Friday, March 16, 2018
Some recent drawings...
3/14/2018- Homeless stuff, now back to work
I spent the last couple afternoons working on getting my community service transferred here so I can put in my hours. The clock was ticking and I finally got halfway stable, so I could deal with this. I managed to get arrested for trespassing last fall while buying a pack of donuts in a grocery store during business hours. Really. It's the kind of thing that can only happen to homeless people.
In the course of re-scheduling the hours I need to put in, I had to tell the ladies there where I live. I also told them I had created my own job, as an artist, since this had happened. That was a tough sell, since it's not every day they hear a story like that.
Everyone thinks that if you're homeless that it's mandatory to go stay at a shelter. But going to a shelter is pretty much like going to jail, by choice. If you have no ambition, and don't mind hearing five guys snore in the same room, having sketchy guys wake up at 4am to steal your socks, and being woke up at 5:30 am for no good reason, then shelters are fine. But I was able to get going in the local art scene and get a ton of work lined up precisely because I DIDN'T stay in the shelter. But that's a hard sell to people who know nothing about homelessness. In any case, they ladies I dealt with yesterday were really helpful, and I'm glad I got things squared away so I can put in the work time. Thanks ladies.
So now, I have a 4 to 5 solid weeks of artwork to do. It doesn't pay a lot for the hours, but it's all paying work. I also have to clock in 50 hours of community service AND pay a $250 fine soon. So I'm gonna be a busy guy for a while. And, of course, doing all this stuff sets back the date when I can finally get some kind of place to live by a month or more. But that's life.
Also, since I had to tell ladies associated with law enforcement where my campsite is, I knew that anything was possible when I got back to it last night. Someone found it, looked through my stuff, and were hanging out not far away when I headed in to go to sleep. I heard a lot of people trampling around outside my tent, and they didn't seem to happy, but I'm still here today. So... back to work.
In the course of re-scheduling the hours I need to put in, I had to tell the ladies there where I live. I also told them I had created my own job, as an artist, since this had happened. That was a tough sell, since it's not every day they hear a story like that.
Everyone thinks that if you're homeless that it's mandatory to go stay at a shelter. But going to a shelter is pretty much like going to jail, by choice. If you have no ambition, and don't mind hearing five guys snore in the same room, having sketchy guys wake up at 4am to steal your socks, and being woke up at 5:30 am for no good reason, then shelters are fine. But I was able to get going in the local art scene and get a ton of work lined up precisely because I DIDN'T stay in the shelter. But that's a hard sell to people who know nothing about homelessness. In any case, they ladies I dealt with yesterday were really helpful, and I'm glad I got things squared away so I can put in the work time. Thanks ladies.
So now, I have a 4 to 5 solid weeks of artwork to do. It doesn't pay a lot for the hours, but it's all paying work. I also have to clock in 50 hours of community service AND pay a $250 fine soon. So I'm gonna be a busy guy for a while. And, of course, doing all this stuff sets back the date when I can finally get some kind of place to live by a month or more. But that's life.
Also, since I had to tell ladies associated with law enforcement where my campsite is, I knew that anything was possible when I got back to it last night. Someone found it, looked through my stuff, and were hanging out not far away when I headed in to go to sleep. I heard a lot of people trampling around outside my tent, and they didn't seem to happy, but I'm still here today. So... back to work.
Thursday, March 15, 2018
Another blog milestone- Thanks
With that last post about Dave Vanderspek, this blog hit the 20,000 total page view milestone. As big time blogs go, that's not a lot. But for a weird little blog like mine, that's really good. Thanks everyone for checking out my stuff, I'll try to keep it interesting... most of the time, anyhow.
Wednesday, March 14, 2018
The big thing I learned from Dave Vanderspek and the Curb Dogs
Blog post: The big thing I learned from Dave Vanderspek and the Curb Dogs
Dave Vanderspek head shot, as they call them in the entertainment industry. Courtesy of Maurice Meyer. Pro BMX racer, pro freestyler, super promoter, contest promoter, and BMX pioneer.
Dave Vanderspek was the visionary leader of the whole Bay Area scene, and he started the Curb Dogs bike and skate team. At that time, there were a few factory teams that toured every summer, The BMX Action Trick Team, Haro, GT, and CW teams were the best known. But when the magazines took a poll of the most popular teams, the Curb Dogs were always ranked right up among the factory teams. At the time, every little group of BMX freestylers around the country had a trick team in their area. We had one when I live in Idaho. Ron Wilkerson started the 2-Hip Trick Team when he lived in San Francisco. Chris Lashua and Dennis Langlais had the GT/Mountain Dew team on the East Coast. The Curb Dogs were the only completely independent team that ranked with the top teams in popularity time after time. The main reason was the Dave Vanderspek was an incredible promoter.
But Dave also came across as a kind of goofball. At a time when Bob Haro and R.L. Osborn were working to look respectable and be clean cut businessmen, Vander was more like Jeff Spicoli in the movie Fast Times at Ridgemont High. Check out this clip of Dave doing damage control after skaters got a bit rowdy at a show and the police were called. This was the Dave we saw and hung out with. He was the opposite of the clean cut business guys like R.L., Bob Haro, Bob Morales and others at the time. I think that's why the magazines loved him so much, you never knew what Dave was going to do or say. He was fun to hang around, and he could RIDE. And he could skate well, too. But it was hard for me to take him seriously when I first got to know him. And I was jealous, as were some other riders, of all the coverage Dave got in the magazines.
At the same time, the Bay Area BMX freestyle scene was the best scene in the country. Vander, Maurice Meyer, Robert Peterson, Oleg Konings, Rick Allison, and Hugo Gonzales were the pros we all got to hang out and ride with. The Ground Control team, the top amateurs at the time, included Chris and Karl Rothe, Mike Perkins, Mark McKee, Darcy Langlois, and John Ficarra. Down in San Jose, where Hugo lived, was his brother Oscar, John Vasquez (an INSANELY good rider), Vince Torres, Mike Golden and others. The posse came together every Sunday afternoon in Golden Gate Park to session. Once a month or so, most of us gathered in Foster City (halfway between S.F. and San Jose), where Robert Peterson worked, and the Skyway guys set up their ramps, and we all sessioned. During all the time in between, we rode by our selves or in small groups in our area.
Over 20 years, I was a part of many BMX and freestyle scenes; the Bois, Idaho local scene, The Spot in Redondo Beach, CA, Huntington Beach Pier scene, the P.O.W. House/S&M Bikes crew, and Sheep Hills. I met and hung out with nearly all the riders around the country in those days. There were many really good scenes that had influence over BMX and freestyle as it evolved. But none of those scenes compared to the Golden Gate Park/Curb Dogs scene. And the main reason was Dave Vanderspek. He set the tone. Somehow, when the rest of us were mostly trying to promote ourselves and get coverage and sponsors, Dave recognized the importance of building the actual scene. That attitude was shared by the other pros and the rest of us. They wanted all of us to improve. They wanted all of us to get sponsors and coverage when possible. The better riders were always helping out younger and newer riders learn new tricks, or better style.
In those days, in every scene I was a part of, we would hide the new tricks we were working on from the other riders. Even Jay Bickel and I in Idaho, when there was only two of us, we would work on a new trick in secret, and be able to pull it off, before we'd show it to each other. But the Golden Gate Park/Curb Dogs crew was different. I could show up at Golden Gate Park, and tell everyone about some idea for a trick, but could not come close to pulling off yet. Unlike every other riding scene, the other riders would give me (or any of us) ideas and tips, and they wouldn't even try to steal my idea until I could do it. That was true of every rider from pro to the newest kid who showed up. We could share ideas for new tricks, and it was our trick, and the rest of the posse would be stoked to see us finally land it, and then get it wired. Only then would the other riders try to learn our trick. That little bit of difference in how the scene operated made a huge difference. Because of it, we all improved as riders, but also as people.
Dave Vanderspek didn't always show up at Golden Gate Park on the weekends. At the time I thought that was lame. We all made the trip from around the huge Bay Area, and Dave wouldn't be there sometimes. I didn't realize that it was because he was out promoting and doing things that would ultimately help all of us, and riding in general. The Golden Gate Park scene, and the Curb Dogs and Skyway teams, had a big influence on the freestyle world.
Vander put on the first BMX halfpipe contest and the first bike street contest. EVER. He brought punk rock and D.I.Y. attitude into BMX and freestyle. The NorCal guys were pioneers of street riding. Ron Wilkerson got the cover of the first issue of FREESTYLIN' magazine at Golden Gate Park. Ron became a top Haro pro, moved to SoCal, went on to promote the 2-Hip King of Vert, Meet the Street, and King of Dirt contests. Those were the first halfpipe and street contest series. Later came Wilkerson Air Lines and 2-Hip Bikes.
My zine got me a job at BMX Action and FREESTYLIN' magazines in August of 1986, and I moved to SoCal. I later worked at the AFA, Unreel Productions (Vision's video company) and produced several early, low budget videos, including vids for the AFA, 2-Hip, and S&M Bikes. Chris Rothe was the first rider I ever saw do a bar ride, though not the very first guy to do it. Karl Rothe went on to become the longtime editor of BMX Plus! magazine. Mark McKee went on to become a graphic designer at World Industries skateboards, and created the most influential skateboard graphics of all time. Oleg Konings did the first scuff trick I ever saw, a couple years before scuff tricks changed flatland forever. The time and attention that Vander and the others put in to creating a great scene, not just a few egomaniacs trying to out ride each other, made all the difference in the world. But I still didn't really get it.
Then, one day in late 1987 or early 1988, some promoter guy held a street and jump box jam in Huntington Beach. H.B. Pier local, and my good friend, Mike Sarrail gave the guy the idea. We got word out, and riders from all over showed up for the jam. During that jam, Dave Vanderspek rolled up on his bike and pulled me aside. Dave told me he noticed how much I had improved as a rider since he first met me, and that he was really stoked that I had worked at FREESTYLIN', and then edited the AFA newsletter. As he was talking to me, he had his back to the whole jam. Over his shoulder I saw Brian Blyther, Dave Voelker and many others blasting off the Stonehenge jump box. It blew me away that Dave Vanderspek, this guy I'd talked some smack about, and was secretly jealous of, literally turned his back on an insane session to tell me he was proud of how I had improved both on and off my bike since he first met me.
And then I got it. Dave actually gave a shit about me. And not just me, but every single kid that rolled up to him at Golden Gate Park or a ramp jam or at a show. He wanted ALL OF US to improve, both on and off our bikes. He was stoked when one of us got a job in the industry or came up with a new trick or had any kind of success. At 24 years old, Dave Vanderspek intuitively understood that by building a great scene, all of us would have a better chance to reach our personal potential. We helped each other. We fed off each other. And we helped invent, improve, and change the bike world forever. That was what he had been doing all along, and I just didn't see it. Finally, at the ramp jam in H.B., I got it. I finally saw why pretty much everyone in the sport was a fan of Vander. That was the last time I ever saw Dave Vanderspek. He died in a crazy and tragic way in the months after.
Now, as a 50-something guy starting over, yet again, I'm trying to take what I learned from Vander and put it into practice in the art scene I'm now a part of here in Winston-Salem. It's my turn to be a kind of Vander, and help this local art scene progress and grow. All of you out there riding or doing some other kind of creative thing, it's your turn to be Vander, too.
Help the beginners and young kids in your scene. Share the D.I.Y. spirit. Become better people on AND off your bikes or skateboards. Do the same in your art, music, film, or other creative scenes. If anyone in your scene does well, you win. You all win. Dave Vanderspek understood this way back when. He lived it. Now it's our turn to live it.
Curb Dogs video, part 1
Curb Dogs video, part 2
1986 "Pacific Currents" featuring Maurice Meyer, ( I'm the guy chasing my bike at 5:07)
Beach Park Ramp Jam local TV segment from 1986
The high temperature here in Winston-Salem, North Carolina is supposed to be 43 degrees today. Really. Hi 5 Vander.
But Dave also came across as a kind of goofball. At a time when Bob Haro and R.L. Osborn were working to look respectable and be clean cut businessmen, Vander was more like Jeff Spicoli in the movie Fast Times at Ridgemont High. Check out this clip of Dave doing damage control after skaters got a bit rowdy at a show and the police were called. This was the Dave we saw and hung out with. He was the opposite of the clean cut business guys like R.L., Bob Haro, Bob Morales and others at the time. I think that's why the magazines loved him so much, you never knew what Dave was going to do or say. He was fun to hang around, and he could RIDE. And he could skate well, too. But it was hard for me to take him seriously when I first got to know him. And I was jealous, as were some other riders, of all the coverage Dave got in the magazines.
At the same time, the Bay Area BMX freestyle scene was the best scene in the country. Vander, Maurice Meyer, Robert Peterson, Oleg Konings, Rick Allison, and Hugo Gonzales were the pros we all got to hang out and ride with. The Ground Control team, the top amateurs at the time, included Chris and Karl Rothe, Mike Perkins, Mark McKee, Darcy Langlois, and John Ficarra. Down in San Jose, where Hugo lived, was his brother Oscar, John Vasquez (an INSANELY good rider), Vince Torres, Mike Golden and others. The posse came together every Sunday afternoon in Golden Gate Park to session. Once a month or so, most of us gathered in Foster City (halfway between S.F. and San Jose), where Robert Peterson worked, and the Skyway guys set up their ramps, and we all sessioned. During all the time in between, we rode by our selves or in small groups in our area.
Over 20 years, I was a part of many BMX and freestyle scenes; the Bois, Idaho local scene, The Spot in Redondo Beach, CA, Huntington Beach Pier scene, the P.O.W. House/S&M Bikes crew, and Sheep Hills. I met and hung out with nearly all the riders around the country in those days. There were many really good scenes that had influence over BMX and freestyle as it evolved. But none of those scenes compared to the Golden Gate Park/Curb Dogs scene. And the main reason was Dave Vanderspek. He set the tone. Somehow, when the rest of us were mostly trying to promote ourselves and get coverage and sponsors, Dave recognized the importance of building the actual scene. That attitude was shared by the other pros and the rest of us. They wanted all of us to improve. They wanted all of us to get sponsors and coverage when possible. The better riders were always helping out younger and newer riders learn new tricks, or better style.
In those days, in every scene I was a part of, we would hide the new tricks we were working on from the other riders. Even Jay Bickel and I in Idaho, when there was only two of us, we would work on a new trick in secret, and be able to pull it off, before we'd show it to each other. But the Golden Gate Park/Curb Dogs crew was different. I could show up at Golden Gate Park, and tell everyone about some idea for a trick, but could not come close to pulling off yet. Unlike every other riding scene, the other riders would give me (or any of us) ideas and tips, and they wouldn't even try to steal my idea until I could do it. That was true of every rider from pro to the newest kid who showed up. We could share ideas for new tricks, and it was our trick, and the rest of the posse would be stoked to see us finally land it, and then get it wired. Only then would the other riders try to learn our trick. That little bit of difference in how the scene operated made a huge difference. Because of it, we all improved as riders, but also as people.
Dave Vanderspek didn't always show up at Golden Gate Park on the weekends. At the time I thought that was lame. We all made the trip from around the huge Bay Area, and Dave wouldn't be there sometimes. I didn't realize that it was because he was out promoting and doing things that would ultimately help all of us, and riding in general. The Golden Gate Park scene, and the Curb Dogs and Skyway teams, had a big influence on the freestyle world.
Vander put on the first BMX halfpipe contest and the first bike street contest. EVER. He brought punk rock and D.I.Y. attitude into BMX and freestyle. The NorCal guys were pioneers of street riding. Ron Wilkerson got the cover of the first issue of FREESTYLIN' magazine at Golden Gate Park. Ron became a top Haro pro, moved to SoCal, went on to promote the 2-Hip King of Vert, Meet the Street, and King of Dirt contests. Those were the first halfpipe and street contest series. Later came Wilkerson Air Lines and 2-Hip Bikes.
My zine got me a job at BMX Action and FREESTYLIN' magazines in August of 1986, and I moved to SoCal. I later worked at the AFA, Unreel Productions (Vision's video company) and produced several early, low budget videos, including vids for the AFA, 2-Hip, and S&M Bikes. Chris Rothe was the first rider I ever saw do a bar ride, though not the very first guy to do it. Karl Rothe went on to become the longtime editor of BMX Plus! magazine. Mark McKee went on to become a graphic designer at World Industries skateboards, and created the most influential skateboard graphics of all time. Oleg Konings did the first scuff trick I ever saw, a couple years before scuff tricks changed flatland forever. The time and attention that Vander and the others put in to creating a great scene, not just a few egomaniacs trying to out ride each other, made all the difference in the world. But I still didn't really get it.
Then, one day in late 1987 or early 1988, some promoter guy held a street and jump box jam in Huntington Beach. H.B. Pier local, and my good friend, Mike Sarrail gave the guy the idea. We got word out, and riders from all over showed up for the jam. During that jam, Dave Vanderspek rolled up on his bike and pulled me aside. Dave told me he noticed how much I had improved as a rider since he first met me, and that he was really stoked that I had worked at FREESTYLIN', and then edited the AFA newsletter. As he was talking to me, he had his back to the whole jam. Over his shoulder I saw Brian Blyther, Dave Voelker and many others blasting off the Stonehenge jump box. It blew me away that Dave Vanderspek, this guy I'd talked some smack about, and was secretly jealous of, literally turned his back on an insane session to tell me he was proud of how I had improved both on and off my bike since he first met me.
And then I got it. Dave actually gave a shit about me. And not just me, but every single kid that rolled up to him at Golden Gate Park or a ramp jam or at a show. He wanted ALL OF US to improve, both on and off our bikes. He was stoked when one of us got a job in the industry or came up with a new trick or had any kind of success. At 24 years old, Dave Vanderspek intuitively understood that by building a great scene, all of us would have a better chance to reach our personal potential. We helped each other. We fed off each other. And we helped invent, improve, and change the bike world forever. That was what he had been doing all along, and I just didn't see it. Finally, at the ramp jam in H.B., I got it. I finally saw why pretty much everyone in the sport was a fan of Vander. That was the last time I ever saw Dave Vanderspek. He died in a crazy and tragic way in the months after.
Now, as a 50-something guy starting over, yet again, I'm trying to take what I learned from Vander and put it into practice in the art scene I'm now a part of here in Winston-Salem. It's my turn to be a kind of Vander, and help this local art scene progress and grow. All of you out there riding or doing some other kind of creative thing, it's your turn to be Vander, too.
Help the beginners and young kids in your scene. Share the D.I.Y. spirit. Become better people on AND off your bikes or skateboards. Do the same in your art, music, film, or other creative scenes. If anyone in your scene does well, you win. You all win. Dave Vanderspek understood this way back when. He lived it. Now it's our turn to live it.
Curb Dogs video, part 1
Curb Dogs video, part 2
1986 "Pacific Currents" featuring Maurice Meyer, ( I'm the guy chasing my bike at 5:07)
Beach Park Ramp Jam local TV segment from 1986
The high temperature here in Winston-Salem, North Carolina is supposed to be 43 degrees today. Really. Hi 5 Vander.
Tuesday, March 13, 2018
Rachel's "Fresh From The Vine" radio show
Since I met Rachel from Designs, Vines, and Wines a about 4 months ago, I've been spending more and more time hanging out there. It's just plain fun. That's all I really need to say. Creative people hanging out, doing projects, spitting poetry and spoken word, Melvin (featured in this show) sending out some beats. It's just a cool place to hang out. In addition to giving some wall space to newer artists like myself, Rachel now is doing a weekly radio show about her passions, wine, art, creativity, wine, music, wine, organic gardening, the Trade Street art scene in Winston-Salem. Oh, and wine, did I mention the wine? And I don't even drink any more. Rachel's studio is in the middle of the Trade Street Art District of Winston-Salem, in Studios at 625, at (you guessed it) 625 Trade Street downtown. Cruise by if you're in the galaxy.
Here's the first show. Tribal beats. A few laughs. A message from our last president. And some poetry. Enjoy.
Monday, March 12, 2018
Wintry mix sucks: 3/12/2018
I saw a dusting of snow and had sleet falling when I headed out this morning. Halfway to the place I eat breakfast, a few big, beautiful snowflakes started coming down. It was snowing heavy by the time I got there. It's about 35 degrees, deep slush all over the place, and I was walking around a bunch today. I had to go to the library to print a photo, then walk to a place to make some photo copies. I don't have boots, so I was doing my best to keep my feet halfway dry. It didn't work. But I did. I got started on the next drawing I have to do today. I work seven days a week, I'm working on building my art and writing in a business, after all. It doesn't matter what the weather does, I need to keep going, and get as much done as I can.
You can't make a living as an artist... can you?
This video is actually a promo video for Shopify, an e-commerce service where you can build your own online store. It's an alternative to Etsy and other ways to sell your creative work online. I just like this video because it gives a great look at actual working artists. They're not household names. Their work doesn't sell for millions at auction. They're real people who've blended their creative work with business and make a decent living and live the kind of life they want to live. That's what most of us creative people want to do.
So... can anyone else do that? When you tell people you want to make a living as an artist, there's this age old idea that a handful of fruity, crazy people in New York and L.A. make money doing art, but it's impossible for anyone else. I'm 51 years old, I've been working for 2 1/2 years towards making a living from my art and writing, and the whole time more traditional people around me have been saying things like, "That drawing is nice, but why don't you go get a REAL job?" The funny thing is, I decided to focus on my Sharpie drawings to earn money when I couldn't find a "real job."
Being an geek about macroeconomics and big picture thinking, I dug into books that research and project where work itself is headed in the United States. Million of the high paying factory jobs have either gone to other countries or been replaced by industrial robots or other technology over the past 40 years. About 35% of workers now belong to what researcher Richard Florida calls the "Creative Class," people who make their living primarily using their brains and creativity. That's tens of millions of people. But most of that group are tech workers and management and similar types of work. As we head into the future, millions more jobs will be taken over by new tech like Artificial Intelligence, machine learning, and even better robots. Creativity is seen as one of the key traits necessary to make a decent living in the next couple of decades by the tech leaders.
But can you actually make it as an artist? Can you actually make a living as a painter, designer, sculptor, writer, or musician? The vast majority of everyday people will tell you it's not possible. Fuck them. Check out this page of stats about working artists by the National Endowment for the Arts. As of 2015, over 2 MILLION people made their living as an artist of some kind. A total of 4.7 million people made a living in the "Arts and Cultural" sector. That's a lot of people. Artists also tend to be much more entrepreneurial than the general public.
So yes, IT IS POSSIBLE to make a living as an artist in the U.S.. That doesn't mean it's easy, but it is possible, and millions of people do it. Take that haters.
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