JASON LEE

DAN BOULTON
GAVIN WATSON
FLORIAN BÖHM
JAY RYAN & DIANA SUDYKA
SIX ORGANS OF ADMITTANCE

I
Ta ’m
ke Fre
M e
e
Declaration
Of
Intent

Photo: Sam Ashley

EYES & EARS OM

Can you ever see too much art in one month? We don’t think so Actions obviously speak louder than words for the hypnotically-heavy American duo

JASON LEE GAVIN WATSON

Professional skateboarder, successful board company owner, movie star, photographer
and most recently a TV mega, mega-star. Really, there seems very little that Mr.
Incredible can’t do. Jealous? You bet. We spent five minutes with the great man
basking in the white light of his glittering star-quality. Or talking to him in other words
HARK: SIX ORGANS OF ADMITTANCE
You’d have imagined that Six Organs man Ben Chasny would be an uptight plectrum-
packing muso, but he’s actually a right laugh. Wonders will never cease
PWBC
Salty seamen and scurvy dogs get a literary going over. Stu’s in Vice this month too
JAY RYAN & DIANA SUDYKA
The screen-printing couple are the graphic artists of choice for the great and the really
great of the music world and as a consequence their work is highly collectable. We
just wished we’d managed to snag some for ourselves. You don’t ask, you can’t get
He may be fed up of talking about them, but you really can’t get bored of seeing
Gavin’s skinhead photos
THIS IS TAIL
Vegans and ‘salad tossers’ beware! We’re cooking up oxtail
DAN BOULTON
So many talented photographers, so little time. Dan Boulton gets the call and comes
through with these haunting images of Spanish street kids
WORST CASE SCENARIO
A comic strip about zombies drawn by Rob Mathieson, no more, no less
CITY GUIDE: EDINBURGH
We didn’t intentionally make it booze heavy, but I guess if you ask a Scotsman to list
his favourite parts of a city that’s what you’ll get

HARK: REVIEWS OBJECTS OF DESIRE: THE DECK SHOE

Perhaps before you send your promo it might be an idea to actually look at the sort of There are a few borderline choices in there, but if you’re going to rock a pair of bum-
music we review, just a thought slapper’s why not go for it with all guns blazing?

FLORIAN BÖHM CROSSWORD/LAUNCH PARTY MUGSHOTS

With parallel studios in Munich and New York, an innovative design agency business Yeah, yeah, there were a couple of mistakes with the first crossword, but we’ve toned
under his belt and a prolific photography career well underway, it must pay to have back on the deadline day energy drink consumption so this one should be perfect
worked on Transworld and then Raygun magazine with David Carson. Either that, or
the former G&S pro is really, really, talented. We’ll jealously concede it’s the latter

Workers Lurkers
DESIGN, PRODUCTION & SCANNING BY: FACTORY MEDIA LTD.
Editor David Hopkins Associate Publisher Mason Young PRINTED BY: GARNETT DICKINSONS, ENGLAND
UK AND OVERSEAS DISTRIBUTION BY: SEYMOUR MAGAZINE DISTRIBUTION
David.Hopkins@factorymedia.com mason.young@factorymedia.com PRINT MANAGEMENT BY SYMBIAN PRINT INTELLIGENCE LIMITED
020 7332 9721 020 7332 9721 DIRECT SKATE SHOP SALES CONTACT: 020 7332 9723

Editor In Chief Percy Dean
percy@documentskateboard.com
Photo Editor Sam Ashley
sam@documentskateboard.com
Art Director Chris Gordon
chris@documentskateboard.com
Contributors
Stuart Hammond, Tyler Parker,
Alex Irvine , Rob Mathieson,
Klaas Diersmann, Per Steinar Nielsen
SMALL PRINT
© COPYRIGHT FACTORY MEDIA LTD. ALL RIGHTS RESERVED, NOTHING IN THIS
Publisher Jim Peskett MAGAZINE [INCLUDING ADVERTS] MAY BE REPRODUCED IN WHOLE OR PART
Jim.peskett@factorymedia.com WITHOUT THE EXPRESS PERMISSION FROM THE PUBLISHERS. WE WELCOME
CONTRIBUTIONS, PHOTOGRAPHS, STORIES, NO PROBLEM, BUT CAN NOT BE HELD
RESPONSIBLE FOR THEIR SAFE RETURN, SOLICITED OR NOT.
Chris Banbury Advertising Director
Chris.banbury@factorymedia.com IMPORTANT NOTICE
WE HAVE DONE OUR BEST TO ENSURE THAT ALL INFORMATION IS ACCURATE,
BUT WOULD EMPHASISE THAT WE, THE PUBLISHERS, ACCEPT NO RESPONSI-
Lizzi Wagner Marketing Executive BILITY FOR ANY MISTAKES OR OMISSIONS. PLEASE NOTE THAT THE OPINIONS
lizzi.wagner@factorymedia.com EXPRESSED IN THE ARTICLES ARE STRICTLY THOSE OF THE AUTHORS. ALL
ADVERTISERS HAVE SUBMITTED THEIR OWN COPY, THEREFORE THE PUBLISHERS
CANNOT ACCEPT ANY RESPONSIBILITY FOR DISPUTES BETWEEN ADVERTISERS
AND THEIR CUSTOMERS. THEIR PRICES ARE THEIR OWN AFFAIR, AND NOTHING
www.plus1mag.com TO DO WITH US.
CAN’T FIND THE MAGAZINE?
Cover Photo: Jason Lee, San Diego, January IF YOU ARE HAVING TROUBLE FINDING +1 MAGAZINE, OR WOULD LIKE TO GIVE IT
AWAY FREE IN YOUR STORE, PLEASE E-MAIL MASON.YOUNG@FACTORYMEDIA.COM
2008 shot by Percy Dean

DOCUMENT+1
Eyes
and
Ears
created by the likes of Monica Canilao, Bill Daniel, Chris
(on the Piccadilly line) and the gallery is open Thursday
Da-Da-Da
If Russian avant-garde art is what puts
the motion in your ocean then prepare
yourself for a wave of happiness to crash
all over you as Alexander Rodchenko
has a retrospective exhibition on now
in London. After making a considerable
name for himself with his paintings,
sculptures and graphic work, ‘Rod’ (as
we’re calling him) turned to photography
in the 1920s. Covering the fabric of life
in the Soviet Union via his unique use
of camera positions, foreshortenings of
perspective and close-ups Rod snapped
everything and anything and his work is a
one stop visual history of the great bear.
Alexander Rodchenko: Revolution in
Photography is on at The Hayward Galley,
on the South bank of London’s Thames
until the 27th of April.
Right:
Untitled (25), 2005
© Esko Männikkö
Below:
Untitled from the series United States 1970 - 1975
© Jacob Holdt
Show Me The Money
Thirty grand’s worth of used twenties stuffed into a
manila envelope is what’s on offer to the winner of this
year’s Deutsche Börse Photography Prize. Awarded
to ‘an international photographer who is judged to
have made the greatest contribution to photography
over the previous year’, this year’s finalists are John
Davies (UK), Jacob Holdt (Denmark), Esko Männikkö
(Finland) and Fazal Sheikh (USA). All, as you’d expect,
have very different photographic styles and choice of
subject and while any of the four would make a worthy
winner, we’re backing Jacob Holdt’s collection of
photos culled from a five-year stint spent hitchhiking
around America or Esko Männikkö’s mind-numbingly
emotive pics of random ephemera and dwellings, and
even the odd horse or chimp. A mixed bag of the
highest possible quality photography that’s well, well,
worth a visit, the exhibition is at The Photographers’
Gallery, 5 & 8 Great Newport Street, London and runs
until the 6th of April.
Needles and Pens
San Francisco’s Needles and Pens emporium/artists
collective is showing a collection of ink drawings,
paintings, prints, photographs, and even an installation
Duncan, Mat O’Brien, The Polaroid Kidd, Kyle Ranson,
Andrew Scott, Sara Thustra, and Paul Urich at London’s
96 Gillespie gallery until the 23rd of March. Entitled
‘Hope Springs Eternal’ the exhibition will be
accompanied by a limited-edition zine done by
the very artists themselves. Which makes sense.
Admission is free, the nearest tube station is Arsenal
to Sunday from 2 till 6 pm. If you for some tweaked
reason you need more info go to: 96gillespie.com
ATP vs Your Wallet
While we would never condone spending the weekend at a
70s holiday camp necking class A’s with a bunch of intensely
introspective bearded men, sometimes you’ve just got to bite
the bullet and think of the music, and this year’s All Tomorrow’s
Parties festivals are the particular Teflon-coated case in point.
ATP vs Explosions In The Sky is on May 16th to the 18th at
Butlins Holiday Centre, Minehead with Iron and Wine, Dinosaur
Junior, De La Soul, Silver Jews and Ghostface Killah taking the
stage amongst a cast of others, including of course Explosions In
The Sky. Whereas ATP vs Pitchfork (the superb online US music
mag) is on the week before, May 9th to the 11th, at the Camber
Sands Holiday Centre, East Sussex and will have the likes of
Ween, Sebadoh, Pissed Jeans, The Black Lips and the mighty
Les Savy Fav [pictured] strutting their stuff, along with a bunch of
other acts. And if all that wasn’t enough to encourage spraying
a thick film of Scotchgard across the credit card, there’s more. As part of the ‘Don’t Look Back’ series of concerts
Public Enemy will be performing their seminal album It Takes A Nation Of Millions To Hold Us Back in its entirety in
London, Manchester and Glasgow on the 23rd, 26th and 27th of May respectively. Support comes from Dr.Octagon,
so go to atpfestival.com with immediate haste to blast next month’s rent money.
DOCUMENT+1
Brutal Cold Hands
Produced by adult-orientated On the back of the deserved
cartoon network Adult Swim, success of their latest
Metalocalypse follows death album Good Bad, Not Evil
metal band Dethklok’s exploits, fashionable fan favorites The
which include recording an album Black Lips are set to return
underwater in the Mariana Trench to the UK in May with a
and trying to make coffee ‘metal’, chock-a-block tour itinerary.
to name just two. Essentially Kicking off on the 1st in
Spinal Tap in cartoon form, but Cardiff and ending on the
brought up to date, and funnier, 14th in London if you have
the whole obsessively laughable any interest at all in getting
first season is available in a DVD hold of a ticket to see the
box-set now, again via the magic chaps you’ll have to be quick,
of Internet shopping and business quick, quick. Or in other
couriers from all the usual US words, you should go ahead
online retailers. and get a move on.�

This Is Hardcore
Inspired by the book of the same name by Steven Blush, Paul
Rachman’s documentary charting America’s hardcore movement,
despite several notable omissions and being a little on the self-
congratulating side (in a similar way to the Dogtown movie) is
more than worthy of your time and money. If only to remind
yourself how amazing SSD were. American Hardcore: The Everybody Loves My Body
History Of American Punk Rock 1980-1986 is currently only
available via the US, but succeeds in being just about worth If you want to join the twenty-five million other
paying the shipping for. And what on earth are you going to people who’ve reveled in seeing actual human
spend all your soft-earned, easy money on anyway, huh? bodies manipulated into vaguely amusing,
and pretty creepy positions, then get along to
The Circle Jerks Photo: Edward Colver Manchester. There’s a joke in there somewhere I’m
sure, but anyway, Dr. Von Hagens’ latest collection
of plastinated bodies and organs is being shown
Denim and Leather in the city now. Brand new to the UK, as in they’re
different specimens from his previous London
If you needed any further show, Body Worlds 4 includes more than 200
excuse to invest in a white ‘exhibits’, with the emphasis this time on sporting
cut-off jean jacket then the events and movement. Which essentially translates
news that Witchcraft, Danava into tons of laughs as there are such gems as a
and Gentleman’s Pistols are preserved human form doing an invert and one
going on tour together could plastinated poser hitting a home run. I shit you not.
just be it. The vintage rock Sounds like a hot ticket to me.
trio du jour are on tour from
the 10th to the 16th April Body Worlds 4: The Original Exhibition of Real
at places such as London, Human Bodies will probably still be making us
Swansea, Dublin, Belfast, laugh, along with probably still infuriating the
Glasgow and Leeds, so go Bishop Of Manchester, and Germaine Greer, all the
laugh at the Gent’s nylon way up to the 29th of June 2008 at Manchester’s
pants on our behalf please. Museum of Science and Industry.

DOCUMENT+1
My
Name
Is Jason
H
aving made his name on four wheels as part of the legendary Blind team, then
with his own aesthetically-revolutionary board company Stereo, Jason Lee then set Interview:
his sights on acting, via a skate cameo in the video for Sonic Youth’s 100%. And David Hopkins
the rest as the say is history. Deviating all the way from Kevin Smith’s slacker
cinematic love-letter Mallrats, to Will Smith conspiracy blockbuster fluff Enemy Of The State Portrait:
and everything in between, including voicing a part in the Pixar animation The Incredibles, Tyler Parker
he is now, and maybe always will be...Earl Hickey. Well that and a natural born star.
Incidental Photo:
Now before you become convinced we’ve lost complete control of whatever scrap of sense we Percy Dean
had to begin with, let me explain. Even for a seasoned and very grumpy hack like myself
there’s just something about Mr. Lee’s demeanour, and possibly the intonation of his voice,
that coerces you into thinking you’ve known him for all your life. Lulling you into the false
belief that you’re actually buddies, you begin imagining him regaling a crowd with amusing
anecdotes of when you fell over drunk and chipped your tooth.

Whether that is indeed star-quality, the x-factor, or just natural charisma, whatever you call
‘it’, he has ‘it’ in abundance, and ‘it’ helps explain why so many people have gravitated to
the Karma-rectifying, loveable rogue he plays on the small screen.

Managing to drag him away from Stereo’s compact and bijou booth at America’s biggest
action sports trade show for all of five minutes, nevertheless Jason had more than enough
time to give us his thoughts on getting back on his board, doing voiceover work, getting old
and working on Earl.

So what have you been up to lately?
Well the writer’s strike is still on so I haven’t been on
My Name Is Earl in over two months, which is to say
I’m out of work because the show’s been shelved,
we’re hoping there’s a resolution soon. But in the
meantime I’ve been able to focus a lot on Stereo and
doing some skating
So you’re back in the saddle again full-time
now?
Errrmmmm…half on, half off, I don’t quite have the
balance I used to, I look like the dad who brings his
son to the skate park and then busts out a couple of
old moves
I’m not sure it’s quite that bad, but it’s good to
hear that you’ve actually managed to get back
on your board
Normally I don’t when I’m working in case I get injured,
which is very possible. I think it would be different
if I were much younger trying to do both, still heavily
involved in skateboarding and felt like I couldn’t. But
I’m kinda old now so I’m not in it as much as I used
to be, obviously. So even though I miss it, it’s not as
much as would if I was twenty-four years old.
Other things obviously occupy your time now
and it’s not like you’re still dreaming of tricks,
say when you were a teenager
Yeah, and when you’re that young you never think it’s
going to change. You think you’re always going to
be thinking about skateboarding, wanting to skate,
skating, hanging out with skaters and you never really
see that far into the future when you’re that focused
on skating. The next thing you know you’re in your
thirties, you have a grey beard, you have a son and
you’re living a different life.
You’re the guy you never, ever thought you’d
become. You’d never have imagined you
wouldn’t be skating
No…and you never think you’re going to have kids
Going back to the TV show, you actually
thought twice about signing up to do Earl.
Were you concerned about the material, about
being on a TV show, what?
The material’s great I love doing the show, but it’s a
huge commitment, it’s a big responsibility, it’s a lot
of time. Movies you work one day, maybe you don’t
work for a few days, or you’re in one scene and you
have six hours off that day, whereas on something
like this I work twelve hours a day, five days a week,
seven months a year, with a couple of holiday breaks Tell me about the voiceover work you’ve done,
here and there, so it’s really time-consuming. So…I how’s that?
was a little bit apprehensive about it because of the It’s fun to just have the mic and not worry so much
commitment. And you have to sign a seven-year about what you look like and just having to use your
contract you know? So it kinda tormented me a bit voice to create the character, whereas when you’re on
because it was a big responsibility coming into it, but camera you have to use other things and it’s a part
it’s paid off. of it. So it’s nice to be free-er to be able to just kind
Of course it has, in a big way. With such of…embarrass yourself.
success it must have changed how people are In light of the continued strike what have you
with you and pretty much changed your life got planned work wise for the coming months?
irrevocably for better or worse I’m trying to lock down a movie, because there’s a lot
Fortunately as mainstream as it seems, it’s, I don’t of movies happening, as there’s a lot of scripts that
know if I can use the word underground, but it’s still… were written before the strike. If the strike resolves
it’s not like Friends or one of those massive shows. It’s then we’ll go back to Earl, but if not I want to try and
still got its…It’s strange enough. get a movie before the potential Screen Actors Guild
strike in June. What’s happening is, everything you
[It’s at this point that we’re interrupted once again, download, if somebody downloads My Name Is Earl
this time by a dude who wants Jason to sign a from iTunes and they watch all the seasons on their
board. It transpires that it’s an original Stereo iPod the actors, writers, directors, producers, we don’t
signature board of his that Jason doesn’t actually get a cut of that. So that’s what all these strikes are
own. A light-hearted bout of bartering between about, we’re trying to say, ‘hey this is the new direction
the pair ensues with Jason finally agreeing to of media, it’s only fair that we should get a cut’. Just
exchange a significant amount of money for said like I get residuals from DVD sales, the same principal.
board] So we’re trying to organise that….a lot of politics. d
I take it that you didn’t manage to keep all of
your pro boards?
Some I just misplaced or didn’t save, but the worst
thing was about three or four years ago my mom said,
‘oh I have this old World Industries box from the 90’s’
and I’d never opened it. And I opened the box and it
was the buzzard skull board and it still smelled new
and it had like four or five brand new boards that’d
never been out of the box. I had them in my basement
and my basement flooded and it water damaged all
those boards! But I think the most I’ve spent on one of
my boards that I didn’t save was three thousand bucks.
I’ve had to buy the Tony Hawk one, the buzzard skull, I
bought a Grinch board and I bought the Dr. Seuss one,
the very first one, because I never saved that.
That’s crazy, but again it’s not that surprising
with how collectable skate memorabilia has
become on eBay and other auction sites
At the time you don’t think, ‘this will be worth
something in the future’ and every couple of months
there’s a new graphic and you’re just kinda in the
moment on it.

DOCUMENT+1 DOCUMENT+1
Six
Organs Of
Admittance
H
owever well planned a thing is you can never, ever, legislate for other people. And
Shelter From The Ash is out now via Drag City that’s especially true if the ‘other people’ in question are bearded, have absolutely
sixorgans.com no concept of the passage of time and could seemingly spend the next thirty years
talking exclusively about the intricacies of their cherished record collection.

Seriously some dudes just don’t know when to zip it. So with all that in mind it’s a miracle
bordering on biblical proportions that this interview ever happened, but it did.

Armed with a carrier bag full of pound-a-pop cans of Stella and wrapped in the
quintessentially East Is East style, ratty waterproof parka Ben Chasny, part-time Comet On
Fire and the full-time brain, voice and plectrum behind Six Organs Of Admittance, finally,
finally, managed to take a seat for a quick chat prior to his London show at the end of 2007.

Refreshingly indifferent to the actual concept of working hard all of the time, especially for
someone who appears so prolific (basically he’s a lazy sod like you or me), Ben had just
enough time to talk us through guitar gun-slinging and sound-tracking a book. Well worth
the wait.

So the latest album is the first one to benefit
from demoing stuff before going into the studio
to record?
Yeah, on my desk with a four track, maybe in earlier
years that might have ended up as a record or
something
Do you think Shelter From The Ash is a more
focused record because of this pre-production
preparation?
Erm, I don’t know, it’s funny. After the fact I don’t know
if it really changed that much, I thought it’d change
a lot. I just go in there and do it, I don’t know, it was
fun to do. It’s more I just have to make myself work. I
won’t work at all unless I make myself work. It’s just
like when I was in school, I don’t do any work until the
night before and then I just cram. But when I was
doing demos, I was making myself work then, so I was
actually writing more during the year. I was sitting
down and was like, ‘now I have to do this, I am going
to do a demo’ [talking in a mock serious voice], it was
totally new, so it was way less crammed. School Of
The Flower I didn’t have anything, I had one riff when
I went in. But I don’t think either one is necessarily
better than the other.
It’s funny you give off the impression that
you’re writing all the time
No not at all, I just sit around. It seems like I’m touring
with whatever band so often that when I’m home I veg
out. I do nothing, I eat Ben & Jerry’s ice cream, I stare
at the wall like a crazy man for a month and then...’oh
god, I gotta go back on tour’. But then I know I do
have to make something to be happy, so then I set a
date, ‘ok record in the summer’.
That’s weird that you have to set yourself a
regime, forcing yourself to work
Oh yeah it’s totally work, I mean it’s not ‘work’, but it’s
set you know, do something, do something, because
otherwise I won’t do anything at all. But then I’ll
end up not being happy, so I need to figure that out
[laughing]...
A happy medium?
Yeah
What’s it been like playing with Comets On
Fire? I imagine it’s more fun being part of a big
gang on tour than playing solo
Oh yeah totally. Touring with Comets On Fire is like
five best friends going out, it’s more about friendship
than anything. And some of us cause trouble and
some of us don’t. But we’re all having a good time.
Photo: Cat Stevens It must be a welcome release from the isolation
of touring solo
It’s lonely man, I hate flying by myself, I hate airports,
it’s just a bummer.
How was it working with the contributors on
this album? How do you work with other
people when you’re obviously so used to
deciding on everything?
The people I work with I totally trust, so I’m just like,
‘can you play on this part of the song, do whatever
you want’, sometimes with Noel I’ll be like, ‘what about
a pounding thing’, like with the drums. But especially
with Tim Green and Alicia, Matt Sweeney came in for
an hour, all those guys, I’m just like, ‘do whatever you
want’.
It must be good to be able to let go
I just trust them. I mean I wouldn’t have someone play
on the record if I didn’t. It’s fun, Sweeney came in, he
was just in town at a wedding you know. I was like,
‘we’re recording a record, why don’t you come by?’ So
he came by and just got into the recording area, ripped
out a guitar solo and then we were like, ‘alright Matt,
why don’t you play one like Ry Cooder now? Why
don’t you play one like ZZ Top?’ And we picked the
one we liked. We recorded six tracks and if you look
at the tape that goes across it says Matt’s solo ‘ZZ
Top’, ‘Dire Straits solo’, ‘Ry Cooder solo’, we used the Ry
Cooder solo by the way.
What about the interplay between you and Tim?
You’ve mentioned in past interviews about
there being a gunslinger attitude between
guitar players.
Yeah, yeah, Tim’s just a badass, he’s such a good
guitar player I was a little intimidated when I first met
him when I was recording with Comets, but we kinda
knocked that out a little bit. I’ve recorded so many
Comets records with him and now this is the second
Six Organs record [with him] so there’s no more
gunslinger stuff. I know what he can’t do now, so I’m a
little less intimidated.
How have these acoustic in-stores you’ve been
doing gone? Again, you were quoted as saying
that there should be a ‘five-year law’ forbidding
the playing of acoustic guitar
Ha-ha-ha. Yeah, I like it again. I’m becoming a little
less crotchety as I become older. It was driving me
nuts and I don’t know why, it just stopped being fun or
something. The first one I did on the West coast was
a lot of fun, so I did more. It’s also fun too because it’s
over by seven or eight, you get to go shopping, some
of them supply beer, so you get to record shop while
you’re drunk. It was kinda like a west coast vacation,
so it was perfect.
Would you say you’re more comfortable in
the studio than you are on stage or is it fairly
equal?
Nah, I don’t really enjoy playing live very much. I do
when the sets over, it’s such a great relief, like when
you skydive and your parachute opens or something. I
don’t enjoy it up to the moment of playing and if the
set goes badly, then I really don’t enjoy it. It’s kinda
like flying, I don’t mind it once I’m on the aeroplane, but
I hate checking in, I hate security, I hate waiting to get
on the aeroplane. I prefer to be recording music rather
than playing it. But then I get ideas when I play live, so
it all works out.
What’s going on with this metal project with
Stephen O’Malley and David Tibet?
That almost came about, but the three of us are pretty
busy. Stephen is sooo busy. When we were thinking
about doing a project he was as busy as I am usually,
but now he’s just insanely busy, I rarely talk to him. It
almost happened, I don’t know if it will. But Tibet and
Stephen have been working together, I know Tibet’s
going to be on one of O’Malley’s projects, I don’t know
how to pronounce it.
So what’s going to be taking up your time
instead?
My friend’s writing a novel that’s almost done and he
called me up and said, ‘everyone does soundtracks
to movies, why don’t you do a soundtrack for my
novel’. I’ve been writing stuff for that so I’ll probably
record that probably in March. And if everything goes
according to plan I have a secret weapon project, I
can’t even talk about it yet, I’m still putting the band
together. And touring Europe again, so I’ll be pretty
busy up until the summer. d

DOCUMENT+1 DOCUMENT+1
Palace
Waywards
Book
Club
L
auded by the critics, lapped up with
religious fervour by Britain’s skate
community, and reported to have made at
least six readers almost grin whilst taking
a dump; the Palace Waywards Book Club is proud
to announce its return for a second instalment
to the glorious shiny pages of +1 Magazine:
‘The Celebrated Journal for the Check-Shirted
Rollerblading Pigeon Fancier’.
Last month we recommended a handful of
notorious books that reflected our longstanding
interest in all things druggy and boozy and blood-
pukingly disgusting. Regrettably, there were
complaints regarding the books’ unsuitability for
younger readers from some of your mothers. As a
result, as some of you are all too painfully aware,
we came round some of your mothers’ houses
and smashed them up with bats while we were
totally off our faces. At the behest of our editors
and publishers, we would therefore like to offer
our almost heartfelt apologies to the mothers of
readers Billy Bernard Baxter, 13, of Chalk Farm,
Gabriel Pluckrose, 12, in Vauxhall, and Sheffield’s
Seth Curtis, (age not given).
This month we’re playing it a bit safer and
proving to the world that it’s not just books about
smackheads, drunks and paedos that float our
boat. Old books about floating and boats also float
our boat. Just what is it about salty Victorian
sea stories that so capture the imagination of
the PWBC – a landlocked London skateboard
gang whose forays into seafaring have so far
only involved inflatable lilos and pedal-boats and
those banana things that get towed behind a shit
speedboat in Corfu? We just can’t accurately say.
All we know for sure is that we have a total
boner for good books about sailors and pirates
and shipwrecks and rafts and desert islands and
stuff. “What separates those who cast off from
those who stay in port?” asks William Longyard
in A Speck on the Sea: Epic Journeys in the Most
Improbable Vessels. It’s questions like these that
keep us awake at night. Questions like these and
all the drugs and Danny Brady playing loud rap
music downstairs. What do Victorian sea novels
have to do with skateboarding, anyway? Fuck
knows, to be honest. Not that much? Anyway down
below are five of our favourites. Look them up or
something. ALL HANDS ON BOOK.
DOCUMENT+1
Treasure Island by Robert Louis Stevenson (1883)
This is one of the best novels ever written by a human being in the history of the
world and we cannot stress enough how important it is that you read it. It’s got
buried treasure, desert island castaways, swordfights and gunfights and mutiny and
murder and the original peg-legged parrot-shouldered wily bastard pirate legend
Long John Silver. Treasure Island is basically the reason Pirates of the Caribbean
even exists and frankly it pisses all over Johnny Depp’s dreadlocks and makes his
girlie eyeliner run all down his face. How best to convince you to read it? Oh yeah;
Treasure Island can genuinely improve your skateboarding ability: just days after
finishing it, PWBC’s Joey Pressey got an anchor tattoo and boardslid the massive
Southbank hubba for the first time, Snowy got dressed up like Ali Boulala and
double flipped a triple-set, and I painted a skull and crossbones on my face and
dropped in on a mini ramp without falling over. Shiver me timbers!
The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allen Poe (1838)
The only novel Poe ever wrote is a total banger like everything else he ever did. Like
Treasure Island, it’s narrated by a young boy who gets way out of his depth at sea,
but unlike Treasure Island, it’s so gross-out and gnarly in places that it can actually
make you feel a bit like sicking up in your mouth. There’s a bit after Arthur gets
shipwrecked where he’s been floating on his boat’s upturned hull for weeks drinking
tortoise blood and wine and his pal finally karks it from thirst and gangrene and
when he picks up his dead body to throw it overboard, it all sort of falls apart in his
hands because bits of it have turned into putrefied black slime and then when it hits
the water it gets eaten by this frenzy of massive sharks and Arthur says you could’ve
heard the clashing of their terrible jaws from miles away. How cool is that? WAY
FUCKING COOL: READ THIS BOOK.
The Pirate by Captain Frederick Marryat (1836)
1836! Man these books are old. Imagine how clever you’d feel if you actually read
them. You could go around saying things like “Of course Captain Frederick Marryat’s
sea novels were the trashy popular reading of their time – but it’s no faint praise to
recall that Virgina Woolf and Joseph Conrad claimed him as a big early influence.
Plus that bit in The Pirate when Captain Cain threatens to let his whole crew rape
Teresa and then she goes ‘Never!’ and throws herself overboard and all the sharks
eat her is well fucking sick.”
Tons of stuff by Joseph Conrad (b.1857 – d.1924)
We can’t decide which of his sea stories is our favourite but Conrad has to be on
this list because he’s one of the Greatest Of All Time. He didn’t even learn English
until he was in his twenties but he still managed to get a better grip on writing in
it than almost anyone else EVER, so good on him there. Not a lot of pirates in his
fiction, but plenty of haggard salty sailor types who have harrowing adventures in
the ocean’s dark and unmerciful heart. Some of the best of these are short stories;
perfect for those of you with attention spans about as long as Ryan Sheckler’s cock
(which we presume to be short). So we particularly recommend: An Anarchist, The
Brute and The Black Mate, as well as the particularly amazing Youth: A Narrative,
which can be found in the Penguin Classics version of The Nigger of the ‘Narcissus’
and Other Stories. Ha! He said n----r! Oh Joe your antique racism cracks us right up.
Here’s a famous passage from Youth with which we would like to close this month’s
proceedings. Only what we’ve gone and done is we’ve substituted all Conrad’s uses
of the word ‘sea’ for the word ‘skateboarding’ or ‘skateboard’. So this is sort of like
Joseph Conrad literary remix. Drink it in:
“By all that’s wonderful, it is the skateboarding, I believe, the skateboarding itself
– or it it youth alone? Who can tell? But you here – you all had something out of life:
money, love – whatever one gets on shore – and, tell me, wasn’t that the best time,
that time when we were young at skateboarding; young and had nothing, on the
skateboard that gives nothing, except hard knocks – and sometimes a chance to
feel your strength – that only – what you all regret?”
So skateboarding IS just like Victorian seafaring after all. How about that?
Read and report to stuartdhammond@gmail.com and meet us back here next
month. d
By Stuart Hammond
Illustration: Rob Mathieson
Screen
Play
Jay Ryan &
Diana Sudyka
F
or anyone else who’s tender years
were also hijacked by music, flyers
and posters became a kind of
‘wallpaper to your life’. They were
definitiey one of the ways to begin carving
away your parents’ influences and start
personalising your own living space.
I was obsessed with them, I stole them
from every surface I could. I got tapes
of demos wrapped in them, I mailed them
to friends and vica versa. My room soon
evolved into a photocopied monochrome shell,
that is all aside from one brightly coloured
dog-eared centrepiece. It was a screen-
printed Fugazi poster I’d stolen from a squat
in Belgium and 15 years later it’s the only
one that’s lasted.
The art of Jay Ryan and Diana Sudyka
has been instrumental in pushing forward
and continuing the work of screen-printers
worldwide. They have built between them a
vast body of work and a client list that reads
like a who’s who of underground music.
We met up with them at the Richard
Goodall Gallery in Manchester as they set up
their first ever joint show.
So were you born and bred in Chicago?
J: Yes, well I was born in St Louis, but basically I have
lived in Chicago since I was about three.
I know it’s a stunted question, but how and why
did you decide to start drawing?
J: Well I have been drawing since I was very small, you
know in kindergarten drawing dinosaurs, cars, fighter
planes, I guess its just something I have always done.
Through a lot of my growing up I thought I wanted
to be an architect, but I ended up just sticking with
drawing figures characters and skateboarding.
[Diana enters the conversation]
When did you both realise that your art could
be more than just a hobby?
D: I think you will get two different answers, my
answer would be two years ago. Up until then I had
kinda dabbled working as a part-time artist, but always
having a day job. A couple of years ago I decided to
take it more seriously and now I am working full time.
J: Well I’m going to change Diana’s answer for her a
little bit because when she first got out of school she
was working for another artist, but basically doing a
lot of her own work and showing in galleries. It was
her etching work not her concert posters, more fine art
“serious”. So to a small degree she was already well
established at that time.
DOCUMENT+1
D: I think what Jay is getting at is that we are really
happy with the community that we are now a part of,
the poster community, illustrators, designers I don’t
think either one of us thinks of ourselves as fine
artists. My initial background was in fine art, but I got
pretty disillusioned with that.
Disillusioned as to where your work would go
within that or?
D: Yes and I just didn’t really like the circles of people
within it.
J: I started doing posters in 95 and for the first few
years I was doing a handful of other jobs, I was
building houses and doing antique restoration, I was
a computer technician at one point. I’d make posters
solidly for two weeks, then I’d go off build book cases
for someone for a month come back and do a couple
of posters for a week and so on. There eventually
came a time when I was doing less and less other
work and more and more posters.
D: I think there was a definitive moment where he was
working as a computer technician at Columbia College
in Chicago and he made the decision to quit that job
and set up a studio in the basement of our house and
that’s really when the Birdmachine started.
Can you explain for us what the Birdmachine
actually is?
J: Well I learnt to print working with Steve Walters
at Screwball Press late in 95. I worked with him for
three years and he was in this big terrible industrial
space, the kinda place where water leaks through the
roof and there was broken windows and everything.
That was a great experience printing Steve’s work and
other people’s work, but there came a point where he
lost the lease on that space and had to move from
1700 square feet down to 600. So, I thought this is
a good time to take this equipment I have, so at that
point I started up the Birdmachine print company in the
basement of our house.
Was there a time when your work was on other
forms or has it always been about posters for
you?
J: Well my professional experience has basically been
all posters. I’d done a bunch of magazine illustrations,
book covers, t-shirts, record cover designs and other
stranger things, but when people say, ‘what do you do?’
I say I’m a poster maker.
Like the chicken and the egg, did the music
come first and then the posters?
J: The passion for the music is something I developed
to one degree when I was very young. Through high
school it continued to grow, I started playing in bands
and going to see other bands. When I left University
at the start of 95 I started a band called Dianogah so
my first hand full of posters were ones I had designed
for my band, for my friends bands who we’d play with
and for the clubs that we’d play at. That was how I got
really started on all this. People would see the posters
in the bar or coffee shop or record store. I used to
have my name printed really small on the bottom, it
said Jay Ryan Screwball Press and the phone number,
then they invented the Internet.
We don’t really advertise or pursue work at all Diana
has her site and I have mine.
D: I think the internet has been integral for both of us.
J: And now here we are sitting in Manchester.
From looking at your portfolios of work it
seems that a lot of the people you work with
have been hand-picked by yourselves. Do you
reject any work? And if so, what types of work
would you reject? I mean I know you have
stated in the past that you will not work for
cigarette or beer companies
J: I think that has been overstated, it’s not like a fist
in the air kinda of stance, but correct I do choose not
to work with cigarette or beer companies. Generally
you can tell a lot about what Diana and I listen to
by looking at the posters, I mean there are some
exceptions, but you get a good idea of our tastes. If
you’re offered 5 jobs, but you can only take on two of
them ye’ know?
D: I think in the beginning especially with you, you did
a lot more smaller, independent bands and you are still
DOCUMENT+1
Opposite:
Portrait By Percy Dean
Left:
Modest Mouse. D Sudyka 2005
Top:
The Melvins. J Ryan 2007
willing to do that, but you turn so much stuff down, we
both do. The nice side of that is we get to choose who
we want to work for. So I would say that our work is a
really good reflection of stuff we listen too and bands
we identify with.
J: I’d rather work for a lot less money with a band I
really like or I am friends with, than a band that is more
worldly popular or that I am not necessarily friends
with. That’s because it’s fun and it’s easy to put my
heart into something like that.
Poster art seems to have been ingrained into
American street culture to a greater extent than
it ever was over here, can you see an increase
in this medium’s popularity?
J: There are definitely strong poster makers over here,
like Nick Rhodes and Drew, but I guess what I mean
is the way things are now in Chicago or Indianapolis
or Austin are not the way things were 10 years ago.
There’s a much greater awareness of the medium,
record labels and bands are more interested in having
screen printed posters made, the person walking down
the street is more aware that these kind of things exist
than they were 10 years ago.
D: In the states there has always been this history, in
the sixties and seventies. Especially in the sixties with
counter culture and all those original poster artists
where I don’t think that was necessarily happening as
much over here.

I think the main difference is that it was on
walls in the states and over here the same spirit
of illustration was reserved to book illustration,
fanzines and comics. When it’s on walls it’s for
everyone not just the select few in the know
J: I think that is part of the goal of any of this. We
make say 200 posters, half of them go up in coffee
shops and on telephone poles. A lot of my poster
collection is stuff I have pulled off walls. People come
up to me and say “I have a confession to make, I tore
your poster down from the record store”, that’s what
they are there for y’know? It’s nice to leave it up till
after the show, but when it’s done take it down, bring it
home, put it on the bathroom door.
D: There’s a real feeling, at least for my part, coming
from a fine art background something that was lacking
in fine art circles is that when I make a poster or even
working with a band to do an album cover it feels like
collaboration. You’re creating art work, but it also has
a very specific totalitarian purpose of advertising a
show, it’s getting out there and getting in the clubs.
That’s what’s appealing to me beyond the visual
aesthetic of it all.
J: It’s sort of a way to become a super fan of the
music. I’ve been listening to the Melvins a lot this year,
I got to make two Melvins posters and that’s great, it’s
my way to get to play a tiny part in that concert. That’s
still exiting to me even if I don’t get to go to NY to see
the Books or go to Nottingham to see Iron and Wine I
can still be involved a little bit.
DOCUMENT+1
What influences can you draw on now at this
stage in your careers and how do you think they
may have changed over the years?
D: In some ways I think I am still influenced by the
same things I have found appealing for a while.
Natural History books and children’s books, illustrators
like Maurice Sendak, Carson Ellis, Tara McPherson and
Jay and I have been together for 15 years so...
J: We definitely influence each other, back and forth
inherently from having our desks five feet apart.
D: He’ll be “how does this floating couch look?”, “what
else does this squirrel need?”
J: But that’s just natural influence. Right now I have
strong urges to rip off Daniel Danger, Arron Horkey,
Drew Millward, Dan Mcarthy. Drew Millward is from
Leeds he does stuff with un-related layers of drawing
like a print you’d need 3D glasses to look at. Daniel
Danger is always referring to his work as seven layers
of transparent black, very ghostly and dark, I love the
density of those images. Then there is stuff like the
vinyl toys that I find really intriguing, I’m scared to start
anything with them because I get obsessive.
Diana when you say ‘Natural history books’ did
that influence work on your Tiny Aviary blog
and push you towards your work at the Chicago
Field Museum?
D: The blog came about as result of my volunteering
experience at the Chicago Field Museum Of Natural
History. I have always had an interest in Natural
History. I love being out doors and when I was
younger I used have tons of Bird Guides. It was all just
something that stuck with me.
Opposite:
Murky Waters. J Ryan 2007
Opposite, bottom:
The Decemberists. D Sudyka 2006
Left:
Marrum Horses. D Sudyka 2006
Below:
The Books. J Ryan 2007
What I do at the museum is a type of taxidermy, I
prepare birds that have died colliding with downtown
buildings whilst migrating. Those birds come into the
museum and I then prepare them as skins, so I remove
everything, except for part of the skull and wing bones
and leg bones and they get stuffed with cotton and
they go into the collections. As a way of documenting
everything I was working on I started the blog and I
started sketching each of the species I worked on as a
sort of daily or weekly drawing exercise.
J: I think its fascinating to watch. She’ll come home
and tell me about what birds she’s worked on that
particular day then she’ll sit down and draw with water
colours until a couple of hours later she will have two
or three beautiful paintings. I hope one day she’ll
gather them together in one big thick book.
Don’t you ever get sick of drawing feathers?
D: [Laughing] Not yet, but actually another purpose
of the blog, you know birds show up in my work a lot,
it’s a strong image for people and so for me its an
easy image to use and overuse. I love birds, but I don’t
think it’s good to just toss em in your work as instant
visual poetry. The blog serves as my area where I can
indulge myself without it creeping into my other work
too much.
A point must have come in your lives where a
decision was made to screen print as opposed
to anything else, can you tell me what is it
about the medium that makes it work for you?
J: I think one thing is that screen-printing is a relatively
in-expensive medium to get a large number of
multiples from. If I spend a week making a poster
I can end up with 300 posters and 300 people can
take one home and hang it on their wall. If I spend a
week on a painting then that is only going to end up
in one person’s house. It’s very process orientated
and it’s also low tech. We get to go around and talk
in colleges and to different groups. The greatest thing
about screen-printing is that in theory you could be
doing exactly the same work as us on your kitchen
table or in the basement for relatively little money. d
thebirdmachine.com
thetinyaviary.blogspot.com
Interview: Percy Dean
DOCUMENT+1
Hark
PW Long
God Bless The Drunkard’s Dog
About ten seconds into listening to album opener
Jackie Lake you’ll be wondering firstly, why the hell
do I like this? And secondly, when did I get so f—king
old? Well the short and simple answers are, this is
the intuitively listenable, gnarled, upbeat electric blues
that is unequivocally ‘everyman’ (and woman), and...
you’re only as old as the woman (or man) you feel.
Combining delta blues and rustic Americana with
facets of the likes of Creedance and Beefheart, P.W.
Long sounds like the more soulful incumbents from the
canon of American classic rock and/or the tailor-made
soundtrack to a big budget remake of dewy-eyed
series The Wonder Years. It rips.
myspace.com/justdontseem
The Dirtbombs
We Have You Surrounded
Supposedly thematically focused upon ‘urban paranoia’,
the first Dirtbombs album in five years also includes
lyrics by novelist Alan Moore, of V for Vendetta
notoriety, and a Dead Moon cover of all things. All
of which should lead you to believe, correctly by the
way, that their particular brand of garage rock is very
grown-up indeed. Apparently, by the sounds of it at
least, tailor-made for the likes of The Wire and Mojo’s
pages, The Dirtbombs accomplished, radio-friendly
and polished-chrome garage is almost too perfect and
intelligent by design that you’ll be tempted to let it pass
you by. Well almost.
myspace.com/dirtbombs
The Sword
Gods Of The Earth
Returning to the vintage metal big dick contest
with album number two, Austin, Texas’ The Sword
have now added significant musical inches to their
previously around average Sabbath-esque schlong.
They’ve ratcheted up the riffs, upped the tempo
and with a seemingly far more focused approach
to song writing this frankly smokes its predecessor
Age Of Winters. Heavier, darker, faster and now the
right side of ‘average’, The Sword could be close to
giving Witchcraft a run for their Leaf Hound-inspired
money as the cut-off denim-jacketed rock revisionists
of choice for bong-hitting teenagers everywhere.
Classically dumb album title too.
swordofdoom.com
Creature With The Atom Brain
I Am The Golden Gate Bridge
Said ‘creature’ is Aldo Struyf, guitar player in Millionaire
and synth man for Mark Lanegan (who incidentally
features on here) and while you could doubt the atomic
nature of this, it is moderately cosmic. Sounding
uncannily like a lost ‘Desert Session’ this has a similar
feel and sound to that particular ensemble cast and the
Queens Of The Stone Age in general. Full of spiralling,
spiky guitar lines, electronic blips, beats and repetitious
Kyuss driving bass lines this album will be manna from
heaven for those of you who long for anything that
reminds you of John Garcia et al.
myspace.com/creaturewiththeatombrain
DOCUMENT+1
Kelley Stoltz
Circular Sounds
Four albums in and Kelley Stoltz is still producing
exemplary sun-drenched pop inspired by and echoing
the likes of The Beach Boys, Talking Heads, XTC, The
Kinks and the Revolver-era of The Beatles. But while
these sound-a-like comparisons endure (and they’re
obviously a useful journalistic tool) this album builds
upon the advances made with 2006’s Below The
Branches as Stoltz has finally broken far enough away
from his influences to allow himself to sound...well like
himself. Undoubtedly a talented songwriter he’s finally
found a way to live within his own beardy skin and not
in someone else’s and this is his most accomplished
album as a result. Excellent.
kelleystoltz.com
Son Lux
At War With Walls And Mazes
Perhaps feeling obliged to opt for a soft moniker
because he’s signed to alternative hip-hop/
experimental label Anticon, classically trained
composer Ryan Lott produces the type of electronic
music more associated with Scandinavia than the West
Coast of America. Softly sung vocals, reminiscent in
tone to those of Beck, flop all over recycled, lethargic
break-beats and all manner of instrumentation on an
amorphous and deeply soothing album of what can
only be described as lounge music. But not in media
professionals’ post cocaine come down sort of way,
just in a lying round doing nothing style. It’s ace.
myspace.com/sonlux

Witch
Paralyzed
Taking a stab at album number two, them of famous
drummer have decided in their Vermont-based
wisdom to deviate wildly from the revelatory guitar
driven, one-dimensional, stodgy, stoner stomp of their
heavily endorsed debut album, in favour of something
significantly leaner and arguably smarter. With the
buzz terms ‘intricacy’, ‘quirky’, ‘time changes’ and ‘wider
range of tones’ now scrawled on their in-studio song
writing ideas blackboard, along with ‘King Crimson’ and
‘we love 70s prog’, though this risky shift in their sound
may alienate some fans, it’s a gamble that has largely
paid off. Witch are still at the very top of their game,
it’s just a different one this time round.
myspace.com/witchofficial
Brian Jonestown Massacre
My Bloody Underground
Despite trying, and indeed succeeding, in slamming
both his palms down onto the career suicide
button on several occasions Anton Newcombe still
continues to come up with the goods musically. His
first Brian Jonestown album release in a couple of
years, this is as cohesive and polished an album as
I suspect Mr. Volatile could ever possibly produce.
The bag full of wasps trapped in a guitar cab sound
remains, as does the multifarious instrumentation
and the confrontationally spiritual, and downright
confrontational, lyrics, but the reflective instrumental
pieces are botha a rest-bite and a revelation. Pre-empt
his inevitable posthumous canonisation as a musical
genius now while he’s still knocking about being a pain.
brianjonestownmassacre.com
Puerto Muerto
I Was A Swallow
Having finally put their Texas Chainsaw Massacre
soundtrack work to bed our second favourite
disarmingly creepy, him and her duo, after Jordan and
Peter Andre, return with this their fourth full-length
album. Foreboding, pre-war bier Keller, cinematic folk
is, as always, what the pair offer and it is, as always,
an unrelenting triumph for both your ears and your tiny
little mind. In managing to scramble together elements
of Edith Piaf, PJ Harvey, Nick Cave and all manner
of Andalucian folk into a homogeneous, achingly
sensuous whole, Puerto Muerto have once again
provided the soundtrack to your very own mental film
noir. Exceptional.
myspace.com/puertomuerto
Fuck Buttons
Street Horrrsing
Though testing the theory that all band names are in
fact inherently stupid when you think too much amount
them to its very limit, along with the associated one
about album titles I might add, Fuck Buttons, musically
at least, are right on the mark. Resuscitating the
flaccid corpse of electronica with 400 cc’s of ‘Burzum-
with-an-emulator-racket’ punched right through the
sternum, this is one of the darkest, heaviest records
you’ll hear all year that you can actually stand listening
to. Unequal parts droning feedback/vociferous
screeching vocals, it’s essentially experimental
electronic Black Metal, for Blackberry owners. Sorry,
please don’t let that put you off, as this is quite simply
f—king ace.
fuckbuttons.co.uk
DOCUMENT+1
Cadence Weapon
Afterparty Babies
Penned in homage to the happy accidents that
occur after a few too many drinks and too few
prophylactics, ‘the weapon’ as we’re calling him is
the epitome of party hip-hop. Inoffensive, upbeat
and a sure-fire bet to be remixed onto a full on
dance white label by someone in camo cargos, in
spite of that, we like this and you may too.
The Deathset
Worldwide
Living in Baltimore seems to be working out a right
treat for these Aussies as their mix-match of 80s
synths, chanty/shouty vocals and various fuzzy bits
is far from the irritating combination it may appear
on paper. Curiously cute and danceable, be sure
to name drop these chaps at any available point in
any upcoming conversations with attractive people.
Be Your Own Pet!
Get Awkward
Though two albums in Nashville’s neu-neon, Bikini
Kill-lite punksters haven’t become all sullen and
jaded and remain fixated on sounding like a party
hosted by all the cool kids you wished you’d been
invited to, but hadn’t. And if you’re going to sound
‘like’ anything that’s a good starting point, ludicrous
lyrics, but it’s hipster fun, fun, fun.
Year Long Disaster
Year Long Disaster
Hailing from Los Angeles this trio are intent on
putting the rawk back into cock rock, and they do
a mighty fine job of it too. Featuring one of Karma
To Burn and with vocals reminiscent of Chris
Cornell, this is what Wolfmother think they sound
like in their own deluded heads, but sadly don’t. d
Florian
Böhm
S
tarting his photographic life snapping his friends while still a
professional skateboarder, for the now defunct G&S company
in the 80s, Florian then went on to work at German magazine
Monster, Poweredge, Vision Street Wear and Transworld, during
the David Carson era. Using the tried and tested ‘learn how do it,
while you’re doing it’ method Herr Böhm went on to work at design
demi-god Carson’s Raygun music magazine, set up his own successful
design agency and continued to pursue his own personal photographic
interests.
Having charted, in painstaking detail, the visual fabric of New
York for the Endcommerical/Reading The City project, down to the
most unobtrusive and un-emotive bench, awning or fire hydrant, in
collaboration with Luca Pizzaroni and Wolfgang Scheppe, Florian now
brings forth his own Wait for Walk project.
Capturing pedestrians as they await the green luminescent cue to cross
New York’s busy streets he’s managed to tease interest and intrigue
out of the most mundane of everyday, everywhere events. Currently
showing in Munich you can take a look for yourself right here.
DOCUMENT+1
Opposite Page:
Boxing Mum
Below:
Anthony Mosquero
I can’t imagine you do, but looking back at your
time as a pro skater do you have any regrets
and/or things you wished you’d managed to
achieve? On the regret side, for me at least
the thought of my matted dyed red hair and
ludicrous ill-fitting clothes fills me with dread.
It was too good to regret anything, the only thing I
regret is that I don’t skate much anymore and have
lost touch to a lot of friends from that time. But things
Above: change and I don’t want to live in the past. Nothing
Broadway 14th St lasts.
You’ve mentioned before that skateboarding
Right: was the protagonist for picking up a camera
40 West 57th St and initially it was just a case of you snapping
friends etc. Is there a particular photo or article
that marks a point of departure from this onto
something more serious?
I took photos of what I was interested in at the time
and that is still the same motivation today, only that my
interests have changed. Of course the longer you play
with photography the more you get into it and develop
a personal relationship with it. Using photographs
in layouts to tell a story and to publish them for an
audience made it more meaningful for me over the
time. Taking pictures myself I started to look at work by
other photographers differently, with more appreciation,
I guess and it made me think more generally about it as
a creative tool.
Allied to that, at what point did you seek out
further schooling in the mechanics, and indeed
the history of photography?
Looking into the mechanics always came along with
trying to solve a particular problem or create a certain
quality I wanted to achieve and didn’t know how to. I
never had official schooling for photography. I had to
teach myself and this was long before automatic digital
photography, for which you dont need to know anything
technically anymore. I was forced to understand at
least a few things about the basics in photography. I
started with black and white and read the books by
Ansel Adams and experimented a lot, developing film
and printing myself, testing different equipment etc...
Your collection of skate photos ‘1982-1990
Images’ marks a sort of closing of that chapter
of your work, from that collection do you have
a favourite image or set of images that you are
particularly fond of, for whatever reason?
With each image I put into that collection I associate
a specific moment in time of my life. It is a collection
of memories if you want and of course there are some
that were more special to me than others. Even though
for somebody else they might all look more or less
the same – they are mostly typical skate-action shots
– for me they trigger different memories of people and
places and are much more than just action-shots.
For example, seeing Neil Blender doing an frontside
invert in Delmar reminds me of what was going on in
skating at that time and of course my first time riding
that pool.
DOCUMENT+1
Initially doing graphics/editing work for Monster
Magazine, then moving on to Poweredge, Vision
and your own Hidden Eggs clothing venture,
as with photography were you able to learn
and evolve your graphic work by simply being
allowed to try things out?
Yeah, it was a great learning experience working in an
environment that was not prejudiced with any existing
design concepts or thories. It was really liberating and
playful work, maybe a little bit too uncritical though,
but I think it is important to make your own personal
experiences by simply doing something and learn
through the process and mistakes. The benchmark was
a real audience and not the opinion of a specific design
teacher.
Your collaborative project End Commercial/
Reading The City involves the exhaustive capture
and collation of the furniture of modern urban
life. What was the catalyst for taking on such
a project? And were you always convinced it
would work/interest people as much as it did
and still does?
I got a little bit burned out on commercial work which I
had done for many years in the 90s. I worked together
with a partner on commisions to finance myself and
other projects. We consulted major corparations and
brands with a lot of responsibility. The experience was
great and taught me a lot, but after a while you can get
caught up in it and become a servant of commercial
interests that have nothing to do with you. So I decided
to spend more time on my own projects and moved to
New York in 1998, but kept my studio in Munich. Since
then I am spending time between the two places.
New York was extremely interesting and the perfect
breeding ground for new ideas. It was what got me
back into photography again and I started to play
with the just released first small digital cameras. The
resolution was very low (2megapixel!), but they offered
a new way of taking pictures, similar to a visual-
notebook. There was no need to worry about film
and lab-costs and you would start shooting without
looking through the lens. This way the new technology
created a new type of photography that would not exist
otherwise. The surprise was that these casually taken
photographs had a very convincing quality as empiric
documents of reality. They seemed to be the opposite
of a staged, fabricated, traditional photograph. I think
the collaborative project Endcommercial I did a few
years later (together with Wolfgang Scheppe and Luca
Pizzaroni) was to a great extent a result of this change
in photography.
We used the advantages of the new digital cameras
to literally scan the surface of the city to draw
conclusions from our findings and to make everyday
phenomenas legible that you normally wouldn’t pay
attention to. The images were later arranged in a way
that they have an effect on you, wake you up, make
you see things for example, reveal social and economic
patterns that shape the modern urban environment,
understand things in their context.
Tell me a little bit about this periodic table style
chart for grouping the images and allied to
that, how arduous a process it was editing the
images down for the book?
Editing became a crucial part of the project since we
had to deal with a crazy amount of images. We did
a pre-edit every day on the computer to be able to
manage. The diagram was extracted from the material
after screening and structuring the image archives into
themes, not the other way around. In this way it was
rather an empiric investigation with a result that could
DOCUMENT+1
have not been anticipated fully in the beginning. The
material revealed many aspects, sociological, political, Above:
economic, urbanistic etc. But we didn’t plan for it to be 54th St 5th Ave
anything.
Do you feel that Wait For Walk was a natural Right:
extension or an instinctive next step from the 53rd St 6th Ave
End Commercial project? Or in other words
they both explore the fabric of a city (and
specifically New York) both inanimate and
animate with a certain detached, documentary
eye. And at what point did you feel you had
found something worth exploring? (I assume
you’d taken some preliminary shots etc)
I did Wait For Walk a few year’s later and not as a
collaborative project. For me it came together very
differently, but I agree that in result there are many
connections, as you mention. The motivation and
the technical requirements were totally different. I
originally discovered the Wait for Walk image by chance
and realised that there couldn’t be a better setup
to capture a series of group portraits without being
noticed, to achive extremely authentic expressions and
gestures. The images are defined by chance and traffic
regulations. I hardly had any option to modify them as
photographer by personal preferences.
One of the real joys of the images is that the
subjects are largely unconscious or uninterested
in what’s happening (having their picture taken).
Did you position yourself to remain unseen by
the pedestrians?
I am standing at the curb on the opposite side of the
street among many others waiting on my side. The
reason why I remain unseen is because I take the
pictures in the short time windows that appear between
the cars driving by. The camera is able to capture
the uncovered view of the group of people in a split
second, but in reality all you see are cabs and trucks
driving by. Also the people in New York are pretty
immune to photo or film productions that happen
frequently all over town.
DOCUMENT+1
 Opposite:
Clockwise from top left:
Judge, Los Angeles Neck, Corner
Coach, Handstrap
Right:
Girl Winner
Below:
Waiting
Another fascinating aspect of the images for the
Above: viewer is that they prompt you to speculate on
56th St 5th Ave the lives, occupations, destinations, etc of the
subjects. Would you say being able to stimulate
Left: intrigue, interest, or whatever you want to call
Bowery Grand 3 it, from what on face value could be labelled
mundane or dull is something that really guides
or drives your photography work? I mean it’s a
risky strategy
It is up to the viewer to speculate. I think we do that
every day when we look at people, whatever the
occasion might be. Perhaps the images remind us
that we do. However, what I like about the images in
this respect is that you can look at everybody that was
actually there for that moment for as long as you want.
This is a quality the photograph offers – in the moment
you usually filter out people in your limited canon
walking down the streets. Beyond this, what drives
the photographs is the irritation that the images look
staged, but are actually not at all.
The book shows a map of your chosen
locations, how did you go about selecting these
particular points? Was there an initial process
of trial and error to finalise locations and indeed
the best times to shoot?
I narrowed the project down to Manhattan, below
Central Park. Within that area I pre-selected those
crosswalks with highest pedestrian traffic and shot
during rush hour times. Testing these locations, some
worked much better than others, so I spent more time
at those locations that worked best. Also since in New
York everybody jay-walks I had to find crosswalks with
intense car traffic to hold the people back for some
time till an actual crowd gathers. It is a combination of
many things to make a location work and I tried to get
as many different locations as possible to get a good
cross-cut in terms of people. The map in the book only
shows the locations of the photographs choosen for
the book. I took many more images at various other
locations that didnt make it in the book.
DOCUMENT+1
It comes with obvious technical difficulties with
lighting the subjects, but did you consider or try
shooting the same crosswalks in the evening?
I had to take what was available – even during a bright
day the streets of New York especially mid and uptown
are pretty dark. I could only shoot till the afternoon.
In the evenings there was not enough light. I often
had to go back to a location at a different time to
get better light, or had to wait for a cloudy or sunny
day depending what would work best for a particular
crosswalk, but often when I returned to a location and
the light was perfect all of the sudden the crowds of
people didn’t show up. The whole thing took a lot of
patience...
Even though you’ve lived there for a while, do
you think being an ‘outsider’ in New York is
what spurred you towards, or at the very least
cultivated an interest, in documenting the fabric
of the city in both End Commercial and Wait For
Walk?
I think that’s true. My curiosity had to do with not
beeing from there, coming from a different place and
culture. But on the other hand I believe that the things
I found in New York you can find in amlost every
metropolitan city today.
And finally, creatively what’s coming up for
Florian Böhm in 2008 and beyond?
I am working on two new books and just started
showing the Wait for Walk project in exhibitions.
Otherwise, hopefully more travelling.
Wait For Walk is published by Hatje Cantz and
available now from all good bookshops.
florianboehm.com
DOCUMENT+1
 It seems that in the last year you’ve really
ramped up your touring commitments for a
band that hitherto very rarely performed live
We’ve been playing quite a few more shows these
days yes, we’ve been able to do that
Why the change?
We weren’t able to with the different commitments we
had, we didn’t play very many live shows, that was the
origin of the band. But that’s changed so we’re taking
advantage of that, playing more often.
Have you become more comfortable playing
now, more road-tested?
Erm...yes, definitely
And late last year you managed to play in
Jerusalem. How was that?
That was really, really, special. We played a really long
set in both Jerusalem and Tel Aviv and hopefully we’ll
be able to go back and play there again. We’ll be able
to return there hopefully.
Did you get chance to visit any of the area’s
historic sites and wander about, or did you just
unload, play and then leave?
We were there for a little while, but you could spend a
long, long, time there.
So what’s an average day on the road for Om
like?
I don’t know. There is no such thing as an average day
Ok...the reason I ask is I saw you play at the
last Roadburn festival and you seemed to be
having no end of problems which seemed to be
really getting to you
Yeah most definitely. We weren’t given a sound check
that first time and we weren’t given as much as a
line-check. It’s just a shame because in a room that
big you have to. In our band it’s not just like one small
bass amplifier like it would be in a conventional rock
band, there’s an entire backline of amplifiers and they
treat it like one.
I guess it’s a risk that inherently comes with
playing festivals
We’ve played a lot of festivals and they’ve gone very
smoothly, so I don’t know
You did ATP last year as well, how was that?
It was good. It’s totally enjoyable as long as you make
sure you can hear yourself and you know whatever
Did you get a chance to check out any of the
other bands at ATP
Not a whole lot, no, because we’d flown in from Israel
and we just tried to sleep and get things dialled in for
the next day
My friend was telling me a story about Daniel
Higgs cancelling his own show to come and see
you guys play on the same night in SF. Have
you been taken aback by how quickly people
have gravitated towards Om and people weren’t
necessarily into Sleep?
Yes, definitely, definitely. Not taken aback, very happy,
very grateful.
Moving on, did you have any preconceived
ideas of what Om should or shouldn’t be when
you first got back playing with Chris?
Not so much, not so much. Just really worked until
a certain feeling is arrived at, I know that, I know
that that’s abstract. What’s important is as long as
this certain place can be tapped when we’re playing
together and writing music together, then it’s working.
I was interested reading a couple of past
interviews where you’d mentioned that music
is like an ‘undercurrent’ within you that comes
out of its own volition and you have to try and
capture it where you can. Is this still the case?
Yes definitely, it’s no different because it’s a new
record.
What’s going on with this Shrinebuilder project
with Wino and Scott from Neurosis?
We’re working on that for sure.
Have you all got together yet?
Yeah we’ve practised with Wino, we’ve practised with
Scott and we’ll be doing that again soon. It’s off to a
really good start and all four of us are really positive
about it.
Can you tell me anything about how it’s
sounding and what direction it’s going?
Well yes I can, but I’m not going to (laughing)
Since conducting the interview drummer Chris has
regrettably left the duo, with Al issuing forth this
message via the band’s website omvibratory.com.
“Om is continuing forward with a new drummer and
working on a new recording. Please check here and
the band’s myspace page for updates. A live vinyl
only LP “Om - Live at Jerusalem” will be forthcoming.
This is Chris Hakius’ final release with the group. I
personally apologize to east coast fans who planned
on coming out to the shows. Please know that Om will
be back in your area later in 08. Thank you to all of
you. Live dates resume in late spring. There is a LOT
of new material on its way. Shrinebuilder is also forging
ahead. See you all soon” – Al 31.01.08 d
Om’s latest album Pilgrimage is available now.

C
alling bassist Al Cisneros stupidly early in
the morning his time in order to conduct a
telephone interview seemed liked a fantastic
idea, right up until when he answered
the phone. Evidently not a ‘morning person’ and
I suspect not exactly the world’s most outgoing
conversationalist at the best of times, between us we
just about managed to blunder our way through a
quick and painfully to the point chat.

Softly-spoken, but disarmingly abrupt, the former

Sleep man evidently enjoys his, and fought
against the lack of it to try and talk us through the
inner workings of his and drummer Chris Hakius’
transcendental, repetitious, and stupidly heavy,
Rickenbacker-driven sound. All hail Om.

Interview: David Hopkins

Illustrations: French

DOCUMENT+1 DOCUMENT+1
Gavin And finally some

Watson
quick-fire questions...

Last photo you took?

Well the last picture I took
was when I went to see

Out of the valley her [Nicky Newton] parents

for the first time in 20

of the skinhead odd years, in a little village

called Speen. That’s a
picture of their fire place...
I like details in houses,
dunno why, I just do

Last book you read?

Destroyed: A Secret That
Can’t Be Told - A Life
Forever Ruined by Jayne
Stern, she grew up on the
same council estate as me

Favourite film based

on skinheads?
The Believer

Last album you

bought?
Kinlock Nelson Plays
Stanley Watson

Last time you lost

your temper?
When a tractor squashed
my car

Last film you

watched?
‘The Fantastic Four’, the
1994 version, it’s fucking
hilarious

Who would you like

to have play you in a
film about your life?
Denzel Washington

Which three famous

people alive or dead
would you invite for
dinner and why?
Carl Jung to learn more
about my inner self.
Tony Robbins to keep me
motivated and directed.
And Osama Bin Laden, as
I’ve seen so much shit and
lies written about skinheads
and hoodies and not to

P
mention the rest, it would
hotographer Gavin Watson may I know I’m pissing on my my films and taking the risk of buying me my first decent camera, be great to see what the
have made a considerable name own bonfire, but do you which we all know how 14 year olds jump from one thing to the man was really like (if he
for himself in capturing a key ever get tired of talking next and that was a pretty heavy investment, for where we came really exists at all?).
facet of Britain’s social history, exclusively about Skins from.
by charting the skinhead movement after all this time? Since the ‘discovery’ of your photos, which make up the What song would you
in the late 70s and early 80s, but he I go into auto pilot, ha-ha, but Skins book, what are some of the projects, articles and have playing at your
isn’t, and has never been, a one-trick yeah it was a long fucking campaigns you’ve worked on? I know you did some stuff funeral?
photographic pony. time ago and I’ve lived many for Doc Martens... photographer. I spent a few years acting for TV and also Mr Bombastic, Mr Fantastic
lifetimes since then, and Jesus, Its mainly been for VICE, fashion, and bands, selling highest grade reading astrology charts, and also sat on me arse doing
The man himself explains... some of the questions. But exhibition prints, doing tours, and working on two new books and what seemed like fuck all for ages...so Skins came years
hey it’s all-good, it will be nice a few hip-hop and grime shoots, plus I like just doing what I’ve after I started being a pro. I LAUGHED when I was first ‘Skins’ by Gavin Watson
when I get the ACID book out and can talk about that all the time. always done and take pictures of what’s around me. But it’s odd told that people would be interested in seeing pictures of is available now and is
Watching the short interview linked on your myspace page I get so few commissions? I think people either think I’m really my little life growing up. “So I’ve been a music published by Independent
you mention that when you first started taking pictures expensive, or can only take pictures if there’s a skinhead in em’. You’re currently showing your work in Brighton, photographer and portrait Top: Music Press. ISBN:
you were fascinated by using unconventional angles Oh yeah and I’ve been doing fashion shoots out in Finland and but what are your plans for the rest of 2008? photographer. I spent a Norma 0-9552822-9-2 or 978-0-
and experimenting. As you became more used to and Sweden. The Swedes seem to really be behind me and my work, A book with Vice ‘The Acid Book’ and probably a world few years acting for TV 9552822-9-4 RRP £12.99
accomplished at taking pictures did you at any point seek I’ve exhibited there three times and at my last show they had to wide tour if everything works out well, also working on and also reading astrology Left:
tutor ledge or further training, or did you continue to just turn 700 people away, how nuts is that? a few movies and plays with some friends of mine, and charts, and also sat on me Lampost mamstore.co.uk
play it by ear? At what point did the success of the book allow you to trying to keep the whole thing organized and positive. d arse doing what seemed impbooks.com
No I just learnt along the way, by just getting out there and doing become a ‘full-time’ photographer. Or were you already like fuck all for ages...so Above: myspace.com/
it, and learning off of other more established photographers, I don’t doing that before the book first came out? Interview: David Hopkins Skins came years after I Bulldog independentmusicpress
push myself enough, I’m quite lazy on that front... Ha-ha, mate I was traveling the world photographing rock bands at started being a pro”. myspace.com/skinsbook
And just how much help and/or influence was you father the age of 19 for the music paper SOUNDS. The skinhead stuff is Opposite: gavin-watson.com
upon your photography? just pictures of my family, friends and stuff I would take to finish off Cover shot
I should say from a technical stand point, what with him processing the end of a film. So I’ve been a music photographer and portrait

DOCUMENT+1 DOCUMENT+1
This
Is
Tail
Words: Per Steinar-Nielsen
Pictures: Klaas Diersmann
“
We get all sorts of people in here”,
said the butcher, ”everything from
magistrates to tramps and thieves and
gypsies”. There were no gypsies at
butcher James Elliot in Islington when I was
there, just people with comfortable lives and
expensive haircuts, out on a Saturday to buy
some meat. I have neither and I was there
to buy oxtail.
Oxtail; tail of a beef animal, weighs between 1 and 1.8
kilos, skinned and cut into chunks across the joints, to
be cooked for hours and hours before being consumed
to much satisfaction. The secret behind its tastiness
lies in its function when attached to the beast. It
has been employed to swat flies and generally just
wave around, giving it lots of exercise, and to my
understanding, the more an animal uses a muscle the
better it tastes. It also makes it tougher, so it takes
longer to cook. But the reward is great to people of
patience. Anyone who has ever tasted a leg of lamb
that’s been slow-cooked in an oven for more than
DOCUMENT+1
seven hours should religiously fall to their knees in
agreement. This is the church of meat and deep down
in our soul we’re all members of the congregation.
Nigel Martin at James Elliot has been cutting animals
into little chunks since he was twelve. I respect that
kind of dedication. I got my oxtail and went home for a
full day of cooking.
I had invited my friend Xavier along to help me. He’s
an experienced chef and as French as they come;
he has a strong accent and he dips his cheese in his
coffee while he tells you that most things in the world
actually originated in France. He also incidentally
claims to have seen shagging in a nuclear power plant.
Moving swiftly on, he showed up with a cookbook,
wrapped in plastic to protect it from the grease and
blood of the kitchen. He pointed to a recipe titled
‘Hash of oxtail in cabbage leaves’. Leave the swanky
dish for the professionals, I thought, I was going to
make nothing more than a simple stew and a very
basic soup.
Before I could open my first beer he had diced all the
carrots, onions and celery we needed. He stressed
that we should get cooking as quick as hell, to give the
oxtail as long a cooking time as possible. Soon the big
fat smell of tail started to fill the flat, creeping into the
hallway and out onto the dirty streets of Finsbury Park.
The chunks of meat and bone were oozing blood and
juices in the pan. ”I like oxtail because the flavour is
there, hiding in the bone” Xavier told me.
Cooking oxtail takes a while, but demands little
preparation. Brown the meat, stick it in a pan with
some vegetables, wine and tomatoes. Give it five to
eight hours and, voila, a stew worthy of a death row
inmate’s last meal. It actually takes far greater culinary
skill to cook a normal chicken breast to perfection.
Oxtail is so easy, you could cook it to celebrate your
lobotomy. It does it almost by itself, leaving you free
to get drunk, listen to music and talk shit with your
friends, while your stomach is doing the Lindy hop in
anticipation. You might think of better ways to spend
the best 5 hours of a day. Hell, you could probably
reach a beach in Spain in the same time. But if you
never have time to spend some proper time cooking
you should take another look at your life. It might just
suck.
After a while the kitchen was filled with scraps and
off-cuts of vegetable peel, pieces of garlic, stripped
thyme stalks and beer caps. The meat was getting
cosy with the vegetables in the pan, and the smell was
thick, meaty and rural. It would linger in the walls well
into the next day. We kept circulating around the stove
like hungry lions, checking in on the pots, pampering
them with some extra wine and a gentle stir. After
hours of boiling we sat down and finished off the meal
in a couple of silent minutes. Soup, stew and Xavier’s
posh little cabbage parcels filled with oxtail went down
quickly and without reverence.
I have invented this theory in my head that the hours
and energy spent cooking a dish is extracted when
consuming it. Put in the hours and you’ll end up with
a flavour welcomed with wonder; how can something
taste this good? People are left with only the ability
to nod and exchange glances as the mouth becomes
the only thing your brain can focus on. It’s a deep
and satisfying feeling of giving your body something it
really wants. After feasting on oxtail you’ll experience
a new dimension of being full. We all left the table
in more or less of a coma, stumbling across the floor
on unsteady feet, homing in on the sofa. ”That tasted
earthy and real” Xavier proclaimed, and I couldn’t agree
more.
You don’t have to track down some specialist butcher
with a thousand years of tradition to get a hold
of some oxtail. They’re easily available from most
supermarkets, neatly packed in handy little plastic
boxes, all cut up and ready to impress. They’re cheap
as well. If you need some recipes just ask good old
Mr. Google, he knows where they are. Cookbooks
are another, and obvious, source for good recipes.
Even the ones written by pompous celebrity chefs
should feature the occasional whiff of tail. In fact, you
will rarely meet a chef who has anything bad to say
about oxtail. Apart from vegetarian chefs and salad
tossers the verdict is unanimous. Oxtail is worthy of a
gold medal, a big shiny trophy, a pat on the back and
canonisation by the pope himself. St. Oxtail, protector
of decent eating all over the world.
To anyone who’s cringing at the thought of eating
oxtail I say “grow up”. Oxtail is frankly lightweight. If
you want something challenging you should get your
teeth into some intestines at Fergus Henderson’s
restaurant ‘St John’s’ in Farringdon. His exceptional
cookbook ‘From Nose To Tail Eating: A Kind of British
Cooking’ consists of recipes like ’cold lamb brains on
toast’ and the quaintly-named ’blood cake with fried
eggs’. It takes a good long crap all over today’s quick-
fix food with its sliced avocadoes and chicken breasts
with pasta and pesto.
There is no mistaking that you’re eating an animal
when you’re eating oxtail. It looks like a piece of
flesh and bones, sometimes even when it’s on your
plate. If you’re a meat eater it’s time to show some
carnivore attitude. Gnaw that bone and say hello to
that barefoot savage deep down inside. Welcome to
the top of the food chain. Step away from that chicken
breast, it doesn’t taste of much and it looks like it
was bought in a toyshop. Maybe people like to cook
chicken breasts because this abstract piece of meat
resembles something put together in a factory rather
than a muscle cut of an animal. It doesn’t remind
people about the nature of their action; the ancient
and brutal act of consuming animal flesh. I really
believe it’s important to remember that you’re eating
an animal. Not in a macho “I like the taste of murder”
kind of way. It’s a respect thing. It gives more value to
the beast you’re eating. And especially if you’re eating
its tail.
To round this thing up, I want to give toast to the oxtail.
Hip, hip hooray, or something. Thanks for being so
humble and cheap and incredibly tasty. Here’s to many
years of eating you, sucking at your bones, greasy
fingered and content. d
Xavier’s cookbook was called ‘The Organic Meat
Cookbook’, which I highly recommend. I found my
recipes in a book called ‘A Celebration Of Soup’
and via a quick scan of a few different sites on the
Internet. The BBC Food site in particular is great
for all sorts of recipes. Go eat some tail.
DOCUMENT+1
OXTAIL STEW
This is a very basic oxtail recipe. It’s
simple and it’ll taste great. But it’s
not quick, so my suggestion is that you
call some friends over for dinner, buy a
couple of bottles of wine, a twelve pack
of beers or something more potent and
prepare to hang around the kitchen for a
while. Trust me, it’ll be fun.
2 kg Oxtail, cut into pieces
1 bottle of red wine
1 sprig of thyme
1 bay leaf
2 carrots, chopped
1 onion, chopped
1 stalk of celery, chopped
2 cans of tomato
3 cloves
10 peppercorns
Salt & pepper
Butter
A strip of orange peel
Put the carrots, onion and celery in a
pan big enough to fit all the ingredients
in over quite low heat for about 10-15
minutes. Make sure they don’t brown,
they should just soften nicely.
In a separate pan brown the oxtail on all
sides in the butter. They should not be
grey, but make sure you don’t carbonize
them either. Do it in batches and put
them on the side. Don’t be afraid if it
smokes a bit. Just open a window and
take the battery out of the smoke alarm.
Already your kitchen should start to
smell pretty damn good.
Put the oxtail in with the carrot, onion
and celery mixture and add all the other
ingredients. Make sure there’s none
of the white bits on your orange peel.
Simmer over a low heat, uncovered,
for a minimum of 3 hours. That’s the
minimum. Aim at leaving it for between
5 to 8 hours, until the liquid gets thick
and wonderful. If the stew starts to look
a bit dry add some more wine or water.
That’s it.
Serve with mash, fries or what ever you
fancy. If this doesn’t make you a believer
of oxtail, you’re just not cut out for it.
Enjoy...or not.
Portfolio
Dan Boulton
A
n ongoing, long-term project, shot
using the trusty combination of
a Leica M6 and black and white
film, Dan Boulton’s ‘MACBA
Nights’ revolves around the neighbourhood
surrounding Barcelona’s contemporary art
museum and to quote Dan, “its edgy night-
time mix of vagrants, immigrant families and
their children, and of course skateboarders”.
Attracted by the “strange juxtaposition”
of the contemporary art museum and the
underprivileged and mostly immigrant-
based community living around it, he hopes
to continue “documenting the lives of the
immigrant population”, possibly in partnership
with a local aid organisation for a forthcoming
book project.
DOCUMENT+1
Opposite:
Portrait By Percy Dean
Left:
Modest Mouse. D Sudyka 2005
Top:
The Melvins. J Ryan 2007
Back on home soil Dan has been snapping the MACBA-0004 MACBA-0005
weird, wild and wonderful locals of London’s
Southbank and has just embarked on the
tentatively titled ‘New Beginnings’ project,
which charts the birth and development of
his son. A graduate of Loughborough College
of Art, along with his personal photographic
work Dan contributes to Filmporvida Print
Exchange, The Quiet Life Camera Club and
the online photo collective Paper Machete.
Currently occupying an enviable day time
position as a photography teacher of all
things, at Long Road College, Cambridge, you
can admire a selection of his work past and
present at Danboulton.co.uk d
DOCUMENT+1
 MACBA-0006 MACBA-0023

DOCUMENT+1 DOCUMENT+1
 MACBA-0020 MACBA-0024

DOCUMENT+1 DOCUMENT+1
DOCUMENT+1 DOCUMENT+1
City
Guide:
Edinburgh

E
dinburgh’s City Centre is
dominated by a huge Castle
perched on volcanic rock 400ft
above it and the whole city
is steeped olde world charm, equally
matched in tourist tat. A walk down
Princes Street will be punctuated by
busking pipers, dressed up to the nines,
and bad Celtic soft-rock pouring out
of tourist shops that all but scream;
Freedom! At first glance, behind all
that, Edinburgh seems a rich city full
of rich lawyers and English people with
too much money looking for somewhere
quaint to buy their second quarter of
a million pound home, but look a little
deeper and you can find more to it.

Despite appearances, Edinburgh has an

honest core of Scottish-ness to it, lots of
dark pubs sidled away from the throngs
of tourists, where the hardened drinkers
sit all day full of whisky and stories.
A people with a welcoming demeanour
crossed with staunch Patriotism and a
love of their city. Home to two footy
teams and Murrayfield too, there is a
definite old school athletic feel to the
place, one perhaps not adopted by the
pie eating fans. Edinburgh is the most
looked after of all Scottish cities, creating
the setting for expensive restaurants and
bars, while its poverty, by design, is well
segregated from the wealth of the centre,
leaving the tourists to a sort of medieval
land of make believe. It is without a
doubt a beautiful city. Winding cobbled
streets and skinny closes snake through
the centre, tall sandstone buildings circle
the plinth of the castle and monolithic
structures dot the city throughout giving
the place a real sense of distinction and
importance.
Edinburgh is a friendlier face than it�s
western counterpart Glasgow and it
will for that reason always be the more
popular destination for visitors. It lacks
the �in your face� attitude of Glasgow�s
creative buzz and Edinburgh�s own arts,
music, fashion and to some degree its
guts are hidden beneath a well groomed
façade. It�s all there, you just have to
look harder for it. Edinburgh has lots
more to offer than just Ghost walks,
Castle Stag Parties and Barbour Jackets,
but in order to find that out you�ll have
to visit it for your selves.
Words and photos by Alex Irvine
BOOZE:
The Sheep Heid Inn 43-45 The Causeway,
Duddingston.
A true gem of a pub that I’m almost reluctant to
mention for fear of it becoming popular with people.
Well worth the trip around Arthur’s Seat for a quiet
pint and some skittles, which have been played at the
pub since the 16th Century. Apparently the inn has
been serving drinks even longer, since the mid 1300’s,
making it the oldest pub in Edinburgh, if not Scotland.
As you can imagine it has a pretty relaxed atmosphere.
No music and no twats.
Anywhere on George Street
Basically this bit of town is a write-off unless you don’t
mind paying over the odds for a beer or cocktail whilst
hanging out with ya’s.
Black Bo’s 57-61 Blackfriers St
Just off the royal mile this wee pub is one worth
checking out, they play decent music making for a laid
back atmosphere and the beers aren’t overly pricey.
99 Hanover Street 99 Hanover St
Nice bar with good-looking barmaids that serve you
Red Stripe by the tin. Definitely worth a look in. It’s
pretty much par for the course cost wise at £3.00 a
pint and you’ll be hard pushed to better those kinds
of prices in Edinburgh, unless you want to head down
the Cowgate and sit in a shite bar ordering ‘buckets’
of bottled Fosters twist while hanging out with the
meatheads and slags.
CLUBS:
Bongo Club 37 Holyrood Road
If you’re heading out in Edinburgh you should probably
just go here, there’s always a crowd out for the piss
up. Cheap Havana’s for the ordinaries, even cheaper
Havana’s for the students (who make up the majority
of the punters). Funk/Soul/Ska/DnB/Hobo, it’s better
than it sounds.
The Jazz Bar 1 Chambers Street
Basement club that offers stuff like swing and crooner
tunes. If that’s your bag then this is probably one of
the cooler spots to enjoy it. If you could still smoke
indoors, this is the place you would imagine to be a
smoke ridden den of boozery.
Vegas Ocean Terminal
The Vegas night’s a little infrequent and maybe a little
specific to be in this city guide, it’s all big band, swing,
zoot suits and burlesque-esqe showmanship. Provided
that doesn’t make you forego this you’ll find it highly
entertaining if not a wee bit cheesy, discount at the
door if you dress up fancy like.
And another thing, in Edinburgh you can drink in the
streets, I’m sure if you’re absolutely legless the bobbies
would have something to say, but generally you’re
alright. If you are looking to do nothing on a sunny day
you should go and have a wee lounge and a beer or
two in Princes St Gardens. They run the length of the
city’s main street and are directly beneath Edinburgh
Castle. Worth spending some serious time doing
nothing, soaking up the culture.

DOCUMENT+1
 FOOD:
Hanams 13A Brougham Street, Tollcross
Kurdish food is good, pretty fucking stodgy, but good. Deep-fried nan for starters, kebabs, nan,
rice, casseroles, more Nan and some Baklava to finish. All served by Jamal, the nicest guy ever.
Go there on your birthday and he’ll teach you to dance like Kurd’s do. Bring your own booze
there’s no corkage.

Kushi’s Victoria Street

If good Indian food is your thing hit this spot up, just off the royal mile, it’s the building with
‘Kushi’s’ written in big letters on it and it has a tut tut parked outside. The food is cheap for
Edinburgh and again it’s bring your own booze, so you don’t have to sell any organs.

Monster Mash 47 Thistle St and 4A Forrest Road

Retro bangers and mash restaurant that is smashing great. Mix and match your spuds, bangers
and gravy in a 50’s throwback café. I wouldn’t get too excited if you’re a veggie, my girlfriend
said it was minging.

Piemaker North Bridge

Need a cheap snack on the go? This is the spot. Steak and ale pie is off the charts and it’s
pretty cheap too. Considering the entire population of Scotland survives on Greggs alone it’s a
wonder this place exists, show your support; say aye tae a pie.

All Chippies Everywhere

The Scottish diet is constantly under criticism, but it doesn’t seem to matter a fuck as there are
now actually more chip shops than people. Edinburgh chippies have less drunk slags in high
heels and mini skirts than their Glasgow counterparts, but they have a secret weapon unique to
Edinburgh, sauce! You’ll be asked: salt and sauce? (pronounced more like saowt n’ sawss). The
salt, unsurprisingly, is your standard Sodium Chloride, the ‘sauce’ is a brown sauce and vinegar
mix that will clear your nasal passages with its sharpness. Tasty.

SKATEBOARDING: THE FRINGE: GETTING THERE:

If you like going round in circles and jumping
on and off blocks you should really go
to Bristo Square, it’s where anyone who
skates in Edinburgh is most likely to be
and it is bizarrely free from the hassles of
law enforcement. It’s often full of jakeys
pissed as fuck lounging around with their
dogs on strings, but for the most part they’re
fairly mellow. If it’s raining, which it might
well be, you could do worse than to go and
visit the newly finished indoor skate-park
‘Transgression’. If you’re keen you should get
down there for the 10 till 4 session, six hours
shralping for the cost of a two-hour session.
It’s located in the capitalist shopping Mecca
that is Ocean Terminal and you can grab the
22 or the 35 on Princes Street to get down
there. The park is open 10am-10pm, 7 days a
week at £7.50 a session.
Edinburgh is host to The Fringe Festival, a
collection of comedy, drama and performance
acts which takes over the city in August from
the 3rd until the 25th. It more than doubles
the population of Edinburgh and normal life
here effectively grinds to a halt. If you are
planning on coming to Edinburgh to check
out the festival make sure you book early, the
box offices open on the 9th of June. There is
plenty of piss ups to be had too.
SHOPPING:
Shopping is pretty good in Edinburgh. You’ll
find Focus skateshop on Bread St in the
Grassmarket, full of clothes and trainers for
boys and skateboards for those who roll. For
quirky girls shopping there are a plethora of
vintage and one-off clothes shops around the
same area. Just down the road is Spacey’s
tattoo shop, they have done some very good
work on some of my very good friends, highly
recommended. Further towards the centre, on
your way up to Kushi’s for your curry you’d do
well to pop into Analogue Books and pick up
some good literature.
Easyjet operate a service from London
Gatwick to Edinburgh £50 return or there
abouts.
You can Megabus it if you like punishing
yourself, but you should check GNER for
trains first, if you book far enough in advance
you can make the journey for as little as £14
each way.
STAY:
In a hotel as far away from Princes Street as
you can, unless you are minted. There’s an
Ibis, they’re always pretty cheap, hunt around
and you might find some stuff nearer town
that’s a little cheaper. Be aware that when
the festival is on you you’ve got more chance
of winning the lottery than of getting a hotel
room. d

DOCUMENT+1
Objects
of
Desire
Left. Top to bottom:

Dekline Captain Bwana Fly

£34.99
dekline.com

DVS Doja Black Canvas Rasta

£30.00
dvsshoes.com

DVS Doze Green Suede

£53.00
dvsshoes.com

Vox Drehobl Slip-On Black/Orange

£29.99
voxfootwear.com

DVS Doja Brown Herringbone

£30.00
dvsshoes.com

DVS Rico Grey

£35.00
dvsshoes.com

Right. Top to bottom:

Vans Chukka Low Chima Ferguson/ Tawny port

£48.00
vans.co.uk

PF Flyer Bob Cousy

£40.00
pfflyers.com

PF Flyer Crosskort
£40.00
pfflyers.com

Vans Era Floral Red/White

£35.00
vans.co.uk

Vans Chukka 49 LX Ombre/White

£38.00
vans.co.uk

Vans Era Stripe Cream

£35.00
vans.co.uk

DOCUMENT+1
Cross
Word 1 2
ACROSS
3 Famously a Smith, and still unbelievably, now in 3 4
Modest Mouse (6,4)
5 Popular, but incredibly annoying number puzzle that’s 5
not a patch on crosswords (6)
9 Notorious 90’s hair metallers who dished the dirt via 6 7
the printed page (6,4)
11 American Vampire hunting action hero now wanted 8
for tax evasion (6,6)
12 Noel Fielding’s character in The Mighty Boosh (5,4) 9
13 Burleseque beauty and Marilyn Manson’s ex (4,3,5)
15 His sister’s a fixture in Eastenders while he’s played 10
Sid Vicious and Dracula (4,6)
16 Upcoming Nazi conspiracy flick starring everyone’s 11
favourite Scientologist (8)
18 The capital of Germany (6) 12
19 Disputed territory between Pakistan and India and
our favourite style of curry (7) 13
20 Famous eye-patched naval commander and a
character in The Simpsons (6)
14
DOWN
1 Bespectacled Scottish musical twins who would walk 15 16 17
100 miles or more (3,11)
2 Fizzy drink supposedly made from girders (3,3)
4 Effervescent Bush-baiting leader of Chile (4,6)
6 Dark, unrelenting western series starring a former
leather-jacketed antiques dealer (8)
7 King Arthur’s house (7)
8 Rapper turned actor who’s actually good, even in the
awful Hitchhiker’s Guide movie (3,3) 18 19
10 Freddie Mercury was born in this exotic island
paradise (8)
14 When they die all good Vikings go here (8)
17 He loved a six-pack, his own war and now the 20
sound of his own voice (7)

In joyous conjunction with Slam City Skates we put on a launch party of sorts for +1 at the
Macbeth boozer in Hoxton. With both Serious Sam Barrett and Cold Ones taking the stage
everyone had fun, fun, fun, with a capital f. And here’s the photographic evidence.
Check plus1mag.com for further events.

DOCUMENT+1