Thursday, August 30, 2012

Special Launch on Aggro Rag




The Ins and Outs of the Female Reproductive System” Produced by D. Howard; Co-Produced by Cloudy October; Bass Written and Played by Gamma Knife; Cuts by DJ Void

AGGRORAG.COM LAUNCH SPECIAL OFFER: 1st five zine orders will each receive Aggro Rag Freestyle Mag! The Hip-Hop Issue Number 13 + a limited edition CD copy of The Metal Jerk courtesy of Cloudy October + free stickers from Subrosa, Shadow Conspiracy, S&M and Intrikat. Bang the button to the right to hook it up.

Sunday, August 26, 2012

Ed Jodie @ The O.G.

Ed Jodie paid a visit to Austin,Texas. He may soon become a official resident of Austin. There was a ton of riding going on for the past 3 days while he was here. This is just a very small clip of his riding. We are looking forward to adding another solid rider to the ATX Flatland Crew. Be sure to watch out for Ed at the Texas Toast/ Flatland Round Up 8

Aggro Rag #13 Review


When my copy of Aggro Rag showed up at my door step. I was truly honored that Mike Daily himself contacted me about doing a review of #13. I didn't know what to expect but I knew I was in for a treat. Ever since the release I have been seeing photos of it posted up on the Internet. Promotion of Aggro Rag 13 The Hip Hop edition had begun.
I open it up and all of a sudden I was transported back to 1985 when I had started riding the very first time. I got the same feeling that I used to get when reading a Freestylin Mag. Its full of interviews of the riders that I grew up with back in the day. It was very nice to add to my collection of BMX history. One of the first things I noticed was the signatures. I kept looking at them and was in total marvel that each rider had taken the time to sign a page. That gave it a very personal touch and made this zine that much more special. If you are a rider, young or older, there is something in #13 for you. For the younger riders, you will get an up close look into the past and see how things have changed over the years. For the older riders, you will get a chance to see whats going on with some of your favorite riders from back in the day.
Since this is the Hip Hop Edition there are some great articles on some Hip Hop Artists that you may or may not be familiar with, such as Aesop Rock, Dark Time Sunshine and Death Grips. I have linked each artist to one of their You Tube Videos for you to check out some new music. You will even find a freestyle rap done by DMC aka Dennis McCoy.
 
This is a must have for everyone to add to their collection. So here is how you get it!

Cost per copy is $10 shipped 1st Class to U.S.

Cost per copy is
$11.50 shipped 1st Class International to Canada and Mexico.

Cost per copy is
$13 shipped 1st Class International to Worldwide.

Call dibs or email Mike Daily to secure a copy, and PayPal to: mickogradylives@hotmail.com
Selling single copies only. Thank You!

"Ride First, Read Later."

Related Link
http://www.bmxfreestyler.com/2012/08/bmx-freestyler-exclusive-aggro-rag.html

http://www.flatmattersonline.com/aggro-rag-issue-13

BMX FREESTYLER EXCLUSIVE: AGGRO RAG FREESTYLE MAG! INTERVIEW EXTRAS


On July 31st, I wrote to “Rad Dad” Mark Dandridge, creator/curator of BMXFreestyler.com, and asked if he’d be interested in running “Extras” from interviews I conducted for Aggro Rag Freestyle Mag! Number 13. (“Extras” meaning “material I had to cut due to space limitations.”) I asked Mark, “Out of the following riders I interviewed for the zine, which three (3) would you say are your top 3 faves, and why?”

Tim Treacy, Marc McKee, Frank Garrido, Aaron Dull, Chad Johnston, Greg Higgins, Chris Day, Joe Gruttola, Jim Johnson, Adam Jung, Derek Schott, Gerry Smith, Dave Nourie, Craig LePage, Gary "Pinky" Pollak.

Here are Rad Dad’s choices, followed by “Extras” from my interviews including images that haven’t been seen by the riding public. (I pulled some images from The “Large Ray” Tapes, others from back issues of my zine, Aggro Rag Freestyle Mag!)
--Mike Daily

My Top 3 and Why by Mark Dandridge

Chris Day. He was my inspiration when I was younger and still is today. I have been trying to interview him for a while now.

Chad Johnston. Because when I met him I was like, “I have been waiting to meet you in person!” and he said, “I have been waiting to meet you, Rad Dad!”

Gary “Pinky” Pollak. Because when I had a PINKY Squeak Contest not only did he hear about it, he personally mailed me $143 to support the contest. That was an epic day!


CHRIS DAY

Mike Daily: How did you get hooked up by Life’s a Beach?
Chris Day: When I was living in San Diego, Pete Augustin called me up out of nowhere and he said, “Hey, Jason can’t make this show that I need to do for Life’s a Beach. You wanna go?” I was all, “Yeah man! Totally!” He said, “OK, I’ll pick you up and then we’ll go to the show.” He did it: He came by and picked me up—I think he had a big ol’ Chevelle or something at the time—and we went to this show, and it was in a nightclub. It was trippy because we did the tricks on the dance floor—a wooden dance floor. It was the first time I ever did a show for people at a certain place besides riding down at the beach. We walked into this room and they had boxes full of all these clothes and they said, “Grab an outfit and put it on and take an extra couple T-shirts or whatever.” So I did. And they had all these strobe lights goin’ around and there were skateboarders and it was actually a trip. I had never ridden with lights flashin’ around and stuff. That was the first show that we did for Life’s a Beach, and from that point on, I was sponsored by Life’s a Beach. When I got the photos in the magazine, they gave me not only clothes, but they gave me money for every single time I got in the magazines. It was a certain amount for a one-page color or a one-page black and white, or even half a page—they had a tier of how much money they paid you. And if you remember, I got a bunch of two-page color spreads that came out all in a row. And that’s because they designated me as one of the test riders for Freestylin’—me and Pete Augustin. That was so awesome. I decided to move from San Diego to Redondo to live with my dad, because I had that opportunity to not only get in the magazine, but be sponsored and live the dream BMX life right there in Redondo. So I said, “Mom, I’m just gonna move in with Dad. That’s my dream: to ride freestyle and get in the magazines.” That’s how I wound up makin’ the move. Freestylin’ put me on the team and I was in the magazine every month, so I got checks from Life’s a Beach. It was like $300 for a two-page color spread. For a 17-year-old kid, that’s a lot of money.


That is good money—especially for you at 17—but it paid off for them because your style was so unique. You had so much attention on you and what you were doing that it must have sold a lot of Life’s a Beach stuff. Chase Gouin, for example, has a Life’s a Beach Bad Boy Club tattoo on his arm.
[Laughs.] Yeah, I forgot about that. That was a culture that Life’s a Beach was developing as their company. They had a whole company full of surfers and skateboarders and bike riders and motorcycle racers. One of the owners was an amateur race car driver. So everybody that was there was fully into being the best at what they did, and being really aggressive about it. That’s why they had the whole No Fear Bad Boy Club. That whole image and everything was completely counterculture at the time: Everything was all good and happy and bright colors and politically correct, and they were skull-and-crossbones and middle finger-to-everybody and they put a condom in giant-size on the back of a T-shirt, so it was just completely different. It blew people’s minds and that’s what made it so cool. That was Pete Augustin’s style, too. He was into skull-and-crossbones and Slayer and heavy metal music, so I kind of picked up on that and I got into it myself. Especially when I moved into an apartment in Lomita after my dad kicked me out at 18. My dad said, “Well, if you’re not goin’ to college, you’re out of here.” So I took all the money I had and me and Pete got a little two-bedroom apartment in Lomita. From then, I started growing my collection of heavy metal music and stuff. We’d go to the music store and buy like picture discs and stuff like that. Yeah, we raged on heavy metal music and rode all day and we skated at night. That was pretty much all we did.

Were the Plywood Hoods an influence on you? Because you went on and did all of the major rolling tricks…
Yeah, for sure. The Plywood Hoods were a vital influence on everybody in flatland then, but I had a different take on it. My whole thing in riding was: I wanted to be an inventor. I wanted to invent new tricks. That was really my whole goal every time I went out and rode: to do one more new variation of a boomerang or a tailwhip or go from a certain whip or a boomerang into something else. So I kept a list of all the tricks that I wanted to do or was workin’ on. So for me, it was all about inventing. I wanted to be a guy that came up and created tricks that would live on into the future. I wanted to learn all the tricks that were out there just so I could say, “Yeah, I can do that trick.” I knew every trick when it came out. So it’s like, “Oh, cherrypicker? OK, boom. Check that one off, I got that one…” I learned all the tricks that came out—when they came out—but I didn’t necessarily keep doin’ ‘em all the time, because I was really most of the time working on new tricks that I was trying to invent. You know, like, you do a backwards rolling wheelie on the peg, and I wanted to reach down and grab the tire in a certain way, or something like that. That was really my whole perspective, in addition to being really aggressive and fast. I wanted to be known as a rider that was fast. I wasn’t a slow rider. I wanted to do a hundred boomerangs and a hundred tailwhips as fast as possible. That was kind of my thing. Then I wanted to go into a bunch of other tricks in-between. When I had the most amount of energy, that was my riding style: boomerangs, tailwhips, rivets, boomerankles…the kind of stuff that you could constantly keep goin’ and goin’ and goin’ and goin’ and goin’. That, for me, was everything. When the rolling tricks started coming out and I saw Kevin Jones…God blessed that guy. He changed everything. We all idolized him. When you guys came out and the whole thing was hang-5s and whiplashes and then hitchhikers and all that stuff, it blew everybody’s mind because it no longer was using brakes. It was all rolling and there was no stopping. It’s funny because I kind of felt guilty learning the tricks because again, I’m an inventor—I want to invent my own new tricks—and here were all these new tricks comin’ out that everybody was all crazy over. I felt guilty, but I also felt a sense of obligation to learn the tricks. It was almost like I did it in secret. I would go down into the underground parking area at The Spot, and I would learn the hang-5s and the whiplashes and locomotives and all the scuffing tricks. I learned ‘em in secret because I didn’t want anybody to say, “Hey, look at Chris! Now he’s doin’ everybody else’s tricks!” That was a slam that a lot of people put on other riders: that they just did everybody else’s tricks, and they just went through a checklist. They’d go out and do their routine in a contest and pretty much do the standard tricks that were the best ones they could do to try and get a good placing And I didn’t care about that. As a matter of fact, I really didn’t ride very well in the contests! [Laughs.] And that’s because for one thing, you had to wear a helmet back then. I never rode with a helmet, so when I’d go out—and I was already nervous in front of hundreds, if not a thousand people lookin’ at you—yeah, I got real nervous. Especially at the big AFA events. It totally changed my riding. All of a sudden they call your name out and boom: My stomach starts churning and I had to put on a helmet and go out and do my routine. It threw me off, so I’d wind up touching a bunch of times. That’s why I didn’t always place real high. I wound up getting better at it but looking back, I wish I would’ve worn just a plastic skate helmet. I probably should’ve just changed and entered Pro because they gave you more time, so that probably would’ve helped, too.


CHAD JOHNSTON

Chad Johnston: I’ve been a fan of Aggro Rag ever since you guys first started distributing it.
Mike Daily: Thanks. When you say “distributing,” it was pretty much hand-to-hand or through the mail…
Yup. I had a couple copies and that’s how I got ‘em—probably from you or Lung or Kevin at an AFA comp back in the day.
 

Is it an optical illusion or were your one-piece cranks really bent in the photo of you in Issue 11 of Aggro Rag?
[Laughs.] I’m sure they were really bent. I went through those frequently. I finally upgraded to some Sugino 400s—the Redline cranks. Shortly after that photo was taken, I was able to upgrade.
So you did a lot of street riding.
Yeah. Sometimes it was like 50/50, but I was never completely committed to street. I’ve always been influenced by street. I prefer to watch it.
You bent the cranks jumping and stuff, right?
Yeah. I’m pretty sure that was around the time when I was havin’ fun with wall rides. It probably got beat-up from a couple rough landings. Heavy landings.
Do you remember what you were doing in that picture?
I’m pretty sure I was exiting a trick. I had a swivel-type move and then I would do an over-and-out. I think Jason Parkes used to call it a switcharound. That was the ride-out.


So the Intrikat bike you ride is totally brakeless? You don’t have a coaster on it, right?
No, but I did consider a coaster for a while. A buddy of mine—Bill Freeman—he had the brakeless LTF set-up with the coaster brake on it. He was doin’ some really cool things with death truck and stuff. I thought about it, but I’m pretty happy with the freecoaster. I think I’ll stick with that.


GARY POLLAK

Mike Daily: You toured with Ceppie and Dizz, right?
Gary Pollak: Yeah, I did. I don’t remember what the year was, but to make a long story short, it was me, Scott [Guarna] and Mike Cutillo. None of us really worked at the time and it was in the summertime, so we followed the CW tour around. That’s how actually I ended up getting like a little co-sponsor—goin’ to a couple of the shows and showin’ off and then finally McGoo’s like, “Yeah, you can ride ramps.” So I ended up ridin’ the ramp and the wedge, and they were just like…in shock. And then I guess it was the next year that I was picked up and I was travelin’ with those guys.


The year that you were picked up and you were touring with them, what uniform was that? Was it the white one with the lavender, or was it the black and pink one?
It was the original one: the lavender with the white and black. Believe it or not, I still have all my jerseys and leathers in storage at my parents’ house.
Do you still have any of the bikes?
No. I have a couple GTs from back in the day—that’s it—but nothing CW. Very limited parts. If you look at now the way that people collect stuff, you look back and you’re like, “Wow, if I woulda kept some of this stuff…” The majority of the stuff was hand-me-down stuff to friends in the neighborhood that would ride. Why not, you know? You’d get something new and it was like: “Oh, here you go. I don’t need this. I would just throw it in the rubbish.”


Friday, August 24, 2012

Thursday, August 23, 2012

Texas Flatland Roundup 8 / Texas Toast

Here are the details on the flyer. Join the facebook event page. Make comments and let us know that your going to attend. This one is going to filled with riders from all over the place!

Facebook event page
http://www.facebook.com/home.php#!/events/396917463691420/

Monday, August 20, 2012

Sunday, August 19, 2012

Matthias Dandois Wins Dew Tour

photo by Scott Obrien

History has been made and Flatland was apart of the Dew Tour. Thanks to everyone that made it happen. Big props to Joe Cicman for the amazing detail on Twitter during the whole event.

Please follow @footprintsinSpam

Wednesday, August 15, 2012

Texas Flatland Roundup 8 Hype Interview


With the Texas Flatland Roundup 8 around the corner (October 13-14) I thought it would be a perfect time to do some hype interviews. I could not think of a better way to start them off than with the creator himself, Chris Balles.
Chris, you have been holding down the Texas Flatland Roundup for 8 years. How did you come up with the idea to hold a contest every year in Texas? Well, when I put the first one together I never imagined 8 years later that we would still be going strong. I remember thinking that I hope people even show up and as you know the first one was very successful. The Roundup was hugely influenced by Elevation (the contest Hector Garcia put on) and Voodoo Jam. It was after the first Voodoo Jam that I had gone to and Hector was no longer doing elevation so I felt the need to throw something down in Texas. I couldn't do it myself so I went to a website called BMXFREESTYLER.COM and emailed the creator of that great website, some dude named Mark Dandridge and we got together and created THE TEXAS FLATLAND ROUNDUP!
This year it’s a little different because the Roundup will be combined with Texas Toast, what was the concept behind this? It was actually a fluke. Taj Mehelich was planning to do his Texas Toast on the same weekend I was planning Roundup 8. He contacted me and asked if I would be interested in doing together as it wouldn't make sense to have two major BMX events going down at the same time 30 miles apart from one another. We figured it would be amazing to have one big full on BMX event. So the Texas toast/Roundup was born!
What was your favorite Texas Flatland Roundup so far and why?Gosh, There are a few that have been very memorable for different reasons. The first one of course because I didn't know what the hell I was doing when I was putting it together and it turned out great. Roundup 2 was awesome because of the vibe and the riders that showed up. Terry Adams, Justin Miller, Matt Wilhelm. I couldn't believe that these big named riders were at the Roundup in San Marcos, TX. I was floored! Roundup 7 when Jesse Puente showed up!! I've been a fan of JP for over 20 years and it was awesome to watch him ride at the Roundup. Roundup 6 when both my kids were there, Ian helped out a bit and my little guy, Michael who was only 6 at the time told me I was the coolest dad ever for putting on the contest every year. Man, it’s hard to choose just one.
I think Texas Flatland Roundup was the first to do an older class now known as “Vet Class” is there any plans to have a “Vet Pro Class”? That is an idea that we have tossed around. I don't know, we will have to come up with a way to separate modern day pro riders who are over 30 (or 40) and old school Pros from the 80's and 90's who truly are Pro material but can't effectively compete against riders like Mathias or Uchi. It certainly will be a challenge but I think it's something that may make a d├ębut in Roundup 9 or 10.
The past 4 years have been at the Hays Civic Center with a very large area. What will the floor be like in the new venue? LARGER!! Everything is big in Texas, Right?? The Texas Flatland Roundup 8 will be held in a 10,000 sq. ft. warehouse. Our goal is the have a practice area separate from the contest area. This way if a rider chooses to practice right up until his run, he could do so.
Being attached to the A.M. Flatland Circuit has brought a ton of attention to the Roundup this year. How did this come to be?Steve Lapsley contacted me last year and we actually wanted to have Roundup 7 as part of the circuit but it was too late. Steve thought Texas would be a perfect place for the year end results and of course I will do anything to push flatland and make the Roundup bigger so I was all for it.
Any last shout outs? So many!! First, I like to thank my family. My parents have supported flatland since day one, when I was younger driving me to all the AFA contests back in the day. They still help with the Roundup one way or another whether it's watching my son while the contest is happening or just going to the contest to show their support. There have been times where I had to do something for the contest and it took away time from my kids Ian and Michael. I love my kids so much. HUGE thanks to BMXFREESTYLER.COM and Mark Dandridge for all he does to keep people motivated and to keep flatland alive in the United States. BIG thanks to everyone who has ever come to the round up whether spectator or competitor but a REALLY big thank you to everyone who's been to everyone, Art Thomason, Cesar Calderon, "EZ" Chris Anderson, Kelly Baldwin, Jim McKay, Mark Dandridge. I know I'm leaving some people out so I apologize but big thanks and recognition to you guys as well!! I'd like to thank the LULAC organization for allowing me to have the Round up at their county fair/BBQ cook off for the past four years. I'd also like to thank my ex-wife. Even though we went through some crazy drama and we are no longer married she fully supported Texas Flatland Roundup 1 and 2. If it wasn't for her there probably wouldn't have been a Round Up to begin with so, thank you Stephanie!

Texas Flatland Roundup VII: the movie! from jm mckay on Vimeo.

Related Links
http://amflatlandcircuit.com/

http://www.odysseybmx.com/dailyword/2012/05/texas-toast-jam-2012/

Coming soon:
http://www.texasflatlandroundup.com