The Red Bulletin_0509_ROI by Red Bull Media House

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AN ALMOST INDEPENDENT MONTHLY MAGAZINE /MAY 2009 &YDMVTJWFMZ XJUI 5IF *SJTI *OEFQFOEFOU PO UIF GJSTU 5VFTEBZ PG FWFSZ NPOUI

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THE COLA FROM RED BULL.

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colours or ﬂavourings.

Coca Leaf

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Pine

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Vanilla

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Cocoa

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Natural ﬂavours from plant extracts and natural caffeine from coffee beans.

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BULLHORN

LIGHTS, CAMERA ACTION! There he goes, leaping from 20 storeys, through glass, on fire, falling to what must be certain doom. Poor manâ&#x20AC;Ś What a terrible endâ&#x20AC;Ś But no, weâ&#x20AC;&#x2122;re gawping at Bob Brown, stuntman extraordinaire, who has spent a lifetime training his body and honing his specialist skills to become the worldâ&#x20AC;&#x2122;s most soughtafter â&#x20AC;&#x2DC;high-diveâ&#x20AC;&#x2122; specialist â&#x20AC;&#x201C; a man in demand, on location, wherever the action is at its most extreme and the feat of daring required at its most gobsmacking. And Bob, who thinks nothing of dropping from a helicopter hovering at 450ft onto the roof of a tower block 180ft below, is not alone. Heâ&#x20AC;&#x2122;s just one of hundreds of stuntmen and stuntwomen whose largely unsung work gives shock-wow-thrill to cinema audiences across the globe. For years, their silent, though dazzling contribution received little more than a passing nod from movieland, but that all changed in 2001, when the Taurus World Stunt Awards were born. Conceived to celebrate the hard hits, high wires, massive shunts and towering infernos that are the stock-in-trade of the stunt pro, they have become a welcome fixture of the red-carpet circuit. See what makes them such a big deal, starting on page 40. This monthâ&#x20AC;&#x2122;s cover story, however, takes place a little closer to home â&#x20AC;&#x201C; although further from dry land than any of us are ever likely to venture. Diving off the Aran Islands into bitter Atlantic waters â&#x20AC;&#x201C; the day job of cover star Orlando Duque â&#x20AC;&#x201C; takes a special kind of courage, as you can read from page 54. All this amid the regular Red Bulletin mix of wit (Bullâ&#x20AC;&#x2122;s Eye, page 94), wisdom (columnist Stephen Bayley, page 98) and the ever-so-slightly macabre (Andrew Holmesâ&#x20AC;&#x2122; short story on page 96 might leave you feeling somewhat disconcertedâ&#x20AC;Ś) So, read on! And log on, too, at www.redbulletin.com.

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AN ALMOST INDEPENDENT MONTHLY MAGAZINE /MAY 2009 &YDMVTJWFMZ XJUI 5IF *SJTI *OEFQFOEFOU PO UIF GJSTU 5VFTEBZ PG FWFSZ NPOUI

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Your editorial team PS: Forgive us for feeling a collective warm glow at the brilliant Chinese GP 1-2, for our sister team, Red Bull Racing. We hope theyâ&#x20AC;&#x2122;ll have won again by our next issue, out June 2.

CONTENTS

WELCOME TO THE WORLD OF RED BULL Inside your fit-to-burst Bulletin this month...

Bullevard 10 GALLERY Life through many lenses

14 NOW AND NEXT News, moves, previews and results from around the globe 17 WHERE’S YOUR HEAD AT? We do our own special version of the Jedi mind trick on the man who invented it: George Lucas 18 WINNING FORMULA Take one hobbyist, add one eureka moment, and the result is... the world’s largest boomerang 21 ME AND MY BODY See what a lifetime of sprinting and a month in a bobsleigh did to Olympic champion Jason Gardener 22 KIT EVOLUTION How motorcycle footwear has changed over the years

25 LUCKY NUMBERS Counting the thrills spilled by the brave and talented men and women honoured at the Taurus World Stunt Awards

Heroes

28 ADRIAN NEWEY We get the inside line from the man behind the car that gave Red Bull Racing its first-ever victory 30 MAX NAGL Full throttle with the German motocross ace aiming for world championship glory

32 HERO’S HERO Grammy Award-winner Estelle is vocal about why Mary J Blige will always be her queen of R&B 34 BABE ZAHARIAS Forget Michelle Wie: the first woman to play on the men’s golf tour did so more than 60 years ago – off the back of Olympic golds in track and field. This is the remarkable story of a trailblazing sportswoman 06

CONTENTS

Action

40 THE 2009 TAURUS WORLD STUNT AWARDS Celebrating the secret stars of action cinema and blockbuster movies: exclusive portraits of, and revealing interviews with, the world’s leading danger men and women, plus the inside line on this year’s awards

62 SOUTH BY SOUTHWEST For a couple of weeks every spring, the cooler elements of the music and film industries head for Austin, Texas, for gigs, screenings, talks and a lot of partying. We followed indie hot-tips The Cheek and GoldieLocks as they headed to SXSW 70 KARINA HOLLEKIM After her parachute failed during a skydive, doctors told her she would never walk again, but her beat-the-odds resolve has taken her to even greater heights

More Body & Mind

78 THE HANGAR-7 INTERVIEW No champagne to greet five-time women’s world kiteboarding champion Gisela Pulido: she’s only 15 years old 80 GET THE GEAR If you’re bedding down at a music festival this summer, you’ll need this 82 RED BULL STADIUM On site for the construction of New York’s first purpose-built soccer ground 84 LISTINGS The best days and nights out around the world in the coming weeks

88 NIGHTLIFE Pop-rock duo Black Gold in New York; clubbing in Miami; Mix Hell’s São Paulo; Snowbombing in the Alps; Life Ball 2009 94 BULL’S EYE Water way to have a few laughs... 96 A STORY BY ANDREW HOLMES The novelist (Sleb, Rain Dogs And Love Cats) expounds Facebook’s darker side

98 MIND’S EYE Stephen Bayley tries to explain some commonly confused words FOR MORE LIKE THIS, VISIT: WWW.REDBULLETIN.COM

PHOTOGRAPHY: JAMIE-JAMES MEDINA (1), CHRISTOPHE MICHOT/RED BULL PHOTOFILES (1), MAURITS SILLEM (1), THOMAS BUTLER (1), GETTY IMAGES (1), ERIK SWAIN (1)

54 ORLANDO DUQUE He stands 27m above freezing water at one of Ireland’s most secret and beautiful coastal destinations. He leaps off. It’s because he’s world cliffdiving champion

LETTERS

WORD UP!

Wisecracks and wisdom from the world of Red Bull and beyond. Tell us what you think by emailing letters@redbulletin.com

“I am totally competitive, in whatever I’m doing. Once, when I lost to my father at Ludo, I sat down the next day and practised throwing sixes” :Xe pfl `dX^`e\ n_p (,$p\Xi$fc[ >`j\cX Glc`[f nfe _\i Ôijk b`k\jliÔe^ nfic[ j\e`fi k`kc\ X^\[ ('6 Dfi\ fe gX^\ ./

“I WORE THE SOCCER JERSEY OF THE LOCAL TEAM. IT WAS SOMETHING I THOUGHT WOULD BE COOL TO GET THE CROWD BEHIND ME AND GIVE ME SUPPORT” ?\ d`^_k Y\ fecp (. p\Xij fc[# Ylk dfkfZifjj j\ejXk`fe C\m` J_\inff[ j_fn\[ n`j[fd Y\pfe[ _`j p\Xij kf ]l\c _`j m`Zkfip Xk I\[ 9lcc O$=`^_k\ij `e D\o`Zf

“They had me standing on top of five propane bombs. I’m like, ‘Really? We can’t do this with one?’” DXib :_X[n`Zb fe _`j KXlilj Nfic[ Jklek 8nXi[$nèeè^ klie è K_\ Gle`j_\i% :_X[n`Zb ]\Xkli\j Xdfe^ k_`j p\XiËj efdè\\j k_Xebj kf _`j nfib è K_\ ;Xib Be`^_k2 dfi\ fe gX^\ +'

“It’s a very gentle start to the flight and you think ‘Oh this is fine, it’s no big deal…’ But the first time I pulled some G-force I thought my stomach was trying to disappear down to my ankles” ;Xm`[ :flck_Xi[ kXb\j X Õ`^_k n`k_ I\[ 9lcc 8`i IXZ\ Nfic[ :_Xdg`fe ?Xee\j 8iZ_ fm\i 8Yl ;_XY`

“I SNUCK PAST THE SECRET SERVICE ONE TIME TO SHAKE BILL CLINTON’S HAND. I COULD HAVE SHOT HIM, I WAS SO CLOSE” K_Xe Cll f] k_\ YXe[ 9cXZb >fc[ Zflc[ _Xm\ _X[ X j\Zfe[ ZXi\\i `e \jg`feX^\% J\\ gX^\ //

“Credit to Delon Armitage, he’s been fantastic in this year’s Six Nations, but his performances with his hair and moisturiser are out of this world” Il^Yp jkXi KfYp =cff[ Ôe[j îffd ]fi `dgifm\d\ek è k_\ <e^cXe[ [i\jjè^ iffd

“I think it’s just about completely unloosening the bolts of your brain. Don’t look backwards or sideways” ?fn Kf JefnYfXi[# k_\ XYi`[^\[ m\ij`fe# Yp 9\e B`ce\i# K\Xd >9 Fcpdg`Z jefnYfXi[`e^ _fg\]lc Xe[ n`ee\i f] [fne_`cc ]i\\$]fi$Xcc# I\[ 9lcc ?fd\ Ile

“BEFORE THE RACE, I PROBABLY WOULDN’T HAVE BET ON ME. LESS THAN TWO YEARS AGO I WASN’T ABLE TO GET OUT OF BED BY MYSELF AND I HAD TO LEARN HOW TO TOUCH MY NOSE” Ki`Xk_c\k\ EXkXjZ_X 9X[dXee [\Ô\j k_\ f[[j n`k_ X nèeè^ i\klie kf k_\ @ifedXe j\i`\j è E\n Fic\Xej

“It means a huge amount; our team has been through a lot. Both Seb and I pushed each other hard. It was very tough, so it’s extremely rewarding. I’m hoping to go one step further in the future.” 8]k\i X ZXi\\i$Y\jk j\Zfe[ gcXZ\# Y\_è[ k\Xd$dXk\ J\YXjk`Xe M\kk\c è k_\ :_è\j\ >iXe[ Giò# I\[ 9lcc IXZè^Ëj DXib N\YY\i _Xj k_\ jZ\ek f] m`Zkfip è _`j efjki`cj

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Your Letters @kËj î\Xk kf j\\ X jgfik c`b\ b`k\YfXi[è^ ^`m\e hlXc`kp Zfm\iX^\ è K_\ I\[ 9lcc\kè R8gi`c `jjl\T% 8j X k_i\\$k`d\ nfic[ nX[f bXkX Z_Xdg`fe è bXiXk\# @Ëd Xcc ]fi ^`mè^ dfi\ leljlXc jgfikj dXo`dld \ogfjli\% Cffbè^ ]finXi[ kf k_\ e\ok dX^Xqè\% ;Xm`[ 9iXj_Xn =fi^\k C\n`j ?Xd`ckfe1 8Xife ?X[cfn j_flc[ ^\k k_\ D9< ]fi j\im`Z\j kf jgfik# Xe[ Zffce\jj# ]fi Xcc _`j b`k\YfXi[è^ \ogcf`kj% 8e[ Xcfe^j`[\ _`d è pfli 8gi`c dX^Xqè\ n\i\ k_i\\ dfi\ nfic[$Y\Xk\ij k_Xk jkXp le[\i k_\ iX[Xi f] k_\ dXèjki\Xd# è k_\ j_Xg\ f] k_\ dflekXè$ Y`bè^ 8k_\ikfe j`Ycè^j% 8k c\Xjk jfd\fe\ `j gXpè^ Xkk\ek`fe¿ n\cc [fe\% K`d 9\i\j]fi[ Pfli AlXe GXYcf 8e^\c Xik`Zc\ R8gi`c `jjl\T ^fk dp (($ Xe[ ()$p\Xi$fc[ Yfpj i\Xccp \oZ`k\[ XYflk fli dfm\ kf k_\ JkXk\j e\ok p\Xi% N\Ëi\ f]] kf E\n Pfib Xe[ k_\pËm\ Y\\e n_è^è^ XYflk d`jjè^ k_\ ]ffkYXcc% Efn k_\p ZXe ZXkZ_ k_\ Gi\d`\i C\X^l\ fe KM [liè^ k_\ nèk\i Xj n\cc Xj ^fè^ kf [\Z\ek DCJ ^Xd\j è X e\n jkX[`ld% :cXì\ N_`kÔ\c[ @ nXj Xk k_\ CX[p_Xnb\ ^`^ è GXi`j k_Xk pfl nifk\ XYflk R8gi`c `jjl\T% @ [`[eËk \og\Zk kf Ôe[ k_Xk è dp e\njgXg\i n_\e @ ^fk _fd\# jf k_Xebj ]fi i\dè[è^ d\ f] X î\Xk e`^_k% @ ]fle[ k_\ i\jk f] k_\ dX^Xqè\ X i\Xccp ^ff[ i\X[# kff% DXib DZ>l`cc Cfm\[ pfli 8gi`c `jjl\% @kËj î\Xk kf j\\ jf dlZ_ [`]]\i\ek jkl]] è X dX^Xqè\% @Ëcc efn Y\ cffbè^ ]finXi[ kf k_\ Ôijk Kl\j[Xp f] \m\ip dfek_ kf j\\ n_XkËj e\n Xe[ \oZ`kè^% @ ZXe efn ]fc[ k_\ g\i]\Zk gXg\i gcXe\# Xj n\cc Xj gi\k\e[ @ befn XYflk k_\ i\Xc k_è^# k_Xebj kf k_\ I\[ 9lcc 8ì IXZ\ ^l`[\% JklXik Cfe^Yfkkfd

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ILLUSTRATION: DIETMAR KAINRATH

K A I N R AT H

L I,E UA V AER D A B U BDUH L AB

AB DHAB FAB

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B U L L E VA R D

Bullevard Keeping you up to speed with the action from the worldâ&#x20AC;&#x2122;s leading athletes

B U L L E VA R D

S H A N G H A I, C H I N A

SPRAY IT AGAIN

J\YXjk`Xe M\kk\c Z\c\YiXk\j X]k\i _`j j\Zfe[ =fidlcX Fe\ m`Zkfip Xe[ X _`jkfi`Z ]ìjk ]fi I\[ 9lcc IXZè^% K_\ k\XdËj afp nXj Zfdgc\k\ Xj DXib N\YY\i dX[\ `k Xe Xcc$I\[ 9lcc ($)# X_\X[ f] A\ejfe 9lkkfe% J`jk\i k\Xd JZl[\i`X Kfif Ifjjf Xcjf [\j\im\[ X ^cXjj f] k_\ YlYYcp jkl]] Xj J YXjk`\e 9l\d`# k_`j p\XiËj fecp iffb`\ [i`m\i# jk\\i\[ _`j JKI + k_ifl^_ k_\ gl[[c\j kf \`^_k_ gcXZ\# _`j j\Zfe[ gfèkj ]è`j_ f] k_\ p\Xi% DXep n\i\ jZlgg\i\[ Yp k_\ jf^^p Zfe[`k`fej# Ylk efk c`^_kj$kf$]cX^ c\X[\i M\kk\c# n_f _X[ k_\ jfc\ X[mXekX^\ f] X jgiXp$]i\\ m`\n1 È@k nXj X [i\Xd kf [i`m\ kf[Xp Xe[ jf dlZ_ ]le# k_Xeb pfl# k_Xeb pfl#É _\ ^lj_\[ Xk k_\ ]è`j_ cè\% Ef J\YXjk`Xe# k_Xeb pfl% G_fkfîXg_p1 >\kkp @dX^\j CfX[j dfi\ i\XZk`fe Xe[ Y\_è[$k_\$jZ\e\j jkl]] fe =(Ëj _fkk\jk k\Xd Xk nnn%i\[YlcciXZè^%Zfd

B U L L E VA R D

WORLD IN MOTION

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Free runners descend on one of the planet’s great cityscapes The first international contest for free runners, Red Bull Art of Motion, is back, and competitors need only turn up with a pair of trainers and a head for heights. First things first, though: free running is not the same as parkour. The latter is free running’s hyperactive cousin, with its leaping between buildings and bounding off rooftops in an effort to reach a destination as efficiently and as quickly as possible. A free runner adds urban acrobatics and worries less about the destination than the journey. Red Bull Art of Motion broke new ground in 2007, becoming the first major free running event with a competitive element. Briton Ryan Doyle finished top of a 29-strong field, sealing his win with a gravity-defying double corkscrew. He will be on the judging panel on May 22, with 3,000 spectators expected at Arena Vienna, a section of the city centre with multi-level roofs and open staircases further embellished by bespoke obstacles such as scaffold poles, temporary walls and a car, all providing sufficient raw inspiration for the tricks and turns. Team Tempest from the USA will include Red Bull Art Of Motion’s first woman competitor, Luci ‘Steel’ Romberg. The free runners will each have two 90-second runs to show off their best moves. In the finals, a winner will be crowned based on style, difficulty, fluidity, choice of line and variety. May the best superman frontflip win. I\X[ dfi\ XYflk IpXe ;fpc\ Xk nnn% i\[Ylcc\k`e%Zfd&Xik`Zc\j&k_\VXikVf]Vdfk`fe&\e

PICTURES OF THE MONTH

EVERY SHOT ON TARGET Email your pics with a Red Bull flavour to letters@redbulletin.com. Every one we print wins a pair of Sennheiser PMX 80 Sport II headphones. These sleek, sporty and rugged stereo ’phones feature an ergonomic neckband and vertical transducer system for optimum fit and comfort. Their sweat- and water-resistant construction also make them ideal for all music-loving sports enthusiasts. www.sennheiser.co.uk c\kk\ij7i\[Ylcc\k`e%Zfd

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B U L L E VA R D

THE THIRD DIMENSION

WORDS: RUTH MORGAN. PHOTOGRAPHY: PREDRAG VUCKOVIC/RED BULL PHOTOFILES

The sky’s not the limit for the next level of adventure movies

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NOT YOUR CUP OF TT

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’DAM GOOD SHOW A summer of culture under one roof in the Netherlands’ capital The red-light district in Amsterdam is renowned for its creativity in certain arts, but this year talents both more and less conventional will be in its shop window. From May through to August, the Rooms Of Red Bull will take over a huge building that was once the gloriously seedy-sounding Mata Hari’s Bingo Palace on Oudezijds Achterburgwal, in the heart of this most famous of all city quarters. Inside, there will be areas dedicated to art, music and photography. Participants, known as ‘room-mates’ (though they won’t live on-site), will be entering a sort of cultural playground in which they have the freedom to confer, cooperate and, most importantly, create. A Red Bull Music Academy contingent will kick things off on May 8, with a

Vancouver 8 dlj`Z j\jj`fe è k_\ J_Xeî`$ CX ?fk\c g\ek_flj\ jl`k\%Efk X YX[ nXp kf nfib% Cè[X G\k\ij# Alef 8nXi[j ?H# DXiZ_ Ë'0 16

taster session open to the public in the Inspiration Room (the Rooms Of Red Bull as a whole will also be open to the public every Sunday). Visitors will have access to a professional recording studio, with talks lined up for the first week from Dutch dubstep artist Martyn and other RBMA lecturers. In the Work Room, artists and photographers can take advantage of professional printing, framing and copying facilities. There will also be an exhibition space in the Show Room, a place to kick back in the Expose Room, where films will be screened and parties will rock, and an eye-catching neon installation to welcome visitors in the Main Room.

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Vancouver ;A K`d\c`e\# AFKJ Xe[ ;\X[dXl, ZiXeb lg k_\ \e\i^p Xk k_\ :fddf[fi\ `e MXeZflm\i% AXjfe I\\[# Alefj 8Zk`m`k`\j# DXiZ_ Ë'0

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WORDS: TOM HALL, RUTH MORGAN. PHOTOGRAPHY: PRESSEYE.COM (1)

The legendary road race that isn’t on the Isle Of Man

B U L L E VA R D

WHEREâ&#x20AC;&#x2122;S YOUR HEAD AT?

GEORGE LUCAS The man behind Indiana Jones and Star Wars goes stellar for fast cars, slow words and furry animals T ONE PULL A FAS XeZ\# ClZXj

DEAL OR NO DEAL

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EARS

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ACTING UP

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MIGHTIER THAN THE SWORD

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DRIVE TIME

WORDS: JONATHAN CROCKER. ILLUSTRATION: LIE-INS AND TIGERS

COUNTRY PILE OF CASH

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B U L L E VA R D

WINNING FORMULA

FULL CIRCLE

WORDS: PAUL WILSON AND DR MARTIN APOLIN. PHOTOGRAPHY: HELGE KIRCHBERGER; ILLUSTRATION: MANDY FISCHER

Ever been haunted by an idea that just won’t go away? Gerhard Walter knows all about that: he wanted to make the world’s biggest boomerang… THE MAN WHO THROWS Gerhard Walter was a humble hobbyist with a penchant for homemade boomerangs, which he’d fly in his local park in Graz, Austria. Then, one day, almost by accident, he found out how to make massive boomerangs. “I used to make normal-sized boomerangs from plywood,” he says, “and a few years ago, I thought to myself that I could make a lighter version for kids, using wood cut from fir trees. “After I did that, it made me realise I could make something bigger for adults, with a wingspan of more than a metre. So I made one with a wingspan of 162cm, which only weighed 640g. It flew about 25m. For a large boomerang to fly properly, it needs to be heavy and stiff enough. The first ones I made broke; it took quite a bit of trial and error to get things right, particularly after I began to add weights to the tips. I ended up with something almost T-shaped, with small fins on the tips and the middle of the boomerang. “I have to have a lot of space to throw a boomerang. It has a downwash like a helicopter and it can be dangerous to catch it when it hovers, so I only do it when it comes in with a little speed. “Once I had perfected the shape and the size-to-weight ratio, I looked online to find the biggest boomerang in the world. An Australian guy had made one with a span of 181cm. I beat him with a 203cm boomerang; then, I made one come back to me that has a wingspan of 259cm, the biggest ever.” THE MAN WHO KNOWS “You have to understand the basics to grasp how a boomerang works: it’s a spinning-top with wings,” says Dr Martin Apolin, a physicist and sports scientist. “Let’s look at the aerodynamic components first. A standard boomerang has a typical

V-form. A profile is worked into each arm, similar to the aerofoil shape of the wings on a plane (fig 1), but the profile is asymmetrical: one leading edge points left, the other right. During in-flight rotation, air always flows over the leading edge, whereby aerodynamic lift is produced by both arms. “Boomerangs are thrown at an angle perpendicular to the ground, with a starting angle of almost zero (see main image). “The lift of the two arms is not equal. This is due to the fact that the boomerang not only rotates, but also moves through the air. The arm in the upper position moves in the direction of the flightpath, and the velocities of both the upper and lower arm impact on the boomerang in different ways at different times of the flight. This is easy to see if you sketch the flow velocity over the entire path of the arm (fig 2a). Since lift depends upon this flow velocity, the upper arm has greater lift than the lower (fig 2b). Seen from the back, one would expect the boomerang to fall to the left with the outer side up (fig 2c). “Now let’s take a look at the spinning-top aspect, the forces that work for a spinning-top also apply, but turned at 90º in the direction of the rotation. Thus the boomerang doesn’t fall over, but instead steers to the left like a rolling wheel (fig 2d). This way, the boomerang completes its path, coming back to the thrower if everything is done correctly. “The key formula this month is thin and slim: R ~ It says that the radius R of the flight trajectory is only dependent on the so-called moment of inertia Theta) of the boomerang; in other words, it relies only on the construction of the boomerang – not, as one might think, on throwspeed or rotational velocity.” NXkZ_ NXck\iËj èZi\[`Yc\ kfpj è XZk`fe Xk nnn%i\[Ylcc\kè%Zfd&Xik`Zc\j&Yffd&\e

B U L L E VA R D

HARD & FAST

Top performers and winning ways from across the globe

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WORDS: RUTH MORGAN. PHOTOGRAPHY: SUTTON IMAGES (1), AP/CHRIS O’MEARA (1), IMAGO SPORTFOTODIENST (1), SVEN MARTIN (1). ILLUSTRATION: DIETMAR KAINRATH

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B U L L E VA R D

ME AND MY BODY

JASON GARDENER After wins at the Olympics and World Indoor Championships, the former British sprinter traded gold for the silvery-white ice runs of bobsleigh. He never could have guessed what happened next…

WORDS: RUTH MORGAN. PHOTOGRAPHY: AFP/GETTY IMAGES

GOING, GOING… GROIN 9p k_\ k`d\ f] k_\ Nfic[ @e[ffi nXj dp :_Xdg`fej_`gj è )''+# @ be\n `k fe knf @Ë[ n `fe Æ Xdg c[ Z_ nfi Z_XeZ\ kf Y\ X # Ylk @ kfi\ nè @ [`[ jcp% m`fl j gi\ \[Xc q\ d Yife fZ\jj% dp îfè dljZc\j YX[cp è k_\ gi c[ Xe[ nfi k_\ Xe è \jk d ]Xjk k_\ @ Y\ZXd\ nfic[2 k_\ Xe è nXj `dd\[`Xk\cp k_\ jcfn\jk d kf ld fjki _\ i kf k b lg @ Zflc[ _Xi[cp nXc è\[ X ogcX c`jk \ \Z`X 8 jg [Xc% p d\ Zk d Zfcc\ i Xe[ X , `j jZXc\ f] èalip n_\i\ ( `j X jdXcc k\X Xe[ dp +%, Xj X `[\ n \]k j Dp c X Zfdgc\k\ k\Xi% \[ kf Y`kj% i`gg k\cp dgc\ Æ Zf j X , \ nX k j`[ i`^_ Fcpdg`Zj @ _X[ k_i\\ dfek_j kf hlXc`]p ]fi k_\ jli^\ip# Xafi _ d ifl^ ek k_ @ n\ % Jf Xk k_Xk gfèk \ip jli^ K_\ \k\% i\_XY Xe[ kiXèè^ kf Zfdg k_Xk Xe[ e^\ Z_X [ kf \ _X jkpc d\Xek dp ileeè^ Yc\d% gif `cc\j 8Z_ Xjkp [ X e cfg\ [\m\ d\Xek @ ^ @ Zflc[eËk N_\e @ ^fk flk f] Y\[ è k_\ dfieè X[ kf kiXè p% @ _ g\ic gif cffi _\ ] glk dp ]ffk fe k fic[$ Xk n \m\ip [Xp n`k_ k_Xk Xe[ kip kf ile èZ\ cb% J p nX Xi[c lc[ _ ZcXjj c\m\c n_\e @ Zf k_è^% \ ef [fe @Ëm\ ''. Y\i ) gk\d e J\ @ i\kì\[ ` \ @ nflc[% 9lk nflc[ @ [f `k Xcc X^Xè6 F] Zflij

ACHILLES HEEL HOT HEAD, COLD SH Kf jkXp Zfdg\k`k`m\ n_\e @ nXj ileeè^ OULDER @ nXj b\\e kf _Xm\ X ^f X k YfYjc\`^_# Xj `kËj X k_i ^f èkf _fjg`kXc knf gif]\jj`feXccp# @ _X[ kf `ccè^ jgfik% 8cfe^ n`k_ k_i\\ fk_ \i Xk_c\k\j R[\ZXk_c\k\ fi k_i\\ k`d\j X p\Xi kf ^\k Xe \g`[liXc ;\Xe DXZ\p# ZpZc`jk :iX`^ DXZC\Xe Xe[ il^Yp n` Y\ZXlj\ @ jl]]\i\[ ]ifd jZ`Xk`ZX% Kf Y\ X e^ ;Xe Cl^\iT @ jg\ek (' [X pj jfc`[cp kiXèè^ è fi[ gfn\i]lc jgièk\i f]] k_\ YcfZbj pfl _Xm\ kf \i kf Zfdg\k\ è k_\ 9i`k`j_ )$DX e 9fYjc\`^_ :_Xdg`fej_ [f X cfk f] jki\e^k_ nfib# jf fm\i k_\ p\Xij `gj X^Xèjk gif k\Xdj X KM Zi\n ]`cd\[ lj % @] @Ë[ j\\ dp [`jZj _Xm\ cfjk ]cl`[# n_`Z_ d\Xej k_\ e k_\ gifj kiXèè^ Y\]fi\_X e[# @ nflc[ gifYXYcp _Xm\ m\ik\YiX\ Xe[ e\im\j Y\Zfd\ Zfdgi\jj\[% jX`[# ÈK_Xebj Ylk ef k_X ebj%É @Ëm\ ^fk X n`]\# knf b @kËj c`b\ _Xmè^ jc`gg\[ [`jZj% @ nflc[ ile Xe[ `[j Xe[ X Yf[p i\cXk`m\cp èk XZk X]k\i p\Xij YXkk\iè^ dp _Xdjkiè^ nflc[ cfZb lg èkf ZiXdg `k fe k_\ kiXZb% Dp c\^j Zfg\ [ ]è\# Xe[ `k nXj X i\Xc Yl jgXjdj# Xe[ dp Yld Xe[ YXZb nflc[ cfZb qq Xj fli k`d\j n\i\eËk kff ]Xi Y\_è[ k_\ gif k\Xdj lg kf gifk\Zk dp YXZb% 8e[ `k X]]\Zk\[ dp Ë% 9lk `kËj X kfl^_ jgfik% @ ]\ ck ZfeZljj\[ X]k\i kiXm\cc` 8Z_`cc\j# kff% @kËj Xcc Zfee\Zk\[% e^ Xk .)dg_ fe dp _\X[ X]k \i n\ ZiXj_\[% DXZ\p nXj k_\ [i`m\i2 @ nXj YiXb \dXe% @k nXj kiXldXk`Z kiXm\ccè^ Xk k_Xk jg\\[ Xifle[ k_\ cXjk ]fli Y\e [j k_\ nife^ nXp lg# Xe[ @ ^f k n_`gcXj_% @ ki`\[ kf b\\g dp _\X[ f]] k_\ `Z\# Ylk k_ Xk d\Xek dp j_flc[\i n Xj kflZ_è^ `k Xe[ `k ]\ck c`b\ X b\kkc\ f] Yf`cè^ nXk\i _X[ aljk Y\\e gfli\[ f e `k% Kf ^\k dp j_flc[\i f ]] k_\ `Z\ Xe[ jkfg `k Ylieè^# @ _ X[ kf glk dp _\X[ YXZb fe k_\ kiXZb Æ @ nXj n\Xi è^ X _\cd\k# Ylk `k nXj X _fii`Yc\ \og\i`\eZ\% Jf efn @Ëm\ ^fk Xe `Z\ Ylie jZXi fe dp j_flc[\i% @ [fe Ëk _Xm\ kXkkffj Xe[ e\m\i nXek\[ Xep# Ylk ef n @ _Xm\ X i\dè[\i f] ;\Xe DXZ\p \m\ip k`d\ @ kXb\ dp kfg f]]%

GAIN NO PAIN, NO ck '' e ) + Xj X i\jl @ Yifb\ dp ni`jk ` [f# Xe[ kf \[ lj ^ @ kè c`] f] Xcc k_\ n\`^_k p\Xij% jj ]iXZkli\ ]fi knf @ c`m\[ n`k_ X jki\ m\i k_\ e\ Xj n `k lk # Y li^\ip Xc% =fi @ be\n @ e\\[\[ j _\ kf e^ flc[ kXb\ jf cf jk`cc Xj i`^_k k`d\# Xj `k n @ n lk # Y \e fb gc\k\cp Yi ik gX Xj X p\Xi `k nXj Zfd Æ _k `Z\ dp Yf[pn\`^ @e p% c`]kè^ (+'b^ Æ kn fe X^ è Xj fib# Xe[ @ n k_ f] dp jki\e^k_ n k\Xd Xk gXik f] k_\ 9i`k`j_ )''+# n_\e @ nXj o (''d \ + fc[ d\[Xc è k_ c[ k_\ nfe k_\ Fcpdg`Z ^ _\ e @ _\ \ n i`jk ]iXZkli i\cXp# @ _X[ k_\ n p Y e d ifb\e Ëj _fg\j i\jk\[ ` YXkfe% <m\ipfe\ gXè% fl \j nfib k_i ^_ _Xe[% 9lk Xk_c\k % kf m\ _X fl # p Kf Y\ jlZZ\jj]lc 21

B U L L E VA R D

KIT EVOLUTION

RIDE THINKING

Motorcycle footwear has accelerated since the ’60s: today’s hi-tech biker boots are a far cry from their ancestors

HIDE QUALITY MIKE HAILWOOD MOTORCYCLING BOOTS, 1966/7 ?X`cnff[ `j k_\ lejle^ 9i`k`j_ dfkfi$iXZè^ c\^\e[1 Yi`cc`Xek fe knf n_\\cj Xe[ ]fli# X _`k n`k_ k_\ cX[`\j Xe[ k_\ nèe\i f] k_\ >\fi^\ D\[Xc ]fi YiXm\ip X]k\i glccè^ X [i`m\i flk f] X Ylieè^ ZXi Xk k_\ (0.* =( >iXe[ Giò è

Jflk_ 8]i`ZX% ?\ \oZ\cc\[ fe _`j Y`b\# nèeè^ eè\ nfic[ k`kc\j ]ifd (0-($-. Xe[ (+ KK iXZ\j% K_\j\ ifX[ iXZè^ Yffkj Xi\ Xe \Xicp \oXdgc\ f] eXd\$YiXe[\[ jgfikj ^\Xi# Xe[ X e\Xi$]XZj`d`c\ f] ?X`cnff[Ëj iXZè^ ]ffkn\Xi%

È@Ë[ jXp fecp )' gXìj c`b\ k_`j n\i\ dX[\#É jXpj 8e[p Jk\d f] Cfe[fe mèkX^\ Y`b\ Zcfk_è^ j_fg 9XdYèf "++ )' /-,* 0),' % ÈK_\pËi\ ]fi [`jgcXp2 X Y`k ]cXj_\i k_Xe k_\ XZklXc ?X`cnff[ Yffkj g\fgc\ Yfl^_k%É K_\p

YfXjk YiXjj$gcXk\[ jkl[j Xe[ kfg$îX[\ c\Xk_\i% Glek\ij k_\e ]fib\[ flk k_\ \hl`mXc\ek f] ö(($ö(. ]fi X i\^lcXi gXì# k_XkËj ö(+/$ö))) è kf[XpËj dfe\p% Efn# jk`cc lenfie# k_`j gXì nflc[ [`m\jk X Zfcc\Zkfi f] ö**'$++'%

WORDS: PAUL WILSON. PHOTOGRAPHY: THEO COOK

BOOTS REBOOTED ALPINE STARS SUPERTECH R, 2009 8j Yffkj# i`^_kcp# _Xm\ \mfcm\[ kf gifk\Zk k_\ n\Xi\i dfi\# k_\p _Xm\ cfjk jfd\k_è^ è X\jk_\k`Z Xgg\Xc1 k_\j\ Xi\ efk Yffkj k_Xk pflË[ e\Z\jjXi`cp nXek kf n\Xi n_`c\ gifggè^ lg X YXi% DX[\ \ekì\cp ]ifd jpek_\k`Z dXk\i`Xc#

k_\pËi\ c`^_k Xe[ ]c\o`Yc\# Xe[ i\cXk`m\cp Yi\Xk_XYc\# [\jg`k\ k_\ k_`Zb$cffbè^ cXp\ij f] \ok\ieXc gifk\Zk`fe% K_\ flk\i jbè `j dX[\ kf î`g k_\ i`[\iËj c\Xk_\ij# n_`c\ èk\ieXc M\cZif Xe[ n\cc$_`[[\e q`gj d\Xe pfl

[feËk _Xm\ kf n`^^c\ pfli ]\\k è Xe[ flk è k_\ dXee\i f] X Z_`c[ i\]ljè^ kf le[f j_f\cXZ\j% K_`j cè\ f] Yffkj `j jgfik\[ è iXZ\j Yp Afeep I\X# k_\ @i`j_dXe Zlii\ekcp i`[è^ ]fi ?Xeejgi\\ K\e BXk\ ?fe[X è k_\ Jlg\iY`b\

Nfic[ :_Xdg`fej_`g% NXek k_\j\ gifk\Zkè^ pfli ]\\k e\ok k`d\ pfl _\X[ flk fe k_\ _`^_nXp# cffbè^ ]fi X[m\ekli\6 K_\pËcc j\k pfl YXZb Xifle[ ö)..% =fi dfi\ fe Y`b\ iXZè^ m`j`k nnn% i\[Ylcc\kè%Zfd&jgfikj&dfkf^g&\e

B U L L E VA R D

PITS UP TO YOU Fancy being an F1

YOU R E A L LY OU G H T TO K N OW S O M E T H I N G A B OU T...

SAM LAMIROY

At 33, he’s still number one “Becoming the UK’s number one surfer was a bit of a surprise. I started surfing at home in Newcastle, then one or two of us stuck our necks out and entered a few national competitions and started winning. You always assume that people elsewhere are better than you, but in fact, we were doing all right.”

out. When you’re back on dry land, you sometimes think, ‘Oh, that was actually more dangerous than I thought… that could’ve gone wrong,’ and that’s when you can freak out a bit. Ask Lewis Hamilton if he panics when he goes into a corner too fast; it’s probably a similar thing. We’re safe in how we go about it. It’s ‘controlled recklessness’.”

He shops locally “When I started, I wore a wetsuit made by a friend, Scotty Seadog. He bought a sewing machine that could do blind stitching and made custom wetsuits in his attic. My first surfboard was shaped by local butcher Simon who turned his cleaver to the foam. He was a keen surfer and, because good boards were difficult to get hold of in Newcastle, he started shaping his own. They were called Piggy Fat Cat boards.”

He can whip up little somethings “I love my food and I think my creativity in the kitchen is pretty good. I can make something tasty out of most things. My speciality is barbequed chilli squid with my secret marinade.”

He swapped his balls for a baby “I played golf seriously for about two years and got my handicap down to around 15, but recently my wife and I had a baby. He’s five months old and, maybe it’s just coincidence, but during those months, I’ve played little golf.” He’s surfing’s Lewis Hamilton “I’ve definitely been concerned in the water, but the key thing is not to freak 24

He works hard at being happy “I never thought about being a pro surfer until I was 21, but I don’t know what I’d be doing if it wasn’t this, though I am in the process of writing a TV script. Maybe if I hadn’t had all my time hijacked by surfing, I could have done something useful. I’ve tried to calculate how many hours I’ve spent surfing and it’s astronomical. If I’d put that much time into, I don’t know, finance, or architecture, or medicine, or writing, I’d probably be well-off and famous now, but instead I’m a totally happy and contented surfer.” I`[\ k_\ nXm\ f] JXdËj jli]è^ jlZZ\jj Xk nnn%i\[Ylcc\kè%Zfd&_\if\j&jXdVcXdìfp&\e

?Xm\ pfl \m\i [i\Xd\[ f] ileeè^ pfli fne =fidlcX Fe\ k\Xd6 ;f pfl _Xm\ n_Xk `k kXb\j kf Y\Zfd\ X j\i`flj gcXp\i Xk k_\ _`^_ kXYc\ f] dfkfijgfik6 Kf ^\k X_\X[ è k_\ =( gX[[fZb# pfl e\\[ kf Y\ X Yi`cc`Xek kXZk`Z`Xe n_f befnj _fn kf lj\ n`k Xe[ Xcc k_\ i\jfliZ\j XmX`cXYc\# Xe[ Y\ XYc\ kf i\jgfe[ kf k_\ jki\e^k_j Xe[ n\Xbe\jj\j f] pfli i`mXcj% Ileeè^ n`k_ k_\ \c`k\ Xcjf kXb\j gXk`\eZ\# jb`cc# Z_Xid Xe[ e\im\j f] jk\\c Æ Xe[ X Y`^ g`c\ f] ZXj_% @] pfl [feËk _Xm\ X Y`^ g`c\ f] ZXj_# k_\e n_p efk gcXp G`k 9fjj# k_\ e\n jkiXk\^p ^Xd\ ]ifd K_\ I\[ 9lcc\kè# n_\i\ pfl ZXe ^f _\X[$kf _\X[ n`k_ pfli ]i`\e[j fi Z_Xcc\e^\ 8jYf# K_\ 9lcc\kèËj ^Xd\$gcXpè^ ifYfk6 Glk pflij\c] kf k_\ lck`dXk\ k\jk Xk nnn%afb\ièk_\gX[[fZb%Zfd% <cj\n_\i\ fecè\ k_`j dfek_# n\Ëi\ jf Xcc XYflk k_\ ^cXdfli% K_Xk dXp jfle[ j_Xccfn# Ylk n\ [feËk i\Xccp ZXi\# Y\ZXlj\ n\Ëi\ f]] kf k_\ KXlilj Nfic[ Jklek 8nXi[j è ?fccpnff[ kf ilY j_flc[\ij n`k_ k_\ jkXij Xe[ Z\c\YiXk\ k_\ nfib f] k_\ dfm`\jË i\Xc _\if\j1 k_\ jklekd\e Xe[ jkleknfd\e% Cffbè^ X_\X[# n\Ëcc Xcjf _Xm\ =( XZk`fe ]ifd k_\ d`cc`feXì\jË gcXpîfle[ f] DfeXZf# NI: k_i`ccj ]ifd k_\ d`cc`feXì\jË gcXpîfle[ f] JXi[è`X# Xe[ @e[p ,'' jg`ccj è eXkliXccp @e[`XeXgfc`j% Gclj# k_\i\Ëj k_i`ccj ]ifd k_\ I\[ 9lcc O$=`^_k\ij è :XeX[X Xe[ k_\ I\[ 9lcc 8ì IXZ\ è JXe ;`\^f% @] pfl gi\]\i pfli XZk`fe n\k Xe[ n`c[# k_\i\Ëj Xcjf JXd CXdìfp j\\ c\]k jliÔe^ è k_\ FËE\`cc :fc[ NXk\i :cXjj`Z è K_lijf# JZfkcXe[# Xe[ 8Xife ?X[cfn b`k\jliÔe^ è k_\ Jflk_ f] =iXeZ\ Xj _\ Y\^èj _`j k`kc\ [\]\eZ\ è k_\ GBI8 nfic[ Z_Xdg`fej_`g% 8e[ `] pfl [`[eËk befn Xci\X[p# fli n\Yj`k\ `j nnn%i\[Ylcc\kè%Zfd

WORDS: RUTH MORGAN, PAUL KEITH. PHOTOGRAPHY: LUDOVIC FRANCO/RED BULL PHOTOFILES

team boss? Here’s how you qualify

B U L L E VA R D

LUCKY NUMBERS

TAURUS WORLD STUNT AWARDS

There’s nothing lucky about being nominated for performing the best stunts in the world – the numbers speak for themselves…

650

M`jlXc \]]\Zkj j_fkj è K_\ ;Xib Be`^_k% @k jfle[j c`b\ X cfk# Ylk Zfdglk\i$^\e\iXk\[ j\hl\eZ\j ]fi Xe XZk`fe YcfZbYljk\i k_\j\ [Xpj ZXe eldY\i lg kf )#'''% K;B _X[ ]\n\i Y\ZXlj\ [ì\Zkfi :_i`jkfg_\i EfcXe j_fn\[ Xe Xcdfjk gli`kXe`ZXc Zfdd`kd\ek kf i\Xc$c`]\ jklekj# n_`Z_ _Xj gX`[ f]] n`k_ ]`m\ KXlilj efdèXk`fej Æ k_\ dfjk ]fi X jè^c\ ]`cd% ÈK_\ Zfjkj Xi\ k_\ jXd\ Ylk `kËj X [`]]\i\ek cffb#É jXpj k_\ ]`cdËj gif[lZk`fe [\j`ê\i EXk_Xe :ifnc\p% ÈN\ i\Xccp Yc\n lg \m\ipk_è^ n\ Zflc[%É

7 2

8jkfe DXikè ;9Jj lj\[ è k_\ fg\eè^ jZ\e\j f] HlXekld f] JfcXZ\% K_\ cXk\jk AXd\j 9fe[ ]`cd _Xj Y\\e efdèXk\[ ]fi 9\jk Nfib n`k_ X M\_`Zc\ Xe[ è knf fk_\i ZXk\^fi`\j Xk k_`j p\XiËj XnXi[j% K_\ 8jkfej n\i\ ]`cd\[ è X Z_Xj\ k_Xk Xcjf kiXj_\[ eè\ 8c]X Ifd\fj Xe[ X Zflgc\ f] CXe[ Ifm\ij% K_\ cXkk\i _X[ kf Y\ \dgk`\[ f] ]l\c Y\]fi\ Y\è^ glj_\[ fm\i X Zc`]]# jf k_\p nflc[eËk flk$YcXjk k_\ ,+ Zfekifcc\[ \ogcfj`fej k_Xk ]\Xkli\ è k_\ dfm`\Ëj Zc`dXo%

B`cfîXdj f] Yifeq\ lj\[ kf dXb\ X KXlilj Nfic[ Jklek 8nXi[j jkXkl\ i`^_k % K_\ nè^\[ Ylcc j\im\j Xj X d\kXg_fi ]fi k_\ [\k\idèXk`fe Xe[ iXi\ jb`cc k_Xk jklek g\fgc\ \o_`Y`k \m\ip [Xp f] k_\ì nfibè^ c`m\j% 8ljki`Xe jZlcgkfi Afj Gìbe\i# n_f [\j`ê\[ k_\ XnXi[# lj\j X kfkXc f] *' g`\Z\j f] Yifeq\ kf ZfejkilZk \XZ_ fe\ f] k_\j\ n\`^_kp _feflij%

WORDS: TOM HALL

@eZ_\j f] fg\e nè[fn jklekd\e ;Xm`[ C\`kZ_ Xe[ BX` DXikè _X[ kf aldg k_ifl^_# ]ifd X iff]kfg è KXe^`\ij# [liè^ k_\ ]`cdè^ f] K_\ 9flie\ Lck`dXkld% 8ci\X[p X ZcXjj`Z dfd\ek è df[\ie XZk`fe Zè\dX# k_\ jklek nfe X KXlilj ]fi 9\jk ?`^_ Nfib è )''/% K_\ i\Xc Z_Xcc\e^\ ZXd\ è ZXgkliè^ k_\ c\Xg fe ]`cd1 DXikè _X[ kf ]fccfn# Xcdfjk g\i]fidè^ k_\ jXd\ jklek Æ _\ nXj fe X nì\ Æ n_`c\ _fc[è^ k_\ ZXd\iX%

P\Xij fc[# Xe[ jk`cc jXmè^ k_\ nfic[% N_\e Jpcm\jk\i JkXccfe\ nfib\[ fe k_\ ]flik_ IXdYf ]`cd efdèXk\[ ]fi 9\jk =ì\ X]k\i X )'$p\Xi Yi\Xb# _\ ifcc\[ YXZb k_\ ZcfZb Xe[ ^fk jklZb i`^_k è% È@k nXj _Xi[# Ylk @ [`[ \m\ipk_è^ \oZ\gk fe\ jklek n_\i\ @ aldg f]] X _`cc [liè^ Xe \ogcfj`fe#É jXpj JkXccfe\# efn -)% È@ i\Xccp k_fl^_k k_\ jklek ^lp nXj ^fè^ kf [`\% K_\i\ n\i\ jf dXep èali`\j [liè^ k_\ j_ffkè^# Ylk `k dX[\ k_\ dfm`\ X î\Xk X[m\ekli\%É

;i`m\ij è fe\ ;\Xk_ IXZ\ ZXi% @e fi[\i ]fi k_\ [ì\Zkfi f] cXjk p\XiËj Z\c\YiXk`fe f] ZXi$dXp_\d kf ^\k ^\elè\ j_fkj f] jkXi AXjfe JkXk_XdËj i\XZk`fej [liè^ k_\ [\jkilZk`fe [\iY`\j# JkXk_Xd Xe[ jklek [i`m\i AXZb >`cc Yfk_ Ê[ifm\Ë n_Xk nXj ZXcc\[ k_\ Gf[ :Xi% >`cc \ogcXèj1 ÈK_\ gf[ j`kj fe kfg f] k_\ iXZ\ ZXi Xe[ `j XkkXZ_\[ m`X k_\ jk\\iè^ n_\\c# YiXb\ Xe[ XZZ\c\iXkfi g\[Xc% @ [ifm\ lg k_\i\ n_`c\ JkXk_Xd jXk èj`[\%É @] k_\ XZkfi _X[ kf i\cèhl`j_ k_\ c\X[è^ dXeËj ifc\ ]fi X [Xp# `k gX`[ f]]# n`k_ k_\ ]`cd \Xieè^ k_i\\ ef[j Xk k_`j p\XiËj XnXi[j%

110

Dfm`\j ]\Xkliè^ k_\ N`c_\cd JZi\Xd% K_\ dfjk ]Xdflj ef`j\ è k_\ jklek Yljè\jj nXj ]ìjk _\Xi[ è (0,( [liè^ k_\ N\jk\ie ;`jkXek ;ildj# Xj Xe le]fikleXk\ jflc nXj [iX^^\[ XnXp Yp X ZifZf[`c\% Knf p\Xij cXk\i# `k nXj i\lj\[ è Xefk_\i N\jk\ie# K_\ :_Xi^\ Xk =\Xk_\i I`m\i# n_\e X ZfnYfp eXd\[ N`c_\cd ^\kj Xe Xiifn è k_\ c\^# Xe[ k_\ eXd\ jklZb% JèZ\ k_\e# k_\ jZi\Xd _Xj Xgg\Xi\[ è k_\ JkXi NXij ]`cdj# Jè :`kp Xe[ k_\ @e[`XeX Afe\j dfm`\j% NXek kf _\Xi `k i`^_k efn6 @dX^è\ \m`c _`^_ gi`\jk DfcX IXd Y\è^ \Xk\e Yp ZifZf[`c\j Xk k_\ \e[ f] K\dgc\ f] ;ffd% =fi dfi\ dfm`\ XZk`fe m`j`k nnn%kXliljnfic[jklekXnXi[j%Zfd

I\[ 9lcc BKDËj DXo EX^c c\X[j [liè^ ifle[ fe\ f] k_\ )''0 Nfic[ DfkfZifjj :_Xdg`fej_`g Xk =X\eqX è @kXcp% EX^c `j X`dè^ kf Y\Zfd\ k_\ ]ìjk >\idXe Z_Xdg`fe è ]fli [\ZX[\j Æ ]è[ flk _fn fe gX^\ *'% G_fkfîXg_p1 8iZ_\i I&I\[ 9lcc G_fkf]`c\j

Heroes Idols of sport and the arts – from today and yesterday 28 ESTELLE 30 MAX NAGL 32 ADRIAN NEWEY 34 BABE ZAHARIAS

HEROES

ADRIAN NEWEY

The man who designed the car that scored the first-ever 1-2 for the Red Bull Racing Formula One team in last month’s Chinese GP is an engineer on a mission Words: Anthony Rowlinson Photography: David Short

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Adrian Newey, chief technical officer of Red Bull Racing, is a very clever man. His latest Formula One car design, the RB5, took first and second places at the Chinese Grand Prix with Sebastian Vettel and Mark Webber driving. One of his 2008 designs, the STR3, also won the Italian GP for sister team Scuderia Toro Rosso, again with Vettel at wheel. This you may know already if you’re a keen follower of grand prix motor racing. What you may not know is that Newey, a keen amateur racing driver himself, was watching events in Shanghai at home after a last-minute decision not to attend, and, when he saw Seb and Mark cross the line for a dominant 1-2, he took one of his classic cars onto the front lawn of his house and started spinning ‘donuts’. (For the uninitiated, this means putting the car into first gear, jamming the throttle and dropping the clutch. It makes the rear wheels spin and if the steering wheel is turned one way or t’other, the car loops around on itself in an automotive pirouette: the donut. Bad for the grass; good for the adrenaline.) Those who know Newey well won’t be entirely surprised at this behaviour, for while he’s undoubtedly F1’s prima boffin he also has petrol in his bone marrow and is, in the opinion of one of his former team bosses, “the most competitive man (he has) ever met”. Some accolade for an engineer who inhabits a world where anyone who lacks a piranha-like drive to destroy one’s rivals is regarded as deviant. Predictably, however, there’s little fuss or hoopla when speaking to Newey about the latest victory, although he does admit to having a ‘thick head’ – legacy of post-race celebrations. “I think a few of us were suffering the morning after, actually,” he says. “We knew we were on the pace in Shanghai, but we thought it would probably be a little closer, so we hadn’t expected to win going away, as we did.” Some context: the China 1-2 was a massive result for Red Bull Racing. It was the team’s first win since entering F1 at the start of 2005, and while sister team Toro Rosso took the chequer in

Italy last year, this ‘home’ win for the Milton Keynes-based team was, Newey admits, even more special: “The design group here obviously had the satisfaction of the Italian GP victory last year, but to see the particular cars that you’re working on in the factory every day winning a race makes it seem slightly more real. When they come back from the race, there’s something to touch and feel.” That’s the tangible aspect. What victory also brings, Newey reckons, is the intangible: the sense of confidence that floods through an organisation that suddenly realises it is capable of achieving the goal for which it has been brought together – in this case winning grands prix. “Winning is strange,”he says. “When you are not winning it looks like almost an impossible thing to do, but when you do, it suddenly seems so easy.” The challenge for Red Bull Racing now is to build on the historic result and continue to show that an independently owned team, operating on a budget that can’t rival those of manufacturer-backed squads such as McLaren-Mercedes, BMW-Sauber, Ferrari or Toyota, can continue to beat the big boys. How to do it? Newey has a plan: “When we conceived this year’s car, to meet the heavily changed 2009 technical regulations, it gave us the chance to think about the design and possible solutions from first principles. That is a challenge, but also an exciting opportunity. We’ve shown by winning that some of the technical approaches we took were good ones, even if when we launched the car there was a degree of nervousness because we realised that we had gone in a different direction to our competitors. We hoped that we had been different for good reason, not just for the sake of it, but until you start racing, you never know. We now have to try to continue to use our understanding to stay ahead of the teams that have bigger resources.” And if they do, expect to find a multitude of weeping gardeners in Newey’s neighbourhood. =fi dfi\ =(# m`j`k nnn%i\[Ylcc\k`e%Zfd&jgfikj&]fidlcXV(&\e

HEROES

MAX NAGL

Muddied but unbowed, Motocross rising star Max Nagl is content to practise in dirt, sand or filthy weather and train like a triathlete in his quest to become the world’s best Words: Werner Jessner Photography: Thomas Butler

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Where do promising motocross racers go when they want to make it big? Belgium, of all places. The land of exquisite chocolates, baroque painters and legendary cyclists is also home to the most passionate and devoted motocross fans in the world. Credit goes to local boy Stefan Everts, a living legend in the sport, who dominated motocross, winning 10 world titles, until he retired in 2006. Now Everts, team boss at KTM Racing, is charged with nurturing the next generation of riding talent. Chief among his projects is Max Nagl, a 21-year-old Bavarian with a relentless work ethic and, just maybe, enough talent to one day stand on equal ground with the Belgian ace. “This is the centre of motocross, which is why I have to be here,” says Nagl, who moved from his home near Munich four years ago, and recently turned in some eye-catching performances on the Grand Prix circuit. “The people are very friendly.” Nagl found out just how friendly after his first Grand Prix win, when his Belgian neighbours decorated his house. “They’re really passionate about the sport,” he says. They’ve had reason enough to celebrate a few more times, Nagl won both runs at the Grand Prix of Faenza during the final weekend of the 2008 season, and after three rounds of the 2009 season, he was lying eighth in the championship. More than just the result of classic Teutonic determination and discipline, Nagl’s ascent has been inspired by the faith his father – a motorbike rider now in a wheelchair after suffering an accident before Nagl was born – has invested in his career. Nagl first swung his legs onto a kid’s bike when he was five. Three years later, he began racing motocross. “I owe Dad a lot,” he says. “He was the one who sent me to train in the rain while everyone else was in their mobile homes, watching TV. He said that if things should ever take off, he’d sell everything.” Nagl’s work ethic and natural talent intervened before it got that far, with sponsors climbing on board after he became German Motocross Champion

nine years ago and began raising eyebrows on the European motocross circuit. His relentless desire to improve led to his move to Belgium, where he could train on sand, improving his chances against dominating Dutch and Belgian riders, whose mastery of this surface often leads to victory over central European rivals more accustomed to hard ground. In his first year in Belgium, Nagl trained exclusively on sand, on awful tracks, come rain or shine; it was hideous work. He’s now also one of the fastest through the mud, even if he hasn’t got the long legs the specialists have. “I always wanted the biggest engine,” he said. “I couldn’t ride an MX1 bike aggressively for long with my physique, which is why I developed my rounded riding style.” Nagl’s dedication has gone down well with his colleagues at KTM/Red Bull. KTM’s off-road director Pit Beirer says Nagl is “a brilliant athlete to work with. His best years are still to come. If things go according to plan, he should be in the top three in the world championship this year,” says Beirer, who was himself an accomplished motocross racer before being paralysed in a racing accident. If everything goes well and Nagl finishes on the podium on a regular basis and can remain fit for the length of the season without any major dips in form or injuries, he should eventually win the title. KTM’s sporting director Heinz Kinigadner explains: “Everyone has a slump in form at some point in the season. It’s impossible to be in peak form for the whole season.” Which is why Max has adjusted his training to give him more stamina than strength, the same training model triathletes follow. As for the success that many predict will enable him to join names like Beirer and 1980s champ Kinigadner on the list of legendary motocross racers, Nagl can’t say. “All I know is that I don’t want anyone to accuse me of not giving everything for that to be the case.” =`e[ e\nj# g_fkfj Xe[ XZk`fe ]ifd dfkfZifjj Xe[ I\[ 9lcc O$=`^_k\ij Xk nnn%i\[Ylcc\k`e%Zfd&jgfikj&dfkfiY`b\j&\e

HEROES

Hero’s Hero: Estelle on

MARY J BLIGE

The Grammy Award-winning American Boy singer has much love for the queen of R&B, not least when they’re arm in arm heading for the dancefloor

I was 12 or 13 years old when I first heard Mary J Blige. I was at a friend’s house in London, and we were watching TV. She came on and I was like, “Who’s this chick?” She looked like us, she dressed like us. That whole image really struck me. I think I bought You Remind Me, which was her first single. She’s someone I can identify with, but it’s not like I’d ever try to be Mary. You’ve got to be yourself. But she sets a great example by showing you can have longevity and all the career stuff without having to sacrifice your personality. I feel as if that’s the path I’m following, rather than actually trying to be Mary the Second, or running around trying to be extra ghetto just for the sake of it. She invited me to an event at Crystal in London last year, which was when I first got to meet her. The fact that she’d asked me to come and she knew who I was really meant something, but to have her in a club, telling me I was great too and saying, “Come on, let’s dance.” I was speechless. It was a real moment. Since then we’ve become pretty good friends and she definitely encourages me. Just before the Grammys this year, she was telling me, “You know, whatever happens, that’s your award, because you did the best with that song this year [American Boy, which won Best Rap/Sung Collaboration].” So that was really cool. With my own career, I don’t think I’ve learned directly from Mary, I’ve had to kind of figure it out on my own. I found that if I decided to do a song that was more someone else’s version of what they thought I was about, people didn’t really seem to get it. But if I just started 32

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speaking from the heart – saying, “Look, this is what I went through, this is how I feel” – then people were feeling my music more. It was that kind of initial reaction that taught me to be myself and talk about what I’ve been through. I think women identify with me being truthful. People have told me coming to my show is almost like going to church. I feel the same way about Mary’s shows, so I guess that we’re alike in that sense. But it’s not on purpose; I just know that the truth is what works for me. Mary J Blige helped create an entire genre and she put down her heart for it. For me, it’s important that people actually see the hard work ethic in what I do. I’m not too fussed about whether they go for the look or how my hair is from day-today because style keeps changing, but it’s important not to do the same old thing. I don’t think anyone’s on the path that I’m going down – some people are paying

attention and trying to do what I do, but I don’t think anyone’s doing it. I’d like to be the kind of artist you look at in 10 or 20 years from now and still have respect for. And to make albums now that you can pull out in 20 years’ time and be like, “I remember this, this is so great.” I didn’t sit there and wait for anyone to push me in one direction, I just got on with it. That’s why I think if you’re trying to be like someone, look at what they set up as a standard and do that, don’t try to be like they are. I get younger fans telling me they want to be like me, but I tell them, “No, you should be like yourself.” Once you figure out who you are, then everything else will start to make sense. I’m still figuring me out… I’ve managed to meet most of the people I admire. Once you reach a certain level of success then you start working with a certain calibre of people and it’s as simple as that. Not that you forget the people you grew up with, but you get to know the people that are your peers, too. People like John Legend and Kanye West. I bumped into them for the first time by accident, in LA outside Roscoe’s Chicken in 2003. I asked them if they could work on a song and we’ve stayed friends since. I wasn’t really intimidated, that’s not my thing. Mary J Blige is the only person who has left me starstruck. I’d love to collaborate with her – it’d be insane. Probably Mary singing and me crying in the background. She’s the person who has sung to me since I was 13 years old. So for me, yeah, she’s the borderline queen of everything. ?\Xi k_\ ]lcc `ek\im`\n n`k_ <jk\cc\ Xk nnn%i\[Ylcc\k`e%Zfd&Zlckli\&dlj`Z&\e

PHOTOGRAPHY: GETTY IMAGES (1), CORBIS OUTLINE (1)

Interview: Tom Hall

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HEROES

Pioneer

BABE ZAHARIAS She won Olympic gold medals, golf majors, basketball tournaments, the hand of an emotional wrestler and the hearts of a nation. And on the way, she paved the way for modern sport as we know it

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Mildred Ella Didrikson, who would go on to be known as Babe Zaharias, first astonished the sporting world at the 1932 American Athletic Union Championships, which doubled as the track and field qualifiers for the summer Olympics, held in Los Angeles later that year. She competed in eight of the 10 events and won five, including the long jump and shot put. In so doing, she also won the team prize for her club, even though she was the only one of its members competing. At the Olympics themselves, she won the javelin and the 80m hurdles, breaking the world record in both. In the high jump, she jumped the same height as her fellow countrywoman Jean Shiley, but was disqualified in the jump-off when the judges took exception to her jumping in the Western roll style that meant she cleared the bar head first. Two golds and a silver that should have been a gold might seem like a poor return after her efforts in the trials, but at the time, athletes were only allowed to compete in three disciplines. For a woman who loved the limelight and loved to win, and to let people know she loved to win, this was a major disappointment. Didrikson’s exceptional sporting talent manifested itself from early childhood. Her parents, immigrants to America from Norway, were keen sportspeople: mother Hannah was a skier and ice-skater, father Ole was a fitness freak who fashioned dumbbells from broom handles and irons. Mildred, born in June 1911, the sixth of seven children, was successful at whatever sport she turned her hand to, on the track, on the field or in the water, where she excelled at diving. Most of all she loved playing baseball with her brothers and their friends, and later played for several teams. After hitting five home runs in one game, she acquired the same nickname as that other fearsome batter of the time, George Herman Ruth Jr. Aged 15, Babe was the best basketball player on her high-school team, and after graduating took a job as a secretary at the Employers Casualty Insurance Company in Texas, so that she could devote herself

to playing for the Golden Cyclones, the basketball team sponsored by the company. It was in the wake of AAU championship success with the Golden Cyclones that Babe moved on to track and field, and her would-be hat-trick of Olympic golds. Having realised that basketball and athletics had taken her as far as they could, in 1933 Babe used the money she’d made to move to Los Angeles and devote her time to golf. She played the game occasionally, enjoyed it and also had an inkling that she could master it. After six months, however, her money ran out, and she went back to Texas, where her old firm gave her a job and she appeared in basketball, baseball and even billiards tournaments and exhibitions. She kept up with the golf, too, doing what she thought she might: becoming the leading female player of her generation, and perhaps the greatest of all-time. In 1947, she was the first American woman to win the British Ladies’ Championship (then an amateur accolade), but more spectacularly won 17 tournaments in a row that year, a feat unequalled in golf by a man or a woman. This was the also the year that Time magazine announced she had signed a Hollywood contract for $300,000, to make 10 short films about golf. She turned pro in 1948, and went on to win three US Women’s Opens and three further major tournaments, for a career total of 10. But to be as good as Babe takes ego, and egos need massaging. When she stepped into the changing room, her opponents would hear, “Babe’s here. Who’s gonna be second?” At the time, her self-confidence was seen as bordering on the arrogant and her ambition made her unpopular with some, but she was the poster child for women in sport at a time when they had very few opportunities. She moved in celebrity circles, and her shows and tournaments were widely publicised and very popular. In 1948 she qualified for the Los Angeles Open golf tournament, an event on the men’s tour, where she was paired with George Zaharias, a part-time golfer and pro wrestler of Greek

PHOTOGRAPHY: CORBIS (1)

Words: Robert Sperl

HEROES

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PHOTOGRAPHY: GETTY IMAGES (3), CORBIS (1), REX FEATURES (1)

origin who grappled under the title of ‘The Weeping Greek from Cripple Creek’. They were engaged in July of that year, and married in December. Having achieved personal happiness and sporting success, Babe could not control how many in sport’s upper echelons perceived her: as an impudent upstart from the lower classes, a troublemaker. There were also rumours of a long-term affair with her close friend and fellow golfer, Betty Dodd. But she was a rebellious freethinker, and paved the way for liberalisation within women’s sport. Golf fans loved her regardless and her place in their affections was sealed following her diagnosis with colon cancer in 1953. Her treatment was successful, she returned to the golf course and in 1954 posted a sensational and emotional victory in the US Women’s Open, winning the tournament by 12 shots. In 1955 the cancer returned, and this time Babe faced the one challenge she would not be able to meet, and she died, aged 45, in September 1956. At the time of her death, there was very little argument about who she was and what she had done. Without her and her efforts, the world of sport would be a much poorer and more one-sided place.

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Action Leaps of faith, amazing feats, plus on tour in Texas

40 TAURUS WORLD STUNT AWARDS 54 CLIFF DIVING 62 SXSW MUSIC FESTIVAL 70 KARINA HOLLEKIM

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PHOTOGRAPHY: GETTY IMAGES (3), MAURY PHILLIPS (1), REX FEATURES (2), CINETEXT (1)

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Nowhere does big like America. Nowhere does fantasy like Hollywood. And in this land of fairytale movie magic, where imagination takes flight and shadows take form, there exists a show so grand and so free from limitations that it really is ‘stuff such as dreams are made on’. That show is the Taurus World Stunt Awards, an extravaganza created in the heart of Hollywood to put something back into Hollywood’s heart by honouring its unsung heroes – the men and women of the stunt community – who quietly, dangerously, make the stars shine. These are the guys and girls who will happily throw themselves out of 12-storey buildings before breakfast; the same tight-knit crew who will jump carriageto-carriage between fast-moving trains; a brother-and-sisterhood who will, if a director so demands, attach cable to harness and dangle from a plane – all so that a certain shot can be captured and the illusion be made real. But the film industry’s real heroes are a modest bunch. They’re content to exist in a celebrities’ parallel universe, where acclaim comes not through column inches and paparazzi lenses (or even by way of an Oscar, as stuntmen don’t get them), but through peer-group nods for 41

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taking the ‘hardest hit’ or wrecking a car just that little bit more completely than a car has ever been wrecked before. So, how do you laud these limelightshy individuals? Or impress them? Simple – choreograph an evening of live stunts that has even the charred, beaten-up old pros like stunt legend Terry Leonard clucking with appreciation, and make sure that, for one day at least, the stunt community, whose massive contribution to the movie business goes largely unheralded, get a deserved fanfare. The Taurus World Stunt Awards – TWSA to those in the know – was dreamed up by Red Bull founder and CEO Dietrich Mateschitz, who envisioned a show that, far from being smug and self-congratulatory, actually spelled out a Hollywood truth: movies don’t get made without stuntmen and stuntwomen. The show proved instantly popular on its inception in 2001, both with those the TWSA was created to fete and with the actors whose multimillion-dollar reputations have for so long been enhanced by the falls, smashes, infernos, jumps, wrecks, dives and crash-landings their stunt doubles have put themselves through. The A-list likes of Harrison Ford, The Rock, Gerard Butler, Arnold Schwarzenegger, Alec Baldwin, Keanu Reeves, Michelle Rodriguez, Quentin Tarantino and Darryl Hannah have all graced the TWSA, and, in so doing, have displayed very public shows of gratitude to those who have – in the most literal sense – fallen for them. The comments of Bruce Willis, whose stunt double Larry Rippenkroeger was seriously injured during the making of Live Free or Die Hard, are typical: “If you’ve ever done any kind of action film – and I’ve done a few – you understand just how much members of the stunt world contribute to the magic of movies.” The heady mix of spectacle, celebrity and authentic grit that typifies the bluecollar spirit of the stunt community is what makes the TWSA show unique, as executive producer Mitch Geller notes: “We have many stars at the Taurus World Stunt Awards, and we’re extremely proud to have them. Yet we try never to forget what our show is all about, and that’s celebrating the stunt community in the manner they so richly deserve. This is their night, and that fact drives every decision we make and everything we do on the show.” So, what of the show itself? Picture a huge open-air Stunt City in the middle of Paramount Pictures’ 5555 Melrose Avenue studios. Throughout an evening 42

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PHOTOGRAPHY: ERIC CHARBONNEAU (2), ALEX WYMAN (4), MAURY PHILLIPS (1), REX FEATURES (11), REUTERS (1), GETTY IMAGES (9)

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GETTY IMAGES (7), REUTERS (1), MAURY PHILLIPS (1)

of lights, smoke, fire, music and some extremely loud bangs, this will be the scene for free runners apparently to defy gravity; for seemingly ordinary Joes to suddenly catch fire, then carry on walking around the stage, smeared in flaming ‘cool gel’, oblivious to their ‘human torch’ appearance. Cars will appear though walls and crash off the stage; people will fall through windows; others will disappear through holes in the floor. Swordfights will be spark-clashingly enacted; guns will be fired (blanks only, please). Think of the circus of your dreams on a hot Hollywood night and you’re only halfway there. Staging an event like this requires absolute logistical precision and meticulous timing. Even the slightest flaw will, after all, be noticed instantly by the hardest-to-impress audience on the planet: row after row of stunt pros. “By virtue of their extraordinary professionalism, the stunt people have pretty much seen and done it all,” says executive producer Andrew Stephan, “so the show becomes a challenge because you want to impress a crowd that have seen so much.” But it also has to be Entertainment with a capital ‘E’, says Michael Dempsey, another of its executive producers: “We want there to be serious moments, but we don’t want everything to be serious.” Variety, he reckons, is the key. “The success of this show is based on weaving a lot of different threads into it,” he says. “It’s not going to have one overriding theme. You need exciting short films, you need stunts, you need comedy…” You need stars, too. “It’s always a challenge to get celebrities to attend,” Dempsey says, “simply because of the sheer number of awards shows they’re asked to do. But what’s great about this event is that a lot of the big action stars really support their stuntmen.” It’s something Billy D Lucas, who was an expert at taking the hard hits for the current Governor of California, well knows. “I don’t think anyone stands above Schwarzenegger in terms of their commitment to the Taurus World Stunt Awards,” says Lucas of the man he’s doubled for more than any other. “He’s come every single year. Watching the celebrities come out to pay tribute to us gives probably some of the most powerful moments of the entire show, because you can see they recognise that it’s not about them. They really back us, and give us our due. It’s nice to have a night to be acknowledged for your hard work, for the risks you take in this business.”

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# 1 FLYING FISTS

TONY ANGELOTTI

A lot of stunt fighters do martial arts, but your background is gymnastics… I love being able to incorporate fighting and acrobatics, especially when you can make it a part of the character’s cunning and ingenuity – for instance as a Zorro character or Captain Jack Sparrow. You know… “I’m gonna leap off that balcony, do a flip, hit the ground, fight these soldiers and continue on.” You’re not just fighting – you’re fighting in character, aren’t you? When we were developing fights for Jack Sparrow, we were told that he uses the least amount of energy possible. He can do amazing things, but only when he absolutely has to – he keeps them in his back pocket and keeps his opponents guessing. Once we saw how Johnny Depp was creating the character, we developed the swordplay around him. As his double, I’m trying to be inside Johnny Depp’s and Jack Sparrow’s heads. I ask myself, “How would Johnny/Jack approach this?” Johnny brings his own very playful, creative approach, and I try to mirror that. Some of those Pirates fights are epic pieces of stuntwork, aren’t they? That beach fight in Pirates 2 was a marathon. It’s a swordfight on the run, all fighting over this key. The sheer length of this fight… it was over 120yd long: 46

longer than a football field. But imagine doing that in full costume, on a sandbar, in the water, back on the sand, sinking into the sand… to say it was mentally and physically exhausting is a total understatement. But creatively, it was fantastic. Thomas DuPont, Mark Wagner and I had the basic parameters of what had to happen – the key is exchanged this many times, etc – but beyond that, we were told, “OK, guys, go nuts.” How many fights have you done? Oh, my god… I can’t even begin to guess. Including doing live shows at Disney World, where we were fighting every day? I would have to say thousands. So, for you, what’s the difference between a good fight and a great fight? It starts with great choreography. You want things that haven’t been seen or done before, maybe integrating some acrobatics. Once you start to perform with your partner, it becomes a dance. When all the elements fall into place… every single blade hit, every single duck and roll happens so the timing flows perfectly, and you finish that fight, you know that it just could not have gone better. And when the director and the co-ordinator come running up saying, “My god, I’ve never seen anything like that before…” That kind of helps, too [laughs].

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ADDITIONAL PHOTOGRAPHY: KOBAL COLLECTION (2), COURTESY OF TONY ANGELOTTI (1)

Born: 1967, Miami, Florida (but grew up in Tallahassee – “My friends and family would kill me if I said I was from Miami”) You’ve seen him: Crossing swords and throwing punches in The Mask of Zorro, Starship Troopers and Pirates of the Caribbean

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“I CAN’T EVEN BEGIN TO GUESS HOW MANY FIGHTS I’VE DONE”

# 2 MAN ON FIRE

MARK CHADWICK

Born: 1961, Ypsilanti, Michigan You’ve seen him: Getting blown up, burned alive and set on fire in The Dark Knight, The Punisher and Bedtime Stories

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So, you won a Taurus World Stunt Award for your work on The Punisher… Yeah. That was the job that showed me just how far the technology had come for keeping somebody safe inside these huge explosions. They had me standing on top of five propane bombs. I’m like, “Really? We can’t do this with one?” [laughs]. And you’re not just a stuntman – you’re also an innovator in burn techniques… The techniques were always there – I just started pushing the envelope. A lot of fire burn techniques when I started were based on superstition and not science, like putting baby powder all over your body – they thought that if you perspired, the sweat would turn to steam. And that’s a crazy notion that’s not scientifically founded. If you get so hot that your sweat turns to steam, you’re dead – steaming sweat is the least of your problems. What happens when things go wrong? It’s like the old saying, ‘When burns are good, they’re very good, and when they’re bad, they’re horrid’ – that moment when you realise that you need to be put out right away, and you’re still five seconds from your safety guys. There’s not a lot you can do – you have to override your fight-or-flight impulse… just try to relax and let the guys get to you. You can try to get out of the flames with your blocking. That’s where experience comes in. How does experience help? Fire is pretty manageable. Imagine your arm being on fire. If you put it straight down the flames might come up into your face. If you hold your arm straight up, it’s going to engulf your fingers. But if you keep your arm horizontal and wave it back and forth, the flames are going to stay where you want them to. My strong suit is being able to explain to people – other stuntmen and sometimes actors – what’s going to happen, why it works and what they should anticipate feeling. What actors have you set burns for? I set up Vince Vaughn on Be Cool – he did a pretty big burn. I set Criss Angel up for a bunch of burns on his show. I want to let the person think about hitting his marks, his blocking… whatever performance aspects he’s dealing with, and I take care of the dangerous stuff on the side. I lit my wife on fire last week – she’s a stuntwoman. She stood inside a naphthalene bomb and came out on fire. But we talked about what would happen, what to expect… basically you give as much information as you can, so it’s very clear and very simple. Is it easier to set your wife on fire or Vince Vaughn on fire? Oh, Vince Vaughn, for sure [laughs].

ADDITIONAL PHOTOGRAPHY: KOBAL COLLECTION (1), COURTESY OF MARK CHADWICK (3)

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“I LIT MY WIFE ON FIRE LAST WEEK. SHE STOOD INSIDE A NAPTHALENE BOMB AND CAME OUT ON FIRE”

# 3 THE SPEED QUEEN

DEBBIE EVANS

Born: 1958, Long Beach, California You’ve seen her: Screeching around corners, flipping over cars and driving the wrong way on the freeway in The Matrix Reloaded, The Fast and the Furious, Mr & Mrs Smith and Wanted

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How long have you been driving? Oh, I’ve always loved everything with wheels. I started riding motorcycles when I was six. I got a unicycle when I was 11. My dad went to work the next day, and when he came home, I was riding down the street to meet him. I could wheelie my bicycle forever. I beat everyone in the Sunset Beach Wheelie Contest. My dad just loved it when I beat all those boys – he thought it was the funniest thing. Stuntwork is usually thought of as a man’s job… Was it difficult to break in as a woman? Acceptance took some time. Even today, because I’m a woman, I sometimes have to prove myself all over again. Not so much with the stunt people – they all know me – but the crew, they’re not sure. So I just keep my mouth shut, smile and let them have their doubts. And then prove them wrong [laughs]. Which stunt do you remember best? On The Fast and the Furious, I drove a car under a semi-trailer and then flipped it. First, I jockeyed my way underneath and got a feel for how close everything was. Then, I picked a mark – a reflector – on the side of the semitrailer, and I knew that I had enough room, front-to-back, when I was lined up with that reflector. That truck didn’t have any guard over the rear wheels, so, if I’d made a mistake, it would have just run over me. But when you get ready to do a big stunt like that, it’s like tunnel vision. I rehearse it in my head, over and over again, until I can see everything happening. And if it’s not ‘flowing’ when I do that, then I know there’s something wrong and I’ve got to go back and figure out what glitch needs to be fixed. The hardest part was that we had to do it three times. We did it once, then we broke for lunch. And that second time, I knew it was going to feel rushed, because my adrenaline wasn’t as high. It feels like everything’s tighter under that truck – it’s intensified. Some things are easier when you do them the second time, and some things are more difficult. What’s easier the second time? If you’re doing a chase scene, you’re taking certain lines or corners, so you learn what to expect. But going underneath a semi-truck is more difficult. We were going faster the second time, and the truck was swerving, so I was kind of dancing out there with it, and then I would just pick my moment, just rush across, and go all the way underneath. It was pretty wild.

ADDITIONAL PHOTOGRAPHY: REX FEATURES (3), KOBAL COLLECTION (1)

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“

I’VE ALWAYS LOVED EVERYTHING WITH WHEELS. I BEAT EVERYONE IN THE SUNSET BEACH WHEELIE CONTEST”

# 4 THE FALL GUY

BOB BROWN

Born: 1958, San Mateo, California You’ve seen him: Jumping out of windows, leaping off buildings and falling off cliffs in Terminator 2: Judgment Day, The Mask, Waterworld and Face/Off

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You trained as a gymnast, didn’t you? Yep, and then as a high diver. The trampoline was the basis for everything I’ve done. There’s a language that goes along with trampoline which translates to high diving... it’s about kinesthetic awareness and decreasing radiuses – an entire understanding of twisting and flipping. You become a living physics project. Mix high diving and trampoline together and it’s a great combination. How did that combination expand your repertoire as a stuntman? I kept telling these co-ordinators how I could somersault and flip ‘out of control’ on these high falls, instead of the straight dive you used to see. And they finally started letting me do it. Some guys like Ronnie Rondell – this legendary stunt guy who came from diving – were open to the idea of busting it loose like that, looking out of control. The next thing I knew, I was ‘the high-fall guy’. What are some of the most challenging falls you’ve done? One of them I did twice, once for this film Rage, and then again for MTV, for a show called Senseless Acts of Video. I had a helicopter go over a high-rise, which was about 450ft. I put an airbag on the roof and I did a high fall about 180ft from the helicopter to the roof. And when I did it that first time, I almost missed the bag… I hit on the far left, maybe 7ft or 8ft from the side. At the time, I was on another job, doubling Billy Baldwin in Florida, and I flew home for the weekend just to do that stunt, and just about bit it. Two years later, there was word-of-mouth about that gag, and MTV asked me to do it for the show. So, I got to do it again, by the numbers, and nailed it that time. You also did a famous fall for Red Bull, of course... Yep – at the Taurus World Stunt Awards in 2002. They approached me. I’d been trying to move away from the extreme stuff where you can really hurt yourself, but there was this one gag I always had in the back of my mind. I always wanted to be fully lit on fire and run and dive out of a window at 20 storeys or more, and do this particular trick where I could flip and kind of wrap myself around the fire. I couldn’t do it in a movie – I could never get the rehearsal time it would need. But Dietrich [Mateschitz] said, “Do whatever you want… you can produce it, you can direct it, bring your own crew…” That’s probably my most radical fall. All the crazy elements are built into that gag. =fccfn k_`j p\XiËj KXlilj Nfic[ Jklek 8nXi[j fec`e\ Xk nnn%i\[Ylcc\k`e%Zfd&Zlckli\&]`cd&\e

ADDITIONAL PHOTOGRAPHY: COURTESY OF TAURUS WORLD STUNT AWARDS (3)

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S TAURUD L WOR T STUN S D AWAR

“I ALMOST MISSED THE AIRBAG WHEN I JUMPED FROM THE HELICOPTER”

ARC OF A DIVER ‘Feel the fear and do it anyway’ could be the maxim for the elite band of professional cliff divers. They alone know how to plunge at 55mph into concretehard water – and survive Words: Ruth Morgan Photography: Eric Swain

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Two figures stand alone on a cliff edge, silhouetted against the bleak, windswept landscape of the Aran Islands off Ireland’s west coast. Some 24m below them lies the Serpent’s Lair, a natural pool formed over centuries as rock bowed to the might of the churning Atlantic beneath it. One man raises his arms above him, takes a breath and launches forwards. Time seems to slow as his body morphs gracefully into a series of shapes, twisting and somersaulting, until he is dead straight, preparing for the impact that will decide his fate. His taut body disappears into white water with a splash that is barely audible. Inis Mór is known to some as ‘The End of the World’ and its stark beauty is a fitting backdrop for a sport in which grace belies brutality. Entering the water at speeds of more than 90kph is like hitting concrete, and cliff divers must prepare both body and mind to avoid disaster. Colombian Orlando Duque and Briton Gary Hunt are two of only a handful of competitive cliff divers in the world; a small community in search of the next high, training relentlessly to avoid the inherent perils of their sport. Divers accelerate to top speed in just 2.5 seconds and slow to zero in one second and just 3m of water, making cliff diving a niche activity. Few can stomach the dizzying heights, the mental weight of the potential for harm or the physical strain of the jarring impact.

1/ FEEL THE FEAR

rom an average height of 27m, cliff divers know that only a perfect execution of their tucks, pikes and somersaults will allow them to emerge from the heavy impact with the water’s surface unscathed. Yet they seek out this danger at every opportunity. “The way I’d summarise someone who takes part in this type of sport,” says Brian Germain, a psychologist, skydiving instructor and author of the book Transcending Fear, “is that they’re less afraid of dying than of not living.” Most divers don’t try to block out feelings of fear that consume them before a dive. “I do get scared,” says Orlando Duque. “You’re aware of the consequences of something going wrong. I actually try to use that to remind me of what I need to do. If I get too comfortable, I may overlook something, so I use the fear to help me concentrate so I have a safe dive.” Fear is a response intrinsically entwined with the adrenaline highs of a dive. “It’s amazing what goes on when you push yourself beyond your comfort zone,” says Rhonda Cohen, a Sports Psychologist at Middlesex University who specialises in extreme sports. “You have a whole emotion of fear, and your body produces chemicals such as adrenaline at that point we call ‘fight or flight’. But when it comes to the fear of danger and the adrenaline rush of a cliff dive, it would seem one can’t exist without the other. “When you’re standing on top before you dive, you feel anxious, you’re stressed and you’re scared; then, once you’re underwater, everything switches,” says Duque. “It’s like a 180-degree turn and you’re suddenly super-happy. Sometimes I come out of the water and I’m shaking because it’s such a difference in feelings.” Sports psychologists believe that this need for high risk in return for adrenaline develops in people who have a higher threshold for danger. In order to achieve the same thrill level most of us get from a rollercoaster, they need to engage in a riskier activity, and then harness the fear that comes with it. “If we decide to turn [anxiety] into positive energy, we will have a wonderful ride,” says Germain. “That’s the ultimate answer to fear: learning to embrace it.” Gary Hunt agrees with this theory. “I’m addicted to that feeling of fear; that adrenaline rush,” he says. “If it wasn’t scary, I probably wouldn’t do it.” 57

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As a spectator sport, cliff diving is thrilling but also beautiful. Just as in Olympic diving, cliff divers must be mid-air gymnasts, able to manoeuvre themselves gracefully in and out of shapes and spins, and judges mark their form, style and ability to enter the water with a minimal splash. The reality of a diver’s experience is a sharp contrast to this smooth outward aesthetic. Below the surface, divers deal with the force of impact their incredible speed creates. “We accelerate from zero to more than 55mph in about two and a half seconds,” says Duque, “and then we go back to zero in about one second in only 3m of water. It’s an extreme situation. Above the water, people just see the perfect form, but then, once you’re underwater your legs go one way and your arms go another way. You’re almost broken into pieces because the impact is that heavy.” When entered from such a distance at these kinds of speeds, the water surface feels similar to concrete and a diver must break through the potentially deadly outer layer to make a safe entry. Entering feet-first is the only way to land these dives, as the force of impact would be too large for the hands and the head to handle. Even when a dive is executed perfectly, and a diver enters the water at the ideal 90-degree angle, the force of impact on the body is still so big that cliff divers will usually manage only three or four full-height dives per day. And at speeds this great the margin for error is tiny. “If the angle is off by even 10 degrees, which is not that much, they can break 58

their ribs,” says Niki Stajkovic, former Olympic diver and director of the Red Bull Cliff Diving Series this year. Agitating the surface of the water weakens the outer layer, helping to reduce impact, and the rest is up to the skill of the diver. “Throughout your dive, your toes need to be pointed to look as nice as possible,” says Hunt, “but when you get near the water you need flat toes but a pointed foot; a bigger surface area to break a hole in the water big enough for your body to go through. If you point your toes, you won’t have made a big enough hole, and then, when your chest or your head goes through the water, you’ll get a massive hit.” Cliff divers are also able to alter their speed during their rapid descent to ensure they get the best possible entry. “The height doesn’t scare me: the water scares me, as I know how hard it’s going to hit,” says Duque, “so your brain starts working fast to make sure you get the best entry. If you’re moving too slowly in the somersault, you have to stay in the position longer to get more speed, if you’re too fast, you need to stretch your body out to slow it down. But sometimes it doesn’t work: then, you’re just trying to save yourself so you can walk away.” The speed, nevertheless, is one of the major reasons Duque and Hunt climb up cliff after cliff. “The speed is the most exciting part of the sport,” says Duque. “Once you’ve finished the acrobatic part of the dive and you’re lining up for entry, you feel it. It’s hard to describe, but it’s a lot of fun.”

The feat that could spell injury or death is what 34-year-old Duque lives for. Fascinated by the blue depths of a local diving pool in Cali, Colombia, the nine-year-old Duque took up a hobby that would eventually become his profession. He is now nine-time cliff diving world champion and has won countless national and international contests in 14 years of competitive diving, including a year of his compulsory military service with the armed forces championship diving team. “I didn’t see any combat – I moved to an airforce base where there was a pool and I would train all the time,” he says. “But I won two gold medals for the armed forces, so they were pretty happy with me.” In 1992, Duque and one of his team-mates qualified for the Barcelona Olympic games, but a lack of funding from the Colombian Olympic committee dashed their hopes. Then a group of his European friends told him of an opening at an Austrian safari park diving show, so he packed his bags and left Colombia. Diving from a tiny 25m platform reached by way of a thin ladder, the performers would spin and rotate before landing in a small pool. The advice and training he received from fellow high divers allowed him to hone his skills, practising when the crowds had left. “In 1999, I competed in the first Red Bull Cliff Diving Series,” he says, “and I placed second, which was not only a surprise for me, but for the other competitors.” Since then, Duque has won almost every event he has entered.

ADDITIONAL PHOTOGRAPHY: RAY DEMSKI (1)

2/ CONTROL THE SPEED

ORLANDO DUQUE

“THE HEIGHT DOESN’T SCARE ME: THE WATER SCARES ME, AS I KNOW HOW HARD IT’S GOING TO HIT”

“THE PREPARATION FOR IMPACT IS NONSTOP THE WHOLE YEAR, EVEN IF YOU’RE NOT COMPETING”

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GARY HUNT Gary Hunt is the only competitive cliff diver in Britain. The 24year-old has won medals at national and international level for high diving, including a third place in the synchro class at the 2006 Commonwealth Games, and is one of the youngest competitive cliff divers in the world. He came third in last year’s Cliff Diving World Cup. Hunt began swimming at a young age and also took up gymnastics around the age of five – giving him an excellent foundation for the acrobatic mid-air twists and turns in cliff diving. By the time he was nine, Hunt’s favourite part of his swimming lessons was watching the divers practise in the pool next to his, and, after trying one lesson, he was hooked. “Gary’s just passionate about diving. He works exceedingly hard,” says Lindsey Fraser, Hunt’s coach at the Southampton Diving Academy for the past nine years. “He’s a relatively easygoing person, but he knows his own mind.” Hunt had his first taste of cliff-diving heights at a theme park just outside Venice in 2005. “I’ve always been known as someone who likes trying crazy stuff,” he says. “So when my coach heard of an opening in Venice, he thought of me.” Former high-dive world champion Steve Black coached him there and then introduced him to the high-diving circuit. Hunt competed in the Red Bull Cliff Diving Series, finishing an impressive fourth. He is now determined to improve further. “I want to win a competition. That is my aim this year.”

3/ PREPARE YOUR BODY Cliff diving requires full-time commitment, and divers must put in as much effort outside the water as within it to maintain a body able to deal with the rigours of the sport. Since both Duque and Hunt have been diving from a young age, the gymnastic technique of diving has been built up over years, so the emphasis of a lot of their physical work now is on building up endurance and defences against the impact of hitting the water. Nature has a role to play, too. “Cliff divers are going to be athletes who have a gymnastic background,” says Lindsey Fraser, Hunt’s diving trainer. “It’s vital they have fast-twitch muscles and very good awareness of where they are in the air, the ability to see the water and that they know where that upright position will be.” ‘Fast-twitch’ refers to how quickly muscles are able to react to a command, and depends on the type of muscle fibre you are born with. If you have fast-twitch muscle fibre, the muscles can then be strengthened with regular plyometric exercise. This increases the speed and force of muscle contractions, giving a better ability to jump higher, further and to create shapes more quickly in the air. “Plyometric exercise basically means a lot of bouncing for us,” says Hunt. “In the gym, we have spongy mats that we stack on top of each other, and we’ll do several jumps and then a somersault off them. We use our ankles and legs a lot in exercises, and also trampoline work, as it’s good for our visualisation.” Core stability is another essential for cliff divers who need to hold a perfect

shape for top competition marks and ensure the smallest impact on landing. “It’s important to have a really strong back and stomach,” says Duque, “and a strong core overall.” Duque receives a training programme from the Red Bull Diagnostic and Training Centre near Salzburg, in Austria. “The preparation for impact is non-stop the whole year, even if you’re not competing,” he says. “In a week, I’ll probably do about eight or nine sessions of cardiovascular training, so I run, bike and row. Then I do a lot of core stability and specific leg-training work to help my jumps. You need to have the strength to hold both your legs together when you enter the water or the impact will force them apart, which will end in an injury.” Both divers are training for the Red Bull Cliff Diving Series that begins on May 8, although there is one dive Hunt is finding difficult to prepare for. “The dive I have in my head is the hardest dive in the world,” he says. “It’s a back two and a half somersaults with two and a half twists. I can’t fully fit it in off the 10m board, so that means I can’t practise from the proper height until the day of the competition. I want to do it at the first stop of the tour, but we’ll have to wait and see.” Aldg kf X k_i`ccè^ m`[\f f] k_\ [`m\ij è XZk`fe Xk nnn%i\[Ylcc\kè%Zfd&Xik`Zc\j&ficXe[f&\e

TEX MAX Pop-punk band The Cheek take touring to the limit as they hit Texas’s South by Southwest culture-fest hard. The Red Bulletin caught up with them. Or tried to… Words: Nick Amies Photography: Jamie-James Medina

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ed Bull’s Moon Tower stage glows luminously among the bungalows and car parks in a suburban area of downtown Austin, Texas, like a recently-landed UFO. Punters, drawn by the eerie, throbbing light and other-worldly hum, gather mesmerised. They stand waiting, seemingly caught between hope and fear, watching to see if alien beings will materialise from the swirling smoke that has engulfed the neighbourhood. When a figure does appear from the backstage airlock, there is a moment when its terrestrial credentials are brought into question. But once the fog of dry ice blows away, it soon becomes clear it’s a human, of sorts. “All right Austin, Texas,” croaks the being. “We’re The Cheek and my voice is f***ed.” Backtrack five days and East Anglian pop-punk scamps The Cheek arrive in the USA for the South by Southwest festival already suffering from a substantial sleep deficit and a raging collective hangover. The Suffolk five-piece barely have 24 hours to adjust to Austin after the craziness of Tokyo and a tantalisingly short, surreal stopover on home soil. Wednesday is their first full day and they have two shows to play in this wholly new and intensely weird environment. Austin’s Lower East Side is swarming with the full gamut of human life. Indie kids and rock fans stand out from the supersized families like the skyscrapers rising from the banks of the Colorado River, while platinum-blonde cheerleaders totter between them all in slinky summer dresses and stilettos. Now in its 22nd year, SXSW has grown from a cosmic cowboy and blues festival into the lovechild of a weekend at Glastonbury and a night out in Manchester’s clubland. For one week every spring, the self-proclaimed live-music capital of the world throws open its arms to this media circus. By day, discussion panels featuring industry movers and shakers shape the future of music, film and multimedia behind closed conferenceroom doors, while outside, the frontliners

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in the battle for fans and consumers – the magazines, the record labels, the sponsors – host parties and showcases featuring the newest talent and the latest material from established acts. But it’s at night when SXSW really comes alive. In the packed streets, the air is filled with the soundclashes of a hundred bands playing side by side and the excited chatter of crowds filling the cramped sweatbox bars and jostling for views at the open windows. The sickly-sweet smell of cheap liquor and fast-food cooking hangs over everything, caught in the blanket of Texas humidity. Outside BD Riley’s, one of the many Irish pubs on East Sixth, The Cheek look like a bunch of students who have partied way too hard, way too early. It’s hard to equate these lethargic forms with the band that almost literally brought the tent down at last year’s Underage festival, who prompted a record number of crowdsurfers during their headline set 66

at Latitude 2008’s Lake Stage and who claimed critical respect and a Tune of the Week in the NME with only their second single. The band look to be struggling to keep their dinner down and their spirits up. The time zones have not been kind. “Just before we left for the first gig, the jetlag really kicked in,” says Thom Hobson, the band’s laconic bass player, by way of explanation for the state they’re in. “Somehow, we got up for it. Now we have to do it again, only an hour later.” The band’s previous performance, a short set at an industry party a little down the street, was plagued by PA problems and a threadbare crowd more interested in the glowing screens of

‘THE CHEEK LOOK AS IF THEY’VE PARTIED WAY TOO HARD, WAY TOO EARLY’

their BlackBerrys. Now The Cheek need to dig deep for their SXSW showcase. Asked where he’s going to find the energy to perform, Hobson replies as if faced with the most obvious question in the world: “From the music, man.” The music certainly seems to energise the band. Ripping into opener Just One Night, the pavement casualties of a mere few minutes before are transformed into a quintet of spasming lunatics. Eyes popping, faces contorted, and throwing punky shapes, The Cheek are different animals on stage, albeit a stage that is roughly the size of a card table. Somehow, the show passes without any injuries, despite the close proximity to flailing, stabbing guitars and the epileptic dancing of lead singer Rory Cottam. The crowd in BD Riley’s and in the street outside soon grows in size and enthusiasm, attracted by the wired eccentricity and choppy riffing that made heroes out of a long list of weirdos,

ADDITIONAL PHOTOGRAPHY: REX FEATURES (1)

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red panda as the rock animal accessory – “Monkeys are so ’80s,” says Ali Bartlett, The Cheek’s drummer – to whether half-naked wrestling in ski masks would make for a good photo shoot. SXSW is The Cheek’s first taste of the US as a band. Despite enduring stereotypes, they’re keen to point out they arrived with open minds. “I prefer to make my mind up after experiencing something,” says lead guitarist Christian Daniels. “I always wondered if the US would be like in the movies,” adds Bartlett. “And it totally is.” In contrast to the ruffled, borderline psychosis of the band, GoldieLocks reclines in the shade of a benevolent birch as if she’s the guest of honour on a Greek shipping magnate’s yacht. Decked out in summer dress, trilby and gargantuan shades, she seems unaffected by either travel or the prospect of her first Stateside shows proper. “I played in New York before,” the rapper/producer drawls, her London twang halting the incessant chirping of curious birds. “But these are my first real US gigs.” As well as her SXSW showcase and her 2am slot on Saturday’s Moon Tower stage, GoldieLocks will be performing a DJ set. “I’ve only brought four CDs,” she adds nonchalantly, unfazed by the prospect. “It’ll have to do, I s’pose.” Given that she’s remixed for the likes of Mutya Buena and the Mitchell Brothers and has a MySpace hit count heading towards a million for her own tunes, the crowd are unlikely to worry too much. This lady comes with good vibes as standard. from XTC to Blur. When Cottam climbs into the open window and gyrates for the passers-by during set-closer Slow Kids, it’s clear that The Cheek have studied rock traditions long and hard. Nothing pleases a crowd more than the promise of an adventurous frontman coming a cropper right in front of them. The singer survives, but the combustible and irresponsible nature of the final song’s theatrics makes sure The Cheek make an impact, even if Cottam doesn’t. Next day at the rented pad the band share with the Red Bull crew, including up-and-coming London dubstep/grime star GoldieLocks, The Cheek listlessly pour from one piece of garden furniture to another in an unconscious game of musical chairs under the relentless morning sun. It’s their first day off and no one seems to know what to do. The bizarre, fragmented conversation, befitting sleep-starved minds, ranges from a short debate on the future of the

oon everyone finds the energy to party again, although it helps that it’s in the comfort of their own home from home with an energising array of local celebrities and international faces in attendance. The likes of Lady Sovereign and Daisy Lowe rub shoulders with the geezer who runs the strip show just off Highway 71 and a guy who looks like a Hell’s Angel who has taken a wrong turn. The humid dusk and subsequent darkness is filled with different accents and plenty of laughter as spirits rise and inhibitions are cast aside. Friday’s visit to a shooting range, to experience another part of traditional Texan life, is sensibly postponed until the next day, given the shaky hands after the previous night’s high-jinks. Stories 67

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of paddling-pool wrestling and questionably-cooked meat slosh between the self-afflicted as the tour bus drives everyone to a supermarket-sized thrift store. The shopping is lethargic and is soon called off. GoldieLocks heads off to prepare for her first show of the day while everyone else votes for time to recover before catching her live. The gig at Beauty Bar, a venue designed like a 1950s hair salon, goes well. “That wasn’t a true representation of a US crowd, so I’m not going to say I rocked America, but they were into it,” says GoldieLocks of her performance. “Southern hip-hop is pretty bassy, like grime and dubstep, so I think they get it here.” Asked whether the prevalence of industry faces at SXSW gigs makes a difference to her shows, she answers in typically laid-back fashion. “I’m playing for the fans, not the suits. It’s just fun to do. Maybe I’ll meet other artists who I can collaborate with, but my main focus is just performing.”

ater that night, three-fifths of The Cheek roll up at the Billboard magazine showcase event to watch an exclusive acoustic set by Graham Coxon. After an intimate half-hour in the company of the Blur guitarist and seven of his new songs, Cottam and Hobson are awestruck. “How ridiculously good was that?” asks the singer, rhetorically. “Abso-f**king-lutely amazing,” adds the bass player. As Friday becomes Saturday, the entire Cheek, along with GoldieLocks and the rest of the entourage, roll up to the Lady Sovereign gig at Club de Ville on Red River. It’s another long, chaotic night that includes a prolonged period of crowd-surfing and stage invasion by Hobson at the Black Lips show, and ends with brave but futile attempts to ward off sleep and the sunrise back at Red Bull Central. Fatigue and the rotation of the earth finally win. Despite everyone’s best efforts, they always do. The huge sign above Red’s Shooting Range is just one of many billboards crammed onto the side of the dusty sliproad off the main highway. Fast-food joints, diners and – bizarrely – motorboat showrooms vie for attention in this one of a thousand out-of-town commercial enclaves. But this is another world for The Cheek and GoldieLocks. This is where New Europe meets Old Texas. The 68

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gung-ho attitude the majority of the group had before their arrival quickly dissipates as liberal and conservative ideas about guns meet head-on. After a short moral debate that divides the group, those who choose to shoot receive a quick tutorial and shuffle through to a cramped corridor to wait for a free firing alley. Bear-like locals in trucker caps and plaid shirts blaze away at distant targets with a variety of pistols, while a denim-clad couple enjoy a date with matching rifles. Outside in the parking lot, guitarist and vocalist Charlie Dobney and drummer Bartlett contemplate life, but mostly death, and the reality of gun ownership in the US. Neither is comfortable with the now-obvious connection between weaponry and mortality. Soon they’re joined by the other band members, who filter out with their excitement in pieces, as if blown away by a 12-gauge. Not one of them has converted their pre-trip enthusiasm into a love of

guns. GoldieLocks has also refused to shoot, and the atmosphere takes on a darker feel under the glare of the Texan sun. Half an hour before their set at the Moon Tower, The Cheek are showing more than a little wear and tear. An ailing Dobney wraps himself in an unflattering, oversized hoody and takes another chug on a bottle of cough medicine. This isn’t some pharmaceutically charged act of rock ‘n’ roll hedonism. Dobney, like the rest of The Cheek, is paying the price of excess. “I feel well dodgy,” the guitarist growls from under a cloud of tour flu. He looks it, too. The band have been fighting off the inevitable for most of the past week, but now the inevitable seems to

‘THIS HAS BEEN A GREAT FESTIVAL. IT’S AN AWESOME EXPERIENCE’

have the upper hand. Saturday is their big night, but one look at the clearly ill guitarist and one has to wonder whether they’re even going to make it on stage. Given everything which has gone before – the partying, the gigging, the constant culture shock – it’s no surprise that The Cheek look more ready-to-drop than to ready-to-rock before performing at the Moon Tower. But, just as before, when they were still on Tokyo time in an Irish pub some five days ago, the band dig deep to give a typically frenetic show. Under a thick shroud of darkness sporadically punctured by psychedelic searchlights, The Cheek puff through the first couple of songs, but find their sea legs on the hook-heavy You Let Me Go. By the time the insane plea of Give Me Your Hand rolls out over the audience, the boys are at full tilt. Despite his opening profane apology, Charlie’s voice holds out to the end, and the lads push themselves to another finale of full-on physicality before bidding Austin goodnight. By the time GoldieLocks brings a taste of Croydon attitude to proceedings in the early hours, the crowd are wired and inspired. Buffeting the audience with waves of earth-tremor bass and sassy rhymes, she soon has a sea of hands in front of her. A triumph is on the cards until The Man intervenes. The venue is surrounded by surly-looking cops and a fleet of cruisers as an announcement of closure rings out from the stage. The music is stopped, but the party continues; no one is ready to leave. After sticking around with the majority of the resilient crowd until the sun dares to rise over the tense scene, the European contingent eventually ride the Moon Tower buzz all the way home. “This has been a great festival,” says Daniels. “You walk around with your head down and this could be Reading or Glastonbury, but when you look up, there are all these skyscrapers and this sprawling city. It’s totally rad… just an awesome experience. “Just having all these bands in all these venues… it’s mind-blowing,” adds Hobson from under a towering fishing cap that would make Elmer Fudd blush. “This is probably the best place to have an urban festival. It’s been a blast.” With that, The Cheek and friends forget their ailments and party on. The previously at-death’s-door Dobney even gets the girl in a real Hollywood ending. That’s the healing power of music for you. J\\ _fn >fc[`\CfZbj Xe[ K_\ :_\\b \eafp\[ JOJN Xk nnn%i\[Ylcc\k`e%Zfd&Xik`Zc\j& ^fc[`\cfZbjVXe[Vk_\Vk_i\\VYXiY\hl\j&\e

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A parachute accident three years ago ended her BASE jumping career and should have taken her life. At the very least, she would never walk again. So why is Karina Hollekim back in training?

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ADDITIONAL PHOTOGRAPHY: CRISTOPHE MICHOT/RED BULL PHOTOFILES (1)

Words: Andreas Tzortzis Photography: Marius W Hansen

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here’s a banal snow blanketing the foothills climbing into craggy mountains and groomed ski pistes around Salzburg. The flakes fall wet and thick, and evaporate on the asphalt road, stirred on occasion by a passing sedan or truck. She’s not breaking a sweat, but her breath becomes more ragged as the red numbers on the digital display tick upwards, and the legs pump away. For a moment, Karina Hollekim glances away from the display on the stationary bike and through the window. “Be nice to go skiing this weekend,” she says. The left side of her body is bathed in the light reflecting off the Austrian snow and through the glass. We’ll call this her ‘good’ side – the one bearing only a few surgical scars, reminders of the four open fractures in her left leg, including a broken femur. The thin, white lines here are noticeable, but none is as dramatic as the black and pink line stretching from her waist down to below her right knee, looking like a fossilised caterpillar – or the thin white scar tucked below a bend where part of her quadriceps is gone, torn out with muscle, bone and knee. Twenty-one fractures in all, suffered when she hit solid rock at 60mph after a faulty skydive in the Swiss Alps in August 2006. That day marked the end of Hollekim the professional athlete: a fearless freeskier and BASE-jumper, nevertheless obsessed by fear; a Norwegian tomboy with girlnext-door good looks, bright eyes and a conspiratorial grin, who flitted about the world, missing planes but making jumps, from buildings, antennas, bridge spans and cliffs. If those were the years of one selfish adrenaline rush after another, then this, logic suggests, is the payback. But Hollekim doesn’t see it that way. After scarcely half a year in a wheelchair, from which she wasn’t supposed to get out, and 19 painful operations, through countless hours in swimming pools, on treadmills and on stationary bikes, she 72

urges her knee to bend, her ankle to hold and her hips to move properly. “It might sound a little strange,” she says. “Because my life has been… doctors, it has been hospitals, it has been rehab centres. It hasn’t had anything to do with a normal life. But I’m happier now than I would expect to be, because nobody has any expectations of me; because I don’t know what I’m capable of. So, I’m happy every step of the way.” That’s not entirely true. She does have expectations of herself – above all to ski. And not on the sit-ski she mastered after two runs on steep powder slopes, but to ski for real, in her home in Chamonix, France, with her father, Bjørn Sønsterud, a stoic Scandinavian who has served as bedside confidant and relentless motivator. Her right knee, which she can only bend 80 degrees, shouldn’t allow it. Neither should her reconstructed left femur, held together by pins and screws that, on her X-rays, make her legs look like they were set upon by a toddler with a building set. The two physiotherapists working with her here at the Diagnostic and Therapy Centre, built by Red Bull for its athletes, smile weakly. They explain the emphasis at the moment is to work on the small things – her awkward gait, her tired muscles – not on readying her slowly-recovering legs for a potentially disastrous run down the mountain. That’s what they say. But they, Hollekim points out, haven’t been in her body for the past two and a half years. The video footage of the Paragliding Aerobatic World Championships in Villeneuve, Switzerland, in August 2006,

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is full of wispy clouds, blue sky and smiling skydivers, sitting on the floor of a plane next to an open door. It’s taken from a camera affixed to Hollekim’s helmet. This is an experienced group, providing sideshow entertainment during the main event. Hollekim is dressed in a weblike wingsuit that connects her arms to her body and her legs, which will fill as she jumps out of the door, allowing her to control her flight back down to earth. Flying. That, says Hollekim, is what it has always been about. It was in the 1990s that Hollekim, an accomplished freeskier, first saw

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ACTION

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a documentary on the brave, mad souls who, wearing small pilot parachutes, jump from fixed points hundreds of metres in the air. BASE-jumping – named for Building, Antenna, Span and Earth, the fixed locations from which jumpers throw themselves – was a fledgling sport at the time, and Hollekim wanted in. Skydiving was a means to get there and, when her friends gave her a skydiving tandem jump for her 25th birthday, she traded it in for a class. It wasn’t long before she tired of the jumps out of planes. BASE-jumper Jeb Corliss, who was arrested a few years ago for trying to jump from the Empire State Building, offered to teach her, and she took him up on the offer. She jumped Perrine Bridge in Twin Falls, Idaho, in 2002, one of the only man-made objects in the US where BASE-jumping is legal without a permit. An ankle-break forced Corliss to sit out additional jumps, and he communicated from the car with Hollekim via a walkietalkie at sites as the pair travelled around the world’s best-known locations. “It was something of a brutal way to start,” she says, “learning by myself – learning how to trust myself at such an early stage.” Her drive to master fear has its roots in an episode from her childhood. Hollekim was riding in the back seat of the car as the family returned from a holiday. Another car hit the passenger’s side, badly injuring her mother – she herself was unhurt. As a passer-by held her, she watched the paramedics pull her mother out and take her away on a stretcher. The fear she felt back then was a different one from that she later

experienced standing at the edge of a cliff. “It’s about somebody else,” she says. “It’s not about you.” Her mother has never fully recovered from the accident, suffering memory loss and requiring special care. And because her parents had split up, Hollekim’s youth was spent leading a double life. She played football with her friends and skied as much as she could. When she returned home, she made sure that the stove had been turned off and everything had been taken care of before she went to bed. In 1992, Hollekim got her first sponsorships as a freeskier. Though she later tried working for an IT company for a few months, the realisation at 16 that you could get paid to do what you loved convinced her that this was a gig worth riding as long as possible. She was scared at the top of a mountain, but intoxicated by the prospect of mastering that most primitive of emotions. “You can tell your body what the body has got to do,” she explains. “It’s a fear that makes you focus, makes you more alert and makes you perform better. I think it’s healthy to feel all of those emotions and not try and protect yourself. Maybe I’m actually a scared person, because in everyday life I don’t dare to embrace those fears. I need to go BASE-jumping to know how to feel them.” By her count, she had made more than 400 BASE-jumps before her accident. They included the Hand of Fatima, a stark 600m red rock in Mali with only 10 to 15 seconds of parachute time. There were also more than a few midnight break-ins and risky scalings of

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fenced-off antennas, as well as a jump from the top of the Stratosphere hotel in Las Vegas, for which she wore a disguise to sneak by security. And she was one of the only women to pull off a ski-base jump – a downhill ski to the edge of a cliff. “It’s about personal limits,” she says, “finding how far you can push it.” For seconds after she jumps out of the plane in Switzerland, her head-cam footage captures her friends swooping through the air above and below her. The parachute pops open, but something is wrong as the green scrub on the solid rock below comes rushing up to meet her. Hollekim crashes through it, the frame seismic as it moves left and right, up and down. A paramedic is quickly on the scene, running his hands over her. The audio picks up little else besides breathing. Hollekim’s shallow breathing.

hen Hollekim woke up from her first operations, her father was already by her side. Friends from all over the world came to visit in the ensuing days. Her room had transformed into a youth hostel of sorts, a mix of languages providing the soundtrack to her early days in a sterile environment, with its strange smells and troubling quiet, which would become so uncomfortably familiar over the next two years. Fear – true fear – set in when she was wheeled out a few days later to hear a talk on living with disability with other victims of horrible accidents. “I don’t fit in here,” she said to herself. Thoughts about her accident and a future in a wheelchair kept her up at night in the hospital room in Oslo. Her father, by her bedside, changed the topic of conversation and did his best to calm her. “I tried to strengthen her,” says Sønsterud, though he, too, was unsure if she would ever recover. “But I didn’t want to tell her that,” he says. Mercifully, she wasn’t allowed to wallow for long. A personal trainer at the hospital burst into her room one day, whipped aside the bed curtain and threw a pair of boxing gloves onto her lap. “My name is Alan – I’m your PT,” he said. “You’ve got five minutes to get ready.” The exhausting road to recovery began: four months in a hospital in 73

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ACTION

Norway; six months in a wheelchair; months of training sessions at CERS, a rehabilitation centre in the south of France. Progress was at times steady and at other times slow and fraught with setbacks. A year after the fall, she threw away her crutches, only to have to rely on them again after another operation to repair her left femur. “I learned early on to focus on the things I could do instead of the things I couldn’t do,” she says. The final two operations in autumn 2008 were especially harrowing, involving the removal of bacteria that have hampered her recovery since the outset, and placed her in danger of having her right leg amputated. From a phone booth in Argentina, where she was visiting her boyfriend, Hollekim called her doctor in Norway and spent almost 10 minutes convincing him to take the risk, even if it meant losing her leg. “I thought, ‘Is this a completely insane thing to ask for? Or should I just be happy with where I am now,’” she says. “In this case, it was the BASEjumper inside of me making the decision, and reasoning as well.”

ADDITIONAL PHOTOGRAPHY: STEFAN AUFSCHNAITER/RED BULL PHOTOFILES (1)

ollekim now draws on this wealth of anecdote and inner turmoil when she stands before rooms full of people around the world to tell her story. The speeches, which began with a single request a year after her accident and have ballooned into almost a full-time gig, have turned her into a motivational speaker of sorts. Confident at the precipice of a cliff, Hollekim finds telling her story before a live audience both nerve-racking and, of course, thrilling. “It’s better than keeping it to yourself,” she says. She shows footage of her accident during the speeches. The talk on its own is powerful, but the way Hollekim delivers it is oddly somnolent, as though the story is not her own but another person’s, in another place and time. And, in a sense, it seems that way. The tanned and pretty Norwegian before them bears little resemblance to the insecure girl battling back in the last few scenes of 20 Seconds of Joy, a documentary chronicling her BASE-jumping career. She’s often surprised when people tell her what a sad story hers is. It’s

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not sad, she tells them – it’s uplifting. “Because you have to see the outcome of it, and the end of it,” she says. “And the end is not a sad story.” The slivers of sun that have sliced through the grey clouds above the training centre have disappeared and Hollekim is no longer on the bike, but walking on a treadmill. David Denifl, her physiotherapist, is in front of her, holding a full-length mirror. “You know what to look for, right?” he asks. “The hips.” “And the knees, keep them straight.” On its road to recovering the movement it knew before, the body travels along the path of least resistance. Hollekim’s has taken highways and snaking little roads. It’s stopped without asking for directions and made U-turns, the map lost underneath a floormat, ignored by Hollekim as she pushed it to walk again. The result is what she likes to call her ‘catwalk’ walk: a purposeful sashay, the right hip dipping lower than it should, the right knee bent slightly inward, too much strain put onto her lower back and a tiring gait for any distance longer than a few hundred metres. “David,” she says, “never liked my catwalk walk.” Denifl slides up next to the treadmill and puts his hands on her hips and moves them as she walks. “She’s walking well,” he says. “But we don’t know her level of pain.” Indeed, Hollekim makes it difficult to appraise such things or even to take pity on her. She seldom grimaces or complains. She does frequently vamp it up in front of the mirror, the first to

crack jokes or make an inappropriate comment in a room full of men. On the Space Curl, a gyroscopic machine that requires the user to use hips and lower-back muscles to control their movement, Denifl and therapist Martin Pfeifenberger urge her to keep her body rigid. Hollekim tries hard to keep from giggling as the Curl swings her backwards, frontwards and sideways. She stares at a screen hooked up to the machine that simulates a ski run and makes whooshing sounds. “She’s got that Nordic stubbornness,” says Bernd Pansold, the doctor running the low-profile DTC, half an hour’s drive from Salzburg. “But you realise that helps in situations like these.” With her weak legs ruling out the possibility of BASE-jumping again, one wonders where all these hours on treadmills and stationary bikes are leading Hollekim. She’s learned to understand that a full return to 100 per cent is no longer possible, “But at least I’m going to do everything in my power… everything possible to find out how close I can come.” But the way she talks about BASEjumping in the past tense is perhaps the most obvious signal that something has changed in Hollekim, the wandering extreme athlete with room in her mind for little else but the promise of a bigger jump or a longer flight. ‘Reckless’ is not the word she would use to describe her previous life. ‘Selfish’ is. But it has thankfully been without consequence, evident in the never-ending stream of friends visiting her hospital room, or the emails from others spurring her on to return to the mountains. “I knew they cared before. But it becomes very… near, now,” she says. “I appreciate and value them more today than I did before.” There is a vision, a memory, from her former life, that she can’t shake: rising at 3am with her friends, blearyeyed and sleep-deprived, hiking up a mountainside in the dead of night. The shared experience; the jokes, the laughter, the moment the sun rises over the fjords – just her and her friends, standing on a cliff. “I wouldn’t even have to jump off it,” she says. It’s a remarkable prospect for someone like Hollekim. No longer obsessed with pushing the human body and mind past the brink of its comfort level, she’s become content with embracing life at the speed the rest of us do. Just getting to the precipice, it seems, is now enough. J\\ ?fcc\b`d `e XZk`fe Xk nnn%i\[Ylcc\k`e%Zfd& Xik`Zc\j&)'Vj\Zfe[jVf]Vafp&\e

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All the best in music, fashion, fiction and much more

78 HANGAR-7 INTERVIEW 80 GET THE GEAR 82 RED BULL NEW YORK STADIUM 84 LISTINGS 88 NIGHTLIFE 94 BULL’S EYE 96 SHORT STORY 98 MIND’S EYE

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The Hangar-7 Interview

Gisela Pulido She collects cuddly toys, laughs at Pluto, listens to Snoop Dog and rally star Carlos Sainz is a fan: The Red Bulletin meets Gisela Pulido, the world’s best female kite-surfer… at just 15 years old

At first glance, Gisela Pulido appears to be an entirely normal teenager with her fluffy boots, a slightly too large hoody, round glasses on the tip of her nose and a shy grin spread across her childlike face. But during dinner at Hangar-7, in Salzburg, Red Bull’s unofficial HQ, ‘Gigi’ turns out to be a witty conversationalist with a multi-layered personality: not only is she a professional, world-class athlete – she’s won the kitesurfing world championship five times in a row – but she’s also a smart businesswoman and a funny, laid-back girl. When you were 10 you moved with your father from your hometown of Barcelona, Spain, to Tarifa, in the south of the country, which is a Mecca for kitesurfers because there’s always 78

wind. Your mother, however, stayed in Barcelona. Whose idea was that? Mine! The conditions in Barcelona aren’t good enough to to train professionally. So I asked my father if we could move somewhere where I could become a pro. That was already my goal back then. Do you miss your mother? Of course, but we speak on the telephone every day and I try to see her as often as possible – at least every two weeks. Can your father make up for the absence of your mother? He does everything for me: he trains me, he gives me paternal tips, he talks with me about whatever worries I have, even about boys. And he gives me a sense of security, like a mother would.

It’s somewhat unusual, to say the least, for a 10-year-old to put sport above everything else. Where does this determination and toughness come from? I am totally competitive. When I was younger I was in a swimming club. We used to have competitions and beforehand, all the parents used to say to their children, “Don’t be nervous. Taking part is the most important thing.” I thought that was stupid. It would never have occurred to me to be nervous; I just wanted to win. In whatever you were doing? In whatever I was doing. Once, when I lost to my father at Ludo, I sat down the next day and practised throwing sixes so I could beat him the next time we played.

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How do your school friends react? Are you an outsider? Not at all. As soon as I get home, I’m a regular schoolgirl again. I have a lot of laughs with my friends. They’d make fun of me if I tried to be ‘clever’ with them. Do you have a lot of friends? Yes, but more boys than girls. I have a clique of five or six boys I always go kiting with. They’re really good and I can still learn things from them. How much time do you get to spend with your friends? If I’m at home, I go to school until 3pm, then I go kiting, after that I do weighttraining then I do my homework. So the days are pretty full. But at the weekends, we like going to my favourite pizzeria that makes the most delicious pizzas. Lots of people my age hang out there. Sometimes we go swimming together in the evenings. Do you have role models? Not really, but I’d like to win as many world championships as [nine-time world surfing champ] Kelly Slater. And I think Lionel Messi’s great because I love football. Especially FC Barcelona! When I was younger, Barcelona was my first sponsor. I even have the club logo on some of my kiteboards. Carlos Sainz is also a role model… but then he did tell me he was a fan of mine.

WORDS: JAN CREMER. PHOTOGRAPHY: BERNARD WOLFF (2), LUDOVIC FRANCO/RED BULL PHOTOFILES (1)

How mature a kitesurfer are you? Or, how much can you still improve? Between the ages of 10 and 14, I wasn’t any good! I grew a lot and had to completely rework my technique. Now I’m older and am getting stronger and stronger physically. I’d say I’ve reached about 40 or 50 per cent of my potential. This attitude has helped you win five kitesurfing world championships. Do you still have any sporting goals? Yes. I want kitesurfing to become an Olympic sport and then I want to win a gold medal in it. For Spain. That’s what I dream of most.

Do you compare yourself to the guys? I mean, there’s almost no competition from any other women. No, not to the guys. To Aaron! You mean Aaron Hadlow, the men’s world champion? Exactly. He’s perfect. It all looks so gentle and slow with him. If you watch his tricks on video, you don’t need slow motion; he does them all so cleanly and calmly.

You’ve been a world-class kitesurfer for five years, you’ve opened a kitesurfing school… and you’ve built a house, too. …for my old age. It all sounds rather grown-up. Hmm, I’ve never really thought about it. But yes, I travel all over the world and meet a lot of interesting people – mostly older than me – and that’s all an education, so I am probably fairly grown-up.

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And will you be a kitesurfer forever? No, later I want to be a TV presenter for extreme sports. But before that, I want to study journalism in English. J\\ >`j\cX Xk k_\ I\[ 9lcc ;`Xêfjk`Zj Xe[ KiXèè^ :\eki\ Xk nnn%i\[Ylcc\kè%Zfd& m`[\fj&^`j\cXVglc`[f&(),&\e

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Get the Gear:

Festival Kit

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COMPILED BY HUW WILLIAMS. PHOTOGRAPHY: SIMON VINALL

All you need to ride the wave of outdoor music events (apart from sunshine; we’re only human, after all…)

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Dream Makers If you build it they will come. And with a new 25,000-seat home for the New York Red Bulls nearing completion, US soccer fans can hardly wait to fete their heroes

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The train yards that sweep into the south of Harrison, New Jersey, evoke a period when this small satellite of New York was known as an industrial stronghold. But these days, most of the factories and warehouses are deserted, the yards lie silent and the lines might just as easily suggest you’ve arrived on the wrong side of the tracks. However, by next year Harrison will have turned the grit and dust of the once-neglected waterfront of the Passaic River into a diamond. Glass and steel rise day by day, building what, in early 2010, will be the USA’s premier soccer venue: the 25,000-seat Red Bull Arena. New Jersey is just a 20-minute drive out of New York City. A state that has long had the image of plucky

WORDS: TOM HALL. PHOTOGRAPHY: JAMIE-JAMES MEDINA

Glass and steel rise day by day on the once-neglected waterfront, building what, in early 2010, will be the USA’s premier soccer venue bruiser compared to the prize-fighter next door, it has actually had footballing links with New York for years. The New York Red Bulls train here and play their home matches, as guests, at the New York Giants American Football Stadium. The bowl’s 80,000 capacity far exceeds the needs of US soccer’s more modest following, and a sense of belonging for the New York Red Bulls – in their own facility – is long overdue. “In the pre-Red Bull era, the players wandered from one New Jersey pitch to the other,” says goalkeeper coach Des McAleenan. “They were like raggle-taggle gypsies. I think we must have had between 10 and 15 training grounds!” The ‘pre-Red Bull era’ refers to soccer’s colourful past in the New York area. After a

glamorous honeymoon period in the 1970s, when the New York Cosmos lured the likes of Pelé and Franz Beckenbauer to the USA, by 1984 the North American Soccer League had collapsed under the weight of financial wrangles and poor management. With the arrival of Major League Soccer in 1996, the New York MetroStars once more gave the city a team to be proud of. But after 10 years struggling to match the playboy dynamism of their predecessors, the MetroStars received an image overhaul to become the New York Red Bulls in 2006. Now, the focus has shifted to training homegrown talent instead of tempting expensive foreign stars. As well as the new stadium, the team will also receive a firstclass training centre with six grass and astroturf pitches in Hanover, New Jersey. This will be backed by a Europeanstyle U14, U15, U16, U18 and U20 academy programme, an integral part of the team’s Player Development System. But it’s the stadium that New Yorkers are really getting excited about. This fan-friendly treasure trove features 25,189 covered seats close to the action, bold roof construction, 30 luxury boxes – and, exceptionally for America, it’s easy to reach by public transport. “The new owners have been amazing in regards to the design of the new stadium. It’s world class and similar to the arenas you see in Europe,” says Corey Vezina of New York’s Empire Supporters Club, one of the Red Bulls’ more rabid fan followings. By the beginning of next season, a new landmark on America’s sporting map will have risen on the East Coast. The pride of New York will be in the heart of New Jersey. E\n Pfib I\[ 9lccj jki`b\i AlXe GXYcf 8e^\c kXcbj XYflk k_\ `dgfikXeZ\ f] k_\ k\XdËj e\n jkX[`ld Xk nnn% i\[Ylcc\k`e%Zfd&Xik`Zc\j&Xe^\c&\e

HOT SPOTS

Wherever the action is this month, we’re there already

MACK KILLS YOUR SPOT 01 – 15.05.09 Di LeYi\XbXYc\# XbX DXZb DZB\ckfe# gif jbXk\i Xe[ iX`c$ i`[è^ ^f[# cXe[j è >\idXep è j\XiZ_ f] k_\ eXk`feËj kfl^_\jk iX`cj% 8cfe^ n`k_ cfZXc jbXk\ij# _\ n`cc Y\ [\k\idè\[ kf c\Xm\ efe\ leZfehl\i\[% >\idXep

PHOTOGRAPHY: RONNY KIAULEHN/RED BULL PHOTOFILES (1), JÖRG MITTER (1), AUGUSTIN MUÑOZ/RED BULL PHOTOFILES (1), AFP (1)

BIKE HALL CONTEST 07 – 09.05.09 K_\ Y`^^\jk è[ffi dflekXè Y`b\ Xe[ 9DO Zfek\jk è <lifg\ `j YXZb ]fi X Ô ]k_ k`d\# Zfdgc\k\ n`k_ k\jkè^ fYjkXZc\j Xe[ iXdgj% :q\Z_ i`[\i D`Z_X\c 9\iXe n`cc Y\ b\\e kf gifm\ _`dj\c] fe _fd\ kli]% Kilkefm# :q\Z_ I\glYc`Z

RED BULL STREET STYLE 09 – 10.05.09 K_\ ]i\\jkpc\ ]ffkYXcc\i n_f glccj f]] k_\ dfjk `dgi\jj`m\ ki`Zbj ljè^ fecp _`j Yf[p Xe[ X YXcc n`cc hlXc`]p ]fi k_\ èk\ieXk`feXc nfic[ Ô eXcj è :Xg\ Kfne e\ok DXiZ_# n_\i\ k_\ Y\jk ]i\\jkpc\ij ]ifd dfi\ k_Xe ,, eXk`fej n`cc Zfdg\k\% KìXeX# 8cYXe`X

NEW YORK RED BULLS V HOUSTON DYNAMO 16.05.09

K_`j îl\ccè^ iXZ\# è n_`Z_ k\Xdj Xe[ k_\ì YfXkj n`cc Zfm\i *0#''' eXlk`ZXc d`c\j `] k_\p dXb\ `k kf k_\ Ô e`j_# i\XZ_\j >XcnXp ]fi X jkfgfm\i% <og\Zk Xe \jg\Z`Xccp nXid n\cZfd\ ]fi @i\cXe[Ëj >i\\e ;iX^fe k\Xd% >XcnXp# @i\cXe[

K_\ ;peXdfj jk`cc _Xm\ X jZfi\ kf j\kkc\ X]k\i k_\ I\[ 9lccj glk gX`[ kf k_\`i DCJ [i\Xdj cXjk j\Xjfe `e k_\ Ô ijk gcXpf]] ifle[% E\n Pfib# LJ8

NASCAR SPRINT CUP SERIES – SPRINT ALL-STAR RACE 16.05.09 Nèeè^ [i`m\ij Xe[ ZXij ]ifd k_`j j\Xjfe Xe[ cXjk# k_\ cXjk (' nèe\ij f] k_`j \m\ek Xe[ ]fid\i j\i`\j Z_Xdg`fej Xi\ Xcc \c`^`Yc\ kf kXb\ gXik è k_\ Xcc$jkXi iXZ\# n_`Z_ _Xj ile ]fi e\Xicp ), p\Xij% Jf# \og\Zk jfd\ dfm\j pfl nflc[eËk ljlXccp j\\ fe X iXZ\kiXZb% :_Xicfkk\# Efik_ :XifcèX# LJ8

PWA WORLD CUP 16.05.09 – 22.05.09 :fdg\k`kfij _Xm\ k_\ì jcXcfd XY`c`k`\j k\jk\[ fe k_\ j\Zfe[ jkfg fe k_\ )''0 nè[jliÔ e^ kfli% 9a ie ;leb\iY\Zb# n_f _Xj nfe k_\ Nfic[ :lg X i\Zfi[ () k`d\j# n`cc Y\ YXZb kf afè è k_\ ]le Xk Aè_X\ 9\XZ_% LcjXe# Jflk_ Bfi\X

ASP WORLD TOUR – BILLABONG PRO TEAHUPOO 09 – 20.05.09

BRITISH 2-STROKE CHAMPIONSHIP 17.05.09

K_\ k_ì[ jkfg è k_`j jli] Zfdg\k`k`fe `j K\X_lgff# fe\ f] k_\ dfjk ]Xdflj jli] jgfkj è k_\ GXZ`Ô Z# n`k_ `kj ZfiXc i\\] Zi\Xkè^ gfn\i]lc nXm\j% K\X_lgff# KX`XiXgl# KX_`k`

8ifle[ )'' i`[\ij Zfdg\k\ è ]fli [`]]\i\ek ZcXjj\j è 9i`kXèËj dfjk gfglcXi XdXk\li&gif]\jj`feXc dfkfiY`b\ iXZè^ j\i`\j% CXe[iXb\# <e^cXe[

NORTH WEST 200 16.05.09

FRENCH MOTOGP 17.05.09

<lifg\Ëj Y`^^\jk dfkfiY`b\ ifX[ iXZè^ ]\jk`mXc# efn è `kj /'k_ p\Xi# XcnXpj XkkiXZkj dfi\ k_Xe (,'#''' jg\ZkXkfij# Xe[ k_\ ki`Xe^c\ ZìZl`k `j fe\ f] k_\ nfic[Ëj ]Xjk\jk% I\X[ dfi\ XYflk k_\ )'' fe gX^\ (-% :fc\iXè\# Efik_\ie @i\cXe[

J\m\ek\\e îXe[j giò è (* Zfleki`\j dXb\ lg k_\ )''0 Dfkf>G Z_Xdg`fej_`g% 8dfe^ jò I\[ 9lcc i`[\ij# (-$p\Xi$fc[ iffb`\ @kXc`Xe Cfi\eqf JXmX[fi`# n`cc Y\ _fgè^ kf dXb\ _`j dXib è k_\ (),ZZ ZXk\^fip% C\ DXej# =iXeZ\

VOLVO OCEAN RACE 23.05 – 06.06.09

RED BULL AIR RACE 09 – 10.05.09 K_\ I\[ 9lcc 8ì IXZ\ nfic[ Z_Xdg`fej_`g cXe[j è :Xc`]fie`X ]fi k_\ k_ì[ k`d\% CXjk p\Xi# 9i`kXèËj GXlc 9fe_fdd\ ki`ldg_\[# n`k_ cfZXc _\if Xe[ )''. Z_Xdg`fe D`b\ DXe^fc[ Xe[ )''- Z_Xdg`fe BìYp :_XdYc`jj Xk _`j kX`c% JXe ;`\^f# LJ8

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DTM HOCKENHEIM 17.05.09

IXS DIRTMASTERS 21 â&#x20AC;&#x201C; 24.05.09 DflekXè$Y`b\ ]\jk`mXc n`k_ Zfek\jkj è [fne_`cc# jcfg\jkpc\ Xe[ +O% 8ifle[ (#)'' gXik`Z`gXekj n`cc Y\ nXkZ_\[ Yp lg kf *'#''' jg\ZkXkfij% Nèk\iY\i^# >\idXep

8]k\i k_`j Ă&#x201D; ijk ifle[ f] k_\ )''0 >\idXe Kfliè^ :Xi :_Xdg`fej_`g # k_\ j\i`\j j\kj f]] fe X kfli n_`Z_ èZcl[\j jkfgj è ?fccXe[# JgXè# =iXeZ\ Xe[ <e^cXe[# \m\eklXccp Zfdè^ ]lcc ZìZc\ ]fi k_\ Ă&#x201D; eXc\ Xk ?fZb\e_\`d è FZkfY\i% ?fZb\e_\`diè^# >\idXep

SURF FESTIVAL FEHMARN 21 â&#x20AC;&#x201C; 24.05.09 K_\ `jcXe[ f] =\_dXie f]] k_\ ZfXjk f] >\idXep n`cc _fjk iXZ\j ]\Xkli`e^ kfg n`e[jliĂ&#x201D; e^ gifj Y\]fi\ X Ă&#x201D; cd ]\jk`mXc Xe[ dlj`Z Xj e`^_k ]Xccj% =\_dXie# >\idXep

RED BULL ART OF MOTION 22.05.09 K_\ nfic[Ă&#x2039;j fi`^èXc ]i\\$ ileeè^ Zfek\jk i\kliej kf k\jk èk\ieXk`feXc XY`c`kp fe X iXe^\ f] fYjkXZc\j% @kĂ&#x2039;j efk k_\ [\jkèXk`fe k_Xk dXkk\ij è ]i\\ ileeè^# Ylk k_\ Ă&#x2022; `ggè^# kn`jkè^ Xe[ jfd\ijXlckè^ aflie\p% K_\ nèe\i f] k_\ èXl^liXc \m\ek# 9i`kXèĂ&#x2039;j IpXe ;fpc\# n`cc Y\ fe k_\ gXe\c f] al[^\j k_`j p\Xi j\\ gX^\ (+ % M`\eeX# 8ljki`X

50TH MASTERS WATERSKI AND WAKEBOARD TOURNAMENT 22 â&#x20AC;&#x201C; 24.05.09 K_\ nfic[Ă&#x2039;j Y\jk nXk\ijb`\ij Xe[ nXb\YfXi[\ij n`cc Zfdg\k\ è k_`j gi\jk`^`flj# èm`kXk`fe$ fecp \m\ek% ;XccXj =i`[Xp# 8[Xd <iiè^kfe Xe[ A; N\YY Xi\ Xdfe^ k_fj\ _fgè^ kf nè k_\ (*,#''' kfg gi`q\% Gè\ DflekXè# >\fi^`X# LJ8

IRISH MOTOCROSS CHAMPIONSHIP 23.05.09 Ifle[ ]fli fe k_\ @i`j_ )''0 Z_Xdg`fej_`g ZìZl`k n`cc Y\ _\c[ Xk cXjk p\XiĂ&#x2039;j @i`j_ DfkfZifjj >iXe[ Giò ZìZl`k Xk =Xìp_flj\% :flekp D\Xk_# @i\cXe[

RED BULL CLIFF DIVING 08.05.09 Eè\$k`d\ Z_Xdg`fe FicXe[f ;lhl\ ^f\j è j\XiZ_ f] dfi\ ^cfip# n`k_ <e^c`j_dXe >Xip ?lek X`dè^ kf [`jgcXZ\ _`d ]ifd _`j cf]kp g\iZ_ fe k_\ Ă&#x201D; ijk jkX^\ f] k_`j \`^_k$jkfg kfli% =fi dfi\ fe Zc`]] [`mè^# j\\ gX^\ ,+% CX IfZ_\cc\# =iXeZ\

FORMULA ONE MONACO GRAND PRIX 24.05.09 K_\ legi\[`ZkXYc\ )''0 =( j\Xjfe Zfek`el\j Xk fe\ f] k_\ dfjk ]Xdfljcp fglc\ek cfZXk`fej fe k_\ ZXc\e[Xi% :i\[`k ZileZ_6 N_Xk Zi\[`k ZileZ_6 Dfek\ :Xicf# DfeXZf

RED BULL SOAP BOX RACE 24.05.09 @e k_`j# k_\ Ă&#x201D; ijk Klib\p JfXg 9fo iXZ\# n\`i[ Xe[ nfe[\i]lc dfkfic\jj m\_`Zc\j n`cc kXb\ kf k_\ ki`Zbp kiXZb# g`cfk\[ Yp XdXk\li jg\\[ ]i\Xbj% DXZbX# @jkXeYlc# Klib\p

FIA FORMULA 2 CHAMPIONSHIP 29 â&#x20AC;&#x201C; 31.05.09 Ifle[j fe\ Xe[ knf f] k_\ )''0 =) j\i`\j n`cc Y\ _\c[ XZifjj knf [Xpj% :XeX[`Xe IfY\ik N`Zb\ej Xe[ Iljj`Xe D`b_X`c 8c\j_è Xi\ b\\e kf dXb\ k_\ì dXib# n_`c\ (0$p\Xi$fc[ @kXc`Xe I\[ 9lcc Ale`fi k\Xd [i`m\i Dìbf 9fikfcfkk` `j i\X[p kf gifm\ _`dj\c] è =) X]k\i Y\Zfdè^ k_\ @kXc`Xe eXk`feXc =* Z_Xdg`fe è )''/% MXc\eZ`X# JgXè

RED BULL MOTOGP ROOKIES CUP 30.05.09 K_\ k_ì[ XeelXc Iffb`\j :lg i\XZ_\j `kj j\Zfe[ ifle[% K_\ ). Y\jk pfle^ i`[\ij ]ifd Xifle[ k_\ nfic[ n`cc YXkkc\ `k flk fe <lifg\Ă&#x2039;j >iXe[ Giò ZìZl`kj kf Ă&#x201D; e[ k_\ lck`dXk\ nèe\i% N`k_ jf dlZ_ pflk_]lc kXc\ek fe j_fn# `kĂ&#x2039;j X Z_XeZ\ kf j\\ kfdfiifnĂ&#x2039;j î\Xkj è k_\ dXbè^% Dl^\ccf# @kXcp

RED BULL CITY SCRAMBLE 31.05 â&#x20AC;&#x201C; 01.06.09 <e[lif i`[\i :_i`j 9ìZ_ èm`k\j èk\ieXk`feXc Xk_c\k\j kf Zfdg\k\ è X le`hl\ \e[lifZifjj Z_Xcc\e^\% K_\ fYjkXZc\j iXe^\ ]ifd nff[\e kfn\ij# nXccj Xe[ \m\e YXi^\j dffi\[ è k_\ nXk\i# Xcc X^Xèjk k_\ YXZb[ifg f] k_\ Z`kp jbpcè\% 8lZbcXe[# E\n Q\XcXe[

IRONMAN 31.05.09 8k_c\k\j ]ifd +* Zfleki`\j n`cc ^Xk_\i Xk k_\ fecp Jflk_ 8d\i`ZXe @ifedXe \m\ek# _\c[ fe k_\ Y\Xlk`]lc `jcXe[ f] =cfi`Xefgfc`j% 9lk è k_`j ki`Xk_cfe# fe\ f] k_\ nfic[Ă&#x2039;j dfjk [\dXe[è^ \m\ekj# k_\ jZ\e\ip n`cc Y\ k_\ cXjk k_è^ fe Xk_c\k\jĂ&#x2039; dè[j% =cfi`Xefgfc`j# 9iXq`c =fi dfi\ ?fk Jgfkj# ^f kf nnn%i\[Ylcc\kè%Zfd

NIGHT SPOTS

From gigs to clubs to parties – if it’s happening, find out about it here CUT CHEMIST 05.05.09 K_\ `Zfe`Z C8 ;A f] AliXjj`Z =`m\ Xe[ FqfdXkc` ]Xd\ `j Zfekèlè^ _`j _`g$ _fg$èjgì\[ jfcf \]]fikj n`k_ X kfli kXbè^ è j\m\iXc 8ljkiXc`Xe m\el\j% K_\ D\kif K_\Xki\# Jp[e\p# 8ljkiXc`X

MQ SUMMER OPENING 07.05.09 C`m\ dlj`Z `e k_\ ZflikpXi[ f] M`\eeXËj dlj\ld hlXik\i ]ifd I\[ 9lccËj Zfem\ik\[ Ô i\$kilZb$Zld$ jfle[$jpjk\d Xe[ YXe[ Kpife\% Dlj\ldjhlXik`\i# M`\eeX# 8ljki`X

PHOTOGRAPHY: JAMIE-JAMES MEDINA (1), CROWDSTRUDEL (1), MIKE RUIZ (1), WOLFGANG STECHER (1)

JAMES PANTS 08.05.09 K_\ dlck`$`ejkld\ekXc`jk Xii`m\j Xk EP:Ëj EXkliXc ?`jkfip Dlj\ld Xj gXik f] X kfli kf gifdfk\ e\n XcYld N\cZfd\% 9XZb\[ Yp XZZcX`d\[ ;A G\Xelk 9lkk\i Nfc]Ëj Jkfe\Ëj K_ifn I\Zfi[j# GXekjËj jfle[ `j jfd\n_\i\ Y\kn\\e _`g$_fg# fc[$jZ_ffc \c\Zkif Xe[ jfd\k_`e^ ]ifd Xefk_\i ^XcXop% E\n Pfib# LJ8

BLACK GOLD Jk`cc XYlqq ]ifd i\Zfi[è^ XcYld Ilj_ Xk I\[ 9lccËj jkl[`fj è C8 è )''/# k_\ Yfpj ]ifd k_\ 9`^ 8ggc\ gfgg\[ YXZb ]fi X ^`^ fe _fd\ kli]% I\X[ k_\ ]lcc jkfip f] k_\ YXe[Ëj _fd\Zfdè^ fe gX^\ //%

TIM SWEENEY & THE JUAN MACLEAN 08.05.09 K_\ ;=8 I\Zfi[j cXY\c$dXk\j gXZb k_\ì ZfnY\ccj Xe[ c\Xm\ E\n Pfib# cXe[è^ è >\idXep kf dXb\ X ?Xggp ?flj\ f] GXefiXdX 9Xi% K_\ AlXe DXZc\Xe n`cc Xcjf _Xm\ k_\ì e\n XcYld K_\ =lkli\ N`cc :fd\ jfd\n_\i\ è k_\ì cl^^X^\% GXefiXdX 9Xi# 9\icè# >\idXep

RED BULL MUSIC ACADEMY TASTER 08 – 10.05.09 Gi\gXiXk`fej ]fi k_\ I\[ 9lcc Dlj`Z 8ZX[\dp è Cfe[fe e\ok p\Xi Xi\ Xci\X[p le[\inXp XZifjj k_\ ^cfY\# n`k_ j\jj`fej f]]\iè^ Xe èj`^_k èkf nfic[ f] k_\ 8ZX[\dp% @e 8djk\i[Xd# jpek_\j`j\i g`fe\\i Kfd FY\i_\`d Xe[ k_\ [lY$k\Z_ef dX\jkif DXikpe kXb\ kf k_\ jf]X kf [`jZljj k_\ì nfib% 8djk\i[Xd# E\k_\icXe[j

MIX HELL 22.05.09 K_\ 9iXq`c`Xe _ljYXe[$Xe[$n`]\ [lf afè Xik`jkj èZcl[è^ ;`gcf# >fc[`\ Xe[ KfjZX Xk 8ljki`XËj Y`^^\jk \c\Zkife`Z Xikj Xe[ dlj`Z ]\jk`mXc% ;`jZfm\i Dò ?\ccËj J f GXlcf _fkjgfkj fe gX^\ 0*% Jgiè^]\jk`mXc# >iXq# 8ljki`X

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NIGHT OF THE JUMPS 09.05.09 K_\ =@D =DO Nfic[ :_Xdg`fej_`g Zfekèl\j kf >\idXep% I`[\ij n`cc g\i]fid d`[$Xì ki`Zbj è ZXk\^fi`\j jlZ_ Xj _`^_$aldg Xe[ ]i\\jkpc\# n`k_ jò ^fè^ k_ifl^_ kf k_\ Ô eXc$ifle[ YXkkc\% @] k_\ dfkfZifjj XZk`fe `jeËk \efl^_# k_\i\ n`cc Xcjf Y\ gpifk\Z_e`Z [`jgcXpj kf X[[ kf k_\ \oZ`k\d\ek% DXee_\`d# >\idXep

LIFE BALL 2009 16.05.09 NXk\i `j k_\ k_\d\ f] k_`j p\XiËj C`]\ 9Xcc# <lifg\Ëj Y`^^\jk 8@;J Z_Xi`kp \m\ek Xe[ ]Xj_`fe j_fn% >\ip B\qc\i Xe[ X gfjj\ f] epdg_j Xe[ d\id\e n`cc _fjk% I\X[ dfi\ fe gX^\ 0,% M`\eeX :`kp ?Xcc# M`\eeX# 8ljki`X

MARCO PASSARANI & CULOE DE SONG 09.05.09 @kXc`Xe \c\Zkif e`Z\ ^lp GXjjXiXe` afèj @ee\im`j`fej I\Zfi[jË cXk\jk j`êè^ :lcf\ ;\ Jfe^# fe\ f] cXjk p\XiËj I\[ 9lcc Dlj`Z 8ZX[\dp gXik`Z`gXekj# n_f _X`cj ]ifd Jflk_ 8]i`ZX Xe[ `j ^\kkè^ efk`Z\[ ]fi _`j le`hl\ Yc\e[ f] ;\\g 8]if ?flj\% :Xjj\if# 9fcfêX# @kXcp

PURSUIT GROOVES AND ONRA 09.05.09 LJ èjkild\ekXc gif[lZ\i Glijl`k >iffm\j afèj c`b\$dè[\[ GXi`j`Xe FeiX# Xe[ kf^\k_\i k_\ [peXd`Z [lf n`cc jgè aXqqp Yifb\e Y\Xkj Xe[ jflc]lc [XeZ\ kiXZbj% :clY L# M`\eeX# 8ljki`X

AKIKO KIYAMA 11.05.09 D\o`ZfËj XeelXc =\jk`mXc [\ DXpf Z\c\YiXk\j `kj ^ff[ i\cXk`fej n`k_ fk_\i Zfleki`\j# Xe[ k_`j p\Xi `kËj _fefliè^ AXgXe% 8 dfek_$cfe^ Z\c\YiXk`fe f] AXgXe\j\ Zlckli\ èZcl[\j Xe Xgg\XiXeZ\ Yp 8b`bf B`pXdX# X ;A n_f î\n lg c`jk\eè^ kf ZcXjj`ZXc dlj`Z Y\]fi\ Y\è^ èjgì\[ Yp Cfe[feËj [ild ËeË YXjj i\mfclk`fe% >lX[XcXaXiX# D\o`Zf

ALICE RUSSELL 12.05.09 :cXjj`ZXccp kiXè\[ 8c`Z\# i\Z\ekcp i\klie\[ kf k_\ LB ]ifd j\m\e ^`^j Xk k_\ JOJN ]\jk`mXc è K\oXj# Yiè^j _\i g\ijfeXc YiXe[ f] jflc]lc kle\j ]ifd k_\ Gfk f] >fc[ XcYld kf >c\\ :clY% >c\\ :clY# 9ìdè^_Xd# <e^cXe[

FUTURESONIC FESTIVAL 14 – 16.05.09

CLUB SPACE Mfk\[ fe\ f] k_\ kfg (' ZclYj è k_\ nfic[ Yp ;A DX^Xqè\ ]fi \`^_k p\Xij è X ifn# :clY JgXZ\ è [fnekfne D`Xd` f]]\ij k_i\\ iffdj f] jfe`ZXccp Z_Xi^\[ gXikpè^% N\ [\Z`[\[ kf Z_\Zb `k flk% I\X[ fli i\m`\n fe gX^\ 0'%

K_`j èjk`klk`fe f] k_\ LB \c\Zkife`Z dlj`Z jZ\e\ j_fnZXj\j Xe[ gi\d`\i\j m`j`feXip nfib ]ifd k_\ nfic[j f] Xik# g\i]fidXeZ\# dlj`Z# [\j`ê Xe[ [`^`kXc Zlckli\% Bf[\ 0# JfXg Jbè# ;Xe`\c\ 9Xc[\cc`# <=;<D@E# Kf[[cX K Xe[ ?l[jfe Df_Xnb\ n`cc Xcc Y\ c\e[è^ k_\ì dlj`ZXc kXc\ekj kf k_\ \m\ek ]fi X Zifn[ f] lg kf ,'#''' ]Xej% DXeZ_\jk\i# <e^cXe[

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The Green Room

New York Rush Hour In the city that never sleeps, pop-rockers Black Gold are doing their best to uphold the local tradition. Siobhan O’Connor catches up with them ÈN\Ëm\ Y\\e lg jèZ\ k_\ ZiXZb f] Xjj#É jXpj <i`Z Ife`Zb ÕXkcp% @kËj aljk X]k\i jò è k_\ \m\eè^ Xe[ K_Xe Cll# k_\ fk_\i _Xc] f] k_\ gfg$ifZb [lf 9cXZb >fc[# cffbj g\ej`m\ Xj Ife`Zb ki`\j kf ^\k _`j \e\i^p lg% K_\ ÊZiXZb f] XjjË# è k_`j ZXj\# d\Xej -%(,Xd# ]fi X iX[`f èk\im`\n gifdfkè^ k_\ì [\Ylk XcYld# Ilj_% 8e[ X]k\i X e`^_k f] cXk\$_fli kXZf$kilZb m`j`kj Xe[ 9fY DXic\p kfli m`[\fj Æ Êi\j\XiZ_Ë Xj k_\p ZXcc `k Æ k_\ gXì Zflc[ Y\ ]fi^`m\e X c`kkc\ n\Xiè\jj% K_\p \o_`Y`k efe\# k_fl^_% K_\pËi\ gjpZ_\[ X_\X[ f] gcXpè^ @imè^ GcXqX# k_\ c\^\e[Xip E\n Pfib ifZb ZclY k_Xk nXj i\eXd\[ k_\ =`ccdfi\ cXjk p\Xi efk k_Xk Xepfe\ ZXccj `k k_Xk # X]k\i X îl\ccè^ jò$ n\\b kfli% 9lk X]k\i X ]\n _flij n`k_ k_\j\ ^lpj# fe\ ^\kj k_\ j\ej\ k_\pËi\ gi\kkp dlZ_ gjpZ_\[ Xcc k_\ k`d\% LgY\Xk# \e\i^\k`Z Xe[# fZZXj`feXccp# \Xie\jk# k_\pËi\ efk \oXZkcp pfli kpg`ZXc dff[p# jkile^$flk ifZb jkXij% K_\p cffb k_\ gXik# k_fl^_% Cll# */# `j e`]k`cp flkÔkk\[ è a\Xej# X n_`k\ K$j_ìk Xe[ X jc`d ^fc[ ZXi[`^Xe n`k_ dXkZ_è^ cXd E\n 9XcXeZ\j% Ife`Zb# *)# jgfikj X nX]\i$ k_è k_i`]k$jkfi\ K$j_ìk k_Xk i\X[j# È@Ëd Jg\Z`XcÉ# n`k_ YcXZb jbèep a\Xej# Xe[ E`b\ ;lebj è Æ n_Xk \cj\6 Æ YcXZb Xe[ ^fc[% K_`j dXp Y\ k_\ì Ôijk k`d\ gcXpè^ @imè^ kf^\k_\i# Ylk k_\pËm\ Y\\e è$nfib dlj`Z`Xej ]fi p\Xij# kfliè^ n`k_ GXe`Z 8k k_\ ;`jZf# 8dYlcXeZ\ Ck[ Xe[ D NXi[# kf eXd\ Ylk X ]\n% ÈN\ d\k n_\e <i`Z nXj fe kfli n`k_ 8dYlcXeZ\ Ck[ Xe[ K_\ B`cc\ij#É jXpj Cll% N_\e Cll nXj Yifl^_k è Xj X [ild k\Z_# k_\ì \e^è\\i k_fl^_k k_\p d`^_k ^\k Xcfe^# jf _\ gXì\[ k_\d lg n_\e _\ nXj jfikè^ flk iffd Xjj`êd\ekj% Knf p\Xij cXk\i# k_\p _Xm\ k_\ì Ôijk XcYld flk Xe[ Xi\ Yl`c[è^ k_\ bè[ f] fi^Xe`Z Ylqq k_Xk e\n YXe[j è Xe fm\ijXkliXk\[ dXib\k fecp [i\Xd f]% 8]k\i X hl`Zb jfle[Z_\Zb Æ Cll jkfdgj XnXp fe k_\ b`Zb[ild# n_`c\ Ife`Zb X[aljkj _`j b\pYfXi[ Æ jfd\fe\ Y\ccfnj# ÈK_ìk\\e dèlk\j kf [ffij É Xe[ `kËj k`d\ kf niXg `k% K_\ gXì i\kì\ kf k_\ î\\e iffd ]fi X c`kkc\ [fnek`d\ Y\]fi\ k_\ j_fn Y\^èj% @e k_\ jgXij\ iffd f]]jkX^\ c\]k# k_\i\Ëj X ZflZ_# jfd\ \ogfj\[ mXe`kp YlcYj Xe[

BLACK GOLD NYC

E\n Pfib k`d\j1 ;lf 9cXZb >fc[ ifZb c\^\e[Xip ZclY @imè^ GcXqX X]k\i X ]\n g\ej`m\ dfd\ekj aldgè^ aXZbj Xe[ j_fkj efk èZcl[\[ YXZbjkX^\ XYfm\ c\]k

PHOTOGRAPY: JAIME-JAMES MEDINA (3)

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A TASTE OF SÓNAR 15.05.09 9\]fi\ k_\p Xcc [`jXgg\Xi kf k_\ jlee`\i Zc`d\j f] 9XiZ\cfeX# :Xd[\eËj Ifle[_flj\ n\cZfd\j <ifc 8cbXe Xe[ _`j le`hl\ kXb\ fe ZcXjj`Z [`jZf# k_\ dff[p \c\Zkife`ZX Xe[ Xl[`fm`jlXc èjkXccXk`fej f] Df[\iXk# Xe[ A\]] D`ccjËj g`fe\\iè^ k\Z_ef n`k_ X jZ`$Ô dfm`\ YXZbîfle[# Xdfe^ fk_\i g\i]fidXeZ\j% K_\ Ifle[_flj\# Cfe[fe# <e^cXe[

CULTURA URBANA 16.05.09 ;`qq\\ IXjZXc n`cc Y\ Xdfe^ k_\ jkXij Xk JgXèËj èk\ieXk`feXc _`g$ _fg ]\jk`mXc# Xe[ fe\ f] k_\ ]fli hlXc`Ô\ij ]fi k_\ I\[ 9lcc 9XkXccX [\ cfj >Xccfj Æ c`k\iXccp# Ê9Xkkc\ f] k_\ Iffjk\ijË Æ n`cc Xcjf Y\ kXbè^ gcXZ\ [liè^ k_\ \m\ek# n`k_ D:Ëj YXkkcè^ `k flk kf Ôe[ k_\ bè^ f] k_\ d`Z% DX[i`[# JgXè

TAURUS WORLD STUNT AWARDS 16.05.09 ;\jZi`Y\[ Xj k_\ FjZXij f] k_\ jklek nfic[# k_`j n`cc Y\ X jkXi$ jkl[[\[ XnXi[j e`^_k _fefliè^ k_\ d\e Xe[ nfd\e Y\_è[ k_\ dfjk [Xiè^ XZk`fe jklekj è ?fccpnff[ Xe[ Y\pfe[% J\\ gX^\ +' ]fi dfi\ XYflk k_\ XnXi[j% Cfj 8e^\c\j# :Xc`]fie`X# LJ8

FIGHTING 4 THE SOUTH 16 – 17.05.09 Jki\\k [XeZ\ Xe[ 9$Yfpè^ Zfdg\k`k`fe [\j`ê\[ kf k\jk k_\ jb`ccj f] k_\ cfZXc kXc\ek% K_\ Zfek\jk ]\Xkli\j LB 9$9fp Z_Xdg`fe C`c K`d Xe[ n`cc Y\ ]fccfn\[ Yp Xe X]k\igXikp \m\ek n`k_ ;Aj Xe[ nfibj_fgj% Jè^\e# >\idXep

RED BULL STREET PARADE 17.05.09 I\[ 9lcc IXZè^ Xe[ JZl[\i`X Kfif Ifjjf n`cc Xii`m\ è k_\ XeZ`\ek Z`kp f] Jq\^\[ kf [i`m\ k_\ì =( ZXij k_ifl^_ k_\ jki\\kj# n`k_ ,'#''' \X^\i jg\ZkXkfij \og\Zk\[% Jq\^\[# ?le^Xip

NUITS SONORES 20 – 24.05.09 K_\ j\m\ek_ \[`k`fe f] k_\ =i\eZ_ \c\Zkif Xe[ è[`\ ]\jk`mXc `j j\k kf kiXej]fid k_\ Z`kp f] Cpfe feZ\ X^Xè èkf Xe \c\Zkife`Z _fkjgfk% K_`j p\XiËj ]\jk`mXc n\cZfd\j :Xic :iX`^# CXli\ek >Xie`\i# :lk :_\d`jk# IX[`f JcXm\ Xe[ dXep dfi\# kf \ejli\ k_Xk k_\ [XeZè^ nfeËk jkfg% Cpfe# =iXeZ\

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LIVERPOOL SOUND CITY 21 – 23.05.09 K_\ èe\i$Z`kp dlj`Z ]\jk`mXc è m\el\j XZifjj k_\ Z`kp Z\eki\ èZcl[\j g\i]fidXeZ\j Xk `Zfe`Z cXe[dXibj jlZ_ Xj Jk >\fi^\Ëj ?Xcc# Xe[ Yp cfZXc YXe[j c`b\ k_\ Qlkfej Xe[ k_\ kfe^l\$kn`jkè^cp$eXd\[ J\Xc :lY :clYYè^ :clY% K_\ Y\jk f] I\[ 9lcc 9\[iffd AXdËj kXc\ek n`cc Xcjf Y\ gcXpè^ Xk k_\ ]\jk`mXcËj fecp flk[ffi jkX^\ è Jk G\k\iËj JhlXi\% C`m\igffc# <e^cXe[

IXS DIRT MASTERS FESTIVAL 22 – 23.05.09 N_\e k_\ [Xpk`d\ XZk`fe Xk k_\ Y`^^\jk ]i\\i`[\ ]\jk`mXc è <lifg\ `j fm\i# k_\ M8EJ dlj`Z jkX^\ n`cc ]\Xkli\ X ]i\\jkpc\ dfkfZifjj [`jgcXp ]ifd Lg]fiZ\# n`k_ dlj`Z ]ifd ;Xe ;ip\ij# jlggfik\[ Yp JfZ`Xc ;`jkiljk Xe[ 9c\jj\[ Yp ?Xk\% ;feËk \og\Zk Xep c`^_k\i$nXmè^ fggfikle`k`\j% Nèk\iY\i^# >\idXep

MINI UNITED FESTIVAL 2009 22 – 24.05.09 GXlc N\cc\i n`cc _\X[ X kfg$c\m\c cè\$lg kf _\cg Z\c\YiXk\ k_\ Dè`Ëj ,'k_ Yìk_[Xp% ;A Xe[ gif[lZ\i :Xcmè ?Xii`j# :_i`j K_fdgjfe f] DXe]i\[ DXeeËj <Xik_ 9Xe[ ]Xd\# gfg ifZb ËeË ifcc\ij IXp^le Xe[ gfg lgjkXikj Kn`jk\[ N_\\c n`cc afè _`d kf dXb\ k_`j d`c\jkfe\ fe\ kf i\d\dY\i% J`cm\ijkfe\ IXZ\ :ìZl`k# <e^cXe[

SUNDAY CIRCUS 24.05.09 Lek`c jldd\i ÔeXccp Xii`m\j# `kËj \Xjp kf `dX^è\ pflËi\ è @Y`qX è K_\ :flikpXi[Ëj _\Xk\[ Xi\X# Xj K_\ Jle[Xp :ìZlj dXb\j `kj dfek_cp j\cc$flk Xgg\XiXeZ\ Xk k_\ YXi% @kj dè`dXc \c\Zkif Y\Xkj ZXk\i ]fi \m\ipfe\ n_f c`b\j kf gXikp Xcc X]k\ieffe Xe[ èkf k_\ e`^_k% K_\ :flikpXi[# >cXj^fn# JZfkcXe[

EVOLUTION WEEKENDER 24 – 25.05.09 K_`j dè` ]\jk`mXc _Xj jkXp\[ kil\ kf `kj eXd\ Xe[ \mfcm\[% K_\ ]\jk`mXc Y\^Xe è )'', Xe[ _Xj îfne è gfglcXi`kp \m\ip p\Xi% 8dfe^ k_\ `dgi\jj`m\ cè\$lg _\X[è^ kf >Xk\j_\X[Ëj hlXpj`[\ Xi\ ;`qq\\ IXjZXc# =i`\e[cp =ì\j# CX[p_Xnb\# MM 9ifne# C`kkc\ 9ffkj Xe[ N_`k\ C`\j% E\nZXjkc\$lgfe$Kpe\# <e^cXe[

THE MACCABEES 27.05.09 K_\ è[`\ YXe[ ]ifd Cfe[fe Xi\ fe k_\ ifX[ gifdfkè^ k_\ì dlZ_$Xek`Z`gXk\[ j\Zfe[ XcYld# NXcc f] 8idj% K_\ 8ZX[\dp# ;lYcè# @i\cXe[

SPACE MIAMI

World’s Top Clubs

Miami Nice Sunrise over Miami was never as sweet as on Club Space’s roof terrace, where the world’s best dance DJs hold court 8_# D`Xd` è k_\ jgiè^1 k_\ Nèk\i Dlj`Z :fe]\i\eZ\ _Xj Zfd\ kf Xe \e[ Xe[ jgiè^ Yi\Xb `j aljk Y\_è[ lj# Xe[ k_\ n\\bj n_\e k_\ Z`kpËj Y`^^\jk ZclY Xcdfjk e\m\i Zcfj\[ Xi\ Xcjf fm\i% 8j k_\ Z`kpËj gXZ\ _Xj jcfn\[# k_\ jg\Xb\ij Xk :clY JgXZ\ j\\d kf Y\ fe jkXe[Yp% 9lk k_\i\ Xi\ jk`cc gXik`\j kf Y\ _X[# f] Zflij\% JgXZ\ nXb\j lg X^Xè \m\ip JXkli[Xp Xe[# è X Z`kp Xj Õff[\[ n`k_ e`^_kc`]\ Xj k_`j fe\# k_\ cfe^ hl\l\j k_Xk ]fid flkj`[\ Xkk\jk kf `kj \oZclj`m`kp% K_\i\ dljk Y\ Xk c\Xjk *'' g\fgc\ nX`kè^ fe k_\ jki\\k n_\e k_\ [ffij fg\e Xk ((gd% K_\i\Ë[ efidXccp Y\ kn`Z\ Xj dXep Ylk k_\ e`^_k `j pfle^ Xe[ `kËcc Y\ Xefk_\i jkfip Xckf^\k_\i Yp *Xd% 8 Z_\i`j_\[ jkfg fe k_\ `kè\iXip f] k_\ nfic[Ëj Y\jk [XeZ\ ;Aj Æ ]ifd GXlc mXe ;pb kf <i`Zb Dfi`ccf# Cfl`j Gl`^ Xe[ Zf Æ JgXZ\ e\m\i j\\dj kf _Xm\ kiflYc\ Ôccè^ `kj Ôm\ [XeZ\Õffij% 8 jfle[ jpjk\d Zfej`[\i\[ fe\ f] k_\ Y\jk è k_\ nfic[ k_le[\ij flk \c\Zkife`Z dlj`Z fe k_\ Ôijk Õffi n`k_ _`g$_fg Xe[ fk_\i ^\ei\j dXbè^ Xgg\XiXeZ\j fe k_\ d\qqXeè\% 8 iff]kfg k\iiXZ\ gifm`[\j m`\nj f] k_\ jbpcè\ Xj k_\ jle i`j\j Xe[ `j _fd\ kf k_\

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MIX HELL SÃO PAULO

WORDS: WOLFGANG STECHER, FELIX FUCHS. PHOTOGRAPHY: WOLFGANG STECHER (3), CROWDSTRUDEL (1), FLAVIO SANIELO (1)

Resident Artist

Paulista Pride Former metalist Iggor Cavalera and wife Laima Leyton are the DJ duo Mix Hell, and our favourite SP tour guides ÈJ f GXlcf `j X d\kifgfc`j2 `kËj _l^\# Z_Xfk`Z# _fk Xe[ \oki\d\cp [`m\ij\% 8e[# dfjk `dgfikXekcp f] Xcc# J f GXlcf j_flc[ efk Y\ ZfdgXi\[ kf I`f [\ AXe\ìf# \m\e k_fl^_ n\ _Xm\ jXdYX Xe[ YX`c\ ]leb _\i\# kff% K_\ ZXie`mXc Xe[ k_\ Y\XZ_ Xi\ k_\ fecp k_è^j k_\p [f Y\kk\i è I`f% F] Zflij\# pfl Zfd\ XZifjj k_Xk èk\ieXk`feXc le`]fid`kp è J f GXlcf# kff% K_\i\Ëj ef [\epè^ `k% 9lk k_\i\ Xi\ Xep eldY\i f] ^fi^\flj jgfkj Xe[ `[`fjpeZiXj`\j k_Xk dXb\ k_\ Z`kp [`]]\i\ek# jlZ_ Xj Xcc k_\ Yl`c[è^j n`k_ ef X[m\ik`jè^ fe k_\d% DXep J f GXlcf i\j`[\ekj _Xm\ k_\ì fne gifa\Zkj# Xe[ k_\p k_èb èk\ieXk`feXccp dfi\ k_Xe I`fËj i\j`[\ekj [f% ÈK_Xk nXj _fn k_è^j n\i\ n_\e dp Yifk_\i DXo Xe[ @ j\k lg k_\ d\kXc YXe[ J\glckliX% @k nXj k_\ jXd\ d\kXc

k_XkËj gcXp\[ è k_\ LJ8 fi <lifg\# Ylk n\ Yifl^_k è X jkife^\i g\iZljj`fe \c\d\ek% 8cc 9iXq`c`Xe dlj`Z `j YXj\[ fe [ild jfle[j% K_Xk nXj k_\ ZXj\ n`k_ jXdYX# Xe[ `k jk`cc `j n`k_ YX`c\ ]leb efn% ÈF] Zflij\# dXep d\kXc ]Xej efn Xjb d\ n_p @Ëd dXbè^ \c\Zkife`Z dlj`Z Xcc f] X jl[[\e% DXep Xi\ kilcp j_fZb\[% 9lk ]fi d\# Dò ?\cc `j k_\ cf^`ZXc e\ok jk\g è dp c`]\% @ Xd n`k_ dp n`]\ CX`dX Xe[ fli Ôm\ Z_`c[i\e Xifle[ k_\ ZcfZb# Yfk_ fe kfli Xe[ è k_\ jkl[`f% @k dXp n\cc Y\ [`]]\i\ek dlj`Z ]fi dXep ]Xej# Ylk ]fi lj `kËj k_\ jXd\ \e\i^p% ÈFe\ XZk è J f GXlcf k_Xk pfl j_flc[ [\Ôe`k\cp j\\ Xi\ KliYf Ki`f% K_\pËi\ dX[\ lg f] k_i\\ ^lpj ]ifd Zfdgc\k\cp [`]]\i\ek gXikj f] 9iXq`c% K_\ì jfle[ _Xj X cfk f] I`f YX`c\ ]leb è `k# Ylk n`k_ X ]Xì :Xi`YY\Xe èÕl\eZ\% K_\p _Xm\ X ZiXqp c`m\ j_fn Xe[ f]k\e gcXp Xk Jkl[`f JG# X ZclY n_\i\ pfl ZXe j\\ X cfk f] cfZXc YXe[j% ÈFe\ f] fli ]Xmfli`k\ gcXZ\j `j Jli]XZ\ Kf 8ì% @kËj X Yflk`hl\ n_\i\ X eldY\i f] ]Xj_`fe [\j`ê\ij j\cc k_\ì flkÔkj% N\ ZXd\ lg n`k_ X jdXcc ÊDò ?\cc =Xj_`feË Zfcc\Zk`fe ]fi k_\d Xe[ Ylp dfjk f] fli Zcfk_\j k_\i\% 9lk k_\ Y\jk k_è^ XYflk Jli]XZ\ Kf 8ì `j k_Xk `k _Xj X j\Zi\k YXi k_\i\2 X jfik f] lef]ÔZ`Xc ZclY% N\ Z\c\YiXk\[ fli n\[[è^ k_\i\ cXjk p\Xi% @k nXj X ^cXdfiflj gXikp2 X le`hl\

\og\i`\eZ\% N_\e cXi^\ XZkj Zfd\ kf J f GXlcf# k_\p ljlXccp Zfd\ Xe[ [f X jdXcc ^`^ Xk k_\ j\Zi\k YXi Ôijk% N\ i\Z\ekcp gcXp\[ k_\i\ n`k_ Aljk`Z\# ]fi \oXdgc\# X]k\i k_\pË[ gcXp\[ X _l^\ ZfeZ\ik è k_\ Z`kp Xj gXik f] k_\ì kfli% K_\ ZclY ZXe fecp _fc[ XYflk )'' g\fgc\# Xe[ k_\ fecp nXp kf Ôe[ flk XYflk k_\ e\ok ^`^ `j k_\ jdXcc ZXi[ jc`gg\[ èkf pfli j_fggè^ YX^ X]k\i pfl Ylp jfd\k_è^% ÈN\Ëi\ ]Xìcp g`Zbp n_\e `k Zfd\j kf ]ff[% K_\ Z`kp _Xj gc\ekp f] Z_`Z i\jkXliXekj n_\i\ pfl ZXe \Xk n\cc ]fi X cfk f] dfe\p% 9lk n_\e\m\i n\ _Xm\ ^l\jkj# n\ ^f kf k_\ :_liiXjZXi`X GXlc`jkX >i`cc% @kËj X î\Xk gcXZ\ ]fi d\Xk$cfm\ij Y\ZXlj\ k_\ gcXk\j Xi\ Y`^ Xe[ k_\pËi\ ]lcc% N\ Xcjf _Xm\ ef gifYc\d ^fè^ k_\i\ n`k_ fli b`[j# Xe[ èk\ieXk`feXc jkXij jlZ_ Xj K`^X Xe[ ) DXep ;Aj c`b\ k_\ ]ff[ k_\i\ Xj n\cc% ÈK_\ Y\jk Y`^ gXik`\j Xi\ _\c[ Xk k_\ >cfi`X :clY# n_`Z_ lj\[ kf Y\ X Z_liZ_% K_\ ;A efn jkXe[j Xe[ gi\XZ_\j _`j dlj`Z kf k_\ ]Xej \oXZkcp n_\i\ k_\ gi`\jk lj\[ kf jkXe[ Xe[ gi\XZ_ ]ifd k_\ 9`Yc\% N\ _X[ fli Ôijk i\j`[\eZp k_\i\# Xe[ c`b\ gcXpè^ è k_`j ]fid\i ?flj\ f] >f[ Y\ZXlj\ k_\ Xkdfjg_\i\ `j le`hl\% @kËj X Y`k c`b\ Y\è^ Xk X n\[[è^ É :XkZ_ lg n`k_ \m\ipk_è^ Dò ?\cc# èZcl[è^ k_\ì cXk\jk i\c\Xj\# 9ffd ;X# Xk nnn%dpjgXZ\%Zfd&dò_\cc

MR HUDSON MAYRHOFEN

A Terrific Racket Mr Hudson has come a long way since he first played Austria’s Snowbombing Festival in 2007 – but he still hasn’t learned to ski… ÉN_Xk X m`\n#É jXpj 9\e# c`]kè^ _`j IXp$ 9Xej fe X jgiè^ X]k\ieffe è DXpi_f]\e% 8j k_\ d`^_kp Klo\i ^cXZ`\i ^c`jk\ej è k_\ jlec`^_k# 9\e# XbX Di ?l[jfe# `j m`j`Ycp `dgi\jj\[% ?Xmè^ dX[\ _`j [\Ylk Xk k_\ JefnYfdYè^ =\jk`mXc knf p\Xij X^f# _\Ëj fYm`fljcp _Xggp kf Y\ YXZb% =fi (' p\Xij efn# X *#'''$jkife^ Zifn[ f] pfle^ i\m\cc\ij# ;Aj Xe[ YXe[j _Xm\ [\jZ\e[\[ fe k_\ Q`cc\ikXc Xk k_\ \e[ f] k_\ j\Xjfe% JefnYfdYè^ `j _Xc]$ jZ_ffc$jb`$ki`g# _Xc]$dlj`Z$]\jk`mXc# n`k_ X _\Xck_p jgièbc\ f] jgiè^$Yi\Xb j`ccè\jj% É@kËj dX[#É jXpj 9\e Yp nXp f] [\jZi`gk`fe f] k_\ Zfcfli]lc ^fè^j$fe# ÈYlk jfd\_fn Z_Xidè^%É K_\ dlj`Z`Xe nX`kj ]fi k_\ jfle[Z_\Zb è ]ifek f] k_\ DXpi_f]e\i K\ee`j_Xcc\# befne Xj k_\ IXZb\k :clY n_`c\ k_\ ]\jk`mXc `j fe% Knf p\Xij X^f# _\ gcXp\[ fe\ f] k_\ jdXcc\i JefnYfdYè^ m\el\j# Ylk k_`j k`d\ _\Ëj Yffb\[ è ]fi k_\ dXè jkX^\% K_\ Yldg lg k_\ Y`cc dXp _Xm\ _X[ jfd\k_è^ kf [f n`k_ X Z\ikXè BXep\ N\jk% K_\ 8d\i`ZXe _`g$_fg jlg\ijkXi ZXd\ XZifjj Di ?l[jfe K_\ C`YiXipËj [\Ylk XcYld 8 KXc\ f] Knf :`k`\j X p\Xi X^f Xe[

c`b\[ n_Xk _\ _\Xi[% JèZ\ k_\e# N\jk _Xj ZXcc\[ Di ?l[jfe k_\ dfjk `dgfikXek Xik`jk f] _`j ^\e\iXk`fe# j`ê\[ _`d Xe[ \m\e eXd\[ X j_f\ è _`j Cfl`j Ml`kkfe Zfcc\Zk`fe X]k\i _`d% ÈBXep\ ^fk è kflZ_ Xk aljk k_\ i`^_k k`d\% @ nXj Xci\X[p [flYkè^ dpj\c] Y\ZXlj\ @ _X[ glk Xcc dp \e\i^p èkf k_\ XcYld# Ylk jlZZ\jj aljk b\gk efk Zfdè^#É \ogcXèj 9\e% @kËj X [`]]\i\ek c`m\ j\k$lg ZfdgXi\[ kf X ]\n p\Xij YXZb# n_\e# è Xe \ZZ\eki`Z ^\jkli\# _\ XZklXccp kfli\[ LB c`YiXi`\j kf ^\k _`j dlj`Z flk k_\i\% Efn# _`j YXe[ _Xm\ Xe \ekì\ k\Xd kf cffb X]k\i k_\d% È9lk c\k d\ jXp k_Xk c`YiXi`\j _Xm\ Ycff[p ^ff[ XZfljk`Zj# è Zfdgc\k\ ZfekiXjk kf cXi^\ m\el\jÉ Fk_\ij d`^_k Zfej\im\ k_\ì \e\i^p Xk k_\ jfle[Z_\Zb# Ylk Di ?l[jfe K_\ C`YiXip Zfdgc\k\cp ^f ]fi `k% 9\e giXeZ\j Xcfe^ k_\ \[^\ f] k_\ jkX^\ n_`c\ jk\\c$[ildd\i Afp Xe[ YXjj gcXp\i IXg_ îè Xe[ ef[ Xcfe^% Kfdfiifn# 9\e nXekj kf dXb\ _`j nXp [fne X jb` jcfg\ ]fi k_\ Ô ijk k`d\ è _`j c`]\% ?\ [f\jeËk befn p\k n_\k_\i `k n`cc Y\ fe X jefnYfXi[ fi fe jb`j% ÈPfl befn# dp gXi\ekj e\m\i _X[ \efl^_

dfe\p ]fi X jb`è^ _fc`[Xp# Xe[ fk_\in`j\ k_\ fZZXj`feËj e\m\i Xi`j\e#É _\ \ogcXèj fm\i [èe\i Xk X e\XiYp _fk\c% 8j _`j YXe[dXk\j cXp fe k_\ gfjk$[èe\i j_fkj# `kËj k`d\ kf ^\k YXZb kf k_\ m\el\% 9XZb Xk k_\ IXZb\k :clY# ?l[jfe Z_\Zbj k_\ k`d\ Æ `kËj e\Xicp 0%*'gd Xe[ IXg_ j\\dj kf _Xm\ ^fk cfjk \e iflk\% ?\ Ô eXccp j_fnj lg dèlk\j Y\]fi\ j_fnk`d\# Xe[ Di ?l[jfe K_\ C`YiXip dXb\ X [Xj_ ]fi k_\ jkX^\% 9\e î\\kj _`j ZfdgXki`fkj n`k_ X# ÈGlk pfli ^c _n\è è k_\ Xì c`b\ pfl aljk [feËk ZXi\ É Xe[ c\kj i`g% K_\ iXg`[cp Ô ccè^ _Xcc `j fe YfXi[ i`^_k ]ifd k_\ Ô ijk jfe^ Æ ]ifd k_\ e\n jè^c\ K_\i\ N`cc 9\ K\Xij kf k_\ _`g$_fg$kè^\[ 9i\X[ Xe[ 9lkk\i% K_\ [`]]\i\ek jkpc\j ZfdYè\ le[\i Di ?l[jfeËj YiXe[ f] g\i]\Zk gfg# n`k_ 9\e k_\ \ek\ikXè\i Xk k_\ Z\eki\ f] `k Xcc% ?\ Z_ffj\j _`j Y`^^\jk _`k# Kff CXk\ Kff CXk\# Xj _`j Ô eXc eldY\i% K_\ i\^^X\ Y\Xk# i\dè`jZ\ek f] K_\ Gfc`Z\# Ô i\j lg k_\ Xkdfjg_\i\ Xe[ c\Xm\j k_\ Zifn[ fe X _`^_% N`k_ k_\ e\ok XZk [l\ fejkX^\# k_\i\Ëj ef k`d\ ]fi Xe \eZfi\# Ylk 9\e Xci\X[p _Xj fk_\i gcXej% ?`j g_fe\ iè^j YXZbjkX^\% @kËj _`j ]i`\e[j ]ifd K_\ Ef`j\kk\j# n_f Xi\ Xcjf gcXpè^ k_\ \m\ek% È@k nXj X gc\Xjli\# Ylk efn @Ëm\ ^fk kf Y\ jfd\n_\i\ \cj\#É jXpj 9\e# Xcc ^ff[ èk\ek`fej Xe[ gfc`k\ Xj \m\i% 9lk n`k_ k_\ e`^_k jk`cc pfle^ Xe[ k_\ gXikp fecp aljk ^\kkè^ jkXik\[# pfl jljg\Zk kfdfiifnËj jb`è^ ki`g dXp _Xm\ kf nX`k Xefk_\i p\Xi Æ Yp n_`Z_ k`d\ _\ j_flc[ Y\ _\X[cèè^% B\\g lg n`k_ Xcc k_\ cXk\jk ]ifd Di ?l[jfe K_\ C`YiXip Xk nnn%di_l[jfe%Zfd

WORDS: FLORIAN OBKIRCHER. PHOTOGRAPHY: COLIN FRIEND (2), DAN LECCA (1)

Spring Festivals

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Charity Party

Blond Ambition Goes Strictly Ballroom

BOYZONE 27.05.09

The Blonds fashion label heads Phillipe and David Blond are in fine form ahead of their catwalk show at the AIDS charity spectacular in Vienna. Expect Katy Perry, style guru Patricia Fields – and mermaids

VILLETTE SONIQUE FESTIVAL 27 – 31.05.09

LIFE BALL VIENNA

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CX M`cc\kk\# X ZlckliXc gXib Zfdgc\o è efik_$\Xjk GXi`j# n\cZfd\j Xik`jkj n_fËm\ gcfl^_\[ k_\ì fne ]liifn kfnXi[j jkXi[fd n`k_ le`hl\ XggifXZ_\j kf dlj`Z% C`hl`[ C`hl`[ _\X[cè\# n`k_ >fYcè# ;A ?\cc Xe[ ;`gcf Xcjf è Xkk\e[XeZ\% CX M`cc\kk\# GXi`j# =iXeZ\

PRINS THOMAS 30.05.09 9I@KE<P JG<8IJ FI D8;FEE86 ?\ccf 6

K_\ Efin\^`Xe ÊjgXZ\$[`jZfË ;A Yi`e^j _`j =lcc Glgg e`^_k kf :fib ]fi Xefk_\i ]lcc$fe j\jj`fe f] [`jZf _flj\ Xe[ [lY% GXm`cc`fe# :fib# @i\cXe[

RED BULL X-FIGHTERS 30.05.09

PFLI G<IJFE8C ?<IF<J6 Fli gXi\ekj%

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RED BULL SOUNDCLASH 30.05.09 @e k_\ Ô ijk \m\ek f] `kj bè[ è k_\ :q\Z_ I\glYc`Z# k_\ Zifn[ [\Z`[\ n_f `j k_\ dfjk \oZ`kè^ Xe[ èefmXk`m\ f] knf YXe[j Z_Xcc\e^è^ \XZ_ fk_\iËj dlj`ZXc Zi\Xk`m`kp% 9ief# :q\Z_ I\glYc`Z B8KP G<IIP FI 9@CC :C@EKFE6 9fk_ Xi\ XdXqè^

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HIPHOP CONNECTION FESTIVAL 30 – 31.05.09 8ljki`XËj Y`^^\jk _`g$_fg ]\jk`mXc _`kj k_\ ZflekipËj ZXg`kXc# n`k_ Nl KXe^ :cXeËj IX\bnfe ^`m`e^ dlj`Z ]ifd _`j cXk\jk XcYld `kj <lifg\Xe gi\d`\i\ Xk k_\ ]\jk`mXc% 8i\eX# M`\eeX# 8ljki`X

RED BULL X-FIGHTERS EXHIBITION TOUR 31.05.09 DfkfZifjj jkXij X`d kf k_i`cc k_\ ^Xk_\i\[ Zifn[j Yp Õ è^è^ k_\dj\cm\j Xe[ k_\ì Y`b\j ]ifd k_\ kfgj f] _l^\ iXdgj# i`^_k è ]ifek f] k_\ J\iY ZXg`kXcËj Z`kp _Xcc% 9\cîX[\# J\iY`X =fi dfi\ E`^_k Jgfkj# ^f kf nnn%i\[Ylcc\kè%Zfd

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Bull’s Eye

ILLUSTRATIONS: WWW.CARTOONSTOCK.COM (6), DIETMAR KAINRATH (1)

You’d think that as roughly 60 per cent of the human body is water we’d have worked out how to handle it

ADVERTISEMENT FEATURE

Odyssey® Lines Up the 1 Million Euro Putt Golfers buying a new Odyssey Putter this year could be lining themselves up for a crack at a putt which, if they hole it, could change their life for ever. By buying and registering an Odyssey Putter from a Callaway Golf Preferred Retailer, in-store or online, between March 1st and September 30th, 2009, golfers can start the entry process for the 1 Million Euro Putt challenge. The competition will reach a fever-pitch climax in Dubai where one lucky amateur golfer will be stood over a 100ft putt that could earn them a millionaire’s bank balance if they see the ball drop.

Neil Howie, president of Callaway Golf Europe, Middle East and Africa, said: “I can’t wait to see one of our customers putting for a 1 Million Euros prize. It’s one thing watching one of the pros putting for big money on TV, but to witness an amateur have a single putt for this life-changing amount of money will be very special indeed.” Odyssey’s very own ‘Road to Dubai’ starts with a simple, stage one Spot the Ball competition hosted at www.mycallaway.eu. Once golfers have made their purchase they can register themselves and the serial number of their putter on the website and have a guess at spotting the correct location of the centre of the golf ball in the photograph.

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Full terms and conditions can be found on www.mycallaway.eu

A story by Andrew Holmes

Rolls on Floor Laughing

ILLUSTRATION: ADAM POINTER

What happens when you finally meet your nemesis?

‘Lawrence Shattock added you as a friend on Facebook.’ For a second or so, I stare at the email in my inbox, its subject line ‘Lawrence Shattock added you as a friend on Facebook’, feeling my chest tighten, BPM quickening, and I fight a subterranean memory of some long-ago school-me, buried beneath the years since, hidden fossils and layers. Then I click in. Key in my password. ‘We need to confirm that you know Lawrence Shattock in order for you to be friends on Facebook.’ So, I do. Because I do. We’re old pals. On his profile is his photo. It looks as though it was taken on holiday and shows him with perfect blue sky at his back, sunglasses on, hair shiny with hair gel, teeth bared and grinning. He’s sent me a message that blares, ‘Still the same old Graham, I see!’ My own photograph shows me with my arm forward, taking my own picture. I am not grinning. My eyes are unreadable, my expression blank. He’s wrong, though. I’ve, like, so changed. I am no longer recognisable as that person – that person from school. I’ve shed my skin and become a different animal altogether. Merciless. All thanks to Lawrence Shattock. He wants to meet, have a bite to eat, which means he must have forgotten that day, at school, by the pool table, when he extended a car radio aerial and used it to teach me a lesson. I’ll need Denso tape; I’ll need a Sig P238 with a full magazine; I’ll need a 199E fixed-blade Stanley knife and a pair of Channellock end-cutting pliers, for close-up work. We arrange to go to Zizzi’s, which is new in town. It’s very busy, being so new, filled with people who can say they saw us together, if asked. Not that it really matters either way. I’ll come forward afterwards and say that I was having dinner with Lawrence Shattock the night he disappeared. I must have been – God, what a thought – I must have been one of the last people

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“He’s going on about his little boy and something about the sea. He went into the sea. He keeps on saying this…” to see him alive. He’d contacted me through Facebook, right out of the blue, and what a nice surprise it had been to hear from him. I’d hoped we might see more of each other. But I suppose… I suppose that’s impossible now. All of this I’m expecting. Am prepared for. The Denso tape is in the pocket of my coat, along with the Stanley knife. We’ll have a pleasant dinner, talk about old times, ask after classmates and reminisce. Witnesses will see us laughing together, wiping happy, halcyon-days tears from our eyes. What I’m not expecting. What I’m really not expecting. What I’m certainly really not expecting is for Lawrence Shattock to start crying. Witnesses saw the deceased crying. ‘Lawrence,’ I whisper, leaning forwards across the table, ‘Why are you crying?’ But he doesn’t answer. His shoulders are shaking and he’s bawling all over his rigatoni con pollo e funghi, and people are starting to look. I don’t know how to react in this situation, so I do what characters do in films. I smile at the people staring. I do this sound: ‘zz-zz-zz’, to indicate that my dining partner has had a little too much to drink. I raise my eyebrows like this, and do this sound, ‘tsk’, the way old ladies do when someone tries to buy 11 items in the wrong queue. He’s going on about his little boy, something about the sea. How he took off his jacket. He stopped to take off his jacket. That Rachel had never forgiven him for taking off his jacket. If he hadn’t taken off his jacket, then his little boy might be alive today. The sea. He went into the sea. He keeps on saying this. He’s hardly touched his food. A waitress is hovering. Quite nice, actually. Perhaps for later, another day. Now Lawrence Shattock raises his head and looks straight at me. His eyes are red-rimmed and puffy and pregnant with tears. His cheeks glisten, fat with anguish, and from his mouth that once grinned as he beat me with an extended car aerial, that grinned on holiday when

the digital camera made its camera-click sound and captured him for a picture that would one day find its way onto his Facebook profile, where it would sit, telling a lie about Lawrence Shattock, he says, ‘Graham, I’m sorry.’ His mouth wet, food still untouched, he mewls an apology for whipping me with the car aerial that time, reminding me why he thought it was necessary – because he’d found an exercise book of mine in which I’d written a story fantasising about his death – but saying that it was no excuse and that he was a different person then, and that he’d thought about it many times since. Night after night, he lies awake thinking about it. That since the accident, he sometimes thinks it was God punishing him for what he’d done to me. He wants to make amends, he tells me. What can he do, he says, to make things right between us? I think about it for a moment or so. ‘You can tell people,’ I say, ‘that you met me for dinner and that it was a pleasant evening, but that you won’t be repeating the experience, because there was something about me that wasn’t quite right. You can tell people that I made you nervous.’ By now, he’s stopped crying and he stares at me. The beginnings – only the very beginnings, mind you – of a contempt-stained smile flicker at the corner of his mouth. ‘Why?’ he says. ‘Why would you want people to think that about you?’ ‘It’s just better that way,’ I tell him, and I look around the restaurant, at the other diners, the witnesses who stare in our direction.

About the author Andrew Holmes is 37 and lives in Buckinghamshire with his wife and son. He has published four novels to critical acclaim: Sleb, a satire on celebrity culture, was followed by All Fur Coat, for which, in the course of research, Holmes had to interview a lap dancer – who didn’t believe he was a writer at all and made him pay for her services. The darkly humorous thriller 64 Clarke, about innocence put to the test, came next, and his most recent work is Rain Dogs and Love Cats, which Holmes says is “about a wedding DJ who becomes embroiled in something nasty”. www.myspace.com/64clarke 97

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For Your Information Stephen Bayley tries to sort out some common confusions

How do you define ignorance and indifference? I don’t know and I don’t care. There’s a popular confusion between knowledge and wisdom, as there is between intelligence and intellect, but they are nothing like as confusing as the difference between information and data. Never mind opinions. Claude Shannon (who died in 2001) was surely one of the most intelligent men to have lived in recent years. To Shannon was revealed a pattern in the universe almost as majestic in its simplicity and significance as Newton’s perceptions about gravity or Einstein’s on time. It was Shannon who established the mathematical basis of what we know as Information Theory. It was Shannon who made the binary concept fundamental to computing. Shannon who distinguished between signal and noise (which gives us a beautiful metaphor about all human conversation). And Shannon who determined the distinction between information and data which made digital a possibility. He was, although he may not have wished to see it expressed thus, the godfather of bitspit. Majestically, Shannon, an engineer at The Bell Labs (working at the same time some colleagues accidentally and rather happily discovered the transistor), said he had to invent the maths he needed to prove his theory. He was so far ahead of the game that the figures did not exist, so

he made them up. And it was in 1948 he published an article in The Bell Systems Technical Journal that defined ‘information’ at the blinking and yawning dawning of The Information Age. His struggle to distinguish between noise and signal brought him to an electronic engineer’s equivalent of yogic enlightenment. Shannon’s belief was that if a piece of data confirms, or denies, something previously thought unlikely, then it contains a great deal of information. If it merely tells you something you know, it is not information. This sets up an interesting hierarchy… with data at the bottom. Data are facts with no added value. That the editor of The Red Bulletin is six-foot-one is data that tells you very little of interest; it contains not a lot of information, at least not a lot of the useful variety. But to say that the editor is six-foot-one, while professional writers are generally under five-foot-four says something you perhaps did not know. It’s full of information because it modifies your perception, making you see things differently. It might even nudge you towards an opinion. To become opinionated, you must interpret your information in a way that gives it a further vector of meaning. In the case of our editor, such an interpretation might be that he is a physical freak, but since the publication under his care is

one of such outstanding excellence, there may be an important link between physical freakishness and editorial quality. So, data are facts. Information is comparative facts. Opinions are interpretation. People say dismissively “That’s just your opinion”, but your opinion is hard-won and valuable. Intelligence and intellect are rather different, although popular opinion often muddles them. Intelligence is well defined as behaviour that is adaptively variable. Thus, true intelligence is a survival characteristic: if you find that hitting your thumb with a 5lb ball peen hammer is uncomfortable, then the intelligent thing to do is stop. Intellect is rather different; an intellectual is someone who enjoys the fission of ideas. Clearly, education is required here, but an intellectual is by no means necessarily intelligent. For example, the sort of intellectual who calls himself an ‘academic’ (because he fetishises footnotes, nurtures bibliographies and works in a university) might publish a paper titled Transgressing the Boundaries: towards a transformative hermeneutics of quantum gravity. The intelligent thing to do would be not read it. Or, indeed, not to write it in the first place. And so we come to knowledge and wisdom. These are more closely related than our other pairings, since the very idea of knowledge suggests the dignified and mature accumulation of information over a period of time. You can’t just get knowledge, it’s a slow process. Equally, wisdom just as clearly suggests the use of knowledge to found opinions which prove beneficial. A guru, suffused with knowledge and wisdom, would certainly not want to be an academic stuck in his frigid calculus of data capture, retrieval and dispersal. A guru, it occurred to me the other day, might even wish to become the Irish rugby captain. On the eve of a vital Six Nations fixture, Brian O’Driscoll explained, “Knowledge is knowing the tomato is a fruit, while wisdom is knowing not to put it in a fruit salad.” It would be difficult to find a better or more colourful image. But we still need a definition and here we find the automobile, rather than the salad bowl, a useful source of imagery. Knowledge may be a powerful engine, but wisdom is its transmission. Well, that’s my opinion. Stephen Bayley is a former director of the Design Museum in London and an award-winning writer

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