of the every day experience, that it seems obvious they should also be a major part of my artwork.

There’s a sense of impending doom that I’m trying to put across, but I use happy and cute characters, logos and motifs to portray this. I’m concerned mostly with the ‘veneer’ of modern life – the brightly coloured façade that disguises a less enjoyable reality. The world of advertising especially, is so insidious as a vehicle for promo-ting corporations so they can achieve higher profit margins.

There’s a new Coles campaign at the moment here in Australia by a new range of food products manufactured by the same supermarket that the products are sold in. The slogan is ‘You’ll Love Coles’ which doesn’t sound so bad, but if you take away the abbreviation it reads as ‘You Will Love Coles’.

The directness is often quite subliminal, but all advertising is almost a form of violence or at least violation. They’re aggressive demands, telling you to do things, but hidden behind their cute characters and pretty colours – and these demands are within the logos and on the surface of everything around us. It’s pretty full on, I think, when a pair of underwear makes demands on me while I’m riding on the bus to

the supermarket.

With ‘Self Regenerating Bambi’, you’ve started moving into sculpture – what is your motivation behind doing 3-D? It was really exciting seeing the transition between the original 2D imagery and the Bambi series. There were only two made in the edition – the second one got destroyed in an exhibition earlier in the year. This girl was really wasted and she came through the front door and collapsed into the sculpture, smashing it to bits. It was really bizarre seeing her get up out of the rubble, with bits of Bambi stuck to her face. Equally bizarre were the court proceedings to get her to pay for the damages. The sculptures I’m getting made at the moment are through XXZILLA, and I’ve got a bunch of new ideas to make more 3D works.

Your paintings are very intense, and they look like they take a long time, what is your art making process?

I spend a lot of time finding images, Myspace is a good place for that – it’s kind of like a dumping ground where people are sharing their own collections of their weirdest and oddest pictures.

From there it’s almost exclusively using an overhead projector, but I’m constantly crossing out and repainting over sections which I really enjoy, because I’m not into the idea of an image being a precious thing. But yeah, this ends up taking forever.

finding new ways to make the process more efficient so you can get more ideas out of your head. The projector is good for this, especially doing tonal work and for getting proportions and clean lines.

What is your workspace environment like?

I’ve got a warehouse space in Surry Hills in Sydney that I live and work in and sometimes rehearse with my band in. It’s really noisy and there’s screeching junkies and cars crashing into each other just outside my window, just about 24/7, but that’s kind of how I like it.

What are you working on at the moment?

I’ve about to do a solo show at the ARM in New York, opening December 8th, which is the first time I’ve done a solo show outside of Australia. It’s hard doing overseas shows because of the cost of shipping work, but for this show I came up with the idea of painting onto children’s bed sheets that have got these cool retro prints all over them, like He-Man and the Empire Strikes Back. Paintings on the bed sheets plays then with ideas of childhood and their dreams – especially their dreams for their own futures, and I think this is at the core of what my work is about.

I’ve also started making limited edition prints of my work and I’ve got a new sculpture coming out of Tweety Bird with other little birds eating his brains – it’s really twisted.

I do a lot of vector work on the computer as well, and from time to time when I do illustration I try to mix up my style to cater to every individual project.

I think for a painter the whole experience is about .saidanddone

67

SHERARD FAIREY

Shepard Fairey is the creator of the iconic “Obey� artwork. www.obeygiant.com

October 2001

ERIC SO

Eric So is a designer, illustrator and figure artist. www.ericsoart.com www.createyourestate.com

January 2004

ARKLEON

An overly simplistic spin on the already existing work of art...the DC/Leon. www.arkitip.com

November 2006

KAWS

THOMAS CAMPBELL

Kaws is an internationally known fine artist, and creator or the Companion character. www.kawsone.com

Thomas Campbell is an eclectic artist known for his paintings, doodles, photographs and films.

June 2002

October 2002

ANDY HOWELL

MICHAEL LEON

Andy Howell is an ex pro-skater, fine artist, graphic designer, illustrator and entrepreneur. www.andyhowell.com

Michael Leon is an artist and graphic designer, and the mind behind Stacks. www.commonwealthstacks.com

August 2004

January 2005

METHAMPHIBIAN

Methamphibian is a graphic designer and renowned sneaker artist. www.methamphibian.com

December 2006

DAVE DAVE KINSEY KINSEY

ARKIGRAPH ARKIGRAPH

PHILPHIL FROST FROST

David Kinsey David is Kinsey an accomplished is an accomplished designerdesigner and contemporary and contemporary artist. artist. www.kinseyvisual.com www.kinseyvisual.com

Evan Hecox EvanisHecox a designer/illustrator is a designer/illustrator of of graphicsgraphics for posters, for posters, skateboards skateboards and and the music theindustry. music industry. www.evanhecox.com www.evanhecox.com www.arkitip.com www.arkitip.com

Phil Frost Phil is Frost a self-taught is a self-taught painter painter from New from York.

New York.

May 2003 May 2003

September September 2003 2003

OctoberOctober 2003 2003

ANDRE ANDRE X ARKITIP X ARKITIP

SSUR SSUR

JOHANNA JOHANNA JACKSON JACKSON

Andre isAndre a popular is a popular graffiti artist graffiturned ti artist turned shop owner shoporiginally owner originally from Sweden, from Sweden, and residing and residing in Paris.in Paris. www.blackblock.org www.blackblock.org www.arkitip.com www.arkitip.com

Rusian Karablin Rusian Karablin is an artist is an with artist no with no formal training formal training currentlycurrently living and living workand working in NYC. ing in NYC. www.ssurempirestate.com www.ssurempirestate.com

Jo is a printer, Jo is a animator, printer, animator, and sculptor and sculptor based inbased Portland, in Portland, Oregon.Oregon.

July 2005 July 2005

December December 2005 2005

March 2006 March 2006

Footwear Footwear has played has played a unique a unique role in role the in self-expression the self-expression and individuality and individuality of of skateboarding. skateboarding.

Skateboarders Skateboarders have always have always found afound way toapersonalize way to personalize and customize and customize their shoes, their whether shoes, whether changing changing the laces, thecutting laces, or cutting modifying or modifying the shoe, thespray-painting shoe, spray-painting them, orthem, drawing or drawing on themon with them paint with pens paint and pens markers. and markers.

DC’s Artist DC’sProjects™ Artist Projects™ was created was created in 2001inin2001 recognition in recognition of this inherent of this inherent creativity. creativity.

The Artist The Projects™ Artist Projects™ programprogram gives industry gives industry artists opportunity artists opportunity to express to express themselves themselves throughthrough the creation the creation special-edition special-edition DC shoes.

DC shoes.

Since the Since projects’ the projects’ inception, inception, many many notablenotable artists have artists put have theirput unique their spin unique onspin various on various DC shoes, DC resulting shoes, resulting in shoesinthat shoes that can be collected, can be collected, admired, admired, or simply orworn. simply worn.

DAN MAY, jacksonville, FL, USA

JESSE RENO, Portland, OR, USA

BRIAN SCULTHORPE, Buenos Aires, Argentina

CAMERON FORSLEY, Glendale, AZ, USA

DANIEL ARCAND, Lynn, MA, USA

CHRIS HUTH, Seattle, WA, USA

JAMES JEAN, Santa Monica, CA, USA

KEITH SHORE, Richboro, PA, USA

KAITI PASQUALOTTO, Calgary, AB, Canada

FIODOR SUMKIN, Paris, France

LUKE RAMSEY, Pender Island, BC, Canada

FERRIS PLOCK, San Francisco, CA, USA 78

saidanddone.

79

MANY SUBSCRIPTION OFFERS

ENTICE YOU

WITH FREEBIES. IN THIS CASE, THE FREEBIE IS A MAGAZINE SUBSCRIPTION.

BUY 2, GET 1 FREE. Over 150 magazine titles to choose from.

Subscribe today at 1free.magazinescanada.ca or call 1.800.345.1809 Offer expires March 15, 2007

RONALD KURNIAWAN , Los Angeles, CA, USA

PARSKID, Seattle, WA, USA

PETE TAYLOR, Vancouver, BC, Canada

84

aaronhorkey.

AARON HORKEY

Minneapolis, MN, USA // www.burlesquedesign.com

From what I have read, you are all about hand lettering, when you were younger doing graffiti, were you strictly type-based?

The graffiti stuff I did as a kid was, for the most part, indecipherable and completely fucked-up.

After I learned the basics of letter composition and how it all went together I just started breaking everything down to really abstracted shapes well beyond unreadable. I wasn’t interested in rehashing any existing styles and as I got older and more jaded the pieces really devolved into a sort of primordial sludge. Looking back I was probably trying to piss-off the graff traditionalists as much as do something fun, which it was while it lasted...

Retired 1999 and turned my focus to smaller stuff.

What’s your take on the art scene in Southern California, and why did you move from it?

I moved from all of SoCal, not just the art scene.

I was only planning on being in Huntington for a couple months, which turned into two years.

Self-fulfilling prophecy I guess, I always said I’d never live in California and I’d never get married.

Took care of both of those in one fell swoop. I was involved in some shows while I was there, some were fun but for the most part it was just a scene to be seen—fashion and bullshit. I do miss being able to skate at any given time, year-round. And the food. The rural Midwest is not kind to vegans.

Has anyone had your work tattooed on them?

Mostly when I was in high school. I still get requests occasionally but I don’t really have the time to do any custom stuff now. One of my best friends has four or five things I’ve designed specifically for him – trades for skate shoes mostly. I wear my shoes out to the absolute last possible second and Kevin, being a sneaker fanatic, couldn’t bear to see my feet in that state.

Subsequently he’d get a new tattoo every year or so and I’d get some barely used shoes.

What are some projects you would like to wok on in the future?

I’d like to do more painting but the time just isn’t there - hopefully my eyes hold out long enough to afford me some time when the kids are in college or something. There’s a bunch of musicians I still want to do gig posters for - Tom Waits (had to pass on that one this summer due to lack of time), Lungfish, Court and Spark, Silver Mt Zion, World Inferno, Isis, Will E. Whitmore... I’ve been pretty lucky as far as being able to pick and choose only projects I’ve really been interested in lately, hopefully that continues.

Do you find it hard to separate what you do commercially from what you do personally?

All of my work is commercial, even sketchbook stuff usually ends up being used for something at some point. I really have no time to do anything for myself.

Could you name some artists that have or had been influential on your work?

When I was younger I was all about William Stout and Rodney Matthews, still am. Those two really had an impact on me early on. I also had fairly

early exposure to underground comics so Crumb, Williams, Griffen, all the Zap guys, Rand Holmes all factor in. Lately I’ve been into Jim Woodring, Walton Ford, Ernst Haeckel, Chris Ware, James Jean, Todd Bratrud, Kevin Boettcher and Jacob Bannon. These folks all have chops and really know how to draw, first and foremost. That’s what I’m inspired by... and my parents.

Your work seems to be heavily influenced by the Art Deco period, what strikes you the most from that era?

That period is interesting to me but my main area of interest isn’t really an art movement so much as a point in time when craft was really important.

The mid to late 1800s are especially great for lithography and engraving. Almost every product or little scrap of advertising ephemera in America was lavishly embellished and decorated to the point of being sometimes ridiculous. I really appreciate the fact that most of the people doing this amazing work did it with no pretense or aspirations of fame, fortune, what have you - it was just a job.

Do you have any upcoming shows that you would like to inform the reader about?

I have a print show in Portland, Oregon in July, 2007. After that I’m planning on taking a long break from showing stuff, as it seems to be a complete waste of time. I’d rather skate.

.saidanddone

85

RICK SEALOCK, Calgary, AB, Canada

JULIA GARDER, Bangor, ME, USA

BRIAN DONNELLY, Los Angeles, CA, USA

EPHRAIM CHUI, Vancouver, BC, Canada

SARAH HOLTOM, Calgary, AB, Canada

HOWIE TSUI, Ottawa, ON, Canada

SCOTT FERGUSON, Denver CO, USA

JEFF GILLIGAN, New York, NY, USA

RICKAT, Charlotte, NC, USA

RYAN RISS, Denver, CO, USA

94

joshholinaty.

JOSH HOLINATY Calgary, AB, Canada // www.holinaty.com So you are originally from small town nowhere, Alberta, can you give us a brief rundown of what you’re all about?

I was born in Saskatoon, Saskatchewan, but raised in the city of Grande Prairie, Alberta. It’s a city filled with trade workers, specifically for the incredibly booming rich oil industry that’s located out there. I knew at a young age that hard work in that field wasn’t my thing. It’s bad for the environment with all that pipeline being laid in virgin forests, and I see too many people making too much money, spending it all on booze and bad drugs. But sure, there is a small arts community out there, in a type of underground existence as far as I can tell, and it really helped me become who I am today, drawing comics with my friends during and after school. Don’t get me wrong, I still respect all the trade workers, as they make the world go round, and most importantly that my father is one of them. He taught me how to draw.

I don’t remember playing with many toys as a kid, just sitting at the kitchen table with the big guy, with a pencil in both our hands and some blank sheets. Then I went to art school in Grande Prairie, transferred to Calgary, then New York until the end of December.

You temporarily relocated to NYC, how’s that been going? Have you met any of the Wu-tang?

New York is a blast. It’s great having a wellsuited little studio in Tribeca and nobody here that I know for a few months. I became hyper introverted for the first month or so, just cranking out some really personal work, and checking out

too many art shows to shake a stick at. Most importantly though, I’ve realized that it’s not a bad thing to really dislike art that you see, like most of the snobby art openings I’ve slipped into in the Chelsea area. You can go to anything, anytime, anywhere in this city. You can hide out in a corner and draw people on the subway or anywhere else really. You can eat too much pizza too… But all in all, as much as I love the city, I can’t wait to go back home to Canada. The whole hustle bustle of this city can get pretty intense.

Rumor has it you gave up painting with colour and are a full time comic inker?

I haven’t given up painting – there’s always room for that – but since I’ve stepped foot into New York, I decided to take advantage of the fact that nobody here knows who I am. I’ve always been “hiding” this type of personal world of cartooning in my personal scraps and sketchbooks since I can remember, so I’ve decided to unearth that creature and see what happens when I go at it full force. It was something I felt ashamed of in school, back home. I felt like it would have been frowned upon. But here it hasn’t been. As a result, I have been creating some comic book covers that have no real comic to follow them up; just very personal narratives and random thoughts on one page, in a comic book cover type format. I’d like to publish something within the next year with all the comicesque work I’ve been making out here. But I need to just make, make, make if you know what I mean. With that said, painting hasn’t been given up. It’s just the phase I’m in, and heck, color’s fun!

What’s up with all your whack tattoos?

I like to draw technical things. Sometimes representational things too. But on my body I only want simple designs that I’ve made. It’s harder to regret then the name of some ex-pet groomer across your belly, or flaming dice/boobs on your ballsack that you didn’t even design. Strictly aesthetics for my body though...

Who or what influences motivate you to draw?

Lately, it’s the fact that I’m from a small town in Canada, and currently living in the worldwide hub of New York City. There are psychological differences, and drastic cultural differences too.

I’m not sure where I stand today, but I know that I am fascinated with the gritty small town life, and I’ve really begun to understand where I come from personally now that I’m in this huge city. You begin to really understand something when you are surrounded by its opposite. Heavy metal music is important to me too – Heavy Metal magazine totally screwed my head up – as is anything Lo-Fi, either in sound or visuals. I like the very guttural and personal, like old independent underground comics from the likes of R. Crumb and Gary Panter. I’ve also seen the works of those guys “live” for the first time since I’ve been here. They’ve been huge influences on me for years. Chris Ware’s original drawings are probably some of the most prolific pieces of draughtsmanship out there?

I miss my cat Nintendo, and on that topic, video games are a huge influence to me. Those fantasy worlds are filled with escapist fun. Homesickness can also fuel some very awkward drawings too. .saidanddone

95

NAYCE, Alhambra, CA, USA

MICHAEL SIEBEN, Austin, TX, USA

MIKE RHEAULT, Allston, MA, USA

TRAVIS MILLARD, Los Angeles, CA, USA

ERIK SANDBERG, Portland OR, USA

KEITH GREIMAN, Philadelphia, PA, USA

DAVID CHUNG, Detroit, MI, USA

JEFF JORDAN, Eureka, CA, USA

FEMKE HIEMSTRA, Amsterdam, The Netherlands

ROD HENDERSON, Vancouver, BC, Canada

ROBERT HARDGRAVE, Seattle,WA, USA

104

shawno’keefe.

SHAWN O’KEEFE Victoria, BC, Canada // www.trust36.com With two young sons, how do they affect the way you get your art and work done?

My boys (Graeme, 5yrs, and Ian, 3yrs) are awesome, they are the most important thing in my life. They can melt your heart at the core… and also make you want to put long sharp things in your eyes some days. Kids have no sense of looking at the world through your eyes, because they can’t… everything is about them and how things affect their enjoyment. They can easily overwhelm you with their volume and need for attention, but they are constantly amazing me with their desire to learn and understand. Their imagination is unstoppable, it crosses right over into reality… I try to put myself in their mindset and see the world through their eyes as much as possible. They can teach you so much.

As for getting work done, I have a studio space (garage) where it’s mostly off limits to the boys during daddy’s work time. My wife Susan is very supportive and takes care of our boys when I’m working, she’s an amazing mother and wife. I have the utmost respect for single parents who have to deal with the trials of parenthood on their own, it ain’t easy.

Does your drawing collaborations with your sons influence your illustrations and paintings?

Like I mentioned before, a child’s imagination is

amazing and sometimes as a graphic artist you can really burn yourself out… spitting out concepts and feeling a little bit boxed in. Drawing with my kids is refreshing and definitely something that I love, and they do as well. I find that rather than coach, or teach, I just draw beside them. They work on their own things and every once in awhile they just watch me draw. I do notice that Graeme is really getting good, picking up on dimension and shading… I love it when he tells me the stories behind his drawings – they are brilliant, they could be movies!

After almost 10 years working at a salary job, how is it now that you are out on your own as an illustrator, artist and designer?

It’s great. I’ve put in my time punching the clock, and learned my chops. Working in a screen shop art department really helped me with my technical abilities as well as helped me work out a style that lends itself to many applications. And now that I am working from my own space, for my own clients, I have the opportunity to take everything to the next level and focus on the work that I enjoy.

Your illustrations are in a lot of the TransWorld mags. How did that come about?

There’s this guy Randy Laybourne. I met him in art school, we hit it off right away. He was

a long-haired skater kid with an attitude and a backpack full of sketchbooks. He got me working my sketchbooks HARD. I’d always try and draw crazy shit to make him laugh. He and I hung out and drew a lot. When we finished school we stayed in touch, he went on to more schooling back east and I went to work. He was driven, I was always amazed at his persistence… he’s a talented artist and not lacking in drive where many artists fail.

He worked his way up. He’s now the Art Director for TransWorld Skateboarding. He hooked me up with an Illustration gig, it worked well and I’ve been illustrating for them pretty consistently since.

What does your process consist of?

Wow, It’s different just about every day. Most re-occuringly, my process is known to start with 3 or more cups of coffee and a highly organized music library sorted for all moods and occasions. I have a much different approach to my fine art than my commercial work obviously. I really enjoy the process involved with the Woodpile Collective, a painting group I’ve been involved with since 2003.

WOODPILE.CA

.saidanddone

105

106

ianfrancis.

IAN FRANCIS Reno, NV, USA // www.ifsra.co.uk

You were the first person I approached about doing a print – that was a year and a half ago.

What has changed in that time as an artist?

Things have been going pretty well actually, people have been really kind, helpful and patient with me.

I’m finishing off a load of work for some small parts in a few different group shows. I’ve just recently switched to putting stuff together by hand on a canvas, instead of finishing things on a computer.

There’s a lot of things I like about working on a computer, but I’m enjoying working with a physical object as a finished piece at the moment.

I presume that you work full time? What do you do when you are not working or making art?

I work part time in an office. When I’m not doing that or doing artwork, I’m usually watching Columbo, obsessively following the news, getting drunk, pretty much the normal stuff I guess.

How much of your work is planned out and how much do you discover as the work progresses?

At university I did my degree in illustration, and I started to get frustrated by the idea of having everything planned out and then just working through it, it seemed to kill the picture. I usually have an idea of what I want to do, either a title or the way a couple of images sit together, and then see what happens with various textures, paint,

marks etc. as the thing progresses. Quite often I’ll change something completely at quite a late stage in it. I like playing between elements that are tightly controlled, and then just throwing things around in other places to see what happens.

Who or what are some or your inspirations to create work?

I get most of my inspiration from the internet, just the sheer weight of random pictures that people have decided to put up fascinates me. News reporting influences me strongly as well, although I generally try not to make it too overtly literal in my work. Visually I take a lot of inspiration from photography, particularly the angles, compositions used. Left to my own devices I draw people in quite a boring face on/side on kinda way, so it’s good to mix things up.

To me it’s important that my artwork has meaning because I want to engage people, although it’s good if it’s something that’s actually difficult to sum up in a couple of sentences.

What direction do you see your career going in?

At the moment I’m really just having fun doing the artwork and trying to get better at what I do. I really have a lot of work to do; pushing techniques for mixing different media together, I’d like to get a lot better at painting too. I’d love to get a studio, working on my bedroom floor is a bit cramped, I’ve got seven paintings stacked around my walls at the moment and it’s getting hard to move around. I’ve got some shows lined up for 2007, hopefully they’ll go well and I’ll sort out some more. I try not to worry too much about the “career” side of things at the moment.

Do you find it odd being asked what your artwork means?

No, I think it’s a good thing. I struggle with it sometimes, because I find it difficult to condense all the time I spend doing work, thinking about work into a few concise sentences. But I think it’s good because it forces me to focus and reflect on what I’m actually trying to do. Sometimes it makes me realize that what I think I’m trying to get across Isn’t what’s actually coming across in my work. .saidanddone

107

CMYK THE SEQUENCES: PAUL RODRIGUEZ fronside bigspin boardslide [ o ] zaslavsky.

NATE EVANSMAGNUS HANSONMARK APPLEYARD

108

.cmyk

109

110

NATE EVANS backside flip [ o ] christian.

MAGNUS HANSON backside lipslide frontside shove it [ o ] doubt.

111

112

MARK APPLEYARD 360 flip [ o ] caissie.

STSJ114CdBooklet.indd 6-7

14-11-06 0

SOUND & VISION NORWAY’S GOOD TO LOOK AT wordsby saelan twerdy portrait illustrationby jonathan paulsen words on the floor, (yoshimi and mats gustafsson) original album artby kim hiorthoy

Lots of people know that Scandinavia is famous for good design and sensible ideas. What’s less known is that cities like Bergen, Norway, are also home to some of the most groundbreaking contemporary jazz, experimental, and electronic music in the world. Bringing these two fields together is Smalltown Supersound/Superjazz, a Norwegian record label that puts out a lot of the country’s best music, dresses it up in packaging by some of the world’s best designers (Kim Hiorthoy, the poster boy for Norwegian album art, puts out his own music on Smalltown Supersound in addition to doing a lot of their graphics), and now, is branching out into North America with new artists that demand your attention.

Lindstrom, for example, just released his first full-length album, It’s a Feedelity Affair, on Smalltown. His insanely respected series of club twelve-inches have all but singlehandedly revolutionized dance music with a form of spaced-out disco that stomps all over the last thirty years of ideas in the field of ass-shaking. Tussle (a San Francisco band that formerly included Andy Cabic, who now fronts Vetiver and plays with Devendra Banhart) and 120 Days are bringing new rock influences into the Smalltown roster, with cosmic synth grooves and antsy clockwork beats that echo 70s krautrock and the N.Y. post-punk of Liquid Liquid (who guest on Tussle’s new Telescope Mind LP). On the jazz and avant front, Smalltown’s Superjazzz subsidiary is preparing collaborative releases that include members of Sonic Youth, the Boredoms, and various titans of European freakout jazz that cannot wait to blow new holes into your skull. Smalltown’s Joakim Haugland explains why you should open your ears and set your sights on Norway.

STSJ114CdBooklet.indd 16

114

14-11-06 09:36:25

Color: Tussle is your first American signing, correct? How did you get involved with them?

JH: Five years ago or so, Alexis Georgopoulos was the first to book Smalltown Supersound to the US when he put up a label night in San Francisco. After that we kept in touch. We`ve always had the same taste in music, so when he was in this band Tussle I knew I would like it. And I did. I did their debut album, Kling Klang, for the European market and I’m doing their new one, Telescope Mind, for the whole world. This is an album I’m very proud of.

With Tussle, 120 Days, and The Whitest Boy Alive [Erlend Oye from Kings of Convenience], you seem to be moving in a more rock-oriented direction. I can see a parallel with an American label like Carpark. Does this signal any shift in your ethos as a label?

STSJ114CdBooklet.indd 4-5

14-11-06 09:36:18

This is nothing that I have chosen or anything, it has just happened naturally.

All the bands you mention have their roots in groove music and in that way they fit perfectly with the rest of the electronic music roster on Smalltown Supersound. But it’s all part of the split with Smalltown Supersound and Smalltown Superjazzz, and the fact that I want the Supersound label to be a label for melodic and groovy music and the Superjazzz label for free music and avant.

Is the American market more or less receptive to dance music than in the past? With Lindstrom, for example: how do you expect the reception of It’s a Feedelity Affair to differ between Europe and North America?

Right now its seems like everybody loves Lindstrom. I think his music is well received both in US and in Europe, I don’t see big differences between the markets.

How would you describe your vision for Smalltown Supersound?

My vision is to release quality music. I only follow my own personal taste (which changes a lot from time to time). I want the label to be broad at the same time as I want there to be a red thread. I want people to feel the Supersound, and I want people to feel that the music on the label is related and fits together, although it sometimes feels different. Many, or actually most, of the artists on my label know each other and are collaborating in one way or another. Most of the time I bring them together, sometimes they bring me to the music and artists/bands they love. In some ways, Smalltown is kind of a collective, or at least it has this collective feel.

How does your relationship with Kim Hiorthoy overlap with his relationship with [Norwegian jazz label] Rune Grammofon?

Me and Kim are personal friends and he is very connected to the label. In many ways, you could say that we almost run it together. I always seek advice [from] him as our musical tastes are almost identical. With Rune Grammofon, he has another role, as he does the covers for them and it’s a different thing. We are all good friends. I have worked closely with Rune for many years, and we often help and seek advice with each other, so there is no competition, only mutual respect.

CD LABEL PANTONE 116C PANTONE 428C PRINT ON WHITE BASE! Artist: Tussle Title: Telescope Mind Catalog No: STS116CD

STSJ114CdBooklet.indd 12-13

14-11-06 09:36:24

Do you think the audience for contemporary jazz and noise/experimental music is expanding?

It seems like it. I see skate kids at the free jazz shows and it makes me glad and gives me hope. And I understand it, because if you are into Black Flag or, say, Sepultura, then you are already open for more difficult music, and you are willing to check out new things. That was the way it happened to me, being into hardcore, punk and metal and then discovering the free jazz. It has the same feel and energy of much of this music. There are obvious similarities between a band like Lightning Bolt and The Thing, for example. Many people are noticing this and I hope that even more people will! One of Smalltown Supersound`s big heroes, Eye from Boredoms, is the perfect example of this, having done noise, punk, kraut, drone music and now doing disco stuff as well!

He is a man with no musical boundaries and I love it.

What album that you’ve released has been the most overlooked?

Mental Overdrive’s 083 is great, great record that somehow was overlooked a bit I think.

What’s next?

Oh, a lot of things: I`m putting out a Sunburned Hand Of The Man album that is produced by Kieran “Four Tet” Hebden, a DVD with Jaga Jazzist, new albums

by Bjorn Torske and Kim Hiorthoy, a remix EP with Lindstrom, a new signing called Arp, a new compilation, 120 Days’ two first EPs will come out as a mini album, a mix CD by Oslo’s Sunkissed team (a CD with the best of Norwegian electronic music). On Superjazzz, we’re reissuing The Thing’s first two albums, we’ve got a collaboration album with Mats Gustfsson and Boredoms’ Yoshimi, an album with a new band called Original Silence (which is Thurston Moore, Terrie from The Ex, Jim O`Rourke, Mats Gustafsson, Paal Nilssen-Love and Massimo from Zu), also a trio with Mats Gustafsson, Paal Nilssen-Love and free jazz legend Peter Brotzmann, an album with Two Bands and a Legend (which is The Thing with Joe McPhee and Norwegian garage rockers Cato Salsa Experience), a new Jazkamer album and a Mats Gustafsson solo album.

Puh, I almost hope there is not more, but there probably is.

Who are Smalltown Supersound’s friends?

In Norway I would say Telle Records, Rune Grammofon and also Bugge Wesseltoft and his Jazzland Records. I have much respect for what they all have built. Outside of Norway the labels that I admire and that I have quite close contact with are DFA, Vice Records, Thrill Jockey, Rough Trade, WARP, Domino and Drag City. Some I have more contact with than others, but I regard them as friends.

Why do you think the contemporary jazz scene in Norway is so vibrant?

There is an openness that is unique I think, and people are not afraid to experiment and try out new things. Another important thing is that many Norwegian artists are not afraid of collaborations, and a lot of new music is created within these collaborations. Also, we are not in the music industry spotlight and things can evolve without everyone watching.

STSJ114CdBooklet.indd 8-9

14-11-06 09:36:21

115

116

atourstory.

illustratedby ben tour

words&photosby dylan doubt

What do you do when it is fall on the west coast, and you only have a week to come up with an epic skate trip? Why, you fill up a van and point it south. We wrangled Color illustrator, Ben Tour, into one of the seats, and filled the rest with friends, new and old. Road veterans Mike McDermott and Wade Fyfe were the ones bootlegging smokes for the young Jamie Tancowney, Justin Allain, and Zane Cushing. We had one week, 2500 kilometers, no filmer and several rolls of film. There were long legs of driving and short days. The van got a few dents and there may have been a little contact with human shit, but there was also some light shoplifting, good eating, just enough skating and a little bit of harmless drinking. It is a tour after all, what would you expect? For better or for worse, Mr. Tour’s little sketchpad was riding shotgun for all of it.

117

Hubba Hideout is skateable again. Well, that is to say that the caps have been taken off, and the benches that blocked both run up and landing, have been thrown into the bay. There is still the security team to deal with, of course: a team headed by a seventy-year-old whistle-wielding lady with an SFPD hat, some questionable credentials, and her army of thuggish drunks and crackheads that live in the park. An unnecessary army, as she manages to do a frustratingly good job of fending off anyone trying to get up on skateboarding’s most famous ledge.

After all, who is going to hold a grandmother at bay? The irony of a salty old drunk standing behind a Septuagenarian telling you that if you don’t leave the park immediately, he is going to start breaking boards, is a little hard to take.

Justin lost his virginity at the tender age of 11. Seventeen year-old Jamie reminisced about when he was dating a 20 year-old woman. I won’t go into details, but these are the kind of things that come up during conversations on epic late night drives along the I-5 in a van full of boyish men. It’s an experience that many have shared, and few should die without knowing.

ShowingALLAIN, JUSTIN up at a varial hot new flip. spot always has its drawbacks. Justin crosses his fingers and hopes that this textbook varial flip isn’t an A.B.D.

118

atourstory.

ZANE CUSHING, backside 180... the long way.

Zane is a man of few words, but a good man indeed. He has a lovely squeal when struggling with that first leap onto, or off of things. This was our first trip together. The first of many, I hope.

.atourstory

119

JAMIE TANCOWNEY, tucknee.

Skating for a crowd is always a treat. School’s out and Jamie performs for dozens of cell phone cameras and overprinted hoodies. The American school system is a fright.

120

californiatrip. atourstory.

.atourstory

121

WADE FYFE, nosegrind revert.

Wade hops up and grinds his front truck across the pebbles, through the kink, 180s out, and lands on all fours without a tic-tac.

Wade is an animal on the dance floor. Awhile back, he was really fixated on the song “Purple rain” by Prince. I always fantasized about finding him a purple cruiser motorbike with a sweet sissy bar and wicked pull-backs. He would be such a sweet addition to any motorbike trip. It would be awesome if he started cutting his skateboards into really stupid shapes that referenced Prince’s funky guitars of that era.

122

atourstory.

ZANE CUSHING, boardslide.

Zaner gets up again, this time scraping his way through the kinks. All this, just to be able to buy an eight dollar forty of cheap vodka and three cases of 100’s at the duty free shop. .atourstory

123

BIGGER AND BETTER THINGS

YESTERDAY’S FUTURE

Ben Stoddard (don’t skeep productions) The first time I tasted a decent single malt scotch I was overwhelmed. I just wasn’t ready for it. I was crushed by the heavy musky peat, and thought that I was going to send it right back into the glass.

That was my second attempt at a sip, the first time I raised it to my lips I made the mistake of inhaling through my nose, causing an eye-watering scrunching of the face that had my head facing backwards and the glass back on the table in disgust. It took a few years of drinking the Irish before my taste buds matured enough to realize what I had been missing. The first few generous fingers after a hiatus are always a warm return. Few other liquids harbour so strong a personality.

Oh! What’s this? It’s Bigger and Better Things, a sophomore effort by Vancouver’s own, Ben Stoddart and Dave Ehrenreich.

Cory Wilson jumps out the gate with a heavy introductory part. Alien’s part stands out as maybe the most polished. Being of, well, massive stature, he is often found dwarfing obstacles. As a result, the poor kid has been forced to find spots that are to scale, which he seems to have done well. An Alien slam is always a good slam and, as usual, there are enough to go around. Chad Dickson puts another good part together. Stacey Gabriel is in there, as is Nate Lacoste, with his usual stylish bag, as well as some of the other usual suspects and a handful of other lesser known skateboarders from the lower mainland and an ex-pat, Scott Reid, who reminds us that Europe is truly where the good spots are found. Friends are nice to have around, and it looks like this video showed up at the party with a couple two-fours, because the “friends” section is stacked. I don’t want to mention any names, but Derek Swaim rules. This video has a slightly different look to it, being mostly shot on a Panasonic 24p camera. It is a refreshing change, and I look forward to seeing what comes next.

—blaine francis

GET FAMILIAR

Jarvis Nigelsky (underworld)

Underworld skate shop’s latest video release, Yesterday’s Future, showcases a good variety of Canadian skateboarding. Filmed by Jarvis Nigelsky, this video brings you to spots not only in Canada, but also to many of the bustling skate hubs throughout the world. With strong parts coming from Ted Degros, Paul Carter, Jason Crolley, and Grant Patterson, this video will get you stoked to skate. The cash money, mafia montages between parts are a little hard to digest, as well as a somewhat disjointed soundtrack, but skate-wise the video is a solid one. —gordon nicholas YESTERDAYSFUTUREVIDEO.COM

DOT THE I CROSS THE OTH Sean Sader (off the hizzy)

Chris Hall

I suggest before we get into this review, you get to your nearest computer and do a little Youtube search for Chris Hall. Ok, done? Now you know that Chris was down with the New Deal, when that was about as good as it got. He has also been down with that whole sordid sneaker thing long enough to be over it, so it shouldn’t come as much of a surprise to find him back in the thick of things.

Get Familiar is the product of two years of hard work, with full parts by Mark Gonzales, Darren Harper, Casey Rigney, Zach Lyons, Donny Barley, Bobby Worrest and Daewon Song. There are also guest parts by Joey Pepper, Reese Forbes, and James Craig. Is it wrong to tell you that Casey nollie heel nose mannies the big courthouse manny?

Or that Zach Lyons rules? Darren Harper has last part, which some may find shocking following a typically epic Daewon part, but then Chris Hall himself, says that he is about to blow up. Don’t fuck around searching for low-res excerpts on the internet, if you can’t find it at your local shop, then go straight to the website order yourself a copy, and wait it out. Put this one on the shelf right next to Underachievers and in ten years you can pull it out to show your little cousin what skateboarding was really about. —blaine francis

GETFAM.COM

Who buys videos? Better yet, who sells them?

Between webcasts and promo videos slipped into magazine wrappers, it seems like awhile since there has been a video that you want to rush out to the shop and buy. Sean Sader and friends from Saskatoon got together and slipped their video onto the web. This is number four in a series by a crew who had the misfortune to have named themselves (and the unfortunate diligence to stick by) “Off The Hizzy” (the ‘OTH’ in the title). Joining Sean are Cam Buchan, Jason Gordon, and Kevin Lowry.

I am going to guess that these are mostly prairie spots, but Jason had the good fortune to find himself in Spain, so the video has a little worldliness to it. They are kind of a random bunch of dudes that you likely have never heard of, but the video has a nice look to it, and the musical selections are top notch. This video is humble, and a nice reminder that no matter where you find yourself living, the world is yours if you keep a positive eye. This review is going nowhere, so you’d best just go to http://www.seansader.com/secret.htm and have a little look for yourselves – it is free, after all.

—blaine francis

SEANSADER.COM

SUFFER THE JOY Kevin Barnett (toy machine)

I am a huge fan of skating banks, and respect it as a backlash against massive rail skating, but Toy Machine really left the door open for criticism on this one. Fortunately Diego Buchieri and Johnny Layton are around to tear a few new assholes in any negative press that may arise resulting from the overabundance of said inclines. It’s not so much their tricks, but the way that they do them.

They are certainly continuing to put the “machine” in Toy. Newcomer, Nick Trapassso fits in nicely, and the rest of the team lives up to the high standards that Toy Machine has always set for themselves. This is after all, a “Toy Machine“ video in all respects, there are even a couple token Ed Templeton impossibles. All of you Toy-aholics out there will not be disappointed. —blaine francis TOYMACHINE.COM

124

trailer.

ANDREW POMMIER x TYLER McKENZIE MIKE CHRISTIE, frontside 5.0

.fotofeature

127

128

fotofeature.

ANDY JENKINS, TONY LARSON, ANDY MUELLER x DAVID CHRISTIAN OLARA OBINA, frontside flip

130

fotofeature.

LORI D x DYLAN DOUBT QUINN STARR, ollie

JOHN RATTRAY Photo: Houghten

THE SCOT model shown in white/black

TATTERED10 WITH COREY SHEPPARD.

interviewsby matthew meadows

photoby brian caissie

“I head butted him in the face and kicked the shit out of him.

And now what?

You aren’t taking my boots.”

1. So have you been painting a lot?

Like every day. Not as recently now though because I am renting out my house. Now I don’t really have a place to paint. I have been working on a few other things like figurines and dolls and stuff.

2. What kind of shit do you usually paint?

Depends on what is on my mind. Since I have broken up with my chick, I have been painting a lot of depressed things. I gave a painting to one of my friends and his girlfriend doesn’t want it in her house no more because every time she walks into the house she gets depressed. So yeah, me and the girl had our eyes bleeding and I don’t know what to think of that.

It’s what comes out when I am painting.

3. You had a photo of when you were a kid and you painted it with your eyes bleeding. What did that mean to you?

Oh that was because I skated for Blind and uh, I just wanted my eyes to bleed. A lot of the things I paint I don’t know why, but like years down the road they will come to me and I will be like, “Oh that is why I painted that.” Like everybody has a story to tell but I suck at words so I tell it in my paintings, even though I am not a master painter yet and I may never be. But learning is a great experience… talking to other artists.

4. Awhile ago you told me you mostly painted what you dreamt about.

That is what I am saying. Everything changes so rapidly with art and with me that I don’t know. It is whatever I am feeling. Like yeah, I will wake up out of a dream and dream something cool and then make it by painting it. Then sometimes I will just sit there and some of my best pieces ever just happen, just sitting there getting super high and just painting. Although I don’t smoke weed that much anymore, just when I paint and skate.

Now you are giving off the wrong impression... (laughs) I use it as an influence to visualize…

5. What influences you to paint?

I don’t know just waking up. I love it. I love it just as much as skateboarding. I wanna paint just as much…

I was an amateur skateboarder, now I feel I am an amateur painter. But I am still trying to come up a little bit in a weird way. In art it is all contacts and who you know, but I love it and I think that shows. I am not just some random dude who just took up painting and was like, “I am taking this up for something to do.” It’s nothing like that.

6. Do you want to talk about Blind?

Uh, [i just want to say] thanks very much. You know, they turned me pro. They gave me a life I wanted at the time. Now we have to part ways and I appreciate what [they] have done for me. But, you know, it’s all about the reaper. And let me tell you the reaper is dead, right? So, I will leave it at that. The reaper is dead.

The reaper is already technically dead.

Well he needs to be resurrected and killed again. And I have already told many people how I am gonna do this. I am not going to say how and why, I am just gonna say thank you very much.

7. Did you pick a lot of the blind amateur team?

Yeah, I picked most of them, me and Bill Weiss.

Actually, me and James Craig were with Jake Duncombe, ‘wild man Duncombe’. We were like, “This kid is awesome. Let’s put him on the team.” Grant Patterson [is] another kid – I went up to him at some random place, I was like, “Yo dude, I am psyched on your skating. I would love for you to skate for blind.” I am sure he will have a pro model on blind before the next video or right after. Danny Cerezini, I was skating with him and I was like, “Bill, this kid is amazing you gotta put him on.” I am not saying I made all the decisions. Everyone had a say, from the suit fucking fuckfaces to the teammates. Everyone. But I definitely had an influence or whatever.

8. Since you brought all those kids up are you gonna miss being there to watch them grow up?

No. I got other things to worry about. I see them in the magazines. I see what they are doing. I am not fucking retarded, I see what is good in this industry and what isn’t. And what is bad [are these] tight ass bitches wearing these pants that look like girls’ and wearing all this flair that is so disgusting. You need to figure yourself out. Skateboarding is not just gonna let you do certain things. You are gonna be looked down upon.

9. When did you figure out who you were?

I have always been the exact same as who I am.

Always. Even my mom is like, “Don’t pull your pants up, you look kind of crazy.” She thinks I look weird with my pants around my waist. I think I look like a fucking nerd. I have been the exact same. Like yeah, in grade seven I had 14-hole cherry docs, and some kid wanted to steal them from me and so we had a fight arranged at the end of the day. I was like, “Yo, I don’t want to fight,” [and] then I head butted him in the face and kicked the shit out of him. And now what? You aren’t taking my boots.

10. What’s your take on skateboarding and kids nowadays?

The kids this day and age… I get a million of them on Myspace, all like, “I want to get sponsored.” NO! You gotta love it. It will come to you. You shouldn’t have the mind-frame of “I want this, I want that, I want the world, I want to travel.” Everyone wants that but that is not what skateboarding is about. You do it ‘cause you love it and that is why you keep doing it. Like I said, I will always have the love for it. Yeah, there are times when you are gonna slack off, but it will come back…

Argh… I just thought of something then I forgot.That is why I have the brain of a goldfish. I don’t know if I told you guys but like three seconds and it’s done. Only at certain times but… oh whatever.

.tatteredten

133

THE SKYGREEN LEOPARDS

Disciples of California (jagjaguwar) On their third full-length, the West Coast’s most blissed-out soft-psych prophets travel the inward path to commune with their forbears. Digging deep in the soil and lore of California’s cosmic traditions, the Leopards have added a heavy dose of Byrds-y country to their pastoral twang, which turns out to be the perfect alchemical recipe.

With songs like “Jesus Was Californian,” “Golden Pilgrim,” and “William & the Sacred Hammer,” they veer pretty directly into hippy-dippy territory, but like both of their previous albums, it’s a damn chill place to hang out once you’ve settled in. As usual, Glenn Donaldson’s mystical collage-art perfectly illustrates the hazy rainbow atmospheres contained within.

DAEDELUS

Throw A Fit (alpha pup) Daedelus has always struck me as a nice guy. He’s moved up to Ninja Tune from Mush Records, but staying true to his roots in the L.A. indie scene, he’s put out this tasty and substantial six-song EP on upstart L.A. label Alpha Pup. This might not be a full-length, but I think it’s the finest example of Daedelus’ genre-defying sound that I’ve heard to date. On the first song, “Admit Defeat,” whirring clockwork beats bump up against bouncy jazz piano and bossa guitar while a vintage crooner coos, “Take it easy on yourself.” Which is exactly the opposite of what Daedelus proceeds to do for the rest of the album, hyperactively recombining a dizzying variety of samples in a way that ends up seeming natural and familiar. Like Kid Koala, Daedelus exudes charm by making prodigious feats of talent seem effortless. Art and layout by the ever-popular husband-and-wife team of Kozyndan.

This heaving monster of a supergroup has three heads, and they’re the best heads in Canadian indie rock (or at least on the West Coast): Dan Bejar of Destroyer, Carey Mercer of Frog Eyes, and Spencer Krug of Wolf Parade/Sunset Rubdown.

The hype machine has been shifting into overdrive for this one, and not without reason: Beast Moans may not be exactly the sum of its parts, but there’s an impressive meeting of talents going on, and the result is mighty indeed. Recorded in a friend’s house (and sounding like it), Beast Moans is ragged, noisy, and desperate, like the sound of three men’s paranoid fantasies clawing over each other to reach some mythic mountaintop. This is a literate, passionate album, alternately bitter and jubilant, and Shary Boyle’s uneasy landscapes are the perfect cover art. Certainly a contender for the best indie-rock album of the year.

VARIOUS

The World Is Gone (xl) As a nameless and faceless collective of producers and vocalists, Various have built up quite a buzz around themselves in the last year by remaining mysterious and letting their immaculatelyillustrated singles speak for themselves. David Bray’s art (which has also been employed in the service of H&M, Flaunt, MTV, and the BBC) is seductively gothic in pen-and-ink shades of grey, which could also be said of the music, an eclectic (sometimes scattershot) mix of grimy dubstep, baroque folk, and post-Portishead downtempo.

Quite possibly the most fashionable urban malaise currently on the market.

JOANNA NEWSOM Ys (drag city)

SWAN LAKE

Beast Moans (jagjaguwar/scratch) 134

soundcheque.

From the beginning, Joanna Newsom has been a divisive character. Let’s face it: an elfin harpist with an antiquarian dictionary isn’t going to be

everyone’s cup of tea. For her second album, she isn’t making any concessions to the unconvinced, either: the album is named after a mythical sunken city, the cover art (by Benjamin Vierling) is shamelessly pre-Raphaelite, and nearly every song is a stream-of-consciousness poem over ten minutes long. On the more enticing side, Jim O’Rourke produced it, Steve Albini engineered it, Bill Callahan (aka Smog) sings guest vocals, and Van Dyke Parks (of Beach Boys fame) wrote string arrangements to accompany it. Now, I have to admit that I’m one of the faithful, so beware of my bias when I say that, as much as her debut was genius, Ys is almost unbelievably more so. It’s a densely beautiful work of uncommon originality and ambition, and every aspect of her talent has only increased. If you hated her before, Ys may not be likely to convert you, but if you’re already a fan, this album will be a revelation.

ISIS

In the Absence of Truth (ipecac) In the two years since Panopticon, Isis have moved further into progressive-rock territory, working some Tool-like rhythmic complexity into their already-bombastic blend of modern metal and muscular post-rock. Their typically oceanic approach is still in evidence, and most tracks work from a slow build to a massive crescendo, ebbing and flowing fluidly, but long-time fans might find themselves disappointed by the abundance of clean vocals from singer Aaron Turner. His trademark growl and roar still pops up here and there, but the truly heavy passages of the album almost seem like explosive punctuation for the band’s more atmospheric explorations. I suspect that Clifford Meyer and Jeff Caxide may have picked up a few habits from their artier sideproject, Red Sparrows. The embossed, illustrated sleeve and fold-out booklet comprise the band’s most lavish packaging to date, designed by the singer.

This issue we look at new releases with illustrated jackets... some not so new too.

Escobedo.

DOSH

BUSDRIVER

The Lost Take (anticon)

Roadkill Overcoat Holy Mountain (earache)

(etipaph) Martin Dosh is the drummer for Fog and plays in Andrew Bird’s band. He’s known for having a lot of friends, a happy family, and a sentimental disposition: rumour has it that he proposed to his wife by writing a song called “I think I’m getting married,” and his second album included vocal samples from his wife and two children, and beats from his drum students. The Lost Take, his accomplished third album, stays true to the same tendencies while developing Dosh’s strengths: live, he sits on a swivel stool playing rhodes, synths, and drums at the same time, using a loop pedal to build instrumental songscapes that teeter and leap like mobile cities. On record, he gets help from Andrew Bird, members of Fog, Tapes n’ Tapes, and Happy Apple, and the product is a winsome, peculiar brand of mostly vocal-less music (not pop, not hip-hop, not post-rock) that recalls the Notwist, the Books, and Tortoise. It’s theme music for people with healthy, happy lives – like Dosh himself. Cover art by Dosh’s wife, Erin.

VARIOUS ARTISTS

Chrome Children CD/DVD (stone’s throw/adult swim) This is Adult Swim’s second foray into hiphop after the hugely successful DangerDoom collaboration, but unlike The Mouse and The Mask, there’s no cartoon samples on Chrome Children: it’s a straightforward (and thoroughly excellent) compilation of the best that Stone’s Throw currently has to offer. Oh No’s lead-off track sets the tone with a self-referential oral history of the label’s family tree (Madlib, the label’s cofounder, along with Peanut Butter Wolf, is Oh No’s older brother, and their musical family includes soul singer Otis Jackson and jazz trumpeter Jon Faddis), with a clattering, scratch-heavy beat and swinging organ. The overall vibe is heavier than I’ve come to expect from Stone’s Throw, with Med shouting out to “the life, the streets/ the beef, the rhymes, the beat ... the dough, the weed, the heat, the hoes, my folks, the beat,” and Guilty Simpson bringing some hard, gun-waving menace to the album’s most club-ready track, “Clap Your Hands.” “Monkey Suite” is a promising outtake from the highly-anticipated new Madvillain album, and the disc rounds out with some more soul and funk-oriented material from Aloe Blacc, Gary Wilson, and Pure Essence. The real treat, though, is the full-length concert DVD featuring Madlib and MF Doom. The ghosts-and-monsters cover art is by Adult Swim’s creative director, Jacob

fact that we are not alone in our suffering.

Regan Farquhar has paid his dues and earned his credentials. His dad wrote Krush Groove, he started rapping when he was nine, and he put out his first album when he was thirteen. Now, with his sixth full-length as Busdriver, he might be underground rap’s most-established and leastrecognized MC. Listening to his combination of breathlessly fast, tongue-twisting rhymes and multi-tracked singing, it’s hard not to think of other eccentric vocal iconoclasts like Dose One and Mike Patton. With beats by similarly eclectic producers DJ Nobody and Boom Bip, Roadkill Overcoat is immediately recognizable as a product of the experimental, unclassifiable scene that Anticon, Lex, and Mush records hold on their shoulders. A little surprising, then, to see Busdriver on Epitaph, but with their support, he’s clearly turned out his best work to date. Jumping all over his hyper-colorful backing beats, Busdriver skewers art-school kids, day jobs, Hollywood social climbers, bling-rappers, and himself with equal enthusiasm. On “Dream Catcher’s Mitt,” he sounds a lot like Why? over strummed acoustic and nostalgic, Boards of Canada-esque synth washes, but he’s not biting. He helped invent this style, and with lines like, “My journal entries are irony-laden and tirelessly self-loathing,” he parodies and transcends emo-rap conventions.

Busdriver has finally arrived, so take notice. The gorgeous, gore-fest cover art is by Seripop, the undefeated monsters of screenprinting.

A guy named Robert Klem illustrated the cover for Sleep’s bongwater infused, doom metal spectacular Holy Mountain and after some intense searching, it seems he now works at a tattoo shop in San Jose called Marks of Art. We all had a guy like this, drawing pictures like this in our high school art class; what began in September as a stoned doodle, expanding day after day into an intricate psychedelic masterpiece your art teacher got so stoked on because it flashed him back to the time before his drug of choice was shitty staffroom coffee. It’s all in there, saturns, satans, mushrooms, pitchforks, angels, crosses, eyes, suns, pot leaves—not to mention a spherical brain electrified by THC and no-doubt the churning sludge of Sleep’s guitars. This album is best enjoyed in the basement of your parents house while they are upstairs talking about starting to charge you rent. —Bobby Countach

Liquid swords (geffen records)

VARIOUS ARTISTS

Last kind words (mississippi records)

Coming out of Montreal/Portland’s extremely small, mississippi label, is one of two new rereleases of long forgotten works. Last Kind Words, is an incredibly well put together compilation of blues from 1926-1953, featuring Blind Willie McTell, Memphis Minnie, Geechie Wiley, Kid Prince Moore, Robert Petway, Sister O.M. Terrell, Lottie Kimbrough, Isiah Nettles (the mississippi moaner) and others. This is one of the finest collections of its kind, and the poor thing has barely left the turntable since its arrival. The record features original artwork by Chris Johanson, reminiscent of the first anti-hero graphic series. Chris’s world of down trodden wanderers and lonely hotel dwellers fits in nicely with the dirty sounds contained within these 12 inches of vinyl. These are the sounds that seep through open windows and offer marginal light on dismal days, if only as testament to the

SLEEP

GENIUS/GZA

Drawn by DC comic artist Denys Cowans, the Liquid Swords album cover is basically a battle scene on a chess board between what seems to be the Wu-Tang Clan (in black robes) and some unfortunate dudes in green suits. In the foreground, the GZA is about to cut someone’s throat echoing the famous Shogun Assassin line sampled on this album, “when cut across the neck, a sound like wailing winter winds is heard they say, I’d always hoped to cut someone like that someday, to hear that sound, but to have it happen to my own neck... is... ridiculous...” Possibly the greatest quote from any movie ever. I feel extra bad for the guy whose head is caught in some kind of bear trap on the end of a chain weapon. Clearly he is learning the Wu-Tang are not something anybody should mess with. Neither is this album because it is an undeniable masterpiece. —bobby countach

.soundcheque

135

[ o ] CHRISTIAN

MIKE McKINLAY, crail grab fakie

138

overandout.

SANDRO GRISON editor / creative director sandro@colormagazine.ca

DUSTIN KOOP associate art director

dkoop@colormagazine.ca

CRAIG ROSVOLD advertising director

craig@colormagazine.ca

BEN TOUR illustration

tour@takemetoyourprom.com

JENNIFER MACLEOD circulation

jmacleod@colormagazine.ca

CHRIS BARIL web

cbaril@colormagazine.ca

INTERNSHIPS gordon nicholas

DYLAN DOUBT photo editor

dylandoubt@colormagazine.ca

NICHOLAS BROWN arts editor

nbrown@colormagazine.ca

MICHELLE CARIMPONG fashion editor

mcarimpong@colormagazine.ca

SAELAN TWERDY music editor

music@colormagazine.ca

SCOTT RADNIDGE senior writer

sradnidge@colormagazine.ca

RHIANON BADER copy editor

rbader@colormagazine.ca

GUEST TYPOGRAPHER michael sieben

CONTRIBUTING PHOTOGRAPHERS ian snow, greame owsianski, tyler mckenzie, brian caissie dan zaslavsky, gordon nicholas, david christian

CONTRIBUTING WRITERS mike christie. adam henry, bobby countache, apefluff blaire francis, matthew meadows

CONTRIBUTING ARTISTS robert hardgrave, shawn o’keefe, ian francis, jonathan paulsen nayce, mike rheault, travis millard, erik sandberg keith greiman artdump, sarah oneschuk, alist, scott radnidge, porous walker andres guzman, amir fallah, brett hes, andrew pommier, lori d parskid, peter taylor, aaron horkey, rick sealock, julia gardner jesse reno, brian sculthorpe, cameron forsley, daniel arcand fiodor sumkin, luke ramsey, ferris plock, ronald kurniawan david chung, jeff jordan, femke heimstra, rod hendersom scott ferguson, jeff gilligan, rickat, ryan riss josh holinaty brian donnelly, ephraim chui, sarah holtom, howi tsui chris huth, james jean, keith shore, kaiti pasqualotto kelsey brooks, randy laybourne, ben frost, dan may fighting, john antoski, mike maxwell, nathan fox distributed in part by MADE Media.

65 WATER STREET, VANCOUVER BC V6B 1A1 CANADA p. 604 676 4996 f. 778 371 9422 sales@mademag.com newstands: disticor.com | magamall.com

Publications mail agreement No. 40843627 Return undeliverable Canadian addresses to: fourcornerpublishinginc.

321 RAILWAY STREET, STUDIO 105, VANCOUVER, BC V6A 1A4 CANADA 604 873 6699 Printed in Canada 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.

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

Subscribe: 6 issues for $39.99 in Canada, $59.99 CND in the United States, $89.99 CND for all other countries. Contact Color Magazine with any subscription inquiries or visit us online: www.colormagazine.ca

140

four.4