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Mike Vallely: Real Street / Extended Cut (2015).

Shot & Cut by Ted Newsome.

Music: Older Sun / What You Need

Catchin' Air

They go to church
They go to school
Grounded by the gravitational pull

In Tom Groholski’s backyard
We dare to fly
Aim our boards into the sky

Catchin’ Air

They go to work
They yearn for sleep
Grounded down week after week

In Tom Groholski’s backyard
We dare to fly
Aim our boards into the sky

Catchin’ Air

They get old
They seek the grave
Grounded by their own decay

In Tom Groholski’s backyard
We never age
Above the lip, these are the days

Catchin’ Air

Kristian Svitak Face Plant Board on his All-Terrain Shape — Available Now!

8 1/4 x 32 1/4
Wheelbase: 14 1/4
Nose: 7 1/8
Tail: 6 3/4

Music: Dangers


Kristian Svitak x Eastern Skate Supply Advertisement as seen in Issue 138 of The Skateboard Mag and Issue 422 of Thrasher Magazine.

Photo: J Grant Brittain

Skateboard Mag Ad

Street Plant is honored to be one of the sponsors for the Pure Fun Skate Video Night on August 7 in Willamsville, NY.

Mike and Ann V will be attending!

Dipson Eastern Hills Cinema
4545 Transit Road
Williamsville, NY 14221

Starts at 7 PM

skate video night - full page

The Switchblades And Urethane Music Festival at Alex’s Bar in Long Beach, CA on July 19 was a huge success. Thanks to everyone who came out and supported.

Confusion Magazine has a great write up about the event (with video and photos) here!

We are going to do it again and soon! Stay Tuned!

Missed it? Get your Switchblades And Urethane T-shirt here!

Additional coverage from Pistol Magazine.

Revolution Mother at Switchblades And Urethane. Photo: Andrew Jimenez

Revolution Mother at Switchblades And Urethane. Photo: Andrew Jimenez

We are honored to be sponsoring this skate-rock music festival at Alex’s Bar in Long Beach, CA. We will be at the event selling boards, T-Shirts and other apparel! See you there!

July 19
At Alex’s Bar
Long Beach, CA


The Duane Peters Gunfight
Featuring Duane Peters

Featuring Chuck Treece

Revolution Mother
Featuring Mike Vallely

The Pushers
Featuring Riky Barnes

Powerflex 5
Featuring Salba and Corey Miller

Skatanic Rednecks
Featuring Dave Ruel

Tickets available here!!!!

Switchblades New

We will be attending the Summer Market On 1st Street event tomorrow in our hometown of Long Beach, CA. The event is curated by Emily and Lucy. We will be offering up some special prices on boards, t-shirts, hats and socks. Emily and Lucy will also be set up selling vintage clothing and home decor with their vintage shop OHEMV. We’d love to see you all out there and to say hello. Come out and support OHEMV and Street Plant and the other awesome local vendors.

Summer Market On 1st

Our first ad as seen in Issue 11 of Confusion Magazine.

Confusion Issue 11 Ad

By: Kyle DuVall

Although the Woolly Mammoth graphic that adorned Mike Vallely’s first New Deal pro model in 1991 started out as an homage to his past and a joke about his future, over the years it has come to represent much more.

New Deal Mammoth. 1991.
New Deal Mammoth. 1991.

New Deal Mammoth. 1991.

“New Deal was very apprehensive about signing me. They only signed me because I was such good friends with Ed Templeton,” Vallely explains. “The thinking at the time was: ‘this is the New Deal. You’re the old deal, but they wanted Ed to be happy so I guess they thought: to make Ed happy, we’ll put this dinosaur on the team. So Andy Howell’s idea for the graphic was like this: ‘Dude, you’re extinct, and this is probably your last pro model, we should poke some fun at you…’”

New Deal Ad. September, 1991.

New Deal Ad. September, 1991.

For a skater who was always intensely involved in advocating his own graphic ideas, it might seem odd that Vallely would accede to the concept. Then again, the sentiment portrayed was not completely out of line with Vallely’s own feelings in ’91.

“I was sort of given the Mammoth graphic, but at the same time there was no rejection on my part. Inside I knew better about my skating, but, in another way, I couldn’t really argue with anybody. At the time skating really was changing. The idea for the board didn’t come from me, which was rare at the time, but when I saw it I embraced it.”

If extinction was the intended theme, Vallely’s skating during his short stint at the Deal combined with the image that actually wound up on the board, ultimately put the graphic in quite a different context. Sure, the mammoth was an extinct creature, but in it’s world, a world of saber-toothed cats and cave bears, the mammoth was the ultimate survivor. With its scroungy fur, imposing tusks and swinging trunk, artist Greg Higgins rendering of the mammoth conveys strength, not surrender. It’s half-lidded eyes are focused directly to the front. It looks ready to charge ahead, not lay down and die.

Vallely’s segment in New Deal’s “1281” video would definitively turn the tables on that graphic’s original theme. Positioned at the end of the video as a sort of swan song for an outmoded 80’s hero, Vallely’s powerhouse edit didn’t come off as a retirement party, but as a statement on a new era, an era of old and new, technical and aggressive all coming together under New Deal’s sun.

“Every era I was involved in, every video I was involved in, I continued to press and plead my case and try to prove every time that a broader style was going to have a place,” says Vallely. “As much as people would write me off on paper, when the videos came out it would always be ‘oh shit!’ I think the 1281 part turned out to be a pretty damn good part. It was distinctly different from everything that was happening at that time, and I think that’s what made it work.”

The skating Vallely was actually doing might have been better represented in the Mammoth’s top graphic, a design which combined a native american symbol Vallely interpreted as meaning “burning forward” with the New Deal sun logo.

Burning ahead or not, Vallely’s tenure at the Deal was doomed to be brief. The 1281 segment was his only video part, the Mammoth the only board from his time at New Deal that anyone remembers. Still, both the skating and the deck had real significance.

“1281 may be the real departure point for me,” says Vallely, “The point where I went from being on the front lines of the cutting edge to just pushing my own skating without it being bookended by the times”.

After ’91 professional skateboarding was increasingly being funneled into a very distinct direction, a direction with clear stylistic benchmarks for “legitimacy”. Progression only “counted” if it was progression down one particular path. How high you could ollie didn’t matter if you couldn’t flip off both ends of your board as well. By ’91, for many skaters, doing what came naturally, especially what came naturally for Mike Vallely, was either a statement of dissent or signifier of obsolescence.

“It’s not that I wasn’t progressing. My skating was just going in its own direction,” Vallely recalls. “I’ve never been “anti” anybody’s skating. I really vibed off of what people like Armando Barajas and Ed Templeton were doing and I always sampled what was interesting to me at the time. I did get into some nollie flips, flipping in and out of tricks, but I’ve always found my way back to my own skating. Some of that stuff stuck, but most of it didn’t.”

Ollie on a Mammoth Prototype Shape. From the pages of Transworld Skateboarding Magazine. 1991.

Ollie on a Mammoth Prototype Shape. From the pages of Transworld Skateboarding Magazine. 1991.

If Vallely was taking an alternate path, the board he took it on was both a callback to 80’s concepts and a glimpse of things to come. The Mammoth graphic was one that would have looked equally at home spray painted on a subway car or inked on the pages of a comic book. Greg Higgins art, with its cartoon and graffiti influences was undeniably at peace with the graphic concepts Andy Howell was pioneering at New Deal, but with its connection to Vallely’s past history of board graphics, it didn’t seem forced, like many of the street-art inspired graphics imposed on other veteran pros at the time. Even though it was Howell’s concept, Higgins’ execution made It look like something Vallely might have come up with himself.

“It’s real telling how people react to it today,” says Vallely. “It’s a real meaningful graphic to people who were skating at the time. I get great feedback on it, that and the shape is a real great shape.”

At a hefty 9.5” wide, with a blunt shovel contour in the nose, the Mammoth embodied aspects of the 80’s boards that skaters like Vallely used to pioneer street skating, while still embracing contemporary functionality. The generous length of that shovel nose made it ideal for slapping into noseslides and popping off nollie tricks, and it’s round-edged tail was pure early 90‘s. The board is wide in the front pocket, but its taper to a skinner tail and rear truck area was a precursor to the contours of the “popsicle” and “football” designs on the horizon.

Street Plant Mammoth. 2015.

Street Plant Mammoth. 2015.

“That shape is real telling of how I was still engaged with what was happening with board shapes at that time,” says Vallely. “I could have continued to skate that ’91 shape for the rest of my career. That is the shape I ride right now.”

Past, present. Today, yesterday. It all came together in the Mammoth back in ’91 when old and new were fighting it out for dominance on the streets. Now, in 2015, with old school and new school embracing each other in a big ol’ bro hug of bonelesses and no-complies, the Street Plant Brand Mammoth may be more relevant than ever. Either way, one thing is certain: extinction is not on the agenda.

Kyle DuVall had been writing about skateboarding almost as long as he has been skateboarding.