Author Topic: Interviews thread  (Read 9768 times)

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kronichles

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Re: Interviews thread
« Reply #30 on: October 01, 2006, 09:05:57 PM »
that isn't even p.j. in the interview.

Mizzark

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Re: Interviews thread
« Reply #31 on: October 01, 2006, 09:53:40 PM »
Wow are you two in love?

I'm in love with entertaining interviews

robandbigblack1

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Re: Interviews thread
« Reply #32 on: October 01, 2006, 10:16:41 PM »
are you kidding me!?!? that interview was sweet

Mizzark

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Re: Interviews thread
« Reply #33 on: October 01, 2006, 10:24:17 PM »
are you kidding me!?!? that interview was sweet

YEAH RIGHT

"of course let me drop my SPONSORS"

"I love skating"

"yeah went on tour"

"blah blah blah blah lsjsdhdjhsdjasd'

doitswitch

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Re: Interviews thread
« Reply #34 on: October 02, 2006, 01:00:38 AM »
that isn't even p.j. in the interview.

Huh? Wanna explain? This was before all that shit between PJ and Coliseum, even before WHL so I doubt they woulda made it up..

overdoso

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Re: Interviews thread
« Reply #35 on: October 02, 2006, 03:22:23 AM »
what shit between pj and coliseum?

syn

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Re: Interviews thread
« Reply #36 on: October 02, 2006, 03:56:38 AM »
Specially for Slap, taken from the Big Brother 'Hated and Misunderstood' issue, 2003




COREY DUFFEL
by Chris Nieratko

Corey's story is a strange one, isn;t it? He calls Stevie Williams a "trashy nigger" in an interview with us, deals with death threats for a few months as a result of it, and then, nexty thing you know, he's featured in every magazine and video. His failure proved to be a great success. The lesson here, however, is not, "Call a black person a 'nigger' and good things will heppen to you." We just wanted to see how Corey went from being one of the most hated people in skateboarding to media darling extraordinaire.




How’s your life changed since you “accidentally” called Stevie Williams a “trashy nigger”?
It’s changed a lot, I guess you could say. Made me smarter than I was before, not such a dumb little kid anymore. I’m not saying I’m not dumb anymore, but it made me think how you could lose something you love, and things can change, just over one word. I hope everything’s over with it, but I have to realize what I said and live with it, and if people don’t want to forgive me, that’s okay. I fucked and it wasn’t you guys’ fault or nothing, so everything’s good.


I think at the beginning you were trying to say that it was our fault. That we made you say it.

I don’t think I was trying. I did maybe say that, but I just didn’t want it in the magazine. It wasn’t your fault I said it. You guys didn’t tell me to call Stevie a name. You didn’t tell me to say anything stupid. You wanted to help me out with an interview, which you did, and it got my name out there, so, no matter what, I’m happy I got the interview, and even though things got out of control, it still was good that I got coverage, and you guys gave me a name, helped me out.


Did you catch any physical backlash? Anybody fuck with you as a result of that?
Yeah, I got a lot of stuff from it at times, rocks thrown at me, whatever. People said they were going to do shit to me, but nobody did. Like the kids that sais they were going to when I went and seen them, they never did anything.


You think people have pretty much gotten over it?
I think people have gotten over it, ‘cause nobody asks me about it anymore. It seems like I’ve had a lot more positive courage, and kids seem to like me, and a lot of the kids don’t even know what really happened, or people think I said something completely different than what I did say. A lot of people thought I was some crazy racist guy, which I’m not. They didn’t really know the whole story, but otherwise I think everybody’s over it.


Do you think, for good or bad, that interview made you?
Yeah, for bad, of course, but it gave me a name. Every single pro out there, everybody in the industry knew who I was. It gave me a label and put my name out in the industry, which is good. Everybody wanted to know who the fuck this Corey Duffel kid was and why he has the balls to talk trash. So it gave me a name, which is good, but it wasn’t for a good thing. I just cut myself with a razor blade, and now I’m bleeding, but, I mean, it gave me a name.


Until then you were just another am.
Another am jumping on a handrail. I was the same as every other kid out there these days.


You got dropped by a bunch of sponsors, but you picked up a lot of really good sponsors.
Yeah, so in that sense, it was almost really kind of good. Foundation’s the best skateboard company, in my opinion. Josh Beagle put me on Pig, and that was the company I always wanted to ride for as a kid. Hurley got rid of me, but I’m on Sessions now, and its Nor Cal, and it’s not a surf company. I’m happy all those guys hooked me up in the past, and I want to let them know, thanks, but if they wanted to move on, that’s okay, ‘cause things worked out for the better now.


Carnie was telling me about this story where you got beat up by a wrestling team?
There’s two different ones, actually. One time I was out shooting with Bryce Kanights and did this lipslide down a rail in front of this old fuck-face wrestling coach or whatever. He wasn’t too into skateboarding, and I was like “Here let me give you a trick”. Did a trick, whatever. He puts me into like some kind of stranglehold, throws me on the ground – whatever, big old wrestling coach, like middle-age, tall, gay dude, I think, ‘cause he sure liked to grab me a lot – and then strangles me, throws me to the ground. That one was kind of funny. Nothing really happened with that ; cause my friends came over, pushed him off me. And then there’s another one. I was skating some roof gap, my board falls off the roof, I went to go grab my board, and there was just a normal old dude just sitting down there, like a 40-year-old wrestling coach. That’s what I found out later on, I thought he was just some guy trying to take my skateboard. He grabs it, and I’m kinda like, “well, what are you doing? Give me my skateboard back.” Me and him just start going, like verbal arguments, whatever, and I’m just trying to get my skateboard back. No physical things yet. He wants to know what I’m doing up on the roof and everything. So I let him know, and then I go to grab my skateboard again. He starts pushing me to the ground. I start yelling for my friends on the roof. I was like “Dudes, um, someone’s trying to beat me up down here,” just trying to get somebody’s attention. A little shoving goes on for a while, and a different coach sees me and him arguing and shoving each other, and so the other coach comes. I don’t even see him, he rushes me from behind, throws me to the ground, without me even knowing, some kind of crazy dive, tackle thing, I guess some wrestling manoeuvre, breaks my collarbone straight in half, and I’m like,  “What’s going on?” I’m on the ground with a broken collarbone, and I get up, and then the guy starts punching me in the face, so I got a broken nose also. That’s after I already had the broken collarbone. I’m not even trying to do anything anymore. I’m like, “Dude, I’m jacked over here. Guys, you just broke my collarbone”. You can totally tell when you break that bone. It hurts a lot. So I’m standing there, and then I start getting punched by some other wrestler that had nothing to even do with it. While I’m standing there, the whole wrestling team comes out to see what’s going on. They’re all laughing at me, like, “Fucking fruitcake. Trying to fuck with us.” They start spitting at me. I’m just like, “Can one of you guys call the cops or something ‘ cause I just got jumped by one of your wrestling-coach dudes, and like I’m fucked up now, so can you guys help me out?” And they were just laughing at me, and I guess some lady called the cops, she’d seen it. And then the cops come, and I get yelled at. I was like a minor, and I’m bleeding with a broken collarbone. Ambulance comes, nothing happens to the coaches ‘cause I guess they’re clean-looking, yuppie coaches. They see me, I look like a little piece of trash, that’s what the cops think, I guess, so I get in trouble. I get a ticket written to me, and now I don’t know what’s really going on.


Are you going to try and sue them?
My parents have an attorney, I think, and they’re trying to figure everything out, but I guess my mom was telling me not to talk about it if it came up. Everything is good now though, so it’s kind of a good, funny story. Even thought it’s just more dramatic chaos or whatever you want to put onto my little image. So people go “He’s the guy that got beat up by the wrestling coach. The guy that said the comment.” You know, so it keeps going on.


I noticed you don’t talk like a girl anymore,
Yeah, so I guess I got balls now. I don’t know. It was this speech impediment that I had, and maybe I’m just growing out of it. I have to use my tongue or something. I don’t know, maybe I’m not such a little kid anymore. I’m not too sure though, but I’ll take a compliment for saying I don’t talk like a little chick anymore.


How many 50-50s and boardslides you think you can do before kids are going to be over you?
I don’t do boardslides really, I suck at that trick, but, I mean, 50-50s I’ll do. It’s like a warm-up trick, and they’re kind of good, it’s just a fun trick. I hope kids aren’t getting over me. I try not to do too many of the same tricks, but that’s what I have fun doing, so if somebody wants to shoot it, I’ll be like, “Sure. Why not?” I’m just having a good time and everything. I hope people aren’t getting over me ‘cause of that.


Do you think you’re a kook?
I guess I’m the number one kook right? You guys gave me the interview, so I gotta be. If the magazine of all kooks gives me the kook issue, I guess I’ll be lurk nasty for a day.


Oh, so we’re kooks?
You know it.


We made you career.
Yeah, I know, isn’t it good to be a kook though?


Curt Muska said that he’d like to date you
No, thanks. I stick with the chicks only.


He said he thinks you’re a girl, and he thinks you have a sweet ass.

I got a sweet ass now? Thanks, Curt, I guess, but I only stay with the chicks only. I’m the womaniser, so only chicks for the Duffman.


You think if things don’t work with Foundation, you might want to ride for his Muska skateboards?
No. If things don’t work out with Foundation, I don’t want to rid for anybody else. That’s the only team I’d want to be with.


Yeah, you want to tell me your sponsors again.
Yeah, sure. I want to thank Justin Gold at Sessions and Joel, 88 Footwear, so like Dominic and Steven Ensen, thanks a lot, Pig Wheels, Foundation, Von Zipper, Metro Skate Shop, Iron Horse Grip, Speed Metal Bearings and Ruckus Trucks, and I just want to say thanks to my mommy and daddy, my brothers, Kevin and Steve and Bryce Kanights and Justin Regan for all his help over the years, Jamie Thomas and then Templeton for being the number-one kook and rubbing off on me. All my crew back home in the Creek and all the beautiful people at Big Brother, Coca Cola and Kyle, Ronnie and John, Zachs, just everybody that’s helped me out through the years, especially you guys for giving me a second chance.





I don't have a scanner, but the captions are top notch "Frontside boardsliding a beat-up, old, white refrigerator in the middle of a warehouse? Who's trashy now?"
Skateboarding has already been bought, sold, packaged and sailed down the river. We were just too busy being cool to notice - Vibetek

NITSUJ510

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Re: Interviews thread
« Reply #37 on: October 02, 2006, 04:06:08 AM »
I thought Seth McCallum's new interview on the front page was sick

syn

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Re: Interviews thread
« Reply #38 on: October 03, 2006, 04:03:59 AM »
oh my I found this on the Thrasher site

http://secure.thrashermagazine.com/index.php?SCREEN=interview_kasper&page_num=1


'He gets in my face and starts yelling at me, “You fuckin’ rollerblader!”'

 
Skateboarding has already been bought, sold, packaged and sailed down the river. We were just too busy being cool to notice - Vibetek

monster network

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Re: Interviews thread
« Reply #39 on: October 03, 2006, 05:01:12 AM »
i found the ones i originally posted back in the very first interview thread...


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Re: Interviews thread
« Reply #40 on: October 03, 2006, 05:01:43 AM »
james kelch, slap, october 1992

JAMES KELCH - BORN IN HAMILTON, OHIO ON SEPT. 11, 1970. BY THE TIME HE COULD UNDERSTAND AND USE HIS MIND HE BEGAN TO REALIZE THAT HE REALLY DIDN’T GIVE A FUCK WHAT PEOPLE THOUGHT OF ABOUT HIM. SINCE HE STARTED SKATING IN ‘86, IT’S BEEN ALL DOWNHILL EVER SINCE. JAMES IS BIG AND FILTHY, SCANDELOUS A GREAT LIAR, AND LOVES TO FUCK WITH PEOPLE. THE ONLY TIME HE'S HALFWAY CLEAN IS WHEN HE'S TRYING TO PULL SOME FREAKS. BEING DIRTY DOESN’T SEEM TO BOTHER JAMES OR THE GORGEOUS GIRLS HE TRIES TO PEEL. SO DON'T TAKE EVERY THING SO SERIOUS AND CHECK OUT WHAT KELCH HAS TO SAY.

"I ain’t no tough guy."

What do you want people to know about you?
Nothin’. I don’t want people to know anything about me.
OK - what do you want people to not know about you?
(Laughs.) Late night activities.
Where exactly are you from?
Hamilton, Ohio, and I moved to S.F. in 1984.
So how did you start skating?
l’d seen this kid on Treasure Island with a skateboard and he jumped off a car, boneless... but I didn’t really trip. I used to race bikes, and I opened a BMX Plus magazine, and there was a four page article with Gonzo skatin’ the Brooklyn Bridge banks, so I went and bought a Lester Kasai splash graphics, December 1985. 1 didn’t skate til ‘86, when I was sixteen. Who were the guys you were skating with then? All the EMB guys, this guy named Ron Matusco from San Leandro, Vince Rodriguez, Ferdinand and all those guys.. .the EMB posse like G-man, Scott, Jake, Mike, Henry Kamau, I could go on forever. Jovante, lbaseta, Mon, everyone.
Your parents lived here and then moved away, but you stayed.
They moved back to Ohio, and I lived with them for a couple of months, but I couldn’t handle it. So I asked my morn for a plane ticket and came down here to S.F. with no money no nothin’.
So where’d you stay at?
Streets, people’s houses...
You lived on the streets?
Yeah.
Whered you sleep at?
Embarcadero, over on the wave. Not that long, though.
Then what happened?
I got sponsored by Dogtown and Indy.
Indy used to help you out with money, right?
$50 checks a month as an am.
Who else do you skate for?
Real Skateboards. Spitfire wheels.
How did it feel turning pro? Did it change you?
The money and all that helps, but the image and the name game drives me crazy.
Why?
Because it’s not even worth it - everybody’s the same.
So people jock you now just because of your name?
Yep. People who wouldn’t talk to me or dissed me a couple of years ago will do anything or go out of the way to say HI to me now.
You never did that as a kid?
Nope, but I’m not talking about kids, I’m talking about the older guys who think they’re in the business of skateboarding.
What else do you do besides skate?
I like to touch girls; I like to touch my girlfriend. She has soft skin.
You got one?
A girl?: Molly O’Griffin. She’s 15, and I’m 22.
What else do you like to do?
Honestly? Smoke some buds. Get wasted. It’s not a good influence on the kids, but it ain’t affecting them.
What about goin’ out?
Going out raging? Sometimes. Go to a couple of raves, tweek out, dance, love my pals.. .true love, that’s EMB.
Some days you have bad days, some days you have good days. ..why do you think that is?
I think you have good days ‘cause the only thing on your mind is skateboarding and you concentrate on having fun, and that means you’re doing good. But on bad days I think I’m thinking about something else that doesn’t have to do with skating and it makes me lose my concentration.
Like what?
Like girl stuff, or whatever’s going to happen that night, if it’s going to be fun, shit like that. ..if people are vibin’.
Who are your best friends that you skate with all the time?
Scott Thompson, Jake Vogel, Henry Sanchez, Dinger, Girard, Jovante when he skates with me, ‘cause he don’t like me.
So how do you like San Francisco?
SF’s the best place in the world.
Why?
It’s where street skating began - Tommy Guerrero. I just sold out, by the way, for sayin’ that.
‘Cause you skate for the same team?
Yeah. Best place to street skate, best street skaters, except for Lee and Gonz from down south. All the LA guys are rad, too.
What are your favorite tricks to do right now?
Slide tricks, blocks, mostly tail slides, backside tailslides, backside Lipslides...

"...true love, that’s EMB."

Is it true that James Keich is the king of Emb?
If that’s what they want to say...
Why would they say that?
Because I’m the one who stayed here when everyone else wanted to get on ‘cause it was a bad scene. So I just kicked back and told people to come skate, and didn’t act like a dick to people. I make them like to come here and chiII.
What did you think when EMB started getting really popular, when tons of people started coming here?
I thought it was funny, cause everyone used to vibe this shit for so many years ‘cause it was the lamest thing on earth, but little did they know that it was the best thing.
How do you feel about cops comming down to the Embarcadero and bustin’ people?
It ain’t no good, ‘cause we don’t have any place else to go skate.
What’s up with you and fightin’? "James Kelch - don’t fuck with him, all he does is fight." Is there any truth to that?
Kind of. I just battle when it’s time to battle.
When is it time to battle?
When niggas need beat. They need beat, they get beat. They don’t need beat, I’m outta there.
Why do they need beat?
‘Cause they fuck up, and no one’s going to teach em, so I’ll show ‘em.
Tough guy.
I ain’t no tough guy.
You ain’t no tough guy?
I just make sure I don’t go down. I’m no gangster, but I don’t go down. Embarcadero don’t go down neither. People come down here and act like kooks, so we treat em like kooks. The first time Justin Girard came down I was gonna bash him. He did a backside sideslide on my ass.
Who are your favorite skaters? Who do you think’s skatin’ rad?
Henry Sanchez, Gonzo, Salman’s switchfoot shuffles; those girls right there.
Words of wisdom?
People think Embarcadero’s lame - they come down here and think there are so many vibes, but it’s really just their brains tweakin’ out by themselves when they really don’t even know what’s goin’on, ‘cause there ain’t no one tweakin’ off them, they’re just stressing out.
There’s more to James Ketch then EMB.
Let’s talk about me? James Keich. What kind of person is James Kelch? He’s a cool guy He’s nice, if you let him be. What’s he like to do in his spare time? Skateboard, jack off, talk to pretty girls, listen to music.. .Are you scared of James Keich?
GIRL: Yeah, sure I’m scared..
Have you witnessed the wrath of Mr. Kelch? (laughter) Hello this is James again. Heading off to the Hyatt bathroom. This is Lavar McBride. What do you think about James Kelch, Lavar?
LMB: Uh, he twisted his ankle.
True. What do you think about James, Kamau?
KAMAU: Trash.
What do you think about James, Mike Carroll?
MC: I just got my passport 3,000 hours late because of his ass.
Well, I didn’t mean to do it. I have something to say - HI to all the people out there. Thanks for skate- boarding, because if everyone didn’t skate, there’d be no skating, except for the people that skated, and that would be skating and I guess I’d still skate. And all that fighting BS - there ain’t no fighting, poppin’ off all the time. People try to fight me because they think I fight, well then I guess I have to fight them. And yes, I always avoid losing any way I can. Even if they’re bigger.
James Kelch, what do you think about James Ketch?
Never met him. Now, I try to talk to that guy sometimes but he doesn’t want to listen. He just keeps fuckin’ up. Slippin’.







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Re: Interviews thread
« Reply #41 on: October 03, 2006, 05:02:38 AM »
Jason Lee Pro Spotlight - Transworld, November 1990



"Yeah, I know Jason"

Lee. We go way back. I kicked his ass at recess one day and we’ve been friends ever since. That was in second or fourth grade, one of the even ones. I remember because the even-grades’ classrooms were on the south side of the hail. Jason and I used to pound on the walls on our way to and from the bathroom. It disturbed the other students and made us laugh. We had fun back then.
I haven’t seen him much lately. I’ve heard that he’s real busy. I remember when we used to dress up in my dad’s clothes and tell people that we were mafia bosses, business moguls, or pimps. Those were real fun days. But now he has his skateboard and he gets paid to skate. I’m really happy for him. He must be doing well. I heard he’s even getting an interview in Skateboarder Magazine or something. I always knew he’d be famous. - an old friend of Jason’s

you can be easily influenced by the person just sitting next to you, whether it be a stranger or a friend or relative. For instance, you could be sitting on the bus, with a straight line of thought in your mind, and someone could come along with maybe an odd-looking pair of shoes, and you could be easily influenced by the way those shoes look. And your whole day could change.

Do you have a girlfriend?
No.

Why not?
I just haven’t found a girl that I really like, or that I’d want to be with for a long time.

What are you looking for, do you even know?
I’m looking for a girlfriend. I’m around the same people all the time, and doing the same thing all the time. I figure if I have a girlfriend, it will kind of change my everyday lifestyle.

Can you describe-to someone who might not know you-your scene, your look, your everyday vibe?
Well, it’s just pretty plain.

What really gets you going?
In anger, or just . . . ?

Just anything.
Laughter. Being around certain people, my close friends that I laugh with. Laughter gets me going.

Don’t try to be so serious.
I can’t help it. That’s how I always am when these recorders get turned on. Okay, this is Take 2.

Take 2. What’s your newest toy?
My newest toy is a 1990 Chevy truck. I really like it. It’s a 454 Super Sport, it’s black, it’s fun to drive. The ride is excellent. I used to have a Honda four-door. I wanted to trade It in for a truck because I had driven the Honda for so long, and then I drove Mark Gonzales’ truck. I liked the way it took off so fast.

How old are you?
78.

So you’ve got to be one of the oldest pro skaters around.
No, I just recently turned 20.

Okay, here’s a question. There’s a quick turnover in skateboarding, and someone’s up on top for a while, and everyone’s all into it. Like yesterday, you were this hot new guy, Jason Lee. Now you’re known as a contest veteran. You’ve been around for a while, you’re not this new person anymore. What do you think about that?
I think it’s natural. It’s going to happen to everybody. Nobody can stay the new person forever. Someone else comes along and takes their place. But it doesn’t mean the person who’s not new anymore doesn’t deserve credit.

Who do you see coming up, new guys that impress you?
All the new vert guys, the amateurs that just turned pro at Del Mar. I like Mike Conroy, and Buster Halterman, all those guys. Now they’re getting attention from everybody, and they’re going to get the attention for a long time because they’re new faces and good skateboarders. Then someone else will come along.

Now that you’re pro, is there a lot of different stuff you have to deal with that you didn’t have to deal with as on amateur?
Yeah, because when you’re pro, you’re in the spotlight. And the public is going to expect more from the pros.

Are you scored of raccoons?
I’m not scared of raccoons because I don’t live in the country. But if I lived in the country, I’d be scared of them because I’d see them more often, and I’d see their vicious claws.

Are there things that scare you, that you have gnarly dreams about or something?
Um...no.

You’re fearless, aren’t you?
Except when I’m sleeping, and I can’t move

You sleep and can’t move?
You know when you’re sleeping, usually your mind and your body wake up at the same time. Sometimes you’ll be sleeping, and your mind will wake up before your body. And your body can’t move. It’s like you’re in a coma. You’re just lying there and you can’t open your eyes or anything. You just have to jerk and wake up. Have you ever had that?

Yeah.
Seriously, I’ve had that. That’s what scares me.

It happens when I’m falling asleep, usually. It seems like my body will fall asleep before my head, and I feel all heavy and stuff.
No, this is right when I’m going to wake up. I’m totally in the middle of sleep. My mind wakes up, I’m totally conscious, but my body’s still asleep. I talked to Chris Miller in Hawaii in March, 1989. and he told me that’s happened to him before. I told him that it happened to me a lot, and he asked me if I smoked marijuana. He said marijuana might have something to do with It.

Do you smoke marijuana?
No, I don’t.

Why not?
Because I’m too paranoid. If I ever took drugs, I wouldn’t go along with the so- called high that drugs give you. I would go against it. I would be really paranoid because I’d be feeling abnormal, it would just ruin it.

When you started skateboarding, did you start street skating?
In eighth grade, I got a Variflex skateboard, and I used to wear these volleyball shoes, just because I thought I was a surfer and that’s what all the surfers wore. I wore these Hawaiian print button-down shirts, and I used to surf-skate in front of my house, and do grinds on the driveway edge. I’d try to do boardslides on the curb and my stepdad would get mad and say, “You’re scratching up your board, you’re messing your board up’ And I used to try to tell him, “That’s what it’s made for’

You seem to be a pretty happy-go- lucky type of guy.
Yeah. I’m mostly happy. But when I get down on things, I get extra down.

Big mood swings.
Yeah, when I get depressed, I get depressed about skateboarding and everyday situations.

That seems common with a lot of skateboarders, one of the only times you see them mad is with the way they’re skating.
I’m kind of depressed on how skateboarding’s turned out. I think skateboarding’s kind of ruined now.

Really?
Yeah. Just because nobody wants to skate for themselves.

Because of the money, or what?
There are people who will spend 24 hours of their day just skating and trying to learn tricks. They think of what all the other people do in skateboarding, and they want to do it better. That’s a good way to teach yourself how to skate, as long as you have fun with it. It just seems like people make up lists in their heads of what tricks they can do, and compare them with other people. If their list says they have more tricks, they say they’re better.

Seems like a lot of kids’ main motivation for skating is to one-up people. Have you ever had to deal with that when you go to a town, having these kids want to skate against you?
A few times, I just try to ignore it. It seems that people don’t understand that pro skateboarders are just like anybody else. They expect us to get right out of the car at a demo, be totally healthy and ready to go. It seems like just with the snap of their f ingers, we’re expected to do every trick that they see in the video, first try. That’s what I think people expect from pros. It’s not that easy.

Was that hard to deal with at first?
Yeah. It’s hard to deal with now.

Are you getting better at dealing with It, though?
Yeah. Sometimes there’ll be people who smart off to pros at demos. They’re always pushing you to do more and more and more. Then if you don’t do it, they yell out, “You suck.” It just seems like people don’t understand. If I go skating to the store or something, and I’m just doing tricks that I feel are fun. I picture myself skating to the store in a video, and people are watching, saying, “Jason sucks. He’s not doing anything hard, he’s not doing any hard tricks. Why is he pro?”

Who influences you?
Everyone. Mark Gonzales, definitely.

He’s your roommate?
Yeah.

You just moved out. How long have you guys lived together?
A year, probably. I think Mark’s so good on a skateboard. He’s my favorite skate- boarder. When I go skate with him, he’ll try anything. He’s just great. If a trick feels good, he’ll do it. He won’t care what people think about it, if it’s up-to-date or not, that’s just what he wants to do.

Did you get picked on as a kid?
Yeah, by my older brother. He used to pin me down and punch me in the arm when we were younger. It hurt. I bothered him. I was hyper, he was frustrated.

What’s his name?
James. He likes to work on cars.

He lives with your mom?
Yeah. That’s where my skateboard ramp is.

Where do you usually skate?
I skate on my ramp and on the street.

Do you skate every day?
I skate whenever I feel like skating. I get bummed when people ask me if I skate a lot or if I’ve learned a trick lately, because it seems now in skating it’s mandatory. Skateboarding is just skateboarding, it’s not a course in school.

What about skateboarding in television commercial?
People in commercials want to use skateboarding because its a popular sport, but they dont want to publicize it too much.

How did you get involved with World Industries?
Rocco watched me skate. I was really nervous, I was scared to do tricks in front of him.

Where were you
At Hermosa Pier. I was skating, and then he put me on Venture and SMA Rocco Division

you like knowing about the business side of things?
Yeah, just because that’s how I make my living.


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Re: Interviews thread
« Reply #42 on: October 03, 2006, 05:02:45 AM »
Yeah, but does it bum you out?
I just get really bummed about it. I’ll go to a demo, and I won’t be skating really well, but I’ll be skating well enough for myself, and I think, “This is just stupid.” I’m so confused now, because it doesn’t seem I’m skating well enough for the crowd, but I’m skating well enough for me. What should I do? I know I want to skate for myself.

Is it hard to feel like you are skating for yourself when you’re being sent to all these places and people are buying your time, “I’ve got him for an hour, here he is and he better do his stuff.”
So in other words, when a pro goes to a demo, a bunch of people are standing around a fenced area, and they’re all yelling out, “Okay, let’s see what you can do:’ You’re on the Spot, and you’re just supposed to do all these tricks. They think, “Oh, Jason Lee’s a pro skateboarder, he’s going to do all the tricks that we’ve ever seen in the video. Because if one person’s a pro, he’s as good as the next pro. They’re all the same:’ If I’m skating the way I want to skate, there might be some bad vibes. Then people say, “Well, why didn’t you do that one new trick that I’ve seen in some new video?” I just say to myself, “Because I don’t want to.” That’s about it. That’s the bottom line right there. Skating and doing tricks that you want to do is the best thing because it puts you into a good mood, you feel good about yourself. You don’t go to a restaurant and order food you don’t like. It’s the same thing.

Are you a competitive person?
At contests, for myself, not to be better than anyone, just to do good. I’m doing the tricks that I’ve learned, that I’ve picked out. I plan out a run, and if I go through the run and make all the tricks, I feel good about myself,

What are some other interests that you have?
Music.

Making music or listening?
I’m trying to learn how to play bass, but I’m more into listening to music.

Who are you Into right now?
Old David Bowie, Neil Young, a lot of music from the ‘70s. I like some funk music, Mark got me into Parliament. Bad Religion. not too much punk though. Anything.

What about after you’re done skating?
That’s a lot of the stress on my back right now, what I’m going to do when I’m done skating.

Do you want to go to school or something?
Yeah, I think after this summer I’d like to take English courses in school, hopefully for five years. Then when I’m done skating I’ll have a lot of English credit. Then I want to take a journalism class. Then, I don’t know.

Do you know what you want to do when you’re done? What will you be taking those courses for?
Maybe I can be a journalist or something. I think that’d be fun. Write for a newspaper or something. I like writing. That’s what I do a lot, too. I guess the only reason things are on my back, and I get bothered more easily, is because I wasn’t really like this when I was younger, my mind wasn’t really set. Yet I didn’t try not to care about things, I just didn’t really think about too many things. Now little things bother me. I was driving down the road and I saw a car with a fancy-looking girl in it, and a bumper sticker that said, “Stop Pollution.” If you’re into something like that, that’s fine, but it’s just hypocritical, displaying it on a moving, polluting vehicle.

What it really means is, "Check me out."
It’s just so stupid. I get mad because it’s trendy now to put a bumper sticker on your car that says "Peace" or "Save the World" I mean, that’s a good thing if people are really into saving the environment that they live in, that’s fine. It’s pretty funny. I think if someone is really into that, they wouldn’t display it with a bumper sticker with a short speech, they’d just be into it and keep it to themselves. It seems more truthful that way.

Leather seats.
Yeah, she probably had leather seats, too. You know what I just found out? Scientists say that a cow’s fart is just as dangerous to the ozone as car exhaust.

Really?
Yeah, that’s the truth, it sounds funny just because I said the word fart, which means nothing. It’s one of the stupidest words ever invented. There’s a scientific word for it that they used, but I forgot what it is. Cows put out just as much damage as car exhaust to the ozone, just because of the way their insides are, what they eat and things like that. Since they were all into the ozone studies, they studied everything possible to find out what was ruining it, and that was something they came up with.

Do you care about what other people think about you?
Yeah, sometimes. It’s weird. I guess you could call me a hypocrite, too.

You don’t want to worry about it?
Yeah, that’s the thing. That’s why I’m confused and that’s why I get stressed out, because I don’t want to worry about it, but I just do. I do get worried, if someone looks at me weird, I get mad. I say, “Why did that person look at me weird, what did I do wrong? What’s wrong with me?” And I get a complex. I shouldn’t care, I don’t want to care.

It’s just human nature. You live in L.A., right?
Orange County.

Do you feel like a lucky person?
No. I don’t feel lucky because feeling lucky is winning the lottery.

What about the situation that you’re in?
I’ve skated since I was in eighth grade, dropped out of school, never did my homework, skated every day. I had hoped someday I’d be a pro skateboarder, later I got sponsored, and then finally turned pro. If you work at something, you get it because you worked at it for so long. It’s not so much luck, it’s just getting to live a certain way from working at something for so long.

Are you bummed that you dropped out of school?
Yeah, but I dropped out for an okay reason, I guess. I didn’t ever take drugs, or drop out to rebel. I don’t understand how people can drop out of school who don’t have anything else going for them. They just go down and hang out at the local arcade or whatever, and just smoke marijuana with their friends, they want to be rebellious and go against what their moms and dads say, and then they drop out of school, then they just sit there. They work at McDonald’s or something. I skated every day, and I wanted something to happen, so I kept skating, and I was so into skating that it overpowered my schoolwork.

Where do you see skateboarding going from here?
I guess skateboarding’s just going to have its ups and downs. There will be people out there striving to learn tricks and keep it going.

Do you think it’s ever going to get like tennis, you know, with seeds and very, very organized?
No, it’s just kind of a bummer that we don’t get any respect. People look at me and say, "You’re 20 years old and you ride a skateboard?" and I just want to say to them, "Hey, don’t you think if skateboarding was dumb, and it didn’t get me anywhere, that I’d be done with skating already?" If I didn’t like it, I might be working construction or something like that. But it’s obviously doing something for me. When people ask me
what I do, I say, "I’m a professional skateboarder" and they say, "Really?" They ask where I’ve been, and I tell them different parts of the country, and they say, "You can make a living off it?" I say, "Yeah." They freak out. They don’t understand how skateboarding could get someone through life.

Everyone always says, "Can you make a living off that?" Like that’s the bottom line, It doesn’t matter if you’re happy or not.
Yeah. So I don’t think anybody should talk bad about it until they know. When you explain it to them, they say, "Oh, really? I didn’t know." So until they know, they should just keep their mouths closed and let us do it. There are 50-year-olds playing tennis! Why can’t I skateboard? You have to run around, sweat, swing a racket, there are different tricks, tennis television programs, tennis matches, tennis associations, tennis magazines, then there are skateboard magazines, skateboard associations, skateboard contests - it’s all the same thing. You can’t just jump on a skateboard and do tricks. You have to go through life and learn how to skate, and get better at it, and you have to travel, enter contests. Skateboarding is its own thing, tennis is its own thing, football-they should all be equal. We should be respected by the rest of the public, rather than just the skateboard public, because it’s the same thing. It’s a sport.

It’s really young, though, and it hasn’t been accepted yet.
Yeah. I don’t think it’s ever going to be accepted by the majority of the public because the common people look at us and just think we’re trashy, we’re messing up the city. Policemen say, "You’re messing up that curb there" I just say, "The United States of America has built billions of curbs, why can’t they just open us upon area and build 100 curbs for us to skate on, and we’ll go there and we won’t have to skate on your curbs." They ignore us.

It’s set up, everything’s set up.
We were getting on this airplane, and a flight attendant looked at Mark [Gonzales] up and down. He had cut-of f shorts, his hair was messed up, and he was holding his skateboard, and this one flight attendant was lust shaking her head, giving the most disgusted, snobby look. I was seriously bummed the whole plane ride. Because, look at her, she has to put on all this makeup, wear a freshly pressed suit, be really kind, and just act fake. That’s her job. Our job is to skateboard and do whatever we want to do any hour of the night, and we get paid for it. She has to act and dress up to get paid. I know she doesn’t like it. You know, the flight attendants say, "Oh, it’s been our pleasure serving you" They might as well say, "You over in seat 35A, I was really pleased serving you that brownie. I really had fun, you know. It was a pleasure." It’s just bullshit, it’s fake. They’re waitirg on other people, and then they act snobby to us because we have skateboards. I don’t think people should act snobby or mean until they know. That lady didn’t know that Mark was a professional skateboarder. She probably looked at us and said, "How did they even get the money to fly on this airplane?" Until she knows that he’s a professional skateboarder, that he’s traveling and doing what he likes to do, she should keep her mouth closed and all her facial gestures hidden. Her job is fakeness, mine is freedom. This is stuff that bothers me. It doesn’t have to be this way. That’s what’s so wrong in the world, this whole attitude thing’s just so strong.

Anything else you want te say to the skateboarding public?
Being influenced by others is fine. Just don’t feel like you have to do what your friends tell you to do. If you’re into something, it’s just what you’re into, that’s where your feelings take you, so you should be into it. If somebody takes you away from what you’re into, then you’re just going to be disturbed, and you’re going to be depressed.

Christian Jacobs: Are you ever hyper?
Yeah, when I’m around my-close friends, I’m hyper, when there’s music playing and I’m in a good mood. When I’m in a good mood, I just say stupid shit. When my friends come over, and my friends are hyper, I get really hyper. There’s nothing wrong with being hyper, it’s fun. Just as long as you know when to stop.

Now, people are looking up to you, like you look up to Mark. Do you think about that? Does it freak you out?
It’s weird, because I can’t feel it or see it. What else do I want to say? Another thing is if a pro’s at a demo, and he got up that morning at 7a.m., and is not used to waking upso early and feels kind of sick, so he’s really not in the mood to talk to someone, he’s looking kind of down, and all the people at the demo are saying, "I wonder what’s wrong with him" maybe someone comes up to that pro and he says, "Oh, I don’t really feel like talking right now." That’s just the way he felt, he’d tell that to anybody. The young skateboarder is going to take it like he’s too good to talk to them.

It’s like you’re supposed to be able to talk to anyone and be totally on all the time.
They’re like this; eyes wide open looking at every possible thing. That guy’s just living his life, and they think it’s a big- headed thing, like, "All right, he’s pro, he’s in a different Country, he’s doing a demo for us, he’s too good to talk to us." That’s exactly what pops into their minds. I don’t think there are very many people in the skateboard world that think, "Maybe he’s sick. Maybe it’s too hot out. Maybe he just doesn’t feel up to skating right now or..." They assume it’s just a pro attitude. They don’t go any further and see if it could be a sickness. Or some people are just mellow by nature, and they’re not comfortable around a lot of people. It’s an attitude to other people, but it’s just that person’s life for him. So that should be thought about. I’m glad I talked about a lot of this stuff, though, because it bothers me. I always talk about it when I’m around my friends, but it’s kind of good that I’m talking about howl really feel about things in an interview.

Rather than just flapping about
Yeah. I’m not criticizing anyone, I’m just saying what I feel.

C.J.: Do you think cartoons have affected your life at all?
No, but it’s pretty funny how demented things go into little kids’ brains. About how strange a story is, but it could be so neat-sounding to a little kid. If you really think about a fat man with a long beard, wearing velvet suit, sliding down your chimney, coming into your house in the middle of the night, putting presents with your name on them under the tree, and then going over to a plate filled with cookies and a glass of milk. Then he goes away, and the kid wakes up early in the morning and sees “From, Santa.” Kids need imagination, but it’s just pretty funny the imaginations we give them.
Cartoons are just destroying little kids-like Mutant Ninja Turtles. Television is the ultimate brainwashing machine. That’s what I think. What do you think, Christian?

C.J.: To be honest with you Jason, I think you’ve said a lot of good things here.
You feel good about it. It’s a good feeling.

C.J.: I feel good about it.
Let’s hold hands.

C.J.: Okay, ready.
You buy a couch, and at first the couch is new. People come and sit on it, and there are different people that sit on it every day. It’s just a fluff, and over the months and years, the couch gets worn out. The couch is made for sitting on, it was made to support people, to relax on, to sleep on, whatever. People that are sitting on it are doing what they’re supposed to do on a couch, right? And just by doing what it’s made for, it eventually wears out.

Just like everything else.
Yeah. Just like everything else.

Life is like a couch.
People do the things that they want to do in life to please themselves. If someone wants to use hair spray to make their hair go up or whatever, that’s what they want to do. By doing that, it messed up the ozone. But the Earth was put here for people to live on, to do their thing. How it was worn out was just by people living the way they wanted to live. Then everybody says, "Oh, it’s ruinednow, we’ve got to change it’ If we want to live like a bum, or somebody else wants to live rich or whatever, and use aerosol, and that’s just what that person wanted to do to please himself, to live better. Just by those ways, the Earth is being destroyed. It’s pretty funny that no one wanted to save the world while it was being destroyed, but now that it’s in the so-called depth of destruction, everyone is jumping on the bandwagon to save it. I’m not really much into this Earth- saving thing, just because I don’t think the condition of the Earth is bad enough to cause the total destruction of the human race. I just think everyone’s attitude is hypocritically funny. I mean, a couch would last 100 years if no one sat on it. If everybody just sat on the grass and did nothing, the Earth would be perfect, you know what I mean? But the Earth was made for people to live on.

Yeah. It’s made for use.
Yeah, it’s made for use, just like a couch.

C.J.: And if it’s going to get worn out, it’s going to get worn out.
Yeah, if it’s going to get worn out, it was just by ways of living, like sitting on the couch.

C.J.: If it takes until now to be destroyed, or it takes another 10,000 years, it’s going to be destroyed anyway, you know what I mean? But there’s still time for love and friends.
I know there’s time for that. But this is a serious matter. When I leave this restaurant, I’ll hug all my friends, just because I like my friends. People who are really into the Earth are aware of what’s happening and understand that they have to continue living because they’ve enjoyed living so far and realize that they have to live in the same wooden house and drive the same car to work to earn their money that helps satisfy their lifestyle. Awareness is the best thing, because the only true action to take would be to run naked around the world killing all the tree-cutters, polluters, and animal- killers. Self-explanatory.







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Re: Interviews thread
« Reply #43 on: October 03, 2006, 05:03:42 AM »
interview with steve keenan - rad magazine, february 1994

Why did you get Consolidated going, when did it start?
Consolidated started on March 14th, it was a day that we didn’t want to happen but it needed to happen because of red tape. our main concern in the future trying to stay true to our original feelings. As long as we can keep to our original philosophies I think we can keep it going.

In what ways are you trying to keep Consolidated different from the other Companies?
The fact is that skateboarding is just marketing, World Industries are what they are solely because of marketing that came from the brain of Rocco and whoever works with them. We wanna give insperation to kids to motivate them to do things they really want to do. To be constructive, anyone can talk shit, about anything; their friends or another company, we want to burn this person or that person, that’s easy, the hard thing is to be cool and do good stuff.
I’ve seen where it’s gone and where it’s going to now, and I’ll tell you it’s going in a bad direction, it’s not good: it’s going toward oblivion, it doesn’t know where it’s going and it needs some cause. I’m not talking about the activity itself and whether it’s street skating, freestyle or slalom or bench jumping - that has nothing to do with it, that’s going to be whatever it is. it’s the state of mind of the skater that we don’t want to change but inspire. We’re up to a point where we’re not going to he around much longer, we’re endangered. on our way out and the only way not to become extinct is to change our ways, we really need to. Street skating right now is raw, it’s out there hut the law, the cops and the powers that he aren’t gonna put up with it much longer, that’s the whole thing.

To get it more recognised?
I don’t know if it’s to get more recognised because the most important thing is not to promote skatehoarding and make it a huge sport but to show the powers that be what we’re really all about. And if what we’re really all about is a bunch of chaotic kids who just wanna thrash everything then we’re not gona get very far with that method. you get enough raw enery out of skating that you don’t need to be an asshole, you don’t need to fuck peoples shit up. you don’t need to steel, that’s for losers who don’t have anything to do with their life. Skatehoarding provides enough for you inside your heart to be able to be a good person, take it out on your skateboard. That’s the whole thing, to make it easy for us, give ourselves more places to skate, a little bit of a better future because we’re walking a fine line right now.
Skateboarders are a bunch of real positive people with a lot of capabilities in a lot of diferent ways. Something drew kids to ride that skateboard, whether they were a dork and got beat up at school, or whether they couldn’t make the basketball team because they were too short, or the football team. So they start skateboarding, they’re fascinated and they see all the other kids into it. Over my time I’ve noticed a lot of skateboarders are pretty intelligent people, with a lot of ideas and motivation to do good stuff. It’s just a matter of getting the cops off our back and all of these people who are on top of us off too, because they think were a bunch of troublemakers.

What’s in the future?
Doing things that are true, having ideals, and going with what we feel - not go along with everyone else.
Uniqueness is very important in skateboarding and no-one has it anymore.
just watch how a skater can jump from team to team. like doesn’t get on with this team manager so he goes and rides for another one who he does get on with; cause they’re cooler or they talk to him at night on the phone or give more boards or stickers or wheels or whatever.
it’s hard to be Unique. just look at Pumas, everyone was wearing them, no-one wanted to be on thier own, everyone wants to jump on the next cool thing, If the kid thinks it’s cool to wear fucking Reeboks he should wear fucking Reehoks, that’s his prerogative.
Skateboarders are unique, but they’re sheep, they don’t do their own deal, and I think that the progression in skateboarding is going to go towards uniqueness. There’s too much pressure; you go down to EMB or something and you don’t look like you’re supposed to, or aren’t as rad as most of the guys there and you don’t know someone, then you'll be fucking heckled out of the place, that’s bullshit man, that’s not skateboarding That’s fucking jock shit and thats negativity right there is going to kill us.





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Re: Interviews thread
« Reply #44 on: October 03, 2006, 05:03:57 AM »
steve rocco interview in uk skate magazine 'skateboard!' from october 1989


ITS HARD TO IMAGINE A MORE CONTROVERSAL GUY THAN A CERTAIN MR S. ROCCO. TRYING TO SET UP A MAJOR SKATE CORPORATION ON THE DOORSTEPS OF THE ESTABLISHED GIANTS WOULD BE HARD FOR ANYONE, LET ALONE FOR A FAMOUS BIG-MOUTH AND CLEVER-DICK LIKE OUR MR ROCCO. MIND YOU HOT SH*T MIGHT EMANATE FROM THIS VAST ORIFICE, AND 'CLEVER-DICK' IS JUST WHAT FOLK CALL SOMEONE WHO IS SMARTER THAN THEM, AND AN INNOVATIVE SKATER TOO.

INTERVIEW AND PHOTOS BY CHRISTIAN KLINE ON 15TH AUGUST 1989


Well I’m not too sick’ and I’m feeling great [sarcastic]. Well, where do we start?

At the beginning.
Well, I was born, started skating, stopped skating and started the business (SMA). That’s pretty much it. Are we done? When I was about 11 my Dad got my brother Pat a skateboard for his 10th birthday and he got me one too. When you live at the beach it’s just something you do. You surf, you skate, you skim-board, you just do all that kind of thing. Well kids, I really skate, hard to believe but true. I don’t skate as much as I used to and I’m not as good as I used to be, but I still skate. Street skating, for me, evolved from freestyle. You go hang out with the ramp skaters and they would be doing hand plants and grinds in a pool and where I live down here in Redondo Beach there were no pools or ramps to ride, so when we got bored after freestyling we would do grinds on curbs and tried to do flatland inverts.
It all started as a joke, people used to laugh at us for doing it. Before long street style became an actual thing. People use to always make fun of me for street skating. After that it became an actual event like freestyle and ramp riding. At first it was pretty cool. They had a picnic table, some parking blocks and crap like that for the obstacles at first, then they kept building bigger and bigger objects until they became giant vertical things and before you know it, these contests had nothing to do with anything that you would normally do on the street. That’s why you have guys like Jason Lee and Mike Vallely who are two million times better than the vertical guys on the street but there’s no way that they can compete with Tony on a 10 foot vertical ramp. I have a guy on my own team who is only ten, his name’s Chris Branna and you could take any of the top four guys from the Savannah contest, with the exception of Danny Way, and put them in a parking lot and he’d make them all feel bad. And he’s our worst team rider.

Lawsuits?
None of the law suits that have been brought against me have actually been to court, there’s just so much crap that goes on. It all started with Lucero and when he quit and went to Santa Cruz, but we already had his stuff in production and that pissed off Santa Cruz, so he got bummed and this and that and now it all finally blows over. Then there was the deal with Skip (Englom of Santa Monica Airlines) that he let me use his name (SMA) then he said I couldn’t after I’d already spent all this money. We had a legal battle there and spent a measly $20 thousand in Lawyer fees and that didn’t even get to court. Who knows? Tomorrow Greenpeace will probably be suing me for ‘Kill the Sealife’ ad. Disney didn’t know I was making boards but they saw Winnie the Pooh in an ad and sent me a letter saying not to use him in ads anymore. So I wrote back saying I would. They never said anything about boards. So I changed the graphics because I figured I was pressing my luck. It takes a lot for me to realise that.


What about you being the team captain at Vision?
It was a nightmare. They had all these guys on the team that all wanted to do stuff and you want to do it for them so they were happy but Brad wouldn’t let me do anything. He always wanted to have his hand on things. But he’d wait so long to do things that people would get bummed and would end up quitting or whatever. That’s why things are falling apart for him. Brad used to have Christian Hosoi, Lester, Jeff Phillips and and they all left. Now that I’ve done it myself I can understand his point of view on how things get hectic but you have to realise that the guys come first. I have problems with my team, Mike Vallely walked into my office and told me he quit and I had no idea what he was talking about. Rodney had to call him up and straighten things out. It’s all over for Mike, he’s trying too hard.

What did you do for Venture?
Venture was fun. I did the ads for Venture. Not the great ads they have now, I did the lame ads when they started. I did the Venture future heir ad. I heard a story about Brad and Stacy looking at the ad for the first time at an NSA board meeting. Brad saw it and said "What the f**k is this?" and Stacy was saying it was hilarious. Go dig up back issues of Thrasher and see the old Venture ads.

Why do you like flying so much?
God, I used to fly all the time but after a while you just feel like your number is gonna comp up. So I don’t like to go anywhere now. I flew to Hawaii, that was the first time I’ve flown in over a year. I know it’s totally irrational and maybe I’ll get over it soon. It’s just flames and blowing up and shit. If there were plane crashes where half the people survived I’d be thinking that I’d be on the surviving half. But when 400 people die out of 400 even an optimistic guy like myself, can’t get out of that. How did you know I didn’t like to fly?

I know everything. I’m omnipotent.
Why don’t you just do the whole interview?

It wouldn’t be as much fun that way. What do you do for fun?
I have a keyboard and I make up stuff and sure people laugh but its fun. I play chess, pool, ping-pong. And I did skim-board, that’s really fun. I’ve been doing that since I was eight.

Why did you get a pig?
I got a pig because RL (Osborne, Steve’s room-mate) has two dogs and he got a Sharpee puppy and I didn’t want another dog so he said "Well then, let’s get a cat." I hate cats, they’re so damn lazy. I told him if he got a cat I’d stuff it. So, I saw this article on how pigs make great pets, which is a bunch of bulishit. My pig has the biggest attitude problem I’ve ever seen in my life. If you’re not feeding him, he’ll have nothing to do with you. We just walked in the laundry room and he was in the dryer eating lint. All he cares about is eating. l got him at a pig farm, I paid $1,500 for it but I don’t care. I’ll use him in the video so I can write it off tax wise. Someone had to buy him. Now I can have pork chops.

Have you ever sold out?
We’ve sold out of boards. What I think this means is have I sold out like selling your soul? I sell out everyday.

How did you start your business?
It all started with Hell Tour. It didn’t go so well so I got kicked off Vision. The shop owners weren’t happy with how we did the tour. We would take the demo somewhere else because there was no reason to skate a bad place. I had a meeting with Natas. Him, Gonz, Mike Vallely and I decided that we were all going to skate for the same company. This was when Mike was on Powell still. We had a meeting with Santa Cruz, I told them that I could get all these guys and he laughed at me. He didn’t think much of Mike Vallely. Skip Englom said don’t get bummed just start your own thing. So he took me to the workshop, showed me how to get boards made, and he took me to the screeners and showed me how that worked. So I cashed out all my credit cards and got stuff going and Lucero came to me and said that he wanted to get stuff going too. So, we got a warehouse and things were tough the first couple of months. The boards these guys were making were horrible. The guys at the wood shop wouldn’t listen to me. After a while, when they saw the boards were better, they started listening to me. Now they listen to everything I say. I could tell them to make everything upside down and they’d do it. When you spend £100,000 per month people listen to you.
The boards got better then we got Jesse to ride for us. Then we got Hartsel. Next we got Rodney Mullen and Mike Vallely. Oh and Jason was the first guy I got. I saw him in front of the Long Beach Trade Show and 0 was saying "Yea, he’s good" so I asked him if he wanted to be on the team. He said "o, you can’t put me on until you see everything I can do." So he made me go skating with him in Hermosa Beach. He just was skating so well. That’s about where we are today... Bankrupt. We only shipped $12,000 out today. Vision probably shipped about $300,000, but I guess if we’re selling to K-mart and Mervyns...

How will skating die?
Well, like all things the only way things die, besides accidents, is when things get old. Now things are getting old because you’ve got the same guys doing the same things in magazines all the time. It happened in BMX, you’ve got some old fat bald guy out there riding a bike and he’s been doing it so long that nobody can beat him. Kids don’t want to see old bald guys, they want to see kids like them. That’s why its so important for young guys like Ray and Jason to win a contest once in a while. Danny Way is a great example. Danny should have won Hawaii, but he tried too many hard tricks. He went for it, which is what skateboarding’s about but to some, skating’s about status quo, business as usual.

Doyoufeel what you’re doing matters?
Yea, I do. That’s important. I try to make skateboarding fun and exciting. And I’m trying to teach the guys on my team a little about business so they can have a future.

What have you learned from life?
If you want something done right you have to do it yourself. That knowledge is the most important thing you can have, learning to do things by myself. If someone came and took all my money away from me it wouldn’t matter because I’d still have the ability to do everything again. You can’t take that knowledge away.

What will happen when you die?
Oh God, Rodney and I thought of the hottest thing yesterday. When we die we want to leave all of our money to a terrorist group so they can build atomic bombs. Then have a big tombstone and have it like a big mushroom cloud and have it say "See you in a couple of days."

How do you steal teamriders?
Well it’s pretty damn easy. The object is to find someone that’s been on the same team for a long time and then all you do is offer them a large amount of cash. At first they usually don’t want to do it but then you just twist their arm and threaten to kill their parents. Whatever it takes. The object is to steal, steal and then steal some more. Everybody we’ve got were stolen. The other teams, they don’t do that. Like Powell. Stacy didn’t steal Tony from Dogtown or Lance from Variflex or Steve from Santa Cruz. Those guys rode for Powell from birth. Stacy found them wandering the streets, there’s no stealing involved for those guys. But when we do something it’s stealing. Now, we stole the Gonz. Mark wants to do something now. He couldn’t go any further with Vision so he wanted to have his own deal and be able to do his own thing. His company is called Blind. He and Jason are going to be on it, I’m just the money behind it. Money for everything.

Why does everybody hate you?
I guess because I’m an asshole.

What have you done for skateboarding?
Hopefully, if all goes as planned, I will be the second person, to have killed skateboarding. See, at World Industries we work day and night to bring skateboarding to a grinding halt and we couldn’t do it without your help. Keep sending in those bucks and it will all be over painlessly.

Does Religion play a part in your life?
It is a major source of irritation for me. I don’t mind anybody who is religious but I really hate it when they try to cram it down your throat. They’re always worried about saving your soul. When a religious person gets close to me I try to drag them down the hill. That’s my objective. They’re trying to pull me up and I’m trying to pull them down. It’s like do unto others as they do unto you.

What do you think of the NSA (National Skate Association)?
I think that the NSA is doing a really great job showing kids what skateboarding is about. Giant vertical walls, tricks that you can never even hope to do. Without the NSA skateboarding would certainly have been dead a long time ago. We’re taking it out of the streets and we’re pulling it into stadiums where it belongs. Thanks. Just remember skateboarding is supposed to be fun.












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Re: Interviews thread
« Reply #45 on: October 03, 2006, 05:04:33 AM »
some others i kept froma while back:

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Re: Interviews thread
« Reply #46 on: October 03, 2006, 05:04:37 AM »
Mark Gonzales on Krooked Skateboarding
 
So Mark when did you first come up with the concept of Krooked? - I GUESS WHEN I FELT LIKE ALL THAT I HAD DONE FOR REAL WAS ENOUGH AND SO I FELT LIKE I NEEDED TO DO SOMETHING NEW OR SOMETHING MORE. SO THEN I STARTED KROOKED.

What does the Krooked face mean or symbolize to you? - YOUR FACE IS WHO YOU ARE AND WHAT YOU ARE, IT REVEALS WHAT YOU’VE BEEN THROUGH. IN A SENSE IT’S JUST SAYING THIS IS WHAT I DO, THIS IS WHAT I LIKE TO DO, YOU DON’T LIKE IT THEN GET OUT OF MY WAY. YOU KNOW WHEN YOUR ON A SKATEBOARD TOO IT’S LIKE YOU DON’T STOP. IT’S COMPLETELY STRAIGHT FORWARD. SO THE TWO HANDS ARE SYMBOLIZING WINGS. WITH MY HANDS I CAN FLY.

So you can create anything and go anywhere? - YEAH

Where do you get the ideas for your artwork? - MOSTLY FROM THE STREET. ALSO I LIKE ANCIENT CIVILIZATIONS, BUT MOSTLY FROM THE STREET.

Who inspired you to become an artist and start drawing? - PROBABLY NEIL BLENDER. WHEN I WAS LITTLE I LIKED THE MORE REALISTIC ARTISTS. WHEN I WAS LITTLE I LIKED NORMAN ROCKWELL AND I LIKED SALVADORE DHALI. BUT MOSTLY NEIL BLENDER WAS THE ONE WHO MADE ME THINK I COULD DO IT MYSELF, AND MY DAD. MY FATHER WAS AN ARTIST.

Do you have any plans or expectations for Krooked? - JUST TO MAKE BOARDS. I WANT TO MAKE A VIDEO, ONE THAT MAKES PEOPLE HAVE FUN. WHEN THEY WATCH IT, IT GETS FUNNY AND THEY LAUGH.

Do you think there will be a Krooked team? - IT'S HARD TO SAY. IF SOMEONE RIDES FOR MY COMPANY I WANT THEM TO BE ABLE TO ADAPT TO ANY SITUATION. SKATEBOARDING IS MORE OF LIKE A CORE ELEMENT. IT'S NOT SO MUCH LIKE A PHASE YOU KNOW WHAT I MEAN? I THINK ONE OF THE MAIN THINGS ABOUT KROOKED IS IT'S TO BE ABLE TO ADAPT, TO MOVE. KIND OF LIKE HOW WATER MOVES, WHEREVER GRAVITY PULLS IT.

YOU KNOW I WAS WATCHING THIS THING ON T.V. ABOUT BRUCE LEE AND HE WAS TALKING ABOUT THE SAME THING. FOR A FIGHTER TO BE IN HIS PUREST FORM HAD TO BE LIKE WATER. WHERE WATER CAN ADAPT TO ANY SITUATION BECAUSE WATER IS FORMLESS. IF YOU POUR WATER INTO A VASE IT BECOMES THE VASE, IF YOU POUR IT INTO A BOWL IT TAKE THE SHAPE OF THE BOWL. SO WATER IS ALWAYS CHANGING, ADAPTING TO IT'S SURROUNDINGS. SKATERS SHOULD DO THE SAME THING.

Do you think skateboarding is being stifled because skaters seem to be stuck in a routine, you know counting stairs and jumping down stuff? - NO I THINK THAT THE MORE DIFFICULT AND HARDER STUFF, IT'S JUST MORE STRUCTURED. YOU KNOW I'M OLDER SO I SEE THINGS MORE LIKE...., FLOW YOU KNOW? OR I SEE THINGS MORE LIKE H2O, LIKE WATER. KNOW WHAT I MEAN? WHEN I WAS YOUNGER I HAD A HARDER EDGE AND I NEEDED TO HIT ANGLES HARDER AND TO MOVE MORE SWIFT. TO DO SHARPER THINGS OR TO MOVE IN CONTRAST CAUSE I HAD CONFLICT. YOU KNOW WHEN YOUR YOUNG YOU HAVE CONFLICT IN YOUR LIFE, THE ONLY WAY YOU CAN DEAL WITH IT IS TO LIKE POP OR MANIPULATE THE BOARD BENEATH YOU BECAUSE YOU WANT CONTROL. YOUR UP AGAINST SITUATIONS THE ONLY THING YOU CAN DO IS TRY TO REACT IN A HARSHER MANNER. SOMETHING THAT COMES AT YOU IN A HARSH WAY, WHEN YOUR YOUNG, YOU COUNTER IT IN A HARSH WAY. NOW THAT IíM OLDER I GO AROUND IT. LIKE WATER THATíS THE WAY I LOOK AT IT NOW. BUT I WOULD LIKE TO SEE SKATERS THAT MIX IT UP, THAT HIT HARD AND DO DIFFICULT TRICKS BUT AT THE SAME TIME YOU DONíT GET INTO TRICKS, YOU KNOW WHAT I'M SAYING?

Have you ever seen anyone whose skateboard style is untraceable? Where it was almost so pure that they didn't have anything recognizably influencing the way they skated and was just really creative. - I WOULD SAY GUY MARIANO. I THINK HE IS PROBABLY ONE OF THE MOST..., HE MOVES LIKE NO ONE ELSE MOVES, HE DOES WHAT HE DOES. HE'S ABLE TO DO THOSE TRICKS AND HE COULD DO WHATEVER. HE COULD SKATE RAMPS, VERT, HE COULD SKATE WHATEVER HE WANTS.

It's like he sees stuff differently than other skaters, and then he just adapts. There is nothing from the outside pulling him one way or the other, which gives him the room to be creative with the environment around him. - A LOT OF SKATEBOARDING IS INDIVIDUAL FORM. IF YOU ROLL UP TO SOMETHING AND DO LIKE A 360 NOLLIE TO BACKSIDE 5.0 AND YOU GRIND FOR LIKE FOUR FEET AND THEN LIKE 180 OUT, YOU SEE THAT'S ALL THE SAME, YOUR MOVING IN THE SAME DIRECTION. SO YOU POP THAT WAY AND YOU LAND IN THE GRIND, AND THE GRIND PART IS LIKE WATER, LIKE FLOWING, AND THE 360 NOLLIE IS THE FIGHT, LIKE CONTRAST. AND THEN WHEN YOU 180 OUT THAT'S LIKE A SHOW OF AUTHORITY OVER THE FLOW PART. SO THAT'S WHAT I'M TRYING TO SAY. I LIKE SKATERS THAT CAN MOVE IN ALL LEVELS.

If you could put anyone on the Krooked team past, present, or future, who would it be? - WELL I'D PUT SHOGO KUBO CAUSE I LIKE HIM. I DON'T KNOW IF HE RODE A SKATEBOARD BUT I LIKE PHIL EDWARDS A LOT THE SURFER.

He was a surfer? - HE WAS A SKIER AND A SURFER. YOU KNOW MOST OF SKATING, EVEN THOUGH I DON'T SURF, BUT A LOT OF IT I STILL RELATE TO BOARDS.

Someone told me to ask you what you do to "chill out". How do you chill holmes? - I LIKE SMOKING CIGARS.

What type of cigars do you like to get? - P.G. OR JUST A VARIETY, BUT I LIKE TO SMOKE CIGARS OR I LIKE TO HANG OUT IN THE LIBRARY.

Do you have any pets? - YEAH A CAT.

Whatís the cats name? - ESMERELDA

What is a typical day for you? - 2 DAYS ARE NEVER THE SAME.

How many successful boxing matches have you had against traffic on your skateboard? - I ALWAYS WIN. I'VE BEEN HIT BY CARS A FEW TIMES. IT DON'T HURT.

Has anyone ever said anything to you about it? Has anyone ever tried to challenge you? - NO NOT REALLY. IT'S FUNNY I WAS ON A BIKE, AND I GET PRETTY WILD ON A BIKE JUST LIKE AS IF I WERE ON MY SKATEBOARD, I RIDE THE SAME. SO I'M JUST JAMMING THROUGH THE CITY AND TO ME I DON'T KNOW ONE TRUCK FROM ANOTHER TRUCK FROM A CAR. I'M GOING SO QUICK THAT ON ONE CORNER I MIGHT MOVE IN BETWEEN SOMEBODY AND THEY MIGHT THINK THAT I CUT THEM OFF. BUT I'M SO FAST THAT I'M OUT OF THERE. THEY GET UPSET BECAUSE THEY WANT ME TO YIELD TO THEM RIGHT? BUT IT'S TOO FAST, I'M GONE.

So you just leave them mad all by themselves? - YEAH, AND SO I WAS JAMMING THROUGH THE CITY AND THEN I WAS EATING. THIS ONE GUY WALKS PASSED ME LIKE, LOOKS AT ME ALL PISSED OFF. THEN IT HIT ME LATER MAYBE I HAD CUT HIM OFF A COUPLE BLOCKS BEFORE. BUT THEN HE SAW ME ALREADY EATING AND HE MUST HAVE REALIZED I'M NOT TRYING TO PISS ANYBODY OFF, I WAS JUST MOVING QUICK.

Yeah at that point it's like that period in time has already passed, so what can he do? Yell at you about something that happened 15 minutes and 20 blocks ago. Anyway that's good i think your waking people up and bringing a little consciousness into their daily routine. - BUT THE ONE THING IS THAT YOU COULD EQUATE IT TO MARTIAL ARTS OR TO ZEN. THE STUDENTS OF THE MASTER WANT TO FOLLOW THE MASTER RIGHT? BUT THE MASTER IS NOT FOLLOWING ANYBODY. OTHER THAN SKATEBOARDING THE ONLY OTHER THING I WOULD TRY TO FOLLOW IS MARTIAL ARTS. YOU KNOW THE ONE THING THAT I NEVER SEEN IS GRACY FROM BRAZIL BUT I LOVE HIS BEGINNING BECAUSE WHEN HE STARTS OFF HE LAYS FLAT ON THE GROUND. SO HE WORKS FROM THE GROUND UP. THIS IS SUCH A BRILLIANT THING BECAUSE WHEN TWO FIGHTERS APPROACH EACH OTHER THE ONE FIGHTER WANTS TO TAKE THE OTHER FIGHTER DOWN. BUT IF YOUR GOING TO GET INTO A FIGHT , IF YOU LAY DOWN FIRST YOUR ALREADY DOWN, WHATíS HE GONNA DO? HE HAS TO COME DOWN TO FIGHT YOU. SO DO YOU UNDERSTAND THE PRINCIPLE?

Yeah I think I do. - A LOT OF PEOPLE WHO ARE OLDER, A LOT OF PEOPLE WHO KNOW MARTIAL ARTS, YOU WOULD NEVER GUESS THAT THEY KNOW MARTIAL ARTS. BUT THEIR EYES ARE KEEN, THEY MOVE LIKE THEY KNOW MARTIAL ARTS.

Their just really aware and they don't need to show anything. - YEAH AND THATíS PROBABLY A GOOD NOTE TO END IT ON.

Yeah cause I don't know where we're going with this anyway. So that was fun, thanks again Mark.- YEAH NO PROBLEM.


 

 


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Re: Interviews thread
« Reply #47 on: October 03, 2006, 05:05:02 AM »
Sal Barbier Interview.
by Garry Davis.

I started at about the age of sixteen or seventeen in Baton Rouge, Louisiana-probably '86 or '87. I had one of the Variflex decks and a Mike McGill board with the plane.

In Louisiana, were you just skating street, or whatever?
Well, I started on vert. I'm sure you know that back then you rode the ramps in the day and when it got too dark you would ride the street. Everyone quit [skating], so they would tear down all the ramps. I didn't have anything to ride but the street. I started building jump-ramps because I saw 'em on those Powell videos. We just started building shit all the time. There was one pool there, but it was a mission to get to it-you had to climb through this hotel that was closed-down. It still had all the TVs in there, so there was all kinds of security. It was pretty crazy-it was on top of the hotel. You had to sneak in through the parking garage and go up an elevator shaft. You could only skate that once or twice a year-you got in a lot of trouble if you got caught.

Were you very adept at vert?
I could do inverts, sadplants, backside boneless ones, little ollies, frontside airs, lipslides. I was riding a Zorlac board-it was like that era where I was watching The Bones Brigade Video Show and I was trying to learn a lot of stuff they did on there. For that era, I was okay on ramps. My early friends, that's what we did-we'd build ramps and that's what you rode was the ramps, you know? I had one friend who was really good on vert and I tried to skate with him all the time-we'd take trips like an hour away to skate ramps. We tried to build our own-and that's what happened. We were building it right from the Thrasher ramp plans, you know, when you lay the concrete down and you level the whole thing and do it all the right way. It took a long time. By the time it finally got done, it was up for a week and the kid's dad had to tear it down for insurance reasons. After that, most of the guys quit skating. I probably did it by myself for two-and-a-half or three years. There was nothing-no ramps or anything. I had a small quarterpipe in front of my house and the closest mini-ramp was an hour away.

Before you moved to California, were you busting handrails and stuff in Louisiana?
Yeah, I'd say I was never impressed by anything in the magazines or videos until I saw that H-Street video Shackle Me Not. When you live in a place like that [Louisiana] and you don't have anyone to skate with, you watch videos all the time. It's just kind of weird when you're watching them and you don't see any new tricks in there that you can't really do. So, it's kind of like, rails-I got into those pretty early. I tried it right after I saw that Steve Saiz photo-I think that was the first photo I saw of someone sliding down a rail. I tried it on this two-stair rail and it was so short that when you got on, you'd just be right off. I was out-of-town when I did it. I told this one kid that I had done it and he didn't believe me. When I got back to town, he had picked out this rail and it was like seven stairs with this gnarly kink at the end-and it was pretty high, too. He couldn't believe it, so he had all these people together and he was like, "I'm going to take you to one when you get back." So, he brought me to that thing and that was probably the first real one I did. It was pretty gnarly-I broke my rib on it, so I got back up and I did it again. I would just do it every day. It was pretty scary, but I didn't want it to be something that I wouldn't be able to do. After I did it, I couldn't believe I did it, so it was like something where I thought I was going to lose it. Every day, I'd go back there just to do it so I wouldn't be scared of it.

How did you move to Califonia?
That was probably 1990, I just snuck out here. I told my mom I was going to visit a friend in California-and there was no friend.

Have you been here ever since then?
Yeah, I have.

What shoes were you riding before Etnies?
I was riding Airwalks.

How did you become affiliated with Etnies?
I liked the high-top Rap. I never liked any shoes [before] that were made for skating, you know? They were too colorful and too high. Then they [Etnies] came out with that Rap and it was all one color-it came in black, blue and the red-I just went into a skate-shop and traded-out some shit for 'em and then kind of personalized them-cut 'em into low-tops.

Were they full high-tops?
Yeah, they were full high-tops. And I liked the Natas shoe cuz it was all-black, too.

Do you remember when you got sponsored by Etnies?
Yeah, I was at the trade show and [Etnies] was really small-they were upstairs, at the time, where the smaller companies were. I went in there and I was like…I had been in H-Street videos, and stuff, so I had a board and a pretty good name then…

Was that around 1990?
It was probably like '92, I think. I was talking to Pierre André. They didn't sell Etnies in too many places, so I was trying to get some cuz I was going skating that day, you know? Then he just hooked it up and started sending 'em to me all the time after that.

Do you have any early memories of Etnies?
Yeah, I do. I remember when they were located in this small building on the corner in Huntington Beach and they had a lot of prototypes in there-a lot of shoes that they were working on before they had developed the low-top Rap. I just remember a lot of the things that were going on at that turning point before they started making all the low-tops and things like that. I remember having a lot of imput on some things and talking to them. That's what I thought was cool about it, because there [at Etnies] they had shoes that they were about to make and they were asking, "What do you think of these? How do you think this is going to work?" They were the first ones to listen and they would actually do what I was saying-that's what I liked about it.

Was that the first Lo-Cuts or your model?
That was, basically, when they started messing around with the first Lo-Cuts with the low-cut back.

So you kind of helped design the Lo-Cut?
I used to cut all of my shoes into low-tops and I would spray-paint the soles cuz I didn't like blue-on-blue, you know? I thought it would be kind of cool if you had blue with a white sole. I got tired of the blue wearing-off on the grip tape, so it was kind of like…I think we were all on the same page, we were all kind of working together toward the same thing with that shoe. That's what I remember most-that low-cut Rap.

Did you help much in the design of your first shoe?
That was the thing about that one, too-that's what I think was so legit about it-I did design it. I wanted a rubber piece on the side so it wouldn't rip-up. I kind of liked that because I don't always like wearing 'em when they're brand-new. By the time most skate-shoes break in, you have to get a new pair because they're all ripped-up. I worked on the design of the whole shoe-the sole, the logo, everything, around 1994-1995. I'm not even sure.

What was the inspiration for the Sal 23?
Well, the reason I would usually design shoes was because I would find things wrong with the other ones and I wanted to make 'em the way I thought they should be made, you know? I was a pretty stylish guy, so I'd be wearing some [clothes] and I liked everything but my shoes and I would just need to correct them-it would drive me crazy. The only thing I'd think about was, "if this was that way and if this was in that color," so, it's like I was always into really designing them-performance-wise and the way they're going to look, too.

Did you come into Sole-Tech and draw shoe designs with those guys?
Well, I would draw it at home. I would cut-up other shoes and draw on shoes and make markings of where I wanted panels and things to be. Then I would go back and work with Pierre and Don.

How did the Sal 23 name come about?
I was over at St. Aloysius where all the greats come from-that's usually where you play before you go on to Louisiana State University. That's where Shaq played. I had a bad grade on my report card, so my mom made me quit playing basketball. I'm convinced I would have had that number 23 on my shoe in basketball before Michael Jordan, but, you know, he got to play and I didn't-so we'll let him have it.

Who all was riding the Sal 23 when it came out?
Mike Carroll and a lot of my friends were wearing it back then, so, I think almost everyone had 'em. It was cool to open up the magazine and see a lot of people riding the Sal 23-maybe some were wearing it because they respected my name or they like the way it skated or they liked the way it was designed. It kind of made me happy to have my work be appreciated for the right reasons.

Do you remember how long the Sal 23 shoe was out?
Probably like two-and-a-half-years, I think.

Did it sell pretty good?
Yeah, it was really strong. When I'd go places, I'd see a lot of girls with 'em, and stuff. It seemed like everyone had some at one point-which was cool. When they weren't out anymore, a lot of people would always call and write here and ask me if they knew where they could find a pair of them or if they were going to make 'em again. It was kind of cool to really design something-work hard on something-and have people understand it and appreciate it for what it is-rather than just putting my name on it and trying to get some money. It wasn't about that. It was more like, if there would have been shoes there that I liked, I would have never tried to do what I did.

What did you think of Etnies in the mid-'90s?
Back then, like always, I've only ridden for whoever I wanted to ride for. It was never a question about money or desperation. I didn't like Airwalk, so I just left. I liked what they made at Etnies, so that's why I rode for them. That's the way I look at it-especially then-I'm going to ride for whoever I want to ride for. If they weren't going to sponsor me, I was going to wear the shoes anyway. I was wearing [Etnies] before I rode for them. It wasn't like they had to give me any amount of money.

Do you remember any of the other early Etnies riders?
Yeah, I can remember in the beginning-Eric Conner, Rudy Johnson, Jason Rogers. I skated with those guys a lot back then. I remember the poster (laughs) with those guys on it.

How did your new reissue shoe recently come about?
Don Brown just called me and said that they were thinking about re-releasing it again.

Is that the Sal 23? Is it going to be exactly the same as the old one?
Right. We've tried to put it out the way it was before. I think he had a little bit of demand over there, so he wanted to give everyone the same thing. Like I said, I hope that I would be able to go back and do some things there where I could maybe make something I always wanted to make.

What have you been up to the past few years? Do you have a family?
No, I'm single. I was always into design, so I've had several companies where that's what I've done. I've played the role of kind of managing the team and hand-picking the people I want on it and I also have a lot of say in the direction. But mainly what I do is I design things like Elwood-I do all the clothing line there, I did a clothing line at Aesthetics, as well. I work on a lot of other fashion-related projects with my friends that are in different fields than skateboarding. So, that's basically what I do now is design.

Do you still skate as much as you did back in the '90s?
Well, back then that's the only thing I did. Now, I do it a good amount, but I'm more into the stuff that I didn't get to ride as much back then-a lot of pools, bowls and ramps. I kind of like that more than sittin' in front of a bench all day and waxing it up, you know?

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Re: Interviews thread
« Reply #48 on: October 03, 2006, 05:05:27 AM »
 Natas Kaupas Interview
by Garry Davis.

What kind of shoes were you riding before Etnies?
Store-bought shoes-Doctor J's, mostly-were my favorite and the Converse shoes that had the flat sole, they seemed to have a good grip to 'em.

You didn't ride skate-shoes?
When I was a really little kid it was always Vans, but [in the '80s] I got into a little more padding and high-tops, so…

How did you originally get to be sponsored by Etnies in the late '80s?
That was through the original guy, Evon Rautureau. Apple Shoes was the [parent] company [over] these other companies called Free Lance, which is still around, I think-they have a boutique in Beverly Hills-and Pom d'Api, which is the high-end shoes. They wanted to get into action sports. Evon actually tracked me down after he saw my interview in Thrasher-got in touch with me through my mom and came and vacationed in Santa Monica. I really liked him-he was a good guy and he was interesting. But anyway, that's how it started-I think, like, '87 or '88.

Was there anything in particular that attracted you to Etnies at first?
Just this one individual who was starting it was so artistic and unique-and the fact that it was something brand-new. He had a brother, as well. Evon was kind of the artistic side and his brother was the technical side. They had a little factory in France that I went out and visited. He wanted to start something from the ground up and he had done some pretty interesting things with shoes anyway, had some pretty neat ideas-unconventional-and wanted me to help him start it.

Did you help design the shoe? What inspired it?
An old shoe from Ellese was another shoe I was wearing-kind of a mixture between that and some Converse. Ellese used to have the logo really big on the side-you could get them at Copeland's Sports for really cheap and you could blow 'em out pretty quick.

Were you involved in the design a lot, or was it mostly the company?
I won't forget it. It was almost too much me. We sat down at the design table-all of us-in France, and the first thing, the guy just looks at me and goes, "Okay, how many holes do you want on it?" I had no idea. I had never counted how many holes for the laces. That was his first question, so it was a long road.

Would you draw shoe designs, and stuff?
Yeah, I tried my best. We kind of gave him a bunch of different shoes and had him mash them together.

How long did that process go on-from the beginning until the shoe came out?
It took a while. Well, it always seems like a while…

A few months?
Yeah.

How long was the first Natas shoe out and did it sell pretty good?
I don't know exactly how long it was out. It was always confusing cuz it went through France first. It got shipped from Korea to France and then here and that kind of made it too expensive.

When it first came out in 1988…is that when it came out?
Sometime there…

No one knows! Was it available only in Europe at first?
I think it was first available in Europe-just because it was physically in Europe first. Then it got shipped from there to here [U.S.], so, yeah, I would imagine they were available there first.

In '89 or '90 did some Natas shoes make it over here?
Oh yeah, '89 for sure. I was wearing them on the Cadillac Tour.

Do you remember when the Natas shoe ended?
A couple of years later.

How many different shoe models did you have?
It actually turned out to be three different ones by the end of the deal. The original one which was pretty plain, all leather-which was nice. Then they tried to fancy it up-when they added plastic and rubber toe pieces. I was actually the biggest fan of the first one.

Did they ever announce the changes officially as a new model or was it just subtle? It wasn't like "The Natas 2" or anything?
It was just kind of subtle.

How did you feel about having the first pro-model skate-shoe? Did yours come out before the Steve Caballero on Vans?
I think it was really close. We ran an ad right before it came out that said "Not Mike" and it had me standing on a basketball rim-it ran in Thrasher. That was before Caballero's-or maybe it ran at the same time his ads ran. But we were unaware there was any other skate-shoe model, and I was kind of sensitive to it, like, I didn't want to have a big head about it. So, it actually was kind of a "not Michael Jordan," anti-"Be like Mike" kind of thing, which was saying, "Yeah it's a signature shoe, but it's trying not to be as egotistical about it". It was just sort of a shoe that I designed and liked. It's such a tiny market-not that many people knew or cared about it. It didn't seem like that big of a deal. That was before we saw any kind of Vans. It had to be going on simultaneously-they came out so close. We were unaware that each other had it going on.

Who were some of the early Etnies riders?
Eric Dressen was one of the first guys and we actually ran ads with him-and that was great. There was a little contingency in San Francisco that all wore 'em. Bryce Kanights and Tommy Guerrero wore 'em-he liked 'em-and Mickey Reyes had 'em. Luke Ogden, Orb-he rode 'em. At the time I was spending a lot of time in San Francisco.

Did you flow those guys shoes?
Yeah, actually the shoes would come physically through me. I would get a container of shoes sent to my house-all sizes…

Like a big box?
A huge shipping container. I would distribute them to all of my friends, but of course I'd run out of nines and tens first and then be stuck with all these little tiny shoes. I still have some, actually.

Back then did you think skating would be as huge as it is now?
No (laughing), I don't think anyone did.

How did this new reissue of your shoe come about?
Probably just the acceptance of all things. Skating's so big, it's not just about fashion, it's not just about what's happening now and what's happening next. It's about everything. It's about pool-riding and skating ledges. It just gives people the option to wear a high-top if they want to. I personally rode some Dunks before they came out, or Air Force Ones-Nike. I'm so comfortable in high-tops-they're for me. It doesn't seem as strange. I have weak ankles.

Is the reissue Natas shoe going to be exactly as it was in '88?
Pretty close. The funny part will be to see if we can get a factory to actually make it that way cuz no one makes shoes like that anymore. I thought that was interesting. We didn't get to fine-tune [the original Natas shoe] to where I wanted it or to where it should have been. I think we're going to get a chance now.

Are you also going to make a new, up-to-date Natas shoe?
I'd like to-we're going to try. Natas Kaupas 2003 type thing-probably one of the taller lo-cuts, not quite a mid, I think, but a little bit extra. I'm kind of a big guy, so I don't mind a little more shoe.

Is that going to happen for sure or is it just being talked about?
We're just talking about it. We're all just feeling this out-I think we're all exploring new territory with how big skateboarding is: what can it handle? Do people want a high-top? Do people want another Natas Kaupas shoe?

Is the reissue going to be limited?
We're still figuring it out. We'll probably try and play around with the high-tops more and have some fun with it-do some actual different stuff, cuz it's already a shoe that's not purely function. It's not super-light, it's not super-tech, so we can have some fun with some of the materials. That will hopefully give a little more unique, artistic sense to some of the shoes coming out-which is what I would like to do.

The re-issue is going to be of the very first Natas shoe…
The super-clean, leather high-top, basically. Big boot.

Will you skate it again?
Oh, definitely. It's funny because Element is re-releasing my old [board] graphics as well-the panther with the leaves behind it and the monkeys in there. We'll have a whole '80s revival happening.

What about the board graphic with the kitty playing with the yarn?
Yeah, that was a mini. That might come later.

When did you start doing graphic design?
Almost immediately after I got sponsored, 1986-87-I had a lot of imput in the ads and graphics for Santa Monica Airlines. So, really, that was part of it-some sort of assistant graphic-design and straight from there it kind of kept growing-I took more and more control.

Didn't you start art-directing magazines a few years later?
The progression was, after Santa Monica Airlines I started my own company, 101-which was mainly because of the artistic control. I felt like I was doing most of the work [at SMA] and I wanted complete control and the compensation for doing all the work. As I started learning and doing more and more ads and graphics, I just got completely into it. Instead of running the business side of the skateboard company, I just got completely into the design side. So, directly from there, I started doing freelance work while I still had the company and started working for Big Brother and art-directing a magazine called Blunt, which was like the snowboard version of Big Brother and from there I just continued doing design.

How long did you do Big Brother?
I worked there for probably two or three years. Jeff Tremaine taught me a lot. I totally worked with him and he helped me tons on Blunt. He's been working on magazines a long time-like BMX magazines.

Were you his assistant?
No, it was actually a pretty good partnership. On Big Brother, I was the senior designer, so I would be given sections of the magazine to do-but under his eye. Most of the time, he just let me do what I wanted, but he had some great tips and lessons for me. Doing Blunt, the snowboard one-it was at the same time I was doing Big Brother…that was mostly me. This was closer to mid '90s.

Did you work on the early Big Brothers?
I worked on the very first Big Brother. We were really learning on that one. We did a lot of experimenting and Steve Rocco wasn't happy with the final product. Really, none of us had done a magazine before-that's when we searched out Jeff Tremaine, who was actually pretty knowledgeable. I always hung around and did little things for them, and then a few years later I got on the staff.


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Re: Interviews thread
« Reply #49 on: October 03, 2006, 05:05:33 AM »
Rocco offered me a job to work on that first issue, but I didn't feel like moving to LA for some reason.
That would've helped it a lot.

He tried to get me to defect from TransWorld.
That would've helped-you should have done it.

I should have. A year later, I quit-slash-got fired from TransWorld anyway.
I still think [Big Brother] is kind of cool-there's some fun stuff in there. It had the first video-grabs. It was a color 'zine, basically.

How long did you work on Blunt?
A few years, and then I worked on another magazine for about a year called Rage.

Wasn't that a Flynt magazine?
It was actually funny while I was at Blunt. There were three of us, basically, doing the magazine, we'd do everything from scanning to Photoshop to the layout to outputting the film to driving the film down to the place. We did everything-so much work. It was great-I learned everything. But when someone called and asked if I wanted a job at another magazine for twice the money and basically total control with helpers-I took it. It was kind of a nudie girl / action-sport / music magazine. I was there for about ten months and it folded pretty soon after I left. The editor was kind of a nut-he was hard to work with. That was at Flynt. Shorlty after, Flynt bought Big Brother and Blunt, so I went back to work for Blunt on a freelance basis out of Flynt for just a few more months-that was probably five or six years ago.

What did you do after that?
At the time, I didn't have anything to do with skateboarding, I was working for outside magazines and music companies-Loud Records, Warner Brothers, RCA-doing freelance stuff, music packaging. That was great, a lot of fun. Mark Oblow actually came and got me hooked-up with Element and a shoe company called Vita-which is out-of-business now. I started helping Element with their graphics-doing illustration for them and just sort of being one of the creative guys there. At the same time, I was doing all the art-direction for Vita-doing all the ads and the print work. While I was at Element, they were distributed by a company called Giant and I started working with some of the companies that Giant helped set-up. I did art-direction for New Deal and gave them a whole new look, then helped launch Monster Trucks-gave that it's whole look. From there I went on to-which I'm currently doing-creative work and art-direction for Quicksilver and still working with Element and a small music company in San Francisco called?, which Tommy Guerrero has released some stuff on. Now, I'm giving a little input to Etnies again which is like, full-circle.

Tell us about this Quicksilver "catalog".
I've been working with Quicksilver for a few years now doing freelance stuff-helping them with the skate program and doing T-shirts for them. A couple of the guys were trying to get me involved on a more direct basis-getting a lot more work done there. The opportunity finally came up last year. I kind of just jumped in on one of the first big projects besides the skate program-this Fall 2002 Collection. They have an amazing clothing designer-his name's Jason ?-and I just really respect the way he works and the way he comes up with ideas-I can totally relate to them and we really hit it off. We went to go do this photo-shoot with the photographer named Steven Ziegler and we rented this huge ranch house in central California. The idea was that we'd all stay there for three days and just sort of shoot what happened on this site and we all sort of camped-out-myself, Donny Barley, Reese Forbes and the pro-surfers Jon Rose, Kelly Slater and Nathan Fletcher-who's also an amazing skateboarder. As luck would have it, as we're all staying at this house there's a pool there full of scum water. The greatest thing about it was, they were like, "Well, we don't know what to do with this pool. It's kind of full, but it looks skateable." They couldn't tell-there was, like, four feet of scum in it. I was like, "I think we should drain it." Before you know it, there's a pump in there starting to drain it. Quicksilver is pretty awesome that way. They were on it. They just listened to what I had to say. It drained by the end of that day. There was some great guys-a guy named Roger in there knee-deep in the muck shoveling it. Donny Barley got in there, and Reese, Nathan-everyone was cleaning the algae off. We were skating and we put together a little picture book that's going to be out for the Magic 2002 show, which is a clothing trade show.

It looks amazing-like more of an art-photo book than a catalog.
It's officially a "vibe" book where you get a basic feel for the company. It's not always about exploding smiles and selling you every page. It's just more about…the look for this season was very dirty. It actually has some scuffed-up jeans, so half of it tried to capture that with the dirt on the cover and the scum-water.

Quite a bit of it features the pool adventure of draining and skating it, then it shows some clothing, but low-key.
The most amazing thing was how cool this pool was. The corners were broken out, there's a bush growing into it and it just looked kind of creepy. The colors were all green and purple and it just looked amazing-like I'd imagine a regular clothing company trying to rent it out for thousands of dollars so they could just shoot in it. But we actually physically cleaned it and captured it all on film. It was pretty amazing that it all came together like that. Really cool.

Do you have a family?
I have a dog (laughs). I hang out with neighbors and friends. I just moved to Laguna Beach to be closer to Etnies, Element and Quicksilver-just lend support and kind of be a part of all the companies.

Laguna Beach is mellow. Do you still surf? Have you kept up with it since the '80s?
Yeah, [surfing] slowed down when I was skating a lot cuz I was just getting to skate so much-and that was fun. Now that I'm with Quicksilver, the first thing they did was send me on a surf trip to Fiji (laughs), it was great! Last Thanksgiving-it was just amazing. I stayed on, basically, like a surf resort. I've been working for them for two or three years. I just really became-officially-a creative director there with another amazing graphic designer named David Carson.

The David Carson? Does he work there or from his place?
He comes in-he's hardly ever there.

Where does he live?
In New York and Tortola.

Is that where the island he bought is?
Yeah, Carribean. We've met a few times and talked and he used to layout TransWorld [Skateboarding].

I was his assistant.
Yeah, he actually laid-out my [TransWorld Skateboarding] cover, so we talked about that and he remembered. We'll be working together. Quicksilver is utilizing my handwriting a lot this season, so I'm going to go out to New York and meet with him and kind of try and brainstorm and come up with more good ideas. He was actually a huge influence on my career, too, so it's been pretty amazing.

Did you keep skating all through the '90s?
Yeah, I actually was still over at World Industries. I broke so many boards because they were so skinny and thin-I would just snap boards constantly. I slowed down for little bit after the beginning of the '90s. I never skated quite as much as the heydays ['80s]. I'm still skating-especially down here by Laguna with all the parks.

Do you still ollie to big objects or just cruise around?
Yeah, it's still kind of my favorite…

You still bust handrails, and stuff?
I did a couple. (Laughs) I don't try and push it and go down twenty stairs, or anything. I'll do a couple, just cruise 'em-like fifty-fifty or just rail slide 'em.

I always wondered about when you spun on that fire hydrant in the Speed Wheels video [late '80s]-was that real? I thought maybe it was an effect or something.
No, (laughs) it was all real. It was more like a joke-trick.

Did you really spin around and come out of it?
Yeah. That's funny how many people see that and remember it. I guess the whole story is that there was a hair salon called Paper, Scissors, Rock and it's right across the street. So, if we went skating in Venice and someone got their hair cut, we'd just wait and there's the fire hydrant there-we're kind of playing around on it, spinning around and doing whatever. The guy filming the Speed Wheels video, Scott Dietrich, heard of it-I'm not sure how, cuz it was never a real trick. He really wanted to get it-it was basically him. I wouldn't even have put it in my video part if it was up to me, but he pushed for it-so we did it. I think that was the first time I came all the way off and tried to ride out of it. Before, you'd just try to spin and spin and spin until you just fell. But since it's for a video, you gotta roll out [of it]. After that video came out, there was some company in Switzerland that saw it and they wanted to do a soda commercial. They wanted me to come out there and skate and hold [up] the soda. I agreed and we did the contracts and everything. I ended up going out there and they had this fire hydrant (laughs) for me to spin on, but the thing was European-style-it was like three-and-a-half feet tall (laughs) and really skinny, it was about chest-high. I was just laughing. It just wasn't going to happen. But then one of the other tricks-I think it was a later video they might have got it from-was the rail slide across the roll-bar. They had a jeep out there, only in the first video we made a point to try to make the jump-ramp as small as possible and it was just below wheel height to make it more legit, I guess. They had this jump-ramp that went almost to the top of the roll-bar (laughs), so I ended up sessioning that and I tried to do it with a bottle of soda in my hand.

That original fire hydrant trick seems like the sort of thing that people who have never skated could totally relate to-it seems kind of wacky-perfect for the soda commercial.
Yeah, it's a bit different. It has a lot of motion involved-it's eye-catching. I meet a lot of people who skated back then that have stories of how they hurt themselves trying to do that trick (laughs).


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Re: Interviews thread
« Reply #50 on: October 03, 2006, 05:06:12 AM »
josh stewart, manual magazine

We’ll get the basics out of the way. Where are you from, where did you grow up? How did you get into skating, and subsequently filming and video making?

Ha, um... Ok, I'm from a little city named Tampa, Florida. It's located about 15 minutes from the surface of the sun. I've lived here my whole life and every new summer that passes I swear that I'm gonna move. 27 years later I'm still here. My brother Jeb was a skater while was a kid, and he'd always try to get me to start. In the summer of '89, when I was 12, I spent months on the couch watching cartoons. I turned into a little fat ass. Right before the new school year I went into my brother's closet and set up a board out of old parts he had lurking around. I emerged from his room with this Frankenstein's monster of a skateboard with gigantic trucks on a tiny freestyle board. It didn't take long for me to break my wrist.
Even way before I started skating I would sit around and watch my brother's skate videos. I loved the music and the way they were put together. I used to record the music from Bones Brigade videos on a voice recorder and play it in my room. That must've had some influence on me because I started taking my parents’ budget little mini-VHS camera out skating with me to film my friends and myself. I'd collect footage and make videos of all my friends and myself. I still have videos I made of nearly every skater I ever met during those first five years of skating.

What was the first filming you ever did like? What equipment did you have?

It was mostly me and my friends just filming each other. I eventually got the camera everybody else seemed to be using, with a little screw-on fisheye adapter. The first time I filmed anything other than my friends was when I went out to San Francisco to stay with my brother. He was skating for Life skateboards then, and he lived with Keith Hufnagel and Ron Allen. So, I would go out skating with Jeb, Keith and Shamil Randall a lot and film all of them. I was 15 and it was the craziest experience for me, skating EMB and seeing all of the guys I had just seen in the Questionable video. It was surreal.
Then, when I came back to Florida I started filming my friends there who needed to film for their sponsors, like Paul Zitzer and Mike Frazier. Tampa was starting to really get a cool small skate scene, and I decided to start trying to make a video about Tampa because these guys weren't getting seen by anybody outside of our town. Those were some of the funnest times ever for me. All my good friends, Ed Selego, Jeff Lenoce, Rickie Dixon, Chris Williams, Paul Urich, and Scott Conklin were all making up the scene that I tried to document in "Cigar City". I was 18 and that was the first video I did that I tried to sell internationally.

How many videos have you done? What has been your favourite so far?

Static II will mark my seventh video. Four of those were independent videos like Static II. I don't ever really like the videos I've done. I watch them thinking how crappy they are and what should've been done differently. It's more the experience of making the videos that I favour. The first two videos were when skating was the most fun for me. Just my friends and me skating Tampa, before it was illegal to skate here, and having fun. So, the memories behind those are great. But I'd say Static I and II were probably the best overall experiences for me. Travelling to cities where I didn't know anybody and getting to know new people, taking long crazy road trips, and filming in weird cities. I basically didn't even know Puleo, Shier, Reed, Rupp, Mullendore, Oyola, or FORE before starting these videos. So becoming friends with these guys and getting the honour of working with them has been the best experience for me.

How did Static II come about - did you know right from the start that you wanted to do it, and who would have parts, etc?

Actually, I knew weeks after finishing Static I that I wanted to do a number two. There were a few skaters I felt really fit into the feel of Static and I really wanted to do another video to work with these guys. I originally wanted to do a video with Igei, Reed,
Rattray, Suski, Puleo and Oyola, with a London section. But I got asked to do the Adio video and couldn't pass up that opportunity. But I was thinking and talking about a Static II video during those two years we worked on One Step Beyond.
Right near the end of doing the DVD for that video, Igei and Andy Honen called me a couple of times asking me, "What's up with Static II?". They got me psyched on the idea of it again so I started calling skaters to see if they'd be interested. Kenny reed was the first person I talked to about it. I didn't even really know him at all and he said, “Sure, let's do it. How soon can you come to SF?" I couldn't believe it. Having Kenny on board helped me convince other skaters to get on board. Most were pretty apprehensive. Everybody was busy filming for other videos, it was a little discouraging. But I explained to everybody that the idea of this video was to go against what other videos were doing at the time. I told them I wanted a non-hammers, handrail-free video. Just real street skating, creativity, and most importantly, original spots.
When Reed and I went to England to try to get a London section started, I was introduced to Paul Shier. I immediately knew he had to have a part. The guy is just too rad, his personality and his skating. Thankfully he was down, even though he was also working full time on a new Blueprint video. Puleo was the last one to commit to it because he wasn't sure if he had to film for an Enjoi video. Basically the idea was there for years, but it took a lot of luck and a little bit of sweet-talking to make the line-up what I had always hoped for.

How long did it take to make?

Well, we started our first filming trip about 20 months before the video hit store shelves, but we had been talking about doing this video for nearly four years.

How did you go about funding the project? Was it difficult to be making the equivalent of a "company" video, without a company backing you? What was the procedure as far as distribution goes?

Oh god! Well, I had some money saved up after the Adio project. I figured I could fund most of this project with that money, and then I was also editing stuff for 411 on the side to make sure just in case I ran out of money. Then my hard drives crashed and never came back up, so I lost an entire 411 Asia video I had edited. They cancelled the project so I lost that as a resource. And, I'm terrible with money. I knew what I wanted the video to look like so I was trying not to think about cost. I just knew money had to be spent to make the video we wanted to make. With the trip to Egypt, six trips to London, and about ten trips to Barcelona it didn't take long for me to run out of money. So I ended up borrowing money from about 5 different friends and family members to finish the video.
It got pretty rough at some points. I was recently taking cans of coins to the bank to cash out and buy groceries with. It's finally getting better now, but it's basically impossible to make a "company-quality" video and actually turn a profit. For me at least. There's just too much travel expense.

Who has your favourite part?

My opinion on that changed over and over while editing. I tried to make each part really different from one another, but that mostly happens already from the different skater's styles. Shier's was the first part I really liked. It's tough to get the editing to work how you want it to, while still getting to fit all the tricks you want in. Paul's was the one that was worked on the most because of how hard that was to achieve. And Kenny's part took some serious editing time too. The song he ended up with was probably about the sixth song we edited his part to. Puleo's part was the most frustrating because I loved all of his footage so much, that I never was happy with the editing because I never felt like it did his footage justice. It's basically impossible to pick a favourite because all of these guys are my favourite skaters.

What's the deal with Brennan Conroy's (Alien/Habitat filmer) answer message? I assume he was referring to Mosaic footage?

Ha ha! Well, that's a weird story. The truth is that I called Joe Castrucci a few weeks before finishing the video to see if he could give me a few tricks of his guys for the east coast segment. He said they were busy filming for a small part in the upcoming Seek video. Then, the next day he wrote back and said, "What if I just sent you everything we had, could you use it all?" I was amazed. But the problem was that I didn't want to label this part a "Habitat" segment. I wanted to keep all company names out of the actual video. We needed a creative angle or we didn't want to do it. At the last minute we came up with the idea of making it look like Brennan had accidentally sent me the wrong footage tape. So he leaves the message begging me not to use it and the next shot is the intro to the new, last minute section with all of this forbidden footage. It's a goofy idea, but I'd rather it be stupid than just another typical intro.

Who are some of the people you'd most like to film, that you haven't already?

Honestly, this video was kind of that last line up of skaters I had always wanted to work with. It's more in the personalities than anything else. And you can't get any better than the personalities in this video. Both the main parts and the skaters with smaller segments. I'd be really psyched to film a whole part of that Blueprint kid Nick Jensen, he's so rad, and this Landscape guy named Ollie Todd is really sick. I could still fan out on Jason Lee too.

Static II has received pretty much universal acclaim. How many of the premiers did you manage to make it to? Do you get stoked seeing your work presented to an audience like that?

Well, as you know I was short on money, but I started off by going to every premier I could make it to. SF, Philly, Orlando, Tampa, Boston, Miami and London were about all I could manage until I ran out of money. It was a really great feeling to see people's reactions to the video. It was different in every city. People would make the most noise for Ricky's part in one city and then for Reed's in another city. But it seems like the loudest the premier ever got was always during Oyola's final trick.

What are some of your favourite videos? What do you like to see in skate vids?

Some of my favourites would be First Broadcast, Memory Screen, This is Not The New H-Street Video, the first Stereo video, Welcome To Hell, Video Days, Photosynthesis and the new Habitat video, Trujillo's Transworld part… But I feel like Underachievers was probably the best video of all time, or at least my overall favourite. You know, what I like to see is just something different. Everybody tries to make the same damn video over and over again. People are afraid to challenge what is selling. So they continue to make the handrail assault, hammer-video. That video was amazing the first time I saw it, when it was called "Welcome To Hell". If you think through the history of skate videos, the ones that stand out are the ones where people went out on a limb and did something different, or showed the world something that nobody had seen yet. Dan Wolfe just went out his front door and filmed the amazing scene he had happening around him. PJ Ladd didn't run out to the biggest handrail and try to crooked grind it. He went out and filmed flatground lines that still amaze the crap out of me every time I watch them. When I watch a video, I just appreciate creativity and hard work. But there are so many damned videos being pumped out from every angle, it's a really tough game to make a mark in.

What are you doing now? Are the job offers coming in, or are you going to work on another Static video?

Ha, no, no job offers. You know, I haven't a clue what to do next. This was the video I've always wanted to do. It's tough to think of something new to start working on. I'm helping Puleo get this video together called "Bobby Puleo's Greatest Misses" with all of his older parts on one DVD as well as a whole new part. Aside from that I'm really not sure. I met a lot of amazing kids while making Static II that I'd love to do parts with in a new vid. But starting a new video at this point kinda gives me a headache… and a bit of a wallet-ache as well.

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Re: Interviews thread
« Reply #51 on: October 03, 2006, 05:06:33 AM »
Jason Dill - Circle (Issue 3) (October 2005)

I've always dreamed of having money and being carefree. In my fantasies I browse through an uptown department store for expensive linens. Once found, I purchase every linen in stock for me and my friends to piss on during the holidays. But like most of my dreams, they are only achieved during lengthy drug binges.

Text and Interview by: Jay Riggio

Jason Dill is a professional skateboarder and a coincidental star of the ridiculously hyped reality show, The Osbournes. For those that don't know, being a professional skateboarder is a dream profession. When not travelling the world and skating (which you don't have to do much of), you get to lounge around, get drunk, and bang hot chicks while your royalty checks roll in and the rest of the world is miserable.

After what was nearing a month or so, I finally tracked down Jason Dill. He invited me to his Soho apartment to conduct the interview. "Soho? Holy shit! This apartments going to be bangin'," I said to myself. Once in the upscale neighbourhood, I arrogantly grilled yuppie pedestrians as I visualized sitting inside a castle, Dill's apartment. Imported marble countertops, a rare goblet overflowing with expensive cocaine, and a diamond encrusted strippers pole would all be at my disposal as I rattled off my silly questions.

My expectations were abruptly halted when I walked into an absolute shit hole. While Jason's neighbours eat lemon sauced Chilean sea bass that swim three times a year and wear shell toe stingray Prada boots, Dill chain smokes in an apartment that appears as if an overcrowded thrift store exploded in his living room. Walls covered in paint marker graffiti, dirty socks, garbage and discarded cigarette butts were scattered in seemingly every sector of the expensive room.

Also, a weird smell that I suspected was pussy (I'm serious) lingered as I tried to make myself comfortable on a soiled couch. Was I sitting in an inner city crystal meth den? No I wasn't. I was in one of the richest neighbourhoods in Manhattan.

Jason is living it up because he can. He thinks fast, talks fast and from the look of the sheet less mattress in his bedroom, lives pretty fucking fast too. Providing elders, don't bother sending your sons and daughters to college. Buy them a skateboard.

All right Jason, what are your top 5 favourite albums?

Shit. It always goes up and down. I hate those questions, "if you were stranded on a desert island...". No. If I had a gun, I'd shoot myself. I'm a huge psycho fan for............My first concert I ever went to was The Who. My brothers took me. I was 8. They took me to the Tommy reunion tour. I feel pretty cool saying that I can say that. I grew up with my brother just force-feeding me The Jam, The Who, Led Zeppelin. I fucking hate Led Zeppelin. Goddamn, I fucking hate Led Zeppelin. I respect Led Zeppelin. But like I hate the Grateful Dead. Let's go back to what I like. Whatever transition my brother Chris would be going through I'd be going through with him because I shared a room with him from the time I was born. I think one of the first movies I ever saw with a VCR player was Quadraphenia. That was pretty cool. But now, shit. I like a lot of sad white boy music. I'm a big Bright Eyes fan, big Flaming lips fan. I really like Death Cab (For Cutie). I like the bands that I own on record, The Walkmen, The Mean Reds, Rolling Blackouts. I like a lot of shit. The main thing my brother didn't get me into was Iron Maiden. I fucking love Iron Maiden. I have a picture of my room in the 6th grade(Jason quickly grabs a picture of his old room beneath a mass of garbage. The picture shows a room covered in Iron Maiden and Metallica posters. Obviously Jason was better at cleaning his room then). I was a huge Maiden and Metallica psycho. It goes all over the place. I know people say that all the time, but I could give a fuck what people say all the time. I'm a big king of pop fan.

Do you want to talk about the Osbournes?

Maybe I could finally kill it. My roommate PJ in 1991 was like "Man I like Neds Atomic Dustbin so much" and he shot a TV (I have no idea what this means). I said I bet you I find my way into the future on reality TV. In the year 2000 there's going to be a big reality TV boom. He said, "No fucking way." I said, "Watch, I'm gonna befriend the daughter and son of rocker Ozzy Osbourne and I'm gonna go into their house and make it filthy and live there." And he's like, "no way". So he owes me a million dollars now.

So you became buddies with Jack Osbourne purposely?

Yeah, I had to win that fuckin' bet. He shot the television (I still don't know what he's talking about. Perhaps it's a bit inside) and I missed that whole fourth season of the Simpsons. (PJ, Dill's roommate says "We have a lot of bets like that with famous people. The bet right now is that Lucy Lui can give me a handjob.") But that's in 2007. That's after Charlie's Angels makes five redux. The real deal is that I've been friends with them (Jack & Kelly). They'd come out to New York and getting a sixteen year old into a club or a bar in New York is a lot easier than L.A. And that was a couple years ago before the show. I woke up one day and there's a camera there. So I knew as much as someone who was watching the show.

You were on the second season?

Yeah when I was hopped up on goofballs. I was on the second season where I wrestled with Jack Osbourne. At the end of the day my Mom can die a happy woman because her son made into US Weekly for worst reality TV moment.

Do people recognize you more in the streets as the dude from The Osbournes than from being a pro skater?

No. Not since I cut my hair.

What's up with your haircut? Did you lose a bet or something?

No. That was good though. My haircut is inspired by the chick from Bow Wow Wow. The "Eye Want Candy" video. I used to think she was so fucking hot. I cut my hair myself so maybe that's why I look so psycho. I've had a good response from chicks. It's kind of like Star Wars inspired too. So I'd to take this time to thank George Lucas and forget him for making Jar Jar Binks in the beautiful saga known as Star Wars. I'd like to take this time to hate Bill Cosby (Bill Cosby's face appears on a nearby muted television). And hate Jell-O pudding pops for rotting my teeth, causing my mom enormous dental bills.

Since you've achieved somewhat celebrity status, have you gotten to meet some of you favourite musicians?

No, because I already have a general affiliation with people that make music. Some people kind of freak me out that I know. My friend Travis does a band called Mt. Egypt and we were taking mushrooms a couple years ago. Those chocolate heart mushrooms and we ate too much. I was in his house, running around going crazy. Travis never heard of The Flaming Lips and I'm just blasting "Do You Realize" over and over again. And I'm like, "Travis you don't know this shit! It's incredible, it'll change your life!" And he's like, "Yeah man", tripping balls. And fucking six months later the cocksucker goes on tour with the Flaming Lips. I'm like, "cocksucker!" So, he's down with Wayne Coyne. Wayne Coyne recognized me off the TV. I didn't get to meet him but Travis took me a picture (of Wayne Coyne) holding up a sign saying "Hello Dill Man", holding up my board.

In Thrasher Magazine you were quoted as saying "I fuck runway models."

Dude, Jake Phelps (Thrasher's Editor) made it up. I've never been lucky enough to romp with a runway model.

Who makes the most noise in the sac, a model or a butterfaced skank?

I don't know. I'm pretty athletic in the sac so... I think the raw deal is that they're getting fucked by a skank not me fucking a skank (laughter). That's kind of the way it goes. One night PJ (Dills roommate) came home. This is so gross. It's not that she's an ugly person, but ugly on the inside. And it was just so loud and psycho. And the next morning he said he felt like he was in a scene from Boogie Nights. So there's one of them. God, when this comes out I'll never get laid again.

The other day when I saw you at Thompkins (Square Park), you were dressed to fucking kill. Where were you going?

Oh yeah. I had on my boots that I stole from a movie set. I believe I was doing what they refer to as "The Walk Of Shame." I had night gear on. I got caught with night gear. What's worse is that I got caught with night gear on at a skate spot. That's bad.

Who are your sponsors Jason?

I work for Alien Workshop, DVS Shoes, Supreme NYC and UXA Clothing Company.

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Re: Interviews thread
« Reply #52 on: October 03, 2006, 05:07:28 AM »
Spike’s Take On Things
 
Friday January 10, 2003 by Saba Haider

 


First things first. I’d never really thought about interviewing skateboarding’s legendary photographer, filmer, director, and editor Spike Jonze—for whatever reason, it had never really crossed my mind. But it happened, and it happened effortlessly on my part because I didn’t have to go to Spike—Spike came to me. Well, actually his publicist did.

Okay, it was one of his publicists for Columbia Pictures, hoping I could hook up some sort of publicity for Spike’s upcoming film, Adaptations, to be released in December. The publicist said he was calling on behalf of Spike, who really likes TransWorld SKATEboarding, and wanted to invite all of the staff of the skate magazine to a screening of the film.

I ended up missing the screening because I got stuck in traffic, but that’s another story. After a string of phone calls, e- mails, and relatively frustrated apologies, I was able to swing a telephone interview. Then I had to determine what the hell I wanted to ask Spike. Fortunately, TransWorld filmer Jon Holland brainstormed questions to ask.

I think where the interview occurred is pretty funny: Spike called me from his cell phone on his way to the airport to catch a flight to Tokyo. I was enroute to a wedding in the Middle-Of- Nowhere, Arizona.

Here is Spike Jones uncut—as interviewed through the power and glory of cellular-telephone technology from Room 628 at the Clarion Hotel in downtown Tucson, Arizona, on Saturday, September 21, 2002.—Saba Haider

Considering you’re both in the same industry, do you think you’ll ever work with Jason Lee again?

Probably. It would be fun to. Back when we did the Blind video, we used to make short skits with the video camera, and I think it would be fun to (work with him again). It’s cool to see him doing so well. It was cool to see him in Almost Famous. I thought he was really good in that, and every movie I see him in it seems that he’s getting better and better.

How did making skate videos build a foundation for what you do in Hollywood?

Uh, let’s see. With skateboard videos I coordinated it all—produced it, shot it, edited it, basically I did everything. I think that knowing that you could make anything happen is pretty liberating. Working with people like Mark Gonzales was amazing. When he had an idea, he’d just go do it. Anything’s possible, and I guess that always stuck with me.

Do you read TransWorld SKATEboarding?

I try. I pick it up on the newsstand whenever I see it. It’s huge now, and it’s so crazy that skateboarding is so huge now. When I worked at TWS, it (the magazine) was in its thin days—I think it was like a hundred pages back then.

It’s about 500 pages now.

Is it really over 500 pages? Back then it was very tough to get your photos in the magazine because it was so thin. There were so many great photographers and such a limited amount of space to run the photos.

How come you never mention TransWorld SKATEboarding magazine in your interviews?

I do when … I don’t know. I guess I’ll have to … is that true? I find that hard to believe. Well, if that’s true, then I guess I better get my act together.

How has growing up around cameras shaped you as a filmer, editor, and director?

I guess I’ve always been into taking pictures and shooting on video. I was never afraid to pick up the camera, shoot stuff, and make mistakes. And that’s how I learned the most, by making mistakes and trying to figure out what I did wrong. I guess that’s probably a good thing.

Is pro skateboarding a fast track to Hollywood? Is someone better off making skate videos than going to film school?

I don’t know. I saw Steve Berra the other night—he seems to be doing really well. He just wrote a script, and a lot of people seem to be interested in making it. And Jason’s doing really well. I don’t know if it’s better than film school for me.

I know I definitely got a lot of experience when I was shooting skateboard videos. I never thought of it as leading to anywhere else. I learned a lot as I was doing it, and it was really exciting. I had a lot of fun—getting to skate every day with Jason, Mark (Gonzales), Guy (Mariano), and Rudy (Johnson). At the time, it was getting to skate with people I liked, and I loved that.

Do you still skate at all?

I skate a little bit. Not enough, but I’d like to. Girl (Skateboards) has a park, and I was going down there a bit when it first started. If I skate, it’s with my brother Sam, or Rick Howard, or sometimes with Jeff Tremaine. But I should be skating more.

You’re currently working on the Girl video. What aspects of the video are you working on?

Ty (Evans) and Rick (Howard) and everybody have been shooting the skating for a while now. I think we’re getting close to finishing. I usually just help out on the stuff that goes between the skate parts. Less narrative and more little mood pieces. Like the Mouse video, I guess. We did one shoot maybe a couple of months ago, and it’s maybe going to be a heavy visual-effects piece. Unfortunately, we haven’t even started the effects. When I get back in October we’re going to shoot some more stuff.

How much of your time is that taking?

Time? I don’t know. We haven’t really gotten that into it. We’ll do about five or six shorts, and each one takes a few days. We rent film cameras and do it all in a few days, as opposed to going out and filming skateboarding every day and some days not even getting anything.

The last skate video you played a part in was 1999’s Chocolate video. What was your involvement in that video?

That video, Rick (Howard) and I figured that stuff out. I did the story part with him with the guys on tour, and also the old men at the nursing home. I helped edit it, and I worked on the stuff that goes on between the skate parts, which is basically the way it has been on all the Girl videos.

What’s more important, filming style or editing style?

I’m not sure. I think they both go together. I think when you look at somebody who does it well, like Ty’s (Evans) stuff, the filming and editing are all one aesthetic—so they’re all related.

Which do you prefer, filming actors or skateboarders?

I don’t think that I prefer either. It’s always fun. Sometimes it’s hard, but I enjoy both things. Shooting skate videos—a lot of it could be fun, trying to get everyone together, and finding a spot. You pick up someone at their house, and then they go pick up their friend, then someone needs griptape, and then someone’s hungry, then you finally get to a spot, and then you get kicked out before anyone actually lands anything. So days could go by without getting anything usable. But on the other hand, while it may be more time- consuming than shooting actors, it could also be fun. With movies, too, in terms of movies you could be having a lot of fun shooting something, but there are times that it gets really stressful.

Of the projects you’ve worked on over the years, which have you found to be most inspiring or stimulating?

It’s hard to say. It’s hard to put preferences on them. The two movies I’ve done have probably been the hardest. I just finished a movie called Adaptation that comes out in December. I’ve been working with Charlie (Kaufman) the writer on it for about three years. You’ve got to keep plugging away at it, and that’s probably the hardest thing.

I’m not sure about how much you follow skateboarding now, but do you recognize any up-and- coming talent among skateboarding’s filmers today you reckon could make it in Hollywood?

I thought the Flip video was really well done. I don’t know who shot it, though. Ty’s stuff is always really good. I’m a little out of it, though.

Photographers?

Again, I don’t know them, so the names don’t stick with me, but the photography in TWS is amazing. And it’s gotten a lot better. Of course, there are all the guys from before, like (Dan) Sturt and O (Barthoulameu) and Grant (Brittain) who are all great, but I think nowadays it looks more varied. When I look back through my photos, everything looks the same, and nowadays things look more varied than everything I shot.

How about any skateboarders you reckon could pursue a successful career in acting?

I guess the guys I know. Rick (Howard) obviously is very funny, and Mike Carroll is really good. In the Mouse video he was really good. As an old man he was great in front of the camera—really funny with ad-libbing and everything.

I’ve always loved filming Mark Gonzales, and I’ve done a couple of short films with him. He is totally unique in his own person. Keenan Milton was a really great actor. He was always really alive in front of the camera, and I always wanted to film him. Stevie Williams also has a lot of swagger and charm.