Guy Jones Heywood Ward Jonno Mack Jamie Bolland Sam ‘Blinky’ Hutchinson
Reece Leung Joel Peck Stuart Robinson Maxime Verret Joe Buddle Alex Irvine Cameron Markin James Griffiths Henry Bailey Leo Sharp Loic Benoit Craig Dodds Ian Williams
Front Cover Photo: Jiri Bulin - Ollie - Joel Peck Artwork: Melissa Kitty Jarram www.vaguemag.com vagueskatemag@gmail.com Instagram @vagueskatemag
Hannah Martin Charlotte Haggarty Melissa Kitty Jarram Nick ‘bruï’ Booton Andrew Barry Thomas White Alexis Sablone Alec Doherty
Photo: Stuart Robinson
Just a small intro this issue as the point shouldn't have to be re-iterated too many more times. Basically support what deserves to be supported, mainly skater owned skate stores (fuck you wazzucks who undercut real stores online then come up before youtube adverts showing how little you do for the culture or any community). Also anyone who asks for discount from an independent store/ artist/musician can give their heads a massive wobble before taking it for a shit. If you do get niced in anyway be thankful and don't expect it. You wouldn't ask for discount in a Tescos and what the fuck do they do for anyone? Support your local as it'll benefit you and your community beyond belief. Endemic and all other skate stores that have had an impact forever!
DOYENNE SKATEBOARDS
MELISSA KITTY J
PIILGRIM: WHITE NOISE
MID90’S WITH JONAH HILL
IN ONE ROOM GALLERY
Remy Taveira - Frontside Smith Grind Photo: Maxime Verret
PARTIZAN BREWERY X PIILGRIM
BLIPS: COVER VERSION
PHOTO GALLERY
INWYF: SUNDERLAND
We’ve always adored Piilgrim, be it the ethically sourced clothing, the incredible talents of the team or their attention to detail on all aspects of their fantastic output. The Iceland trip seemed like an ideal destination for their first team trip abroad since Mark Kendrick’s inception of the company but a few years ago. We chatted to Ken to find out some of the finer parts of the trip to accompany their video documentation of the venture that, as ever, is everything to stoke the senses to maximum. Always love for these guys! Introduction & interview by Guy Jones Photography by Joel Peck
Franklin Stephens - Backside 360 Ollie Previous page: Tom Day - Early Grab Boat Ride
What provoked the desire to go to Iceland and had any of you been before? I wanted to do a trip somewhere the spots had an interesting aesthetic to them, more rough around the edges, not just marble blocks and perfection. Reykjavik (the capital) especially has many English to it which I really like, but with some real interesting spots. A good friend of mine Stebby lives there and said he could be our guide for the week, so that confirmed it. The time of the year you went seems pretty mad in the sense that there was 24 hour sunlight, how jarring was this and was it something you could get used to? It’s amazing, so surreal. I actually really liked it. People would be out making the most of it as in the winter it’s the opposite, like 3 hours of light a day. Old ladies walking their dogs and people jogging, and it’s 3am! When Frank switch front shoves the gap, and Jiri tre flips it, that’s about 1am. All that happened on the first night as you don’t know when to call it and go home. Apart from the first day, the weather was pretty awful the entire week, but from watching the video edit you wouldn’t think so. It just meant waiting around in the day till it dried then go out skating later on, very UK mentality. In terms of currency Iceland seems massively expensive, how much was that round of beers you bought and did you discover any money saving tactics when it came to eating/surviving? Yes it’s pretty damn expensive. One night I went the shop to get a bunch of beers for everyone. 10 beers, 70 quid! Not even kidding. I think if you live there the pay is higher so works out, but as visiting tourist it’s definitely pricey. The cheapest place for getting food is
supermarkets, but these all close at 6pm, so you would need to pick up loads of bits before then to be prepped for the evening skate. Also they don’t have any chilled beers you can buy apart from in pubs. Nordic areas seem to have an abundance of great music, who are some of your favourites and will we see them repping Piilgrim gear anytime soon? Anton from The Brian Jonestown Massacre often visits. He’s recorded albums here and collaborated with loads of the local musicians. There’s stories of him taking a load of mushrooms and other narcotics, running a full lap around a lake by where they were recording, then straight back into the studio, hit record then go into a take! I guess he just wanted to get into a particular mindset which I can understand. It’s experimental music. My Bloody Underground is the album name. The population of Iceland is tiny compared to the size of the country. Did you see many locals and did they have one role each like in Postman Pat; the baker, the butcher, the thief, the dealer etc.? No it’s not really that type of vibe. We spent most of our time in Reykjavik which has all the aspects that you would expect from a large UK town. Everyone is super friendly, especially when they realise you are English. It seems tourism hasn’t got to the stage
Jeremy Jones - Wallie
Keanu Robson - Nose Manual
where it has taken over and the locals resent you. I guess the high booze prices mean there’s no treacherous stag do’s embarrassing the English name, like in so many other European countries. How hard was it finding spots there and how familiar were you with the terrain prior to this trip? Also did you take advantage of the terrain from a non-skating perspective? Like I mentioned we had Stebby as our spot guide for the week. He’s such an awesome, positive guy who knew literally every street in Reykjavik. Before we went he was sending me local edits that his mates had done which showcased all the potential, which got me very excited. I’ve never been but it reminded me of Malmo and all the spots in Strongest Of The Strange, very gritty. What were the weather conditions like and was this venture really to test out the durability of your fine garms in harsh conditions? It was drizzle on and off everyday so was definitely a test for the jackets! The Phosphene jacket is 100% waterproof so I had mine on everyday, lifesaver.
What are some of the more memorable parts of the trip for you? I should probably mention the day we went to the (not so) hot springs. One day everyone was pretty haggs so we decided to go the hot springs to refresh and to help with the sore legs. We’d heard so much about the natural springs, and seen the amazing imagery in CKY2K! Another reason why I’ve also wanted to go Iceland for so long. We went and hired an extra car so we could fit everyone in. Stebby said not to bother going to The Blue Lagoon springs as it’s an overpriced tourist trap. He knows another one which is totally unknown and free to visit “wow, sounds perfect! Let’s do it” we all said, not knowing the disappointment that awaited us. As we were getting closer in the cars, the light drizzle turned into proper rain, but we all thought it’s now or never as we’ve hired a car just for it. So we all begin the 45 minute treck up this mountain which by this time is now intense rain and thick fog. We’ve been following a few thin streams of water about one meter wide which apparently run down off from the springs, good sign. We can see some wooden decking next to a slightly wider section that is quite rocky, as I wonder “why is that there? Why would anyone chill here?”. Stebby calls out “Here we are lads!” As we all look in amazement. The Blue Lagoon “upgrade” looked like a dirty English stream, 30cm deep and full of rocks. As it was raining this made the water barely warm, but again, we thought it’s now or never. So everyone rips off their soaking clothes down to our boxers, and gets in screaming “ahhh what the hell are we doing?!” After about 10 minutes flapping around in the water like mentalists we put our clothes back and start the decent back down to the cars. I think next time we’ll go the proper Blue Lagoon instead.
Jiri Bulin - Heelflip
We’ve been wanting to feature the mighty Doyenne Skateboards in a physical issue for some time now and when the opportunity presented itself we were obviously beaming! Not only have they collaborated with some of the most respectable beings (see Missy’s interview) but they’re one of the few companies in any industry to put others wellbeing above fame and fortune, donating so much money from products to credible skate charities and hosting the most welcoming events. They’ve done so much in such a short time, improved humankind greatly and are still picking up momentum. Be scared Murdoch! Introduction by Guy Jones Interview by Jonno Mack Photography by Amy Brown & Iain Robertson Artwork by Alexis Sablone x Doyenne
Photos: Amy Brown
How did Doyenne Skateboards come about and what were your biggest obstacles when first starting the brand? We started Doyenne as a really small project. It was an idea that came about after one of my closest friends bought me the Skateistan book for my birthday. I was blown away by the power of these photos of young Afghani girls dropping in, I thought it was the most beautiful and powerful thing I’ve ever seen. So we decided to make some T-shirts to raise money and support this organisation. We had an incredible response, from the day we started to now and we decided to take it further and make it what Doyenne is now. We had maybe some misunderstanding when we started, some people wouldn’t really capture what we were doing “is this a feminist thing? Is it just for women? Women don’t skate as good as men, that’s gay”. It was something new and sometimes people don’t like new things, but for the majority, all we had was support, which we are so incredibly grateful for and made every obstacle easily solvable.
How can white, straight, cis males make skateparks across the globe more accessible and welcoming to marginalised groups? It’s important to remember that everyone’s experience of skateboarding is different. It’s easy to praise talented skaters for their ability but sometimes we forget to acknowledge the courage and passion of skaters who are just starting out. It can be intimidating to roll up to a park and stand out because you don’t identify as a cis male. It’s a given that to make everyone feel welcomed somewhere you would be welcoming, but there are things skaters can do outside of the park to diversify the scene. Make an effort to support brands, charities, and publications that are run by marginalized groups within skating. With that said, the foundation of diversity starts with the individual. Skaters who make up the majority of the scene right now (cis males) need to want the industry to get more diverse and do their best to acknowledge their privilege within the scene and make space for other people to be part of it. Sometimes the message gets dismissed that we are trying to get through, and people get defensive. We know that most of the skater boys are welcoming and friendly dudes that support our values, but in skateboarding, like everything else there is still sexism, homophobia, transphobia and racism and we all need to open our eyes and acknowledge this, so we can all make it better. Because skateboarding can be still the same, the gritty and punk philosophic non-sport we dedicate our entire life to, but without all the shit above.
Glasgow has always had a prominent skate heritage - how have you seen Doyenne shake up the Glaswegian scene? The Glasgow scene is really strong and unique, it has a lot of really good skaters and famous spots, but when I started skating I felt like the scene was not really diverse and inclusive as it could have been. [It] was nobody’s fault, [it] had potential and there was the need for someone to take it on and do something about it. The boys were already doing their thing so it was time for us to change it. There were already a bunch of girls skating, that we are now really proud to sponsor and have in our team. Amy Hannah has been skateboarding for years and you would see her everyday skating up and down the transitions of Kelvingrove Park, and Catherine Penman (Pip) has been skateboarding in Edinburgh for a long time and teaching skateboarding, famed for being the girl skater with the pink helmet. Nikki Tang also is a young and incredibly talented skater and Sara Wood could always be found in the Dumbarton Unit 23 skatepark from a young age. These girls paved the way for other girls, like me, to feel like there was a space for us. But still, a bunch of girls skating doesn’t actually portray the amount of people that want to do it but don’t feel like they belong to the culture and are intimated by the scene which sometimes can look exclusive. So that’s why we felt the need to push the scene further and create a space for women, LGBTQI+ community and people with disabilities where they just felt welcomed and
didn’t need to feel scared or uncomfortable, because that place was created purposely for them. That’s how we started hosting our queer skate nights and beginner skate sessions, which always had an incredible turn out and encouraged people to start skating and now skate with us regularly. What is the importance of your invaluable work with charitable causes like SkatePal and Concrete Jungle Foundation? We believe that everyone should have the right and the opportunity of skateboarding, and therefore we need to look a bit further than what we see around us. We live in the UK, and we live in Europe. We have all the opportunities here, we have everything. The reality in other countries is completely different than ours and sometimes this slips our mind. There are kids and young people that live through war, they get separated from their parents, they live in poverty or they just live somewhere where the
opportunities are really limited. Charities and organisation like Skateistan, SkatePal, Concrete Jungle Foundation and Free Movement SB not only create these opportunities to learn something new and exciting like skateboarding, but also create a space for kids to be safe and have fun with other kids. They create community and support. So we believe that by giving part of the profit of each item we sell we can support these organisation’s work, while at the same time spreading our ideals and supporting the communities around us. We like to think that whoever buys our clothes, for whatever reason, even if they are maybe not really interested into it, they donate and support accessible skateboarding around the world. What are Doyenne’s hopes for 2019 and the team’s biggest dreams (both locally and globally) for the future? Sometimes it’s crazy we have been doing this for just a bit more than a year. We have already had such amazing opportunities our way that we can’t imagine what we can wish more for the future. This year we had some amazing artist
collaborations and events, from our first artist collaboration with Erin McGrath in Glasgow, to Melissa Kitty J in London and to end with Alexis Sablone in NYC. Being able to have an event in all of these cities and get such a big crowd in each one of them was incredibly important for us. We love the idea that Doyenne is not limited to whoever does it but can be a brand where everyone can be part of and for us it’s such an honour to collaborate with different talented and amazing artists. What we hope is to grow as a brand, grow our range and definitely add decks and skateboards into it. We would love to expand our beginners session to other cities. We are always going to work with our local community and show proudly the Scottish skateboarding scene through our brand. We dream that we will have an impact on the revolution of inclusive skateboarding. We had a pop up shop in the iconic Savoy Centre in Glasgow at a place called COLAB. It’s been great to have a physical space in Glasgow to meet everyone and we are proud of have had a skate shop with a range of clothing, hardware and magazines all made from inclusive brands and collectives.
Photos: Iain Robertson Photo: Amy Brown
Jamie Bolland (Homework Skateboards) offers a reflection on the importance of inclusive brands like Doyenne in the skate community: “I first became aware of Doyenne through the queer friendly skate night they organised along with Unity a couple of years ago. I was excited to check this out, although I don’t identify as queer, I definitely identify with queer. It turned out to be a pretty wet but fun night, lots of women and girl skaters turned up, Unity organised a raffle, many usual suspects from the park turned up too – a bit bemused and confused – but good to see them winning t-shirts with Jeffrey Chung’s drawings of men licking out each other’s arseholes, or big group nudie hugs. Skateboarding likes to think that it is somehow an enlightened sub-culture, yet a lot of skateboarding is pretty jocky. Everyone loves a dick joke, but the macho culture, the posing, the posturing and one-up-man-ship associated with it is so tiring. Everyone, even those who are ‘doing it for fun’, are looking for adulation, for success, and to be seen as part of the scene. The Glasgow scene is no different. It looks good from the outside, lots of amazing skaters and a friendly atmosphere, but I am speaking from a position of privilege here (I am white, economically privileged, cis, straightish, been sponsored etc.), and you could say that this privilege positions me inside the skate scene even though I feel outside it. If I picture the paradise vortex that is Kelvingrove skatepark on any given day I don’t see many women, or POC, or queer, or otherwise skating, hopefully they are just skating elsewhere. Doyenne has done a lot to bring these scenes together, creating beginner sessions, safe space skate days and so on. They are part of a movement of many people on many fronts working together to organise and create spaces to skate that are their own. In the Glasgow context, Doyenne have done so much to create or support a scene that is inclusive of many who would usually feel ostracised from the mainstream skateboarding scene.” Artwork by: Alexis Sablone x Doyenne
Jonah Hill in our modest publication talking about his latest feature length film you say? Go on then, we all know barely anyone has heard of him and we’re always happy to expose the less acknowledged. After the tenth voicemail from him we organised a phone conversation with our top lad Heywood Ward, eg our public relations, international affairs and charisma correspondent who has made more bridges than we’ve burned. In all seriousness massive props to Jonah for his incredible offering that is Mid90’s which you should all have the pleasure of viewing as of now. Introduction by Guy Jones Interview by Heywood Ward
So Mid90’s is your directorial debut, how was it making the transition from being in front of the camera to being behind one? Well, a dream come true! I wanted to be a director my whole life, a writer-director, and I kind of accidentally fell into this great fifteen year acting career and along the way I got to learn from, and watch from a front row seat, my heroes make films. So for me it was just about waiting till I had something meaningful to say and til I felt I had the skill set and the emotional maturity to make that transition because I hold the job in such high regard. What were you inspirations for making this movie and is it reflective of your own youth in any way? There’s a million answers to that question. First and foremost skating is always butchered on screen and I wanted to respectfully show something on screen that’s never shown correctly and not that I’m an authority on skateboarding but I skated my whole childhood and that period of my life, when I spent all my days at Hot Rod skate-store, for me as a person it forms how you see the world, your sense of humour, your aesthetic, your taste in music. What kind of reception have you had from skaters towards the movie so far? I guess its been out in America for a while and its coming out in other countries now, but its been amazing because I got so much blowback, which should’ve happened, from the skate community like “What the guy from Superbad is making a movie about skateboarding, argh its gonna be terrible!” you know. So what I love about it is every skateboarder I respect and admire has written or called me to say thanks and that’s all I really wanted.
For me watching it, during and afterward, I had such a massive sense of relief that you’d portrayed skateboarding in such a passionate way, you could really tell your love for it. (Laughs) Yeah because for me first and foremost it’s for skaters. I’m done trying to sell it to the rest of the world because anyone who’s not a skater if they see it, they relate because it could be anything that you’re passionate about. But first and foremost I hate watching those movies that butcher skateboarding as much as anyone who skates does. And although I don’t skate anymore because I’m old, have a knee injury and I was never great, it still shaped my life in such a massive way. Did you get a new found sense of respect for directors having become one? I already had it based on those who are my heroes. How like Mark Gonzales and Chad Muska were on my wall when I was 11, Paul Thomas Anderson, Spike Jonze and Scorsese were on my wall as well. Those were my heroes already and I wrote letters to directors I’d worked with because, you know when they say “when you have kids you’re gonna get it back ten times worse than you gave it to your parents”, I finally was like oh my God, I get it now, I’m gonna get it ten times worse than I gave it to other directors, I was like “I’m so sorry, I didn’t realise I was making your day harder!” (laughs). How was it casting skaters with little to no acting experience, as opposed to actors with little to no skating experience? Well that was the first decision I made. The mistake everyone makes is they hire actors and they’re like ‘let’s have them be skateboarders!” In reality it’s no that will never, ever work. You’ll never capture the ethos of this beautiful community by doing that. I’ve been acting for fifteen years and I’m a director, I’m gonna turn these skateboarders into actors, and they were incredible. I never had any doubt growing up around skaters, they’re a more beautiful, funny, damaged, hurt, joyful group of people than you could ever imagine. It was just finding the ones that could play these characters and bring them to life.
I really felt like the characters portrayed in the movie could be found amongst any group of skaters, for good reasons and for bad, were these based on the kind of skaters you grew up with at all? Well they were just characters I’d created, you know? I love my characters even if they’re doing terrible things.. I try and just tell the truth of who people are and let the audience decide. It’s individual for each person, like Fuckshit has so many loveable qualities and so many dark qualities. So it’s not like everything is so black and white. The main thing I took away from my childhood skateboarding was I got into a lot of trouble, I did some things that could’ve taken my life, but ultimately these people were there for me like no one else ever has been and so that’s the core of this film. For better or for worse these people will die for you. I noticed a little cameo in there from Harmony Korine, writer of the movie Kids, it’s a movie that yours has been compared to somewhat, how was it having him around and being involved? How accurate are those comparisons? (Laughs) Ah its amazing, Harmony is a close friend of mine and another director I’ve always looked up to, someone I collaborate with and to me this movie would not exist without Kids right? And the lazy thing for people to do is go “Oh its like Kids”, well yeah, they’re both about skateboarding in the mid nineties and Kids is one of my favourite movies but they’re nothing alike. Kids is beautiful in its nihilism and this movie is beautiful in its connections, like it’s so heartfelt and about those connections, in a non-corny way. I’m obviously a huge fan of Kids and I’m also aware that people will try and just be lazy and say that so I’m gonna put Harmony in the movie and I also thought it was funny like who’s the last person on Earth you want to sleep with your mom – its Harmony (laughs).
If I wasn’t aware that this movie was made recently, I feel I could be mistaken for thinking it was straight out of a time-capsule from the era that its set, what made you chose to shoot the entire movie on 16mm and in 4:3 aspect ratio and how has that been received? That’s really cool. The best visual compliment we got was when we did test screening, where you just show a random audience, and we did it at an AMC in Paramus, New Jersey, which is like a mall in Jersey where they’d show something like Iron Man and the projectionist was like “Wow you guys found an old movie from the 90’s and are releasing it!” My VP Chris and I were like okay that’s the coolest compliment we’ve got visually. But I didn’t want to just make it look “cool” you know. I love Super 16 as a format, I always wanted to shoot my first movie on film, 35mm wasn’t appropriate and I love 16mm, and I hope to use that format a lot. For trying to capture the 90’s in L.A. it was like there was this mall, colourless, bland feeling that L.A. had in the 90’s and I was trying to show not the Hollywood version but what it was like to live in L.A. at that time. Strip mall culture and Super 16 is really good at saturating stuff. The 4:3 choice was made because, you know the end of the film? I don’t want to give too much away but Fourth Grades filming on Hi8 the whole time and originally I was gonna cut Hi8 footage within the film, because he’s shooting those scenes, and the idea is okay maybe we’ll cut to his perspective in the middle of a scene. When we did the film test if you cut from a normal aspect ratio to Hi8 aspect ratio, which is 4:3, it looked really jarring, it took you out of it and so if we shot the film in 4:3 and cut between the Hi8 and the film it was very seamless. Like butter. So that was really informing that decision. As well, when you show kids, so much of that is unsaid is their body language and how uncomfortable they feel. A typical aspect ratio you see a face and a lot of the environment around them because it’s so wide, this is a square so you really see a person’s whole body language. Choosing to shoot the film in that way, the look of it feels very akin to watching a skate video shot on VX, where as although HD is readily available it won’t always suit the aesthetic and to me it felt like the way you shot it really suited that time period. What was behind the choice of camera Fourth Grade uses? Oh yeah, and that’s what skate films were shot on. What’s funny is these Hi8, if you wanna get really dirty about it I can, Aaron Meza our skate consultant, he’s worked for Girl & Chocolate for like 20 years and is an O.G. in skateboarding as well as a real good friend of mine, and you know one of the things we realised was I’d written that Fourth Grade was gonna be shooting on VX100 with a fish eye. But what I realised talking to Aaron at the time was all the skate videos from that period are VX1000 with a fish eye because that’s what the professional skate companies like Girl, Chocolate, Menace, Toy Machine etc. at the time were using, but that’s because they have the brand new camera, and that was the brand new camera in ’95. But if you were a kid you wouldn’t have the brand new camera that a professional company would have, you’d have the generation before it, which was Hi8. So like Fourth Grade is not gonna have the same camera as say Meza, Tim Dowling and Girl will have. So from the audience perspective we’re used to seeing those mid nineties skate videos on VX, but if you look at the sponsor me tapes its from Hi8. Well it made me happy! There seems to be constant little hints and nods to skaters throughout the movie, things skaters would only really get or understand, was the inclusion of Herbie Hancock – Watermelon Man a direct nod to Guy Mariano’s part in Mouse or a happy coincidence? It was 100% a homage and a tip of the hat! To me that’s a great example because
I had to try to make the movie work on both levels. So people are loving that song in America now cos the movies out and people are like “Whoa man I’m listening to that song over and over from Mid90s where he’s walking through the party – it’s so cool”. Its Stevie’s first party, so when he’s watching Fuckshit walk through the party it’s supposed to feel like a movie cos that’s how it felt for me when I went to my first party like that. People are like “Wow that songs great, it’s on my playlist!” but then if you’re a skater you’re like “Oh, great choice!” because everyone remembers that part in Mouse. Yeah, I instantly had to go back and re-watch Guy’s part. So I appreciate you even saying that, and honestly when things like that are noticed, it means a lot. Ah, thank you. So I stayed all throughout the credits and noticed many names from the skateboarding industry, names people outside of skating may not recognise, from Tobin Yelland to Rick Howard to Aaron Meza, was it a conscious decision on your part to have so many people from the skate industry be involved with this movie? Yes! As much as I’m a film nerd, I’m a skate nerd and a Hip-Hop nerd. So any one from those three things, anytime those things are represented in film they’re all represented poorly. And mostly films themselves are butchered more than skating you know (laughs). So for me whether having Chris Blauvelt shoot my film and Scott Rudin produce and A24 release it, that’s the same thing as me hiring Meza to be the skate consultant, and have Donny Barley, Chico Brenes, Meza and Rick Howard be the cops. With Yelland, you usually get to hire a still photographer on the movie right, and how that works is they [A24] go “Here’s the still photographer used on Lady Bird, you should hire her or him.” So for this film I’m like “Who’s my favourite skate photographer, why don’t they shoot the movie”. So, to have Tobin Yelland be on set everyday shooting behind the scenes stills, it made the whole movie feel like, the whole movie is built to make the kids feel like they’re not in movie world - they’re in skate world. So every department, whether it was Heidi Bivens who’s the costume designer and was from that era of skating and was around all those people to Jahmin Assa who’s our production designer I met on the Gus Van Sant film I’d done right before and he was starting to crew up my film, and Jahmin comes up to me and goes “Yo man I heard your making a movie about skating in L.A. in the ‘90s?” and I’m like “Yeah” and he’s like “That’s crazy!” and I was like “Why?” and he’s like “I used to skate with all the dudes from Menace in East L.A.” and so I was thinking whoa he’s one of the sickest production designers and he skated with the exact crew that is the biggest influence of this movie. So you need to get people with the correct film making skills but they have to be just as deep in the correct side of skating culture. Was there anyone from skateboarding that you wanted to be involved the movie that you couldn’t get? No, I mean, Chad Muska’s in the movie, Gonz is in the movie… Donny Barley, noticed his name… So Donny Barley, the one thing that’s upsetting about that although it was amazing, I was like “Meza we’ve got to have Donny Barley” and he was like “Why?” and its because when I worked at Hot Rod, and Donny Barley was always in Hot Rod, he was always so nice to me when I was a kid, and his part in Welcome to Hell is one my favourite parts, and I knew him when I was young.
So Meza got Donny, who lives in Rhode Island or something, out here and I was so excited because it was at the Court House and the Court House days were obviously super special, it was like Gonz, Rodney Mullen, Chico, Rick Howard – it was crazy. So Donny is there and I’m like “Oh my God, I’m gonna see Donny, I haven’t seen him in 20 years” and he didn’t remember me (laughs). He was like “Thank you for having me in your movie man, this is awesome, I’m a big fan” and I asked if he remembered me and he was like “What do you mean?!” I was like “I worked in Hot Rod man, I’m Jonah” and he’s like “What?!” he didn’t remember so I was pretty bummed, but then we have a new friendship now so (laughs). Could we ever expect to see a sequel, or even a prequel to mid90s, set in any other era of skateboarding? Any plans for these characters beyond this movie? I don’t know. I don’t think that would happen because I want this to exist, but one of the biggest influences on this movie is This is England and that’s one of my favourite films. I know Shane Meadows turned that into a series to watch his characters grow up. I think the only way I’d ever be into it is if it was something reflective of that, you know. And I love Shane Meadows so big shout to Shane Meadows. Is this a British magazine? Yeah! We’ll send some out to you if you’d like? I’d love to read it! Lev [Tanju] is one of my close friends, who started Palace, so when we go out there [U.K.] we’re gonna do a bunch of fun stuff with them for the movie. I wanna do some stuff at South Bank and all that stuff, like that would be amazing.
‘In One Room Gallery’ is a collaboration of contemporary printmaking with 10 visual artists. They’ve done previous exhibitions as a collective but the following pages are to promote their latest offering at ‘All The Shapes’ which will run from 27th February until the 8th April 2019. For more information hit up www.inoneroom.co.uk on your mates smart phone after yours has ran out of battery after 4 and a half minutes. The work speaks for itself, but we couldn’t be more stoked on this sterling group of people and their sensational output. Introduction by Guy Jones
Andrew Barry
Andrew Barry
Thomas White
Nick ‘bruï’ Booton
Thomas White
Blips? What the hell is that? It sounds like a smug tap that won’t stop leaking. Well you’re not far off except the tap is made up of an array of talent. Dan Magee and Kev Parrott didn’t need to make a new full length video, let alone an unfunded one, but we’re fucking stoked they have! Not just because this ‘good’ cop/bad cop combo are behind it but the ensemble that they’ve chosen (or followed them round til they featured) are all top humanoids who’s footage deserves this kind of platform. Check this gallery to salivate your pallets before the whole thing drops soon. Hyped is an understatement! Introduction by Guy Jones
Charlie Munro - Backside Nosegrind 180 Revert Photo: Reece Leung Manny Lopez - Fakie Ollie Photo: Alex Irvine
Zach Riley - Frontside Nosepick To Fakie Photo: Joe Buddle Sam Murgatroyd - Frontside 360 Ollie Photo: Joe Buddle
Charlie Munro - Noseslide Pop Over Photo: Joe Buddle Harry Lintell - Frontside 50-50 Grind Photo: Joe Buddle
Korahn Gayle - Switch Hardflip Photo: Joe Buddle Jak Pietryga - Backside Lipslide Frontside Shove It Out Photo: Joe Buddle
We met Missy before we knew about her sensational artistic offerings and had already built up a very positive view of her character. When we realised the work she produced was incredible our compliments to her couldn’t be higher. The aesthetic is not only desirable but tackles such important issues that the 21st century is still tragically behind on. The foundations she’s laying are definitely a catalyst for positive change, but knowing her as a person makes us feel incredibly proud and privileged to have her feature in this mag. Her work ethic and charisma are both overflowing in abundance and anyone who knows her will likely claim this as an understatement. Thanks for everything Melissa, you’re too rad. Introduction & Interview by Guy Jones Artwork by Melissa Kitty Jarram
Hey Melissa! I heard that you actually despise art in all forms but your name was that fitting to be a celebrity artist you just had to start producing work. Is this correct and is Kitty your birth middle name? I see you’ve been reading my Wikipedia page. Yeah it’s a total drag, art sucks and I curse my name every day! If my IMDB profile doesn’t give you the story of my middle name, I might have to fire my biographer. Starting from your upbringing, was the inspiring beauty of Grantham too much to contain that you had to express yourself through a medley of mediums? The paradisaical beauty of G-town has inspired many VIPs from Isaac Newton and Maggie Thatcher, to the one and only Dean Greensmith and myself. I think it’s all the trolleys that end up in the river Witham, and definitely big Asda & hearts; For those who don’t know Grantham is this tiny, run-down market town in the midlands near Nottingham and Lincoln. Despite its small size, it hosted a bizarrely decent music and skate scene back in the early 00’s, whilst also inspiring murder, drug addiction, suicide, mental illness and paedos. Any fun stories from your time in this part of the world? When I was 10 years old I used to go to the library with my friend to use the internet because none of us had computers or broadband. We ended up on some (obviously very legit) witchcraft website and printed off a ton of really dumb spells to try out. One of them was supposed to put you in a trance in which you would have a vision of the rest of your life. All you had to do was bend over for ages inhaling deeply, and say some stuff in some juju language, then stand upright really quickly et voila! Trance. It just made us really dizzy,
but I do still wonder whether or not all of this is just a premonition, and maybe when I die I’ll open my eyes and just be standing under the clock in the Isaac Newton center, in Grantham, having to go back to the library to Ask Jeeves what year it is (or whether or not I’m in hell). Your style is very distinct (and we’re obviously huge fans) but there’s always more than initially meets the eye. Do you feel quite smug when you create something with underlying issues and how important do you feel it is to express multiple emotions/ characteristics in one piece? If you like I can sign a copy of the magazine for you? Signed Smug Bitch y2k19 kthnxbai! Really I’m just stoked when people actually notice and like what I do. I’ve drawn and painted since I was a baby, but have never really wanted to put anything out there until I felt sure about what I wanted to say with it, and I feel like I have reached that point now. It’s important to me, personally, but I don’t think it has to be for anyone else. I actually really admire artists who can create funny, relatable and witty pieces that don’t have to draw from this deep well of opinion and emotion. Controversially you also have a passion for moths, or at least their memes. What is it that attracts you to this subject? Also please give us some positive propaganda to persuade some of our more anti-moth readers. Brother, may I please have the names and numbers of all those who are anti-moth? I’m sorry but how could you resist the charms of a fluffy, brown, glowing eyed flying insect who is utterly addicted to lamps?
A more academic subject incorporated into your personality is that of Greek mythology (which has also featured in your work)? What is it about this that gets you stoked and it’s relevancy to your work? You know how films can give us such an insight into the social norms and culture of a society in the year and place it was made? Greek Mythology does the same. Homosexuality, bisexuality, polygamy, being VolCel (lol)… all of these things that our society has taken (and is still taking) decades to come to terms with were just normal to this ancient civilization. That’s not to say that I think that they were better than us, I mean… according to Greek Mythology women were created as a punishment to men. They’re all just really imaginative and interesting morality plays, kind of like watching a movie made 3000 years ago. As a bonus, the more you read, the more you start to understand the origins of our language, for example Aphrodite and Hermes had a son – Hermaphroditus. He was so fit that the water nymph Salmacis fell in love with him and prayed that she would be united with him forever. In answer to her prayer, a god merged their two bodies into one, creating an androgynous form. A body exhibiting both male and female characteristics is called a Hermaphrodite. Then of course you have the goddess of victory: Nike, or Cronus the Titan god of time: chronicle/chronological, Atlas the Titan condemned to forever hold the world on his shoulders: The Atlas World Map, the storm giant Typhon: typhoon. It goes on forever. The majority of your work uses female figures, which is very sexually liberating. This is such a positive way of dealing with so much chauvinistic bile and incredibly refreshing to sexism in all forms of media. What drove you to do more of this and do you hope it will help females with confidence issues induced by society? Also fuck the patriarchy! Haha fuck the patriarchy! I just feel that as a female artist, producing work centered on the female nude diminishes the male gaze and in a way reclaims our bodies for ourselves. I do sometimes get DMs from girls telling me that my drawings make them feel better about themselves, this is something that really motivates me to keep making work. When the media represents different body shapes and a diverse range of figures are held in high regard, we begin to normalise these shapes and make big shifts in the ideals of beauty. It’s very powerful, and I’m glad I can be a part of this in some way. We are all victims of being made to feel inadequate for falling short of beauty standards dictated by society (men and women and everyone in between), so if I can remind people that these standards don’t have to mean much, then great!
Could you talk to us a little about the Madonna/whore complex and how you worked with a sex worker to develop a specific show highlighting this concept please. The Madonna/whore complex is a pattern of thought that divides women into two mutually exclusive categories: the respectable, untainted, “marriage material” good girl type (the Madonna), or the woman who is driven by sexual desire who therefore lacks morality or decency (the whore). Have you ever slept with a girl on the first date and then felt differently about her because of it? I’m referring to this kind of thing. At it’s worst, guys in long-term relationships can’t maintain sexual interest in their partners because (ironically) they respect them too much, and instead go elsewhere to fulfil their fantasies but are unable to respect the women they lust for (i.e. he will never leave his girlfriend/ wife for her). If you want a perfect example of this, look no further than Tony Soprano (and make this an excuse to watch the whole show because it’s amazing). This fits in perfectly with the theme of sex work; a lot of clients who call girls are actually married men, and I wanted to know why. I know a few girls who decided to work in the industry as opposed to being trafficked, and the research is still being compiled. I think we can learn a lot about the nature of sex through this kind of work, and I want to question the morality surrounding it. It’s taking a while because I don’t want to make any rash claims, so I’m taking the time to sit on it and develop something that has a very clear, well-evaluated and objective message, and a sensitive documentation of the girls’ experiences. Oh and uh… the Madonna/whore complex is a false dichotomy, slut shaming is dumb and archaic. On this subject it seemed one of the most fitting/steeziest collabs between you and Doyenne Skateboards, how did this come about and how did you find the response? Had you met any of them prior to the exhibition launch in South London? I met the Doyenne girls at the Pushing Boarders event last summer, after an Instagram appreciation sesh we had for each other (naturally). They’re amazing, and I really believe in their mission statement and everything that they are doing, so when they asked me to be their second artist collab I was StOoOokEd! The response was so positive and we managed to make some cash for Skate Pal, so I consider it to be a success. The results were so good, and your work printed on boards as a medium worked so well! Are there any other collaborations you’ve been particularly proud of to be a part of? Thank you so much guys! I have recently come back from LA after working with Courtyard (a female run clothing company) on a number of things including a collab T shirt. Alia (the owner) is the no.1 bo$$ daddy and everyone who works there is a total legend. I really admire the way she runs her brand and the ethics that drive her so I’m super proud to be a part of that. We are currently working on our second collab shirt, and she also intends to move into menswear, wink wink boys (@courtyard_la)! And of course if you follow my Insta you might have noticed the trailer for my collab with the insanely talented Anna Ginsburg (@annaginsburg). We are in the process of making a short film in which she will animate my paintings. I think my work tends to have a lot of movement in it, but unfortunately I don’t have the patience or discipline to bring them to life in the same way that she does, so I’m immensely grateful for her involvement with this. She has this excellent energy and blows my mind as a director and animator, so hopefully great things from us will be coming your way very soon!
On the subject of different mediums, could you elaborate on the work you did with LibraLibra music if you’d be so kind? They are a new band based in Brighton, made up of members of other music projects, all very talented. They contacted me to do artwork for them pre-release, so I turned my paintings into gifs for their tracks and they loved it so much that they asked me to art direct their photo shoot for their press release. It’s nice to work within different disciplines; you end up getting so bored if you limit yourself to just one, plus you learn a lot along the way. Outside of the art world you sometimes go halfway across the globe to the desert to conduct research/take readings. What is this and do you enjoy it? This is how I make the big bucks! It’s oil and gas pipeline inspection work, using a new technology called Stress Concentration Tomography, a form of above ground nondestructive testing. I walk along the pipeline using this scanner to collect magnetic data, and then we send the data back to the labs to be analysed and they can tell you exactly where there are any areas of corrosion or damage in the metal, so the operating companies can excavate and fix precise areas as opposed to having to guess and this saves them a lot of money. We are basically preventing oil spills and gas explosions, and I love it because it’s hard work, you get to hike all day, plus I get to walk through weird places like fields of dead goats in the middle of the UAE.
What was it like meeting Sven Goran-Eriksson? It was so cool! I met him at Madame Tussauds when I was 9 but he didn’t move, or even blink. Weirdo. You produce an incredible amount of work at a ferocious rate (without ever compromising the quality)! Do you ever have trouble finding homes for all your works or is this not the primary concern? This is because I use child labour in China to produce all my work for me – life hack. Okay, not really… my paintings are well housed and organised in my studio, but if anyone would like to give them a home then contact moi. Who have you been listening to recently and can you please recommend us a book and a film as well? I can’t stop listening to Jazmin Garcia’s NTS show “Como La Flor”, they’re these beautiful mix tapes of old school Latin jazz, pop, cumbia and bolero - Música sentimental for all the sad girls and sad boys. Book – Dark Nature by Lyall Watson, it’s an exploration of what ‘evil’ is in biological terms. Film – check out Hereditary if you wanna poop yourself, so gnarly. What you saying this year then Missy? Let’s please hang out and skate all summer! I’ll be producing more boards and hopefully screening that film with Anna, you’re all invited!
Joseph Biais - Backside Wallride Kickflip Out Photo: Loic Benoit Matt Beer - Backside Boneless Photo: Leo Sharp
Dale Starkie - Hippy Jump Photo: Reece Leung Sam Fairweather - Switch Boneless Photo: Cameron Markin
Kyron Davis - Backside 50-50 Grind Photo: Reece Leung Dylan Hughes - Frontside Nosegrind Pop Out Photo: James Griffiths
Will Creswick - Ollie Transfer Photo: Craig Dodds Joe Gavin - Switch Crook Photo: Ian Williams
Sam Nobbs - Drop In Photo: Reece Leung Jimmy Silver - 360 Flip Photo: Henry Bailey
It’s far from any secret that we love combining things we think are dope whilst contributing to great like minded communities. This is why we’re stoked to showcase the marvellous people at Partizan brewery who have combined talents with ourselves and the marvellous folk at Piilgrim . The article came about through a collaborative brew but we also admired so much to do with Partizan we knew we had to scratch further beneath the surface, particularly with their luscious liquids, admirable art and how in-house their whole operation is, even down to their tap designs. Here’s what head honcho Andy has to say. Introduction & Interview by Guy Jones Artwork by Alec Doherty Photo by Reece Leung
Could you start off from the beginning and tell us how and Partizan Brewing began and the development of the brewery to becoming what it is today? Did you brew prior to this? I had been brewing at Redemption in Tottenham for around 3 years and had got to a point where I had stopped being challenged and started to think about what my next steps would be. It was a great place to work and the owner let me brew little pilot batches at the weekend there. I was going every Sunday and it had got to the point where I’d made too much beer and couldn’t drink it all. I’ve always had a love for the sticker art on the bottles so threw out a little FB post for some friends to come up with the designs in exchange for a mixed case of beer. In the meantime I had a great talk with the owner Andy one day while we were working and his advice was to finish my brewing degree at a bigger brewery and maybe go on and do a masters or start my own place. I had no money or entrepreneurship for the second but remember a school friend getting back about his winning case for the label comp and saying that if I ever wanted to make a go of it professionally on my own he'd be there to help. The very good homie, Evin, who started the Kernel brewery had just moved to a new site and had all his original smaller brewing kit sat doing nothing in a corner. He offered it to me as a gift and that was that really. It was the financial equivalent of half the stake we needed to get things off the ground. Generous doesn’t really cover it. I remembered the comment from my friend Andy so I called him to tell him about the free kit and see whether he meant it or not and he did, so off we went.
We're big fans of the name and it definitely embraces the community aspect we adore about breweries. Could you explain it to our beautiful audience and tell us who's behind it? So it really came from me opening a Youtube account a fair while back as I wanted to save something I’d seen on Michel Gondrys youtube channel. The thing with him solving a rubics cube with his feet. Not sure if you remember it. They took it down for some reason. Michels production company is called Partizan and I guess somebody else had got michelgondry@youtube.com so his channel is called PartizanGondry. Seemed good enough to me so and andysmith@youtube had already been taken so I then just started logging in to everything as PartizanSmith. I guess his production company could get pissed off at that maybe. They’ve actually been down a couple of times though and seem really sound. Still haven’t met Mr Gondry though. Big fan. The name fits well with the idea of the partisan movement which was I guess lots of small disparate groups fighting a bigger power and has a nice parallel with the beer market being utterly destroyed by big brands to the point where theres no culture left just mass produced brand driven same, same. In terms of what it really means it’s a tricky one. I always think of Tito when I think of Partizans. He was an architect, a film maker, a painter. He strived for what could have been a good working system of social democracy. He was a founder of the world non aligned movement. He was trying to sort Palestine out even. He to some extent helped people from places like Croatia and Serbia with long standing beef work together. He ultimately got it very wrong and made a lot of very serious mistakes but I see this thread of wanting to embrace this melting pot culture of life and embrace unity as power. To take all the smaller groups who have been oppressed and unify them and make them powerful. He did obviously do all this whilst having an appalling record of suppressing people and violating human rights and I of course feel deeply saddened by the awful irony at play... It’s an interesting story though and one I think worth thinking about in a city like London. One of the things I love about the city is the diversity and see it’s real strength. Theres a great doc by Julien Temple called ‘London the Modern Babylon’. I kind of want to embrace some of that for the brewery really. Alec Doherty has done all your artwork, which again we're huge fans of. How did you meet and do you think that he'd go on an axe wielding rampage if someone else were to get their designs on one of your bottles? The aesthetic is incredible, how important do you feel that the presentation aligns with the product and where do you source inspiration? Als a pretty laid back guy for the most part, couldn’t see him doing the axe thing really. He's got those mood rings he’s been making though so maybe there’s one with a blood thirsty look in it’s eyes he keeps at the back of the drawer for employers that mug him off. In all honesty we've worked together now for nearly seven years and were friends for a good while before Partizan started so have a good history of not upsetting each other too much at this point. We met in Leeds when he was studying there and I was still cooking so have known each other over ten years at least by this point. Al has been great to work with, he knows what hes doing and it has been great to leave him to what he does best so we can get on with what we do best. It’s been great to see his style change over the years too. We've always had this idea of antibranding which might sound a bit stupid but the thinking has been that beer became too brand heavy. It still is now even with so called craft stuff. The money and time pumped into branding in beer has turned most consumers into brand slaves it’s so common to see people that just drink Fosters or Stella or you get people who will only drink Peroni out of a bottle or whatever. They’re all basically drinking stuff thats almost exactly the same but are comforted that they’ve made a wise choice
because the branding departments from these big companies have brain washed them into thinking there is a significant difference and one that identifies with them. One of the things we’ve always thought is important is more engagement being good. It might be that you enjoy the beer less, it might be that you enjoy the beer more. The point being at least that you’re engaged in choosing your beer and also engaged in drinking it. It tends to be that brand slaves stop engaging first with choice but then ultimately experiencing whatever it is they’ve bought as they just expect the same experience over and over. It’s one of the reasons we've always changed the artwork and also keep manipulating the beers even if they’re ones that get regularly brewed. It keeps people questioning what they’re drinking. Why does it look different than the last? Do they like it? Whats it gonna taste like? It’s a harder sell for sure this way as we don’t get all the benefit’s of traditional branding but we think ultimately if the person drinking the beer likes it, chances are they’ll like it more this way and not just blindly smash down another Partizan beer because Als artwork is on point. It’s been nice too to not have to heavily commit to a style I think for Al and it keeps it less restrictive and more fun if we know today’s artwork will be gone tomorrow. The design of the bar and taproom itself is beautifully crafted, especially regarding the bespoke draught pumps. We presume this is someone within your community, going off how in-house the whole operation is. Could you give us some background on who did it and what else they have to offer? So the bar was built and a lot of the design done by the amazing team at Scales and Models, neighbours of ours from the Almond Road days. They are model makers by trade but seem to get involved in a very eclectic bunch of design and build projects.
I’ve seen full scale electric cars made entirely out of cardboard come out of there, replicas of baby penguins being born so realistic they’re now on display at London zoo, historical boat recreations, ethically mindful furniture and of course the amazing taps they built for us. Pretty creative and multi skilled bunch all lead by Ruben the guy who owns the place and is there seemingly 18 hours a day 7 days a week. Alec our illustrator and Ruben worked together on how it would look and feel and then Ruben and team built it all up for us. They can seemingly work with any material, have a great eye, are very patient and amazing listeners and were just a real joy to work with. Hopefully we can build another bar together one day. What are some of the hardest things you've had to brew through Partizan and what are some of your proudest tipples that you've created? Weirdly one of the hardest and most proud was one we did with a friend of the breweries Olga Stezhko. Shes a pianist and put out an album, Et la lune descend, last
year to coincide with 150 years since Debussy’s passing. Olga gave us this amazing brief of what the album meant to her. I can’t go into it all as I don’t think theres space but the three main threads were, Global, Sensual and Primal. Way more interesting than any other preamble to a collab we've had. It was all placed in France, Debussy’s homeland and also Indonesia as he was looking to the music of the Gamelan for inspiration. Olga was amazing to work with and we had loads of hidden threads and textures of meaning running through the project. We tend to err towards simple balances of one or two things if using ingredients outside the usual four. This one was half pressed apple juice so basically a cider beer hybrid and then spiced with Galangal, Ginger, Kaffir lime and a few secret bittering botanicals used in Italian amaro. A bit of an odd concept but the flavours were ones that we knew should go together. The first issue we had with it is that the brewers yeast wound up converting sulphur in the apple juice into this very eggy aroma. It took us nearly two weeks to very gently remove it while not stripping any other flavours out. A combination of further fermentations and gently scrubbing the sulphur out of the beer with CO2. This meant it was really hard to get all the various ingredients added in an easy way as the beer stunk so was hard to tell if it needed more ginger for example beyond all the sulphur. It was all a bit of a panic towards the end and there was definitely a bit of a bad feel in the brewery that we'd taken things too far and it was on the edge of becoming a big mess and why did we need to keep adding stuff to beer, whats wrong with just malt, hops and yeast etc etc. A moment of pushing and just believing it was going to be brilliant at the end despite all signs suggesting otherwise. There was this magic moment towards the end though where we hadn’t really done anything with it for one or two days other than gently scrubbing it with gas that it just all came into absolute focus. The sulphur dropped. the ginger galangal, kaffier lime, everything started to show itself and it was all harmonious and in the right place. Utter magic! We've had a few beers have just transformed last minute without warning but this was definitely one of the better ones and just in time. I was super proud of that beer on loads of levels. Regarding your location there seems to be a fair few breweries as your neighbours. Are they your rivals or friends and have you collaborated with any before? For the most part everyones pretty friendly. We had some very tiny beef over one of the at the time new breweries promoting the area as "the beer mile" as it changed the perception of the area from what was this nice food market and engaged customer thing to being very much white, 25-40, self entitled male groups looking to just get as drunk as possible which obviously didn’t go down that well with our regulars and people working our bar at the time. Aside from that everyones super nice really. I knew Tom and Dave at BBNo and were friends with them before they set up. We’ve been massively helped by the Kernel of course and have brewed some beers together too. We actually had a joint Xmas with those two breweries last year. Evin, Dave and myself cooked Xmas dinner for everyone in the kitchen at the Kernel which was a very nice afternoon. We often get a bunch of guys from Fourpure in the tap room on Friday night and they always bring beer to trade. I often go around to Affinity on Friday nights too and have a nice chat with Ben if they’re not too busy which they often are. I think maybe flying under the radar still a bit but smashing out some awesome clean sessionable stuff and some more off the wall interesting bit’s and pieces too. Steve the head brewer there actually gave me my first job in beer.
‘KETS’ ‘BAIRN’ Pronunciation: Bare-n Explanation: Infant to child aged human.
Pronunciation: Kets Explanation: Slang for sweets
Example: “Giz a go on yer kets there.”
Example: “That bairns a proper ugly’n like.” ‘SPELK’ ‘SNOUT’
Pronunciation: Spelk Explanation: Slang for splinters.
Pronunciation: Snowt Explanation: A cigarette.
Example: “It’s a good indoor like but watch out for the spelks in the bowl.”
Example: “I’m clammin’ on a snout here man.” ‘PYAT’ ‘GAN YEM’ Pronunciation: Gain yem Explanation: Go home.
Example: “Ere ya radgie you’re too mortal and should probably gan yem.”
Pronunciation: Pe-yat Explanation: A face.
Example: “Shut your mouth or you’ll get a slap to the pyat.” ‘RADGIES’
‘CLAMMIN’ Pronunciation: Clam-in Explanation: Somebody who is desperate as fuck.
Example: “It’s still wet? Ah man I’m clammin; on garn for a skate.”
Pronunciation: Rad-gees Explanation: Unsavoury folk
Example: “Got slapped in the pyat by some proper daft radgies.” ‘DOYLEM/DOYLE’
‘CANNY’ Pronunciation: ‘Can-nee” Explanation: Generally okay or alright but can also be used as emphasis.
Example: “He’s canny alright but his bro is canny annoying man.”
Pronunciation: Doyle-em/Doyle Explanation: Negative term for someone acting daft.
Example: “I didnae bother inviting him the pub, he’s a been a right doyle all day.” ‘HAWAY’ Pronunciation: Ha-way Explanation: Come on/hurry up
Example: “Haway man ya doylem you call that a trick.” Our favourite Mackem Blinky avoiding the radgies with a slappy crook. Photo: Leung