Zines, well, mostly skateboard and BMX zines, defined my formative years. They were our network of news, stories, interviews, events, art, and pictures. It’s very difficult to describe how an outmoded phenomena like that worked once such epochal technological change, one that uproots and supplants its cultural practices, has occurred. FREESTYLIN’s reunion book, Generation F (Endo Publishing, 2008), has a chapter called “The Xerox was Our X-Box,” and that title gets at the import of these things. As I said in that very chapter, “Making a zine was always having something to send someone that showed them what you could do, what you were up to, and what you were into. Ours was the pre-web BMX network” (p. 116, 122). All nostalgia aside, zines are making a comeback, albeit in book-form. Anthologies of old, DIY photocopied publications are making their way through the labyrinth of quasi-traditional publishing.
The true gems of skateboarding zines include Andy Jenkins‘ Bend, Tod Swank‘s Swank Zine, Joe Polevy’s Rise Above, Rodger Bridges‘ Dancing Skeleton, Grim Ripper, and Power House, and Garry Scott Davis’s Skate Fate, the latter of which has just been collected into a fierce 320-page book, Skate Fate: The Best of Skate Fate: 1981-1991 (Blurb, 2011). In one of my own zines a while back, Rodger Bridges said of Garry Scott Davis,
GSD changed my life. He taught me design. Post-zine design. Pre-computer design. He made me perform leading on long-ass articles by hand, and checked my accuracy by pica. The progenitor of skeleton-less moves that changed skateboarding, skate zine and grunge typography/design. Way before what’s-his-name. In my book at least. And it don’t stop. He don’t stop. I’ve received multiple packages in multiple mailboxes due to multiple relocations over the years since our physical paths diverged. All of them filled with evidence of his creative continuum. CARE packages stocked with vinyl and plastic from his band CUSTOM FLOOR, back issues of Arcane Candy, and thick-ass zines chronicling life, Stingray obsession, and ongoing brilliant collaborations. My Skate Fate collection has survived hurricanes and flooded garages, sacredly stored in boxes and solidly kept dead-center. I can remember how it sounded when I shot Garry from deep within Mt. Baldy Pipeline — 10 o’clock or so at 4 p.m. some Friday (probably) approaching two decades in the rear-view and dead set on forward momentum.
A little closer to home, Greg Siegfried’s zine Need No Problem was a mainstay of our quaint, little Southeast Alabama skate scene. Hailing from Ozark, Greg was the first of us to skate and is still going strong. Need No Problem chronicled the comings and goings of ramps and spots and those who rode them not only in Ozark, but all over the Southeast.
Inspired by GSD’s The Best of Skate Fate book, Greg recently compiled all of the issues of Need No Problem into one volume. Like all of these collections, it’s a compilation of snapshots from an era that has long passed, the current incarnations of same having moved online years ago.
I have toyed with the idea of compiling my zines into a single volume, but alas having not been as diligent as Rodger Bridges, I am missing many issues. Mike Daily is putting together an Aggro Rag collection, which will totally rule… Anyway, I cannot overstate the importance of the experience of trading and making zines. As I said in Generation F, “Those first issues were the first steps on a path I still follow” (p. 117). Still true.
I marshal the middle between Mathers and McLuhan.