You are on page 1of 40

Skate More

830 Florida Ave South

Minneapolis, Minnesota
763 79 SKATE (75283)

Upcoming 3rd Lair Events



TIME: 11:00 AM
TIME: 8:00 PM JUNE 10TH - 12TH, 2005:
Swimmer’s Ear Magazine Issue Fourteen
Adam Sever
Chris Pernula
Joe Blum - Huge Thanks
Brian Perry
Mike Carlson
Eric Widi
Chris Dietz
Brad Delong

“We’re there when you need us”

Cover: Jesse Reed by Joe Blum

Carrying the skateboard, while riding the bike?

Why do kids carry their skateboards while riding

their bikes? That's like towing your car to a park-
ing lot so you can park it. Why use one form of
transportation when your going to ride it when
you get to your destination anyway. If the kids
rode their skateboards to where they were going,
their stability on the skateboard would improve a
thousand times. Being comfortable on your skate-
board is very important in skateboarding. You
could be a skater that does really technical tricks,
but what's the point if you can barely stay on your
board when approaching or landing those tricks.

Today I saw a kid holding his skateboard while

inline skating. What’s the point of that, you are
using your feet and legs anyway, put them on a
skateboard. If you are going to skateboard, then
use it as transportation. Your skill will improve and
you’ll get more exercise.
lets hit the road and leave our names at home

BEEP BEEP Despistado Harkonen/Thes Maritime Onelinedrawing

“Business Casual” “The Emergency e Arms Are “Glass Floor” “The Volunteers”
Saddle Creek Response” Snakes Desoto Jade Tree
Jade Tree “Like a Virgin”
“Business Maritime’s follow If you like
Hydra Head
Casual” is a very I have never heard up to their self Onelinedrawing’s
good cd. The a band sound so released “Adios” previous album,
music is Whoever decided Ep is filled with
original but still to put these two “Visitors”, I’m sure
inventive and sound like many pop songs unlike you’ll like this one.
danceable. The Pacific Northeast the ones they
other bands, until I bands on one cd Intimate and emo-
singing is ok too. heard played as the tional songs
was genius. 2 Promise Ring. The
On some songs, Saskatuwan’s played on acoustic
songs alternating songs on “Glass
the vocals Despistado. “The guitars by Jonah.
by each band and Floor” are mature
become extreme- Emergency Two songs feature
one final song fea- and more struc-
ly creepy, to a Response” sounds full bands and are
turing both bands tured than any of
point of uncom- like Modest nice opposites to
playing together. The Promise
fortableness. Mouse, for it’s the slower songs.
The final song Ring’s albums. A
Listen for your- overall sound, This CD features
“Touched for the couple of the
self. Cap’n Jazz, for it’s Very First Time” is mp3 demo ver-
energy and youth- songs feature sions of songs on
brilliant. Both trumpets and saxa-
fulness, bands play loud the album.
Minneapolis’s The phones that make
and violently. the songs more
Vets, for it’s gui-
tars, and fun. Other songs
Minneapolis’s have cellos and
Hidden Chord, for violins. If you’re
it’s vocals. If you looking for a rea-
were to categorize son why Davey
this cd, it would wasn’t happy play-
fall under “Ass ing in the Promise
Shaking”. Ring, than look no
Despistado will further then the
make you want to song “Sleep
dance. Around”. With
lyrics like these: “I
can’t live my life
like a pop song
anymore // I want
to get lost in my
life and letters”.
We hear you Davey.
you can’t look at the sky without looking right through it

Pedro the Lion Sparta The Comas The Good Life The National
“Achilles Heel” “Porcelain” “Conductor” “Album of the Year” “Cherry Tree”
Jade Tree Dreamworks Yep Roc Saddle Creek Saddle Creek

“Achilles Heel” is “Porcelain” is a Before listening to You may remem- I’m not a big fan of
Pedro the Lion’s great follow up to Conductor, put in ber Tim Kashner T h e N a t i o n a l ’s
best album to date. Sparta’s debut the companion from Cursive. They music. The lead
The only bad thing “Wiretap Scars”. DVD. Watch as all put out a great singer’s voice is
is, Pedro the Lion On Porcelain, the songs on the album called “The deep and slow and
has a particular singer Jim Ward CD come to life in Ugly Organ”. The it kinda makes me
sound that is evi- wrote most of the a computer animat- Good Life is Tim sleepy. The instru-
dent on each lyrics and it gives ed story. Each plus a bunch of ments were ok. I’m
album, which “Porcelain” a more song has a differ- friends and the sure that there are
makes some of the personal feel. This ent chapter to the sound is a lot dif- a bunch of people
new music seem cd also is a lot story. Then every ferent than that would like this
kind of redundant. more rocking than time you listen to Cursive. While CDep. If you liked
their previous the CD you will see Cursive is kind of their last album
album. Producer those images on angular and exper- “Sad Songs for
Mike Major wanted the DVD in the imental sounding, Dirty Lovers” then
to make back of your mind. The Good Life has you’d probably like
“Porcelain” sound Conductor is a col- more of a tradition- this EP. I’m sure in
more like Sparta’s lection of slow pop al indie music a few years I’ll
live shows, so the song and fuzzed sound. There are totally love this
band played all the out rock songs. some really good album, but right
parts together not songs on this now I don’t
separately. Also, album, but I was a
they booked 6 little disappointed
weeks for record- because the songs
ing to allow for on their previous
experimenting and EP were faster.
going in different
musical directions.
The end result is a
well played album
that should multi-
ply in their live
Trying to be a natural asshole

Helio Sequence Liars Academy Palomar Tahiti 80 TapesNTapes

“Love and Distance” “Demons” “Palomar 3: “A Piece of “s/t”
Sub Pop Equal Vision Revenge of Palomar” Sunshine” Ibid Records
RCB Recording Co Minty Fresh Records
When I hear the I had not heard In a scene full of
song Don't Look Liars Academy My three year old These French fel- juice boxes, over-
Away, I immediate- before I got their daughter loves lows have put out a run with their
ly get the sensa- new “Demons” this CD. Whenever real tickler that's bland, flat sides
tion of being in album. With a were in the car, definitely worth and sharp corners,
Super Mario World. album name like she tells me to checking out. Tapes 'n Tapes is
I'm cruising around Upbeat yet mellow
“Demons,” I play it. I can see the Capri Sun
on Yoshi, totally
thought it would why see loves it, at the same time, pouch. With their
jacked up from all
be a lot heavier. it’s a very fun CD "A Piece of inviting pillow
the mushrooms,
rocking The Helio The album is solid, to listen to, and it Sunshine" is eight shape and shiny
Sequence on my i- but the sound is has great hooks wonderful tunes foil exterior, this
pod. A lot of the generic and and melodies. Plus that go perfect with group is a refresh-
other songs are unoriginal. It could it’s easy to sing a plate of French ing change from
kinda mellow, so I be popular among along to. toast, fries, bread, the normal bever-
just keep playing mainstream types and dressing. But ages accompany-
that track over and because it sounds wait, there's more. ing my lunches as
over. I'm not like popular rock This is a two disc of late. You may
greedy, so I put the music. If you’re set! The second be new to the fla-
headphones on looking for a typi- disk features six vor, so it might
Yoshi, and it just cal rock album, videos for your take a couple lis-
makes him go this one is for you, viewing AND listen- tenings to adjust
faster. He glances ing pleasure. The
but if you want to the taste. But
over his shoulder best one is A Love
something that once you do, damn
with an enormous
you haven’t heard From Outer Space. is it sweet. This
grin, probably
before, don’t both- It's main charac- disc is a mere
wondering how
something that er with this album. ters are little lego seven songs,
was recorded in astronauts, and it's which will only
basements and oh so romantic. leave you thirsty
garages sounds so Reminds me of the and wanting more.
good. I shrug and time I went into
grin back as we space. What,
enter the red light you've never been?
district. Luigi's
gotta be around
here somewhere. I
want him to hear
Just hold me closer, till this execution’s over

Ratatat Breather Resist The Mendoza Maplewood Frog Eyes

“s/t” “Charmer” Line “s/t” “The Folded Palm”
XL Jade Tree “Fortune” Tee Pee Records Absolutely Kosher
Bar None/Misra
Review of the odd-num- Maplewood is lush Where do I begin.
bered songs on this album. Suspect:
twelve string The vocals remind
Breather Resist “Fortune” is 13
The first track, acoustic guitars me of Bright Eyes,
songs that are well and three part har-
"Seventeen Years", is by
Offense: Meatloaf, or that
far the most rocking on crafted and have monies. Easily comedian with the
the album. It's one of the Brutal Slaying of great songwriting. something that you crazy voice,
few songs that makes CD Player and The sound ranges
me wish I had a system can listen to while Bobcat Goithwait.
in my car. I'd cruise from indie to you’re driving Sometimes the
through my shitty little twangy country through a forest or vocals sound like
suburb, blowing the On Aug 5, 04, the
guitars with alter- a desert or while Jonathan Davis,
minds of all the squares, suspect known as
shattering all the win- nating male and working on the form Korn, whis-
Breather Resist
dows at Applebee's as I female vocals. computer writing pery voice.
unleashed a brutal
get onto the freeway to music reviews. Anyway this 4
somewhere worthwhile. attack on numer-
Maplewood’s self piece Canadian
The cars behind me ous CD players
would be visually distort- titled debut is a band has a very
and speakers.
ed from my subs shak- good listen. The original and
When all was said
ing the hell out of my whole album is unique sound that
rearview mirror as I and done, 34 were
acoustic and some- can only be
accelerate with no inten- left dead. They are
tions of slowing down. what slow, but it’s described by lis-
considered to be
And when I said "few nice to relax to. tening to it.
armed with heavy
songs" I don't mean on
this CD, I mean songs in guitars and ear
general. Yeah, it's that piercing vocals.
good. The rest aren't as Do not approach
energetic, which was
and be cautioned
kind of a let down. Track
#11 is a good closing of their sound. It
tune. Something to help may be fatal.
put the kids to bed.

The even numbered

sound fairly similar.
They are good to listen
to when your doing
chores or just want to
relax. Compared to the
odd numbered songs,
the even ones aren’t as
good. - Adam
with Al B

What made you want to start Challenger?

The band started sort of spontaneously-- Dave Laney was working on recording some fast punk songs on his own, and it was pretty natural for me to add
a guitar track or a bass track here and there. Eventually, we were collaborating on a project which seemed like it was different enough from Milemarker
to warrant being its own thing. We made a demo, sent the recording to Jade Tree, they liked it, so it all took off pretty easily, without having to think it
through too much.

What bands/music influenced the way Challenger would sound?

Dave was listening to a lot of 80's SST stuff, and a lot of early hardcore -Agent Orange, Bad Brains. He came up with a lot of basic song structures and
then I'd usually try to come up with something to add that went in the opposite direction of wherever he was going. We'd throw ideas back and forth until
we felt like we'd gotten to where the songs had a weird quality of their own, not to say it's uncategorizable music- it's pretty clearly "upbeat punk rock" -
but hopefully it's not specifically derivative of anything in particular.

How long did it take to write and record "Give People What They Want In Lethal Doses"?
We wrote the songs over spring and summer of 2003, got Remis (the drummer on the record) playing with us in early summer, recorded in August 2003.
We recorded in Lincoln, Nebraska, at Presto! recording studio, which was a great experience. The recording took a little over two weeks.

How do the sounds of Challenger and Milemarker compare, and do you think fans of Milemarker will automatically enjoy Challenger?
Milemarker tries to confound expectations, so when we have the sense that people have us pigeon-holed as one thing we try to shift towards some-
thing else. I think of Milemarker as a pretty experimental, open-ended band. Challenger has the opposite approach, in a way, it's very structured and
oriented toward working in the three minute rock song format. I really don't know whether people who like Milemarker will "automatically" like
Challenger. To me, they sound pretty different, but I've had other people say, yeah, it's you and Dave, just playing a little faster. So I don't know. I guess
we'll see.

For some reason, when ever I hear the song "Input the Output", it reminds me of skateboarding in the mid 90's, is there any song that when
you hear it, it reminds you of a certain period in your life?
Sure, of course. I think a neat thing about records is the idea of it in a literal sense as a "record," meaning that it encapsulates some period of time for
you. You connect to angry music at times when you feel angry, or a love song at some time when you're in love- and then later on you've got this sound-
track to how you felt. Sometimes you'll hear stuff you used to listen to and think, "man this music is insane, I can't believe this spoke to me, I was
really pissed," and sometimes you'll feel like "I still relate to this exactly, I haven't changed too much," and that's a cool feeling, because it gives your
life continuity. I wasn't skating in the mid 90's, but I take your association as a compliment, because I imagine (or, I guess, hope) you mean that the
song reminds you of the energy of those times, and makes you feel still connected to that part of yourself. I think it's really cool when music can do

The song Unemployment I can easily relate to because I have been unemployed for the last 5 months, was this song written from personal expe-
riences of being unemployed?
I have been unemployed or marginally employed for most of my adult life, though I would never try to pass myself off as some kind of blue-collar poster-
child or unlucky working stiff. I'm basically a slacker, I have made the conscious choice to pursue the things that have meaning for me and give me
happiness over financial security, steady job, etc. The song, on a personal level, is about realizing the repercussions of that decision: I don't have a trust
fund or a rich family to fall back on, so deciding to engage in "life, liberty and the pursuit of happiness" (that's the American dream, right?) essential-
ly means deciding to be poor. On a broader level, I hope people can relate to it (statistically, it should have an audience of millions who can relate)
more generally, just the sentiment that everyone deserves to be happy doing what they do, to not only have work but have work which means some-
thing to them.

The title of your full length is "Give People What They Want In Lethal Doses". What do you want people to get out of this album?
It's not an overtly political album, but the general theme is excess and people's obsession with instant gratification. We were hoping the record would
"give people what they want" on first impression- that it would be musically accessible and deal with themes that are easy to relate to, almost clichés-
but that on further listens, you might get more of the "lethal dose" aspect, for instance, realize that a song which might on the surface seem about a
relationship is actually about the way we relate in a broader sense, about people's unhealthy reaction to loneliness, or the destruction of intimacy when
people objectify each other. A lot of the songs deal with drugs and substance abuse as well, not trying to make a moral yes/no statement, but more
thinking about how easy it is to substitute the quick fix for real feelings. Living in a country where 8% of the population consumes 25% of the resources
of the world, and then suffers from obesity, illness, and body image disorders, we have to ask ourselves, are we really happy getting whatever we want
whenever we want it?
Will you be touring in support of the new album?
Yeah, we're going to tour the US in March-April and hopefully Europe in May-June.

What's next after the tour, will you be working on a new Milemarker album or taking
a break?
We haven't really planned that far in advance. There has been talk of recording a
Milemarker album, and we do have a few new songs, but so far its in the abstract stage.
For now we're thinking about the current thing, which is the Challenger record coming
out. We try to do things one step at a time.

Both Al and Dave are known for your zines, Burn Collector and Media Reader. What
do you feel is the importance of zines and what are some zines you think every one
should check out?
I work at a store in Chicago that stocks tons of zines and so it is really hard for me to point
to any one zine that everyone should read. There's sort of something for everyone out
there, I think. That's kind of the beauty of it, cheap reproduction technology combined
with freedom of press equals increased exchange of ideas, which is more important than
ever now. Howard Zinn (author of A People's History of the United States) has a new book
out, and he devotes a chapter to the importance of "the pamphlet" in the history of the
United States. The federalist papers were basically zines. People tend to think of their small
exertions as not having much impact, but there are plenty of examples where something
very modest has impacted people far out of proportion with its circulation or initial sphere
of influence. In some ways, maybe the web has taken over for the printed pamphlet, but I do think there is still something powerful about an actual phys-
ical object, the inherent idea that someone cared enough to make X number of physical copies, fold and staple them, get them out into the world to be
read and passed on.

How did you get into making zines and what have you learned in the process of making them?
I got into it because I saw people doing it, and it seemed like an easy way to communicate something about yourself to people. I started out making them
just to hand out at shows, so that even if you didn't get a chance to talk to everyone you wanted to, you'd still have some sort of interaction, maybe start
a conversation which would continue in correspondence. I'm kind of surprised to find myself still doing it years later, and getting so much response from
it. I try not to take it too seriously- people sometimes refer to me as a "writer" but I feel like, hey, I'm just a guy who makes zines. At the same time, I know
people who really want nothing more than to be a writer, and spend years getting rejection letters from publishers and literary magazines and becoming
embittered by the whole process. This makes me feel kind of guilty, because I feel like I'm enjoying phenomenal success compared to my relatively small
effort. I get letters all the time from people who seem to have been effected by something I wrote, and have even been told I'm someone's "favorite writer"
once or twice- which seems totally crazy to me. But, it goes to show, I think, that you have to just get it out there, in whatever format, without worrying
about the legitimacy or how it looks on your resumé. With zines, and with bands, I stand by the DIY principle, not as a matter of ideology, but as a mat-
ter of a matter of practicality.

For anyone that doesn't know, what are each of your zines about, and where can we purchase them?
Dave's Media Reader is a political/cultural criticism magazine that generally consists of articles, interviews and political graphics. Most issues are free. My
Burn Collector is a personal zine which is basically me rambling about whatever is going on with me at the time. We both make and contribute to other
magazines as well, and our stuff can be found at Otherwise, you can get stuff direct or reach our band at

What kinds of things did you do when not playing shows?

Slept in the van, wandered around exhausted and wide-eyed, ate things
with squid in them.
In Japan Interview with Jessica Hopper
How do the fans in Japan compare to the fans in the U.S.? For being such a new band, how did you get the chance to go to Japan?
About the same -- marginal familiarity with us. Denali broke up, and that opened up their slot.

Did you bring all your gear on the plane? Was their anything you learned about Japan during your stay there?
Guitars -- we backlined everything. Thats standard in Japan. Clubs have I think to say I learned much about Japan, or it's people would be pre-
equipment for the bands to use. sumptuous, or at least terribly American of me, to feign understanding
simply by observation. The things I learned are debatable -- other than
Are there Japanese bands the could be big in the U.S. or any bands experiential things, like Sushi in the 7-11 is better than at home in
that really impressed you? Chicago and it costs about 2 dollars. That people are very hospitable, that
Nissen non Mondai, three women, from Tokyo, who were really frenetic we were hosted graciously. That the temples are beautiful and the free-
and primalist. Kind of a kin to Turing Machine or This heat. ways are epicly frightful.

Do you think it would be easier being a band in Japan or the U.S.? What kind of experiences did you take away from this trip?
US by a long shot. In Japan, from what I understood, you rent practice Immense culture shock. I handled Japan the worst out of the whole band,
space by the hour, use equipment there, or in the club. It's harder to get really.
around, not many people have cars or drive.
18 Frames Per Second
The History of Super 8
Interview with Coan “Buddy” Nichols
Super 8 Resources
The history of Super 8
“For years, the Eastman Kodak Company had worked to develop a system of movie equipment and film that would be easy enough for the advanced
amateur photographer to use, yet reasonably affordable. The result was the Sixteen Millimeter "Cine Kodak" Camera and the Kodascope Projector". The cam-
era itself weighed about seven pounds, and had to be handcranked at two turns per second during filming. A tripod was included in the package, all of which
cost a whopping $335.00! And this in a time when a new Ford automobile could be purchased for $550.00.

Thus, Home Movie Making was not an inexpensive hobby, but one that was capable of exciting, high-quality results. By 1932, with America in
the throes of the Great Depression, a new format, the "Cine Kodak Eight", was introduced. Utilizing a special 16mm film which had double the number of
perforations on both sides, the film maker would run the film through the camera in one direction,
then reload and expose the other side of the film, the way an audio cassette is used today.

Since the 8mm frame was one-quarter the size of "sixteen", this method reduced by a factor of four the amount of film necessary to give the same
running time - four minutes - as a standard one-hundred- foot length of 16mm stock. After development, the laboratory would slit the film lengthwise down
the center, and splice one end to the other, yielding fifty feet of finished 8mm movies. The
success of 8mm film was almost immediate, and within about fifteen years, 16mm film became almost exclusively a format of the professional filmmaker. By
the 1950's, 8mm home movie cameras were a common sight at family parties, special events and on vacations.

In the 1960's, research began on an improved system of home movie products that would also have potential use in Audio-Visual Applications.
Eastman scientists sought to further simplify the movie-making process while improving the quality of the pictures. Scientists were asked to create this new
product unencumbered by existing technology. Rather, some of the best features from previous formats would be considered.

The concept of a cartridge-loading movie camera had been around since 1936, when it was introduced with the Cine-Kodak Magazine 16mm
Camera. This time, however, the film cartridges would be made of injection-molded plastic, rather than metal, which required hand-manufacture and were
subject to jamming. The 8mm size was retained for reasons of economy, but with several
significant improvements:

Cartridge loading eliminated the threading of the film.No flipping of the film load was required; the entire 50-foot cartridge could be shot without
interruption. Rather than manufacture both a "Daylight" and a "Type-A" (Tungsten) form of the new film, each Super 8 Camera would have a built-in filter,
making it possible to make only the "Type A"" product, which could be used in either kind of light. The perforations (sprocket holes) were reduced in size,
allowing for a wider image area that was about 50% larger than standard 8mm film. Maximizing the film width was a concept that originated in France by
Pathe, with their 9.5mm camera system. The perforations were also moved to a point adjacent to the center of the film frame, making steady registration sim-
pler. 16mm and standard 8mm formats had placed the perforation at the corners of the frame to reduce fogging of the image at the head and tail of the roll
caused during loading of the film. Since Super 8 was a cartridge-loaded product, this was no longer an issue. Virtually all Super 8 Cameras would have built-
in light meters, a feature dating back to the early 1950's in 16mm and 1960 in 8mm cameras.

The cartridge itself provided information to the camera about the speed (ASA) of the film inside and filter information in the case of black-and-
white products. Precision notches were set at specific points on the edge of the cartridge, activating mechanical or electronic switches in most Super 8
Cameras. Most Super 8 Cameras were built with battery-powered motors, eliminating the need to wind a spring-driven transport.

In April of 1965, this revolutionary new format was introduced, and while the marketplace has changed in the past thirty years, new generations
of filmmakers with film projects and applications which were non-existent in the 1960's have come to embrace the small film. Many of today's great cine-
matographers and directors began their careers decades ago, at the counter of their local photo shop, buying a cartridge of Super 8 film.”(Source:

Cine Kodak Royal Keystone K25 Capri Keystone Olympic K32

16mm Movie Camera 8mm Movie Camera 8mm Movie Camera
Interview with Coan Nichols
How did you get into shooting with super 8?
i got into shooting super 8 because I didn't have enough money to buy a
video camera and I saw a bell and howell super 8 for $45 brand new- I
bought the cam and 2 rolls of film- I shot the film and brought it to this
pharmacy that offered developing for b/w film- I got the film back and
had to buy a projector to watch it- I found one that weekend- as soon as
I saw the footage I was hooked- it looks so amazing on the wall- 10 times
better than when its transferred to video-

You’ve made 4 films now, does shooting with super 8 get easier with
each film you make?
we've actually made 5 films because skateparks of Oregon and Ecuador is
2 films on one tape- shooting on super gets easier because you know better what works and what doesn't- some stuff that seems like it
wouldn't work is really cool- so it is less stressful but it is always scary to shoot $3,000 worth of one of a kind footage without seeing
any of it- I have nightmares on the road near the end of a trip- what if there's a hair in the gate or the light meter doesn't work- so
much stupid crap can happen when all of the equipment is like 40 years old

In your opinion, who makes the best Super 8 cameras?

my favorite camera is a cannon that I have- we also have a great eumig underwater camera- I don't know much about brands- we shoot
with cheesey $25 thrift store, flea market cameras and they seem to work great-

Where are the best places to find a good cheap super 8 camera?
flea markets, yard sales, pawn shops- one reason I love super 8 so much is that it is like a throw away technology- video came out and
it is easier and more reliable so everyone just bailed on super 8- all this great technology is just left aside like garbage- it seems that
just getting an image out of one of the cameras is a miracle-

How much time goes into making each film?

we shoot 50 ft. daylight loads- we shoot from 200 reels to 20 reels depending on the length and how much money we have that month-

What are the best/worst things about shooting with super 8 film?
the best thing is seeing the footage- everything looks great in film- walking down the street looks cool- there really isn't isn't a
worst thing- we use it because it is all we can afford- we want to shoot on film and this is the format thats available-

KodakBrownie Revere M50 Kodak M2

8mm Movie Camera 8mm Movie Camera First Super 8mm Movie Camera
For people that don't know much about super 8 film, how much does one roll of film cost and how many minutes of film do
you get for that roll?
this is the breakdown- 50 ft at 18 fps is about 3 minutes- that cost $11 to buy, $12 to process and then you have to transfer it to
video if you want to put it into the computer- if you want to get gnarley and cut and tape it then you just need the special tape and
a razor blade- so basically 3 minutes is $20- $25- a projector helps too-

What has been the hardest part about making any of your 4 films?
the hardest part of any of them is dealing with the super 8- it is not intended for making long format stuff so it is kind of a chore
sometimes- there is a place in Burbank, ca called super 8 sound or pro 8mm (same place) and they make everything easy and great
but it costs some $$$-

How much money goes into making a super 8 film, like your latest film Northwest?
All our films cost just about $10,000- $15,000. That is without paying ourselves for 4-5 months of work.

Do you ever shoot 16mm film? If yes, How do you think it compares to super 8?
We just a 16mm and we are starting to mess with it. It has a whole different look to it. It looks real and not so dreamy as super 8.
It’s like hi 8mm video vs. beta sp. video.

In an interview with Heckler one of you said “Personally, I don’t really like the way video looks that much.” referring to digi-
tal video. What is it about the look DV that you don’t like?
Video is fine for what it is. The person using the film or video has a lot to do with how good it is.

What kind of equipment is used to get the super 8 film onto the computer, or do you use the scissors and tape method of edit-
ing you films?
You need a projector, DV camera and a firewire cable and some kind of editing software. Everything else is trial and error until it
looks as good as possible-

Do you currently have any new films in the works?

Our new effort is called TENT CITY. It is a skate, road trip (surprise) to Australia with a bunch of guys. It was great. Were there
for 1 month. That should be on DVD in stores by May.

Kodak M14 Kodak Xl33 Bell and Howell

Super 8mm Movie Camera Super 8mm Movie Camera Super 8mm Movie Camera
Super 8 Resources
What Coan Says:

“Anyone in the LA area should check out the ECHO PARK FILM CENTER-those guys are really cool- in NYC this place PAC
LAB on 1st Street and 2nd Ave is great.”

“You can also order super 8 film off the KODAK website- PAC LAB is on the web as well as PRO 8MM from Burbank.”

“The internet is a great tool for someone getting into super 8 Go to Google and put in super 8 film and a good crop of info comes up”

Best places buy super 8mm cameras and equipment:

Thrift Stores - Most thrift stores don’t think the Super 8 cameras have any value, so they are usually between $5-$10 or less.
Ebay - Ebay is a great place to find Super 8 cameras. There is usually a wide selection and they are moderately priced.

Where to buy Film:

Kodak Website: - In 1978, there were more than thirty-eight different Super-8 filmtypes on sale. In 2004, Kodak is
the only producer of Super 8 film and there are only 4 different types, 2 black and 2 color.
In Minnesota: National Camera Exchange - All locations
Film and Video Services - Minneapolis - They are also the only place to process Super 8 film in the midwest.

Technicolor Mansfield Reporter Kodak Kodachrom

Super 8mm Movie Projector Super 8mm Movie Editor Super 8mm Film

Keystone Bell and Howell Technicolor

Super 8mm Movie Camera Super 8mm Movie Camera Super 8mm Movie Camera
w w it h Leif Thor

How did you get on Jade Tree?

Jade Tree has always been a wonderful label in our eyes so
we sent our EP to them through our friend/manager Tara
Macdonald. Then we get a call some time later, not thinking
that it would go anywhere, from Darren(one of the owners
from Jade Tree) and he enjoyed our album enough to fly to
Regina, Saskatchewan and meet us. Well we met and had a
really good time visiting and played two shows while he was
here. He went back home to Deleware and we received a call
about a week later and were told that they would like to work
with us. Obviously we were extremely excited. We again met
with them at SXSW and played at the JadeTree showcase as
our debut on the label and got to know them even better. Since
then we have been on Jade Tree.

If you hadn't got on Jade Tree, what other labels would you like to have been signed to?
I am a big fan of Touch and Go as well I enjoy Sub Pop, Threegut Records, Barsuk and many more.

How does it feel to be the first international band signed to Jade Tree?
I haven't really thought about it from that angle. I am still happy with just the signing to Jade Tree. Maybe if I was from
Europe or something like that then I would feel it from that angle but I am closer to Deleware from where I live then Oregon
or parts of Texas. Well Actually, now that I think about it, it's fucking deadly.

In the liner notes of The Emergency Response, it says the record was recorded in June of 2002, which is almost
2 years after the ep is released. Why not write new music for an ep?
Well we think that that EP has good songs and Why not put it out? When we were putting it out on Jade Tree we were in
studio recording a full length which will probably be put out in January 2005. It was a decision that was made by all of us
and then we just went with it.

What's it like playing shows of 10-20 people opposed to playing shows of 200-500 people?
Playing in front of anyone who is honestly having a good time makes us have a fantastic time so playing in front of 10-20
people having fun is awesome, playing in front of 200-500 people is just as exciting.
Do you have any plans to tour the U.S.?
Yes, Hopefully all of Fall, give or take.

Being from Canada, what is your opinion of the War in Iraq. Do you feel more protected against terrorist attacks liv-
ing in Canada?
The war on Iraq is garbage, absolutely fucking stupid, Innocent U.S. soldiers dying for lies that there told. Innocent Iraqis. I
don't even think about "Terrorists". I will be killed in car accident before anything else. Or get the shit kicked out of me by a
drunken meat head. I don't think anyone should be afraid of those things. Live life to the fullest and if some crazy fuckers
decide to take lives of another then that sucks, but I believe we are living in a time of strife and wonderment and we should
work everyday to better it. If you die from some psycho or accident or whatever at least you died trying.

Who are some musical influences that help shape the way Despistado plays and sounds?
Barkmarket, Helmet, Fugazi, GnR, JesusLizard, Ghosts of Modern Man, Bullmarket, Bluebeard, Ned of the Bush, Q and not
U, Jawbox, Juno, PJ harvey, Mike Olfield, Etc.....

Does where you live (Regina, Saskatchewan) influence the way you play and sound?
Yes, we all love and support each other, and when a band writes a super wicked song that blows everybody away
I think everybody goes home a plays with the instruments for awhile.

What are some other Canadian bands, that everybody should be listening to?
Constantines, Black Rice, The Doers, No Hands, Bionic, Ghosts of Modern Man, Sylvie, The
Grey, Married to Music, Fake Cops, North of America, Kitchens and Bathrooms, Lot's more.

What is the music scene like in Regina and in other parts of Saskatchewan?
The music scene in Regina is somewhat small but very tight and everybody
again "supports on another". In other part of Saskatchewan it is what it is.
People are growing getting new ideas, having fun becoming active in the com-
munities, dancing.

How was it playing your first U.S. show at SXSW this year?
The experience of playing is kind of a fog because we got off the plane, drove
straight to the show and then played almost 30 minutes later. When we were
finished, that, when realized that we where in Texas at a Jade Tree showcase.
I think I got nervous after the show when it was too late. It was a great expe-
rience and the rest of the weekend was amazing.
Jesse Reed
Photos and Text By Joe Blum

Let it be known that Jesse Reed can drop in on anything. Jesse called me up one day and said that he wanted to film a
drop in. I was like, great a drop in how exciting..... sure where? He said this ledge on 94 near the Basilica. I knew what he
was talking about, because of Zed's insanity there, and I thought to myself, why not, it’s not possible, but it will probably
be a good slam, so I’ll go and film it. To make a short story even shorter he dropped in from the top of the deadliest of
deadly drop ins and roll away unharmed, and the video proof is in the Thurman Lewis Promo. For those of you reading
this that have not seen in person what I am talking about go there and try not to piss your pants.

Let it also be known that Northern California has the highest concentration of fun skate spots in the country. Jesse moved
to San Jose about the same time I moved to San Francisco, so while he searched the land of tiltmode, I searched the city
by the bay. With thousands of spots to choose from in S.F., Oakland, Berkeley, Redwood City, Daly City, San Jose, Santa
Cruz, ECT, every weekend we skated something new. It was fun while it lasted, but every skate trip has got to end some-
time, so after 5 months of shredding the bay area we went our separate ways. He traveled the country teaching skateboard-
ing to army brats and I moved back to the city of my birth, Minneapolis. Here is a collection of my favorite Jesse photos
from that time period as well as a recent interview with the man of the hour, enjoy.
Crooked Grind

Just tell me all the boring crap that is in all these skate-
boarding interviews, name, age, years skating, birth-
place, stance, favorite fast food, blah, blah, blah?
Jesse James Reed, 27 years old, I’ve been skating for 17
years, I was born in Clearlake Texas in a Burger King, I’m
goofy footed, what else?

Jesse James? Is that in reference to the train robber?

No that was my dad’s name.

Oh yeah, alright, let's see. Why and/or how did you get
into skateboarding?
I moved to the city from the country and I saw these guys
skating. It looked fun and I knew that I wanted to do it.

Where did you grow up?

Rural Texas.

Where have you lived since then?

First I moved to Houston when I was 10, then in 1998, I
moved to San Diego and lived there for a few years. I moved
to Minneapolis in 2001 and went back and forth from San
Diego to Minneapolis for awhile until the fall of 2003 when
I moved to San Jose. As we speak I am stopped in Phoenix
on the way to Austin Texas where I am moving for a while.

What are your plans for now?

Move to Austin, get a job, enjoy life in general, keep
skating, and find some people to skate with.

Why Austin?
It’s cheap, better than Houston, there are more hills, rivers, and lakes, a good music scene, it’s a college town, there’s good weather,
and there’s good skating with street spots, skate parks, and ditches. What else could you need.

Sounds like a good city. Since you’ve traveled so much, do you consider yourself a local anywhere?
No, not really anywhere right now. I used to be a local in Houston, San Diego, and Minneapolis, but I don’t feel like a local in any of
those places anymore. The people in Minneapolis definitely made me feel like a local.

Who do you like to skate with?

Dayne Brummett, Matt Snow, you, Zach Koss, and Sean Hanly.
Boardslide with Nick watching
Any Sponsors?
Not really. Thurman Lewis is done, but Matt still sells me boards. Calsurf, I think, but I’m not sure. Scott, if you read this call me.

Any thoughts on sponsorship?

I’m trying to enjoy skateboarding on a personal level and push myself for me. I’m not worrying about other people or getting spon-

Gaps or Flatland?
I like rails and stairs now and then, but I’m not as into that stuff now as I used to be. I’ve been learning new tricks.

Like what?
I learned 360 no complies, backside nollie
heels, nollie tres, and I finally got switch heels

How was skate camp?

I got burnt on traveling and burnt on the kids
enthusiasm about learning basic tricks. It’s
important that they learn to push with their back
foot. And, there were too many Walmart
boards, but for the most part it was a good time
and a great opportunity.

Will you do it again next year?

Hopefully Europe next year.

Word. Anyone you want to say hello to?

What up to Reagan, Ed, Dom, John Pietz, Matt
Roesch, Andy Paulsen, Dan Jackson, Sean
Hanly, B.J. Morrell, Jeff, Brendan, Muldoon,
Adam Dalin, Scott at Calsurf, Eric Trausch, and
Gregg Witt.

I’ll try to change this interview around to

make you look cool.

Sweet, eeeya!

Jesse Reed

Know Your Rights:
Can You Sue?

Have you ever been told by a business owner that

“You can’t skate here, cause if you fall

and hurt yourself you could sue?”
We asked former pro skateboarder turned skateboard lawyer Phil Esbenshade what the law says in this situation:

The short answer to your question is, yes, a skater could indeed sue a business owner, but there are wrinkles in the common
law relating to this area: A 'trespassing' skater could generally not sue, but where the business owner is aware that skaters are
frequenting his property, the owner must warn skaters of hidden man-made dangers. If he does not, he could be liable. If the
owner posts signs, it is not an automatic release from the above liability. The key is whether the owner is aware of the tres-
passing skater, and whether a dangerous man-made condition exists that the owner had a duty to warn about.

I'm quoting general “common law.” State specific law could differ here and there.

Phil Esbenshade is a lawyer that helps the skater get out of trouble after he is arrested or ticketed.
Check his website at
Calling Collect
Brian Perry’s
Skateboard Memorabilia
Photos by Brian Perry
When did you start collecting skate memorabilia and why did you start collecting?
I didn't intentionally start saving stuff until around 98 I think. When Muldoon's first boards came out on Goodtimes
I planned on getting some for my wall but I never did. You just kinda take for granted that this stuff isn't going to be
around forever. I did the same thing with LeRoux's stuff in the early 90's. I loved his first graphics but I was too dumb
to save one. Muldoon even had finger boards which I would love to have. So now I make more of an effort to get
my friends boards when they come out. It has spread from local companies to pretty much any skate related stuff. I
get them all signed when possible too.

What is your favorite piece in the collection?

My favorite deck is the old Roots 'Giving Tree' board. I love that book and when I saw that board I thought it was
rad. Still do. Clint's first Consolidated board - and actually his new Stereo deck are up there too. He gives Stillwater
a little shout out on his new deck. Besides that I love the Navarrette palm board. I got it at Target a few years ago.
Something about Darren being a toy for little kids cracks me up.
What's the most you've spent on one single piece of your collection?
I think the Neil Blender drawing. I've bought some stuff on Ebay but it's a little impersonal. I wanted a painted Gonz
really bad so I think I got that for like $150 or something. But the Blender drawing was maybe $300 but well worth
it. He's always been one of my favorites and I love his artwork.

Do you think its important to know the history or roots of skateboarding?

Yes and no. Regular kids out skating on the sidewalk could care less about the history of skating. And why should
they? But the thing is most skaters study the culture without even knowing it. Reading magazines and watching
videos touches on skatings roots all the time. History can become important when skaters do some shit that was
done ten years ago and went away for a reason.
Is there any item out there that you want, but can't seem to get?
There's a lot of stuff I'd like to get my hands on. I focus mainly on local stuff and outside of that I only pick up stuff
that really peaks my interest. Besides the old local pros boards I'd love to get some original Templeton artwork. I'm
always looking for the old Jason Jesse Neptune deck. Randy Colvin had some rad decks too. Or some of the tran-
sitional decks from SMA to World. Jesse Martinez's would be rad.

You've been collecting skate magazines for quite a while, how may do you think you have?
Jesus, I'm not sure. I started subscribing to Thrasher and Transworld in 86. I've got pretty much all of them since
then as well as some of the other mags tossed in. My family had a pig when I lived at home and one day the pig
locked herself in my bedroom and shit and pissed all over like 20 magazines. I threw them all away. I'm still pissed
about that and it was over 10 years ago.
Do you tend to collect more of one item (i.e. decks, posters, etc...) than other items?
Not really. I keep my eyes open for decks more often but I love crappy skateboard toys too. Skating can be really corny
but it's all part of what we do so I'll save the Tony Hawk dolls, the Jackass urinal cakes, MVP2, stuff like that.
Muldoon has the biggest video collection I've ever seen so that's something I've never gotten into. But I'll save clothes,
boards, wheels, stickers, toys, even newspaper clippings. It's almost subconscious. I just set stuff aside and throw it
in a box. One of the best things about being an adult still doing what you loved as a kid is that I can afford to buy a
board and not skate it. That concept alone still kinda freaks me out.

Do you have any other collections?

I've saved nearly every letter I've ever gotten. All the old girl notes and shit. Being dumped, dumping someone, hav-
ing crushes on girls in school so you pretend to be friends with them but you're really just a big dork. I love that stuff.
I save it but there are a lot of letters in there that I won't read until I'm retired, sitting on a porch somewhere. I also
had a big problem with Simpsons action figures. Those are all locked away now. I've got way too many of them.
Interview with Matt Miller

The last time we interviewed you was right before "Wiretap Scars" was released, how have things been going
since then? Great.

Did "Wiretap Scars" do as well as you hoped? That is question that is not very easy to answer... On many levels yes. We
were able to tour the record for 18 months, we gained many fans, and the most important is that is an imprint and record of
who we were back then.

Where did you get the name Porcelain for this new album, and how does its meaning relate to the band?
Jim originally brought us the name. What it means right now for us is the duality of porcelain. It a very strong and enduring
material but at the same time it shatters easily. I think it very representative of our band right now.

Was there any thing you did different on this new album that you didn't do on "Wiretap Scars" and how did
that effect the way Porcelain sounds? We did everything different, from the writing process all the way through the
recording process. We spent six weeks writing the record in a house slash studio in Joshua Tree, California and then proceed-
ed to record the record in a studio in Los Angeles. We recorded the entire musical foundation live and in 12 days. It is very
important for us to make records differently every time so each experience is special.
How did Jim becoming the primary lyricist, help make
Porcelain better? We each believe that Jim made an incred-
ible step up. It gives a focus to the record, even though each
of the songs are different.

How do the sound of your new album and "Wiretap

Scars" compare? They are completely different and it prima-
rily due to the fact that we recorded live, not to say that
Wiretap is inferior, but this record flows and moves and has
tension pulsing all through it.

How long did it take to write and record Porcelain?

Writing was six weeks, six weeks in the studio, and 3 weeks
doing vocals in El Paso.

With "Wiretap Scars" you toured all over the U.S. and
Europe, will you be doing the same with the new
album? But of course, we are working band and love to tour.

What is your opinion on the current government, and

the War in Iraq? I think it is obvious. I do not believe in a
war for oil and I do not support our current President.

Have you found it harder to tour in some foreign countries since the war started? To a certain degree, because
many people believe that every citizen in the U.S. supports the current president and war. So they actually believe that we do
as well. Plus we don't feel very safe traveling abroad because there is a lot of hate for Americans around the world right now.

Did you get a chance to hear the Mars Volta "De-Loused in the Comatorium", and what did you think about
it? Sure, but I think that is a silly question ask because there are many other albums that are out there. Why only ask about
that one... humm. Besides I am not going to talk shit, like you are probably hoping that I do.

You covered a song on the Jawbreaker tribute, how did you get involved with that and how has Jawbreaker
influenced your band? We originally were asked to do it and were given the freedom to choose any song from their cata-
log. We all thought it would be fun to do. Jim is a huge Jawbreaker fan, so that was very cool for him. I never really listened
to them but when we were working on the song I became a fan.

I do not believe in a war for oil and I do not

support our current President. Matt Miller
Mike Carlson - 50-50 around corner - Photo: Eric Widi
Chris Dietz - Ollie - Photo: Brad Delong

Mike Carlson - Kickturn on Extension - Photo: Eric Widi

Chris Dietz - 360 Flip over box - Photo: Brad Delong
Swimmer’s Ear Magazine
9201 Garland Lane North #226
Maple Grove, MN 55311

Photo: Mike Carlson