EXPLORING INNOVATION & INVENTION
MORPH
The use of a 20 megahertz Apple Quadra 700 and Photoshop 2.0 – with only one undo – enabled the blending of sequences into single images (Albeit with the clock spinning 56 minutes of each hour.) While such techniques became commonplace in snowboarding media, this composite image of Ninja Jay Isaacs stands as the first of its kind in the sport’s history.
3D
Subltly offsetting red and blue channels in an image, then using red and blue lenses to concentrate the colors colors in each eye – created a three dimensional image on a magazine page. Initial uncertainty about its effectiveness with smooth gradient images prompted a test in one of the first issues of Ei Magazine. The results exceeded expectations, proving graduated depth possible in flat, cmyk images. This experimentation led to two dedicated issues the regional magazine startup Ei, and a 3D issue of Snowboarder Magazine. Other magazines like the WWE Magazine and Sports Illustrated (2002 Swimsuit Issue) followed soon after Snowboarder’s nationwide release..
TERRAIN PARKS
Today, virtually every snowboard park in the North America is designed by someone trained at Ski Area Management Magazine’s Cutters Camp. This legacy traces back to Snowboarder Magazine’s era of innovation in event development, particularly through the creation of the Cutter’s Cup. After five seasons, the magazine’s flagship event, Superpark, had begun to stagnate. To revitalize the concept, a photoshoot was reimagined as a contest for park builders, with a name inspired by a 1970s film, Breaking Away. At the time, resort terrain park teams operated in isolation, fiercely guarding their designs as competitive secrets. The Cutter’s Cup introduced a competitive framework: four resort teams were given 30 hours with a snowcat of their choice and 12 hours in a metal shop to construct a park and rail feature. Professional athletes in attendance served as judges. The unintended consequence of this first of its kind competition: collaboration. Crucially, the event marked the first time park builders openly exchanged ideas with their so-called competitors. Its success proved transformative, prompting Ski Area Management to adapt the concept into their own signature program, the Cutter’s Camp. This initiative continues to train virtually every terrain park designer in North America, reshaping the industry’s landscape, literally.
BUYER’S GUIDE
The Buyer’s Guide Issue (traditionally released in September as the first issue of the new season) was the thickest magazine each year. Serving as the primary platform for advertisers to debut new products and marketing campaigns, it also signaled the season kickoff for dedicated riders. Historically, the Buyer’s Guide was a labor-intensive publication produced by the magazine staff. Editors attending the SIA trade show would set up a photo shoot room at the convention center, then spend days hauling new products back and forth between vendor booths and studio. After four years of this grueling process — involving ten-plus mile days during the trade show — it was time for a change to our ‘rain maker’ issue.
A revised strategy was developed to address three key goals: improve trade show experience for editorial teams, empower brands to spotlight priority products, and transform a costly production into a revenue generator. The redesigned Buyer’s Guide achieved all three. Brands could purchase unlimited pages at half the standard advertising rate, with the entire issue structured as curated advertising content using templates provided by the magazine. Editorial teams gained freedom to explore the trade show at their own pace.. Most critically, the overhaul flipped the financial model, transforming a $75K annual expense into a $400K net profit.
This innovative framework became the standard for Snowboarder Magazine until its closure two decades later and was adopted by competitor Transworld Snowboarding Magazine, cementing its influence across the industry.
COLABORATION
While brand collaborations are now commonplace, this wasn’t always the case. The ski and snowboard industry’s first-ever collaboration — the Pabst Blue Ribbon Beer Goggle — originated during a tenure as International Marketing Director at Swiss sporting goods company Scott Sports . This groundbreaking partnership redefined marketing possibilities for winter sports, blending unexpected brand synergies into a product that preceded hundreds of future cross-brand collaborations.
ADVERTISING
The campaign involved equipping Scott’s winter sports athletes and professional motocross riders with remotely triggered 35mm film cameras strapped to their chests during training sessions. Mike Basich (a photographer and team rider) operated cameras from the sidelines, synchronizing shots to document dynamic angles previously unseen in action sports marketing. This approach generated unprecedented imagery, resulting in one of the most widely discussed advertising campaigns in Scott Sports’ 67-year history. More importantly, it re-launched Mike Basich’s career as both athlete and photographer. Years later, the invention of GoPro would make POV footage ubiquitous.
DISTRIBUTION
When launching Snowboard Magazine, the importance of marketing fundamentals became central to gaining market share in a long-established industry. The solution centered on differentiating the publication across every dimension. This included elevating production quality through premium paper stock and a larger trim size, reimagining content with product-focused coverage and high-end photography, and adopting a distinct editorial approach. However, it was the innovative distribution strategy that ultimately drove the publication’s immediate and extraordinary success.
At the time, most magazines relied on newsstands and subscriptions for distribution. To stand out—and rapidly scale distribution—we targeted retailers where advertisers’ products were sold: snowboard shops. The publication distributed 50 free copies to every shop in North America, instructing retailers to either sell them or offer them as a complimentary gift with any purchase.
During the brand’s first trade show, potential advertisers were challenged to poll their distribution networks about their preferred publication. The outcome solidified the magazine’s place in the industry: millions in advertising commitments materialized. Competitors soon adopted the same Point of Purchase Distribution model. This approach went on to redefine specialty publication distribution industry-wide as the primary distribution model for specialty publications today. Snowboard Magazine was its pioneer.
HATS
Today, New Era’s flat-billed 5950 hats are widely recognized as the gold standard for headwear, but this wasn’t always the case. In the early 2000s, New Era served as the official hat supplier for the MLB and NBA while operating a small custom division in upstate New York, producing limited-edition hats for prestigious golf courses like Pebble Beach and Augusta National. A turning point came after noticing a friend meticulously shape his pinwheel-style Utah Jazz hat before a night out. His attention highlighted an opportunity: while people might wear a free T-shirt occasionally, a well-designed hat often becomes a daily staple.
When inquiring with New Era’s custom division about creating hats for a new publication, the initial response was dismissive. We countered: “Make our hats or we won’t make hats at all.” Reluctantly, New Era agreed to produce 300 fitted flat guy-billed 5950 hats for distribution at an upcoming trade show.
The hats became an instant sensation, dominating visibility across the event. Major brands like Burton and Oakley inquired about their origin, and within a year, New Era responded to the growing interest by launching an action sports division and expanding operations to the West Coast. This pivot not only validated the strategy but also cemented the 5950’s status as a cultural icon, with New Era’s subsequent growth reflecting broader cross industry recognition of the product’s appeal.
WEBSITE
During the early days of WordPress and Drupal, Snowboard Magazine partnered with Cameron Barrett, creator of the BLOG (Daily Web Log), to develop the sport’s first dedicated CMS website. A custom content management system streamlined updates, but the site’s defining feature was its user-driven model: regular visitors could submit content for staff moderation, with standout posts promoted to the homepage. Within months, the platform attracted over 100,000 unique monthly users, many of whom actively contributed articles, photos, and updates. This influx of user-generated content—combined with organic growth—quickly positioned the site as snowboarding’s most trafficked online destination, setting a benchmark for audience engagement in the industry.
EDUCATION
A core initiative of guiding the marketing for Windell’s Camps included conducting comprehensive marketing research to identify potential competitive advantages for the camp. Key insights emerged: parents valued education, while campers prioritized fun. Bridging these priorities, the concept of integrating education with passion-driven activities—like snowboarding—emerged as a potential model to engage kids in learning.
To test the idea, a classroom was introduced at Windell’s Snowboard Camp. A course on product design was developed, applying Charles and Ray Eames’ design process to teach campers how to conceptualize and create branded hats. The collaborative process resulted in the design shown here. Windell’s later adopted this educational framework, rebranding as Wy’East Academy to reflect its expanded focus on blending skill development with creative exploration. The initiative underscored how merging practical learning with recreational interests could resonate with both campers and their families.
GEOLOCATION
Following the sale of the magazine, efforts shifted toward advancing digital media innovation. Extensive analysis led to a foundational insight: physical location shapes how individuals interact with the world. Collaborating with former DEFCON Hacker of the Year JP Stoermer, the first geolocation-based platform was developed. Functioning as a program triggered on page load, it dynamically aggregated real-time data—such as snow conditions, live webcams, trail maps, resorts, retailers and other users—based on the user’s geographic position.
This platform pioneered real-time geolocation integration years before such technology became mainstream, setting a precedent for digital to real world experiences. While the platform itself is no longer operational, its foundational concept—leveraging location to tailor content and services—proved prescient. Within a decade, geolocation technology evolved into a cornerstone of digital innovation. This early experiment highlighted the transformative potential of context-aware technology, foreshadowing trends that continue to redefine user engagement today.
PARTICIPATION
Working in sports media provided extensive exposure to major global sporting events, including five Winter Olympics and involvement in athlete selection for the X-Games over a decade. Following the sale of Snowboard Magazine, a transformative heli-skiing expedition in Alaska revealed an underutilized opportunity: fewer than 20 people were experiencing the planet’s most exceptional mountains and snow conditions. This experience sparked a mission to make Alaska’s terrain more accessible.
After months of development, the concept of Tailgate Alaska emerged—a festival-style event inspired by professional motocross and supercross pit areas. For over 15 years, the gathering drew riders worldwide to test themselves against formidable Alaskan peaks, prioritizing personal challenge over competition. The ethos centered on participation, inviting everyone to engage rather than spectate. Soon after events like Tough Mudder and Spartan Race gained traction, similarly rooted in collective participation. Notably, Tailgate Alaska became recognized as an early pioneer of this participant-driven movement.
MUSIC
A snowboarding friend also happens to be one of the most successful reggae DJ’s in the Bay Area. His crew is involved in a scene unique to reggae which are called Sound Clashes. A Sound Clash is a battle between two groups of DJs where they play alternating tracks to try to win over the crowd – who serve as judge. A part of these events are having custom songs made by famous reggae artists shouting out the crew – which are called Dub Plates (Dub signifying the audio overdub and plate being a one off vinyl record.) This idea was simple – to pass off Tailgate Alaska as my ‘DJ Sound System’ – by aligning the marketing message of the event with an existing reggae hit. Below is an example of a song performed (and made famous by) Sizzla Kalonji called Be Strong as a marketing piece for Tailgate Alaska.
After making a few songs to promote the event with famous reggae artists, my DJ friend told me he had Michael Rose from Black Uhuru in the studio. Instead of the typical song to market the business, the special honor of having a legend sing a song called for something special, a special dedication of love to my young daughter – instead of the typical battle Dub Plate. Below is the world’s first Love Plate, a special dedication of love. Today, when a prominent Jamaican athlete, musician or gangster gets married, the event is commemorated with a custom song as a special dedication of love. There are thousands of Love Plates in existence today – this one was first.
TRADESHOWS
Tailgate Alaska emerged as a prominent advocate for the backcountry snowboarding industry in Europe, introducing an innovative concept at ISPO, the world’s largest sporting goods tradeshow. Recognizing that many backcountry snowboarding brands were small and unable to afford traditional trade show presence, the Tailgate Munich concept was developed. This approach involved dividing a large booth into smaller, more affordable wall spaces, enabling brands to participate without significant financial burden. The concept quickly gained traction, with over 30 brands showcasing their products in the Tailgate Munich area, becoming the single largest snowboarding booth at the show occupying a 15 X 30 meter space. Alongside product displays, the area featured presentations on backcountry safety and live interviews with renowned backcountry athletes, drawing considerable attention. The success of this model led ISPO to expand the concept across the tradeshow, creating dedicated areas for niche products. Within two years, major industry events such as Outdoor Retailer adopted this trade show format, further solidifying its impact on the industry.
PODCASTING
Following the completion of 100 long-format podcasts within six months, efforts shifted toward identifying effective strategies to promote the full catalog. This led to the creation of a companion guidebook, with each page dedicated to summarizing an episode and incorporating a QR code for direct access to the corresponding audio content. Titled The Snowboard Project Yearbook, the guide debuted at PodFest’s annual event, where it received widespread positive feedback. The project’s reception subsequently prompted an invitation to present a keynote address at PodFest Asia.
OTHER PROJECTS
