The Formative Years – Skateboarding, Punk and Globe

Skate culture and the niche it has created for itself as part of punk rock culture has always been an interesting sub-genre of the movement.

Musically, especially the early skate core bands infused the scene with a refreshingly high-energy, fast, and melodic tinge, which took hold instantaneously via bands like Circle Jerks, Descendents, Big Boys, Jodie Foster Army and Suicidal Tendencies, which created fertile ground for a myriad of pop punk bands that were to blossom over the next two decades until the genre infiltrated mainstream territory and eventually had Avril Lavigne serenade us about her “skater boy”.

Aesthetically and as far as fashion was concerned, the connection between the vehemence of punk and the aerial stunts skateboarding added an interesting facet to the mix with innovative and fun couture.

An entity that captured my imagination in the early 1990s was an Australian one that by that time already had evolved from the underground Melbourne skate scene to a company with a global footprint in the realm of skate, street, and surf culture, graced with the befittingly telling name Globe International. While my peers decked themselves out in Thrasher and Vans gear, my trusted go-to was Globe.

Ever since the days of appearing on the scene with its debauched skate tours, Globe International became synonymous with skate and later surf- and snowboarding culture in the 1990s and by never having not been disconnected or out of touch with the enthusiasm that drives skate enthusiasts has remained relevant to this day.

While specific styles and fashion has undergone ebbs and flows, I was reconnected with Globe International again recently because of their Living Low Velocity approach to sustainability.

With the core interests of Globe being closely associated with outdoors activity and nature not unlike mine, they made a deliberate effort and took the logical next step off the fast fashion treadmill and transitioned to using more sustainable fibers in their fabrics with less impact on the environment while creating more durable products to eliminate waste, e.g., by using recycled polyester made from plastic bottles and certified organic cotton to limit the use of pesticides.

While remnants my days of actively skating cannot even be seen in the rear mirror anymore, it has been replaced with hiking, running and other outdoor activities, with the ambition to not let the implications of seasons, terrain, or adverse weather conditions hinder my undertakings, which means that proper gear to weather the elements is crucial, especially in countries and territory where fashionable and flimsy gear won’t cut it.

In those moments it feels reassuring to be able to fall back on a reliable entity like Globe, who deliver with the recent collection including a versatile waterproof-breathable Breaker Spray rain jacket, which is not only breathable, suitable for sweat-inducing activities and made in an eco-aware manner but also designed in a way that does not hurt the eye.

I still dig their utilitarian staples like e.g., the timeless old school Foundation pant, which in terms of versatility has yet to see an occasion that it would prove to be completely out of place for, no matter if you are channeling your inner Tony Hawke or going for a smart casual look. 

Having just lived through the Australian winter months, Globe’s flannels, some of which come in enhanced jacket (“shacket”) varieties, do a perfect job of keeping me warm without bulky layering.

Skateboarding shoe-wise, Globe’s Los Angered boots are testament to things having evolved quite a bit over the years in terms of fit and features, specifically when it comes to the use of long lasting Nuback eco-leather, ollie protection for durability and shockbed insoles for impact control. An added bonus is that Globe gives lifetime guarantee for its Low Velocity products, so grind away confidently.

Good to see entities that started it all still have a connection to what it was all inspired by at the core, i.e., being compelled by the possession to skate.

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image from company website

Prestel Publishing

A Visual Protest: The Art of BANKSY

There is no shortage of books on Banksy and his art and no vestige of dwindling interest with the anonymous street artist still being active, popping up around the world to grace our urban surroundings with performative commentary and visual protest.

I must own close to ten books on the subject with some going more in-depth than others and if I were to recommend a single one on Banksy, it would be this one as it spans his entire career and does a great job at illuminating how he works and why he does what he does. Close to eighty of his works are carefully examined and portrayed in an opulently illustrated manner, conveying the vibrancy and context of where they eventuated.

With the author Gianni Mercurio being a luminary in the realm of pop art and graffiti, the recipient is guided through the stages of Banksy’s approach and his artistic process while highlighting what must have influenced the man and how movements like e.g. situationism must have coined his commitment to the subversion of violent protest.

Embedded in essays and contextualising documentation, this is an excellent and timely appreciation of Banksy in a coffee book format and an ode to an essential artist who continues to push boundaries in a bid to challenge the status quo and expose oppression in a manner that resonates with all facets of society with the acute awareness of both the agenda of the oppressor as well as the impact on the oppressed.

A Visual Protest comes as close to being a Banksy encyclopaedia as can be.

The Unseen Archive of Idi Amin 

Idi Amin is arguably one of the most brutal despots in the history of mankind with his dictatorship rampant of human rights abuses and oppression leaving close to half a million causalities in its wake.

As the title suggests, The Unseen Archive of Idi Amin offers unprecedented access to a collection of the Uganda Broadcasting Corporation, which are comprised of photographs taken by his personal staff in a bid to portray his regime in the brightest of colours. Contextualised and arranged thematically, the photos show how Amin tried to secure support via orchestrated propaganda and how he tried to change the public perception of his persona by staging arts and communal events.

Contextualised by essays of experts in the field and archival documentation, the book offers thought provoking and fascinating insights into a dark historical chapter of humanity, which culminates in a portrayal of the lessons learned and how the knowledge can be used for the betterment of Uganda at large and the circumstances of its people.

The Formative Years – Crucifix

Discharge coined a whole genre with their first 7”s and laid the foundation with how they channeled their emulation of the percussive backbone of early Motorhead and Buzzcocks’ songs.

While there is no shortage of D-Beat bands, few of them proved to be as intense and original as the genre’s pioneers. The ones that were, created masterpieces that stand the test of time to this very way.

Crucifix could be considered the US’ answer to Discharge with their metal-tinged political hardcore punk and both their first 7” from 1982 as well as their “Dehumanization” album released a year later on Crass’ Corpus Christi label are solid 10 out of 10 anarcho-punk albums with its unique ground-breaking melange that was marrying California hardcore with early British crust core.

The raw power of the band oozes off the vinyl with both the band and their Cambodian born singer sounding like they are trying to break themselves in halves with their furious onslaught. Seldomly have I come across an album that so perfectly marries brutal on point distorted riffage, speed and adrenaline fuelled passionate outrage like Crucifix does with their wall of sound.

The original album came with an expertly designed six-panel foldout poster sleeve and together with the lyrics about the evils of the world, oppression, displacement and mistreatment of human rights, it not only comprises everything that attracted me to the objectives of punk and inspired me to form my own band, but constitutes a monumental release that feels like the hardcore punk equivalent of lightning in a bottle.

The fact that the band hit the scene, searched and destroyed and dissolved in 1984 only adds to the appeal.

Thus Let Us Drink Beer

Sunday Road and Fox Hat Brewing

Sunday is widely considered to be the best day of the week for many reasons. For one, it is usually a day off and dedicated to relaxation, time with your loved ones, indulgence with sleep ins, leisure activities, brunches, et cetera. 

And yes, it also rhymes with “funday”. 

On the other hand, it offers opportunity to work on things we are passionate about, which is what made it the best day of the week for Sunday Road’s founder Brad Walker as he used Sundays to hone his skills in the realm of homebrewing – a hobby that he enjoyed so much that it became the ultimate aim of every week, hence “the road to Sunday” becoming a symbol for doing the things he loves.

Sunday Road has evolved significantly from the homebrewing days and with its operations situated in the beautiful surrounds of the Royal National Park, it pumps out its delicious core brews interweaved with carefully curated limited releases, with consistency at the core of their endeavours as they enjoy having people fall in love with their accessible beers instead of reinventing the wheel for the sake of novelty. 

As an ode to one of the hiking trails of the National Park Sunday Road Brewery is situated in, their Coast Track Lager adds Sunday Road’s idiosyncratic twist on the traditional German pale ale lager style by amplifying the citrus and floral notes, which are counterpointed by a delicate bitterness.

An example par excellence for their flavourful emissions is their well-balanced and accolade decorated Cryotherapy Hazy IPA. 

While it is not the most eccentric IPA in terms of the flavour profile, it ticks all the boxes a hophead could hope for: Based on a foundation of Sabro, Mosaic and Cascade hops, which delivers a pine residue deliciousness and a delicate bitterness, it sets the stage for the fruity highlights to shine in form of citrus, passionfruit and mango flavours.

Taking things to the next level is Sunday Road’s ruby tined Sunseeker Red IPA, which won me over instantaneously with its immense malt backbone clocking in at bitterness of 50 IBU, on which a range of clearly distinguishable fruity, caramel and berry flavours comfortably rest. 

With an ABV of 7% a veritable tour de force in terms of big flavours and a recommendation for any Amarillo, Galaxy and Falconers hops aficionado without running danger of entering overwhelming territory.

So far, so good.

My favourite of the bunch, however, is the mouthful that is the double oat cream IPA known as Dust From A Distant Sun.

Constituting a collaboration between Sunday Road and Bintani, who contributed their Victorian crop which was then married with a melange of New Zealand and Australian hops and a generous serving of oats, this babyh comes with deliciously smooth and juicy body, around which vanilla, lactose and mango do their magic before the affair is being rounded out with the faintest hit of bitterness.

I cannot wait to try one of Sunday Road’s Double IPA…

Fox Hat Brewing

If you follow this series it would have not gone unnoticed that I love bold IPAs and discovering breweries that excel at brewing them, especially if they have not been on my radar so far. 

While there are gems to be found with a lot of breweries within the confines of the mushrooming craft beer scene in Australia, there are few that consistently deliver quality when it comes to the untamed variants of beer. 

Sure, there is a lot of experimentation and a smorgasbord of flavours on offer, but it takes skill to create bold flavours which not only overwhelm but portray distinguishable nuances, which is where Fox Hat Brewing found its niche. 

Originally founded to complement the mass compatible line-up of Vale Brewing’s established core offerings, Fox Hat set out to push the boundaries in every way possible by unearthing and tweaking homebrewing recipes with new hop variants and having fun with it.

My first exposure to Fox Hat was via their West Coast style Metric IPA, and boy, was I in for a treat. The first sip instantaneously kickstarted the citrussy and piney hop party on the top of my mouth and further accentuated it with an exuberant bitterness clocking in at 80 IBU. 

With an alcohol content of 7% it packs a bit of a punch and makes a perfect companion to a dram of the sweet and smoky Ailsa Bay. The name is definitely a telling as it feels that a metric ton of hops have been used to create it. 
Lip smackingly good.

Thought the Metric IPA was taking things into the stratosphere as far as flavours are concerned? 

Think again.

Fox Hat’s Red Pelt is its fierce, red hued bigger India Red Ale sister, which in terms of intense flavours takes things almost into stout territory with its dark coloured toffee colour. 

In every aspect possible, the Red Pelt amplifies things to eleven with an ABV of close to 8%, avalanches of hoppy piney residue, which are rounded out by a malty and syrupy backbone set against a heavy-hitting bitterness of 88 IBU.

A brewery that I hope will continue to boldly stride the path they have set out on.

The Formative Years – Big Boys

There is a myriad of intense punk and hardcore bands that coined my radicalisation, but then there are bands that blew my mind, expanded my horizons and exposed me to one could interpret punk a tad differently away from the stereotypes of what everyone else was doing, which added an appealing facet to the mix. 

Big Boys was a band that perfectly embodied the idea that punk is freedom and a state of mind. 

Founded in Texas, Big Boys was unique in that as early as 1981, they infused punk with funky, irreverent, fun and openly gay elements, while not diluting the essence of what a hardcore punk band was supposed to be under the Reagan regime.

From the get go, Big Boys incorporated R&B, soul and even disco elements without attempting to ridicule the respective genres but marrying it with the core tenets and furiousness of punk rock. 

Visually, the Big Boys lived up to the band’s name, yet instead of buying into the machismo of the scene, the core line-up of Tim Kerr, bassist Chris Gates, and frontman Randy "Biscuit" Turner, the band crossed dressed or wore costumes on stage, adding an important visual component to their shows, which had a lasting effect on anyone coming across their antics – both in positives ways as e.g. Ian MacKaye would attest to as well as in the negative stance the Bad Brains took.

Big Boys remain one of the true innovators and pioneers of punk rock not merely because they shaped of what skate punk was to become and the channelling of seemingly unrelated musical styles to create their unique brand of sound, which in a live environment resembled to be the equivalent of block party with invitations being extended to join them on stage to sing along and dance.

To this day I regret to have sold my Pushead designed Big Boys Zorlac skateboard, as there is hardly another physical subject from that era that would better embody the trinity that made punk important for me. 

Having created the foundation, Big Boys was a soulful band whose true legacy and impact is still unfolding and impacting how underground music evolves.