BL!SSS Magazine | April 2014 | #80

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THE DYL AN GRAVES PACK When Dylan Graves isn’t traveling the world, getting tubed, blasting airs, or making time with the ladies, he likes to doodle!

Dylan gave us some art he did on a brief stop to his home in Puerto Rico, inspired by Caribbean island vibes and his favorite cocktail fruit, Dylan wanted to create a little collection just for you.

Whether you slip on the Thresher and head to the beach, or you grab a pair of Michoacans and hit the town, you’ll be styling...

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ZULU BOARD SHORT | STRYNGER CREW

Derrick Disney

Creators & Innovators

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RANDOMS // 28 PRODUCT REVIEW // 34 PHIL ROBERTS // 36 POSE: THE LISA PROJECT // 38 BEN AIPA // 40 123KLAN RESPECT & LOVE // 42 PAUL ROUPHAIL // 44 THE CRUEL SEA // 46 INSTAGRAM // 48 SUPER TASTE // 50 DEADBEAT CLUB // 54 GROOVE MOVE // 56 JOHN HILL // 62 ZAK NOYLE PHOTO PROFILE // 66 THE ART OF CLEON PETERSON // 74 FASHION // 82 KAI LENNY // 88 EASTBOUND & DOWN // 92 VOLCOM: TRUE TO THIS // 98 HURLEY: BORN FROM WATER ART SHOW // 100 COLLECTIVE: ALL MY FRIENDS ARE PHOTOGRAPHERS // 102 VANS OFF THE WALL SKATEPARK HUNTINGTON BEACH // 104 TONY MOLINA // 106 MUSIC REVIEWS // 108 GROMS // 114

Photo: Jon Furlong

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The Crystal Collection Featuring The Remmy

EDITOR-IN-CHI EF nick kalionzes nick@blisssmag.com

EDITOR joey marshall joey@blisssmag.com

CREATIV E DIRECTOR mark paul deren : madsteez madsteez@madsteez.com

ASSISTAN T EDI TO R spencer pirdy spencer@blisssmag.com

EDITOR AT LARGE liz rice mcCray liz@blisssmag.com

SN OW EDI TO R jon francis jon@blisssmag.com

MUSIC EDITOR max ritter max@blisssmag.com

ADV ERTI SIN G ads@blisssmag.com

CONTRIBUTING PHOTOGRAPHERS Jason Kenworthy, Dominic Petruzzi, Daniel Russo, Toby Ogden, Tom Carey, Brian Beilmann, Jack Coleman, Andrew Mapstone, Adam Moran, Dave Nelson, Pat Eichstaedt, Julien Lecorps, Ryan Boyes, Zach Hooper, Tim Peare, Michael Lallande, Bob Plumb, Peter Morning, Bryce Kanights, Arto Sarri, Anthony Acosta, Cameron Strand, Brian Fick, Deville Nunns, Gage Thompson, Derek Bahn, Tom Cozad, Robbie Crawford, Ryan Donahue, Joe Foster

CONTRIBUTORS Willie Marshall, Daniel Russo, Jason Arnold, Greg Escalante, Nathan Spoor, Tom Carey, Travis Millard, David Choe, Kai Garcia, Mickey Neilsen, Peter Townend, Hamilton Endo, Tawnya Schultz, Mike Murciano, Geoff Shively, Casey Holland, Steve Stratton, Robbie Sell, Andrew Miller, Pat Towersey, Raul Montoya, Ian Dodge, Richie Olivares, Eric Meyers, Kelly Shannon, JP Olson BL!SSS Magazine 413 31st Street

APRIL 2014

Newport Beach, CA 92663 www.blisssmag.com

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Disclaimer: Although all best efforts are made to avoid the same, we reserve the right to publish unintentional mistakes and/or factual errors which may occur on a monthly basis. No responsibility is assumed by the publishers for unsolicited materials/articles/letters/advertising and all submissions will be treated as unconditionally assigned for publication and copyright and/or appropriate licensing purposes subject to Blisss’ right to edit and comment editorially. The views and opinions expressed in this magazine reflect the opinions of their respective authors and are not necessarily those of the publisher or the editorial team. Blisss Magazine reserves the right to accept or reject any advertising matter which may reflect negatively on the integrity of the magazine. No part of this magazine may be reproduced in any form [print or electronic] without prior written consent from the publisher.

ARTIST: CLEON PETERSON

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Monterey Bay Santa Cruz Ocean Beach Golden Gate Bodega Bay Big River, Mendocino Humboldt Bay Seaside Nawiliwili, Kauai Pine Trees, Kauai San Diego La Jolla Encinitas Newport Bay Entrance Huntington Beach Cabrillo Beach San Clemente Los Angeles Harbor Ent. Santa Monica Ventura nasquan Inlet Sandy Hook Fire Island Breakwater Bridgeport Block Island Daytona Beach Santa Cruz Ocean Beach Golden Gate Bodega Bay Big River, Mendocino Humboldt Bay Kailua Kona, Hawaii Hilo, Hawaii Kahului, Maui Hana, Maui Lahaina, Maui Haleiwa, Oahu Waianae, Oahu Honolulu, Oahu Kaneohe, Oahu Seaside Pacific City Ocean Side Garibaldi Nahcotta Tofi no, Bc Key West Panama City Beach Miami Harbor Fort Lauderdale Sebastian Inlet Marthas Vineyard Nantucket Boston Hampton Beach Lawrencetown, Nova Scotia Ferry Reach, Bermuda Eleuthera East Port Morant, Jamaica Santo Domingo, Dominican Republic San Juan Charlotte Amalie St Barthlemy Soup Bowls, Barbados Cane Garden, Tortola Baja Malibu Ensenada San Quintin Todos Santos Cabo San Lucas Pointe A Pitre, Guadeloupe Fort De France, Martinique Belize City Galveston San Carlos Mazatlan Puerto Vallarta Acapulco Salina Cruz Puerto Escondido La Ticla Panama, Caribbean Panama, Pacific Jaco, Costa Rica Nosara, Costa Rica Tamarindo, Costa Rica Pavones, Costa Rica Costa Rica- Carribean San Juan Del Sur, Nicaragua Cape Hatteras Kitty Hawk Virginia Beach Cape May Atlantic City Little Egg Harbor Jacksonville Savannah River Folly Beach New London Newport Corpus Snapper Rocks Columbia, Caribbean Columbia, Pacific Manta, Equador

Josh Kerr

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ARNETTE X THRASHER We’re always down for supporting fresh looking collaborations, and we’ve got to hand it to Thrasher for the blacked-out spin they put on Arnette’s Dropout frame. This shade is signature Thrasher style with an ominous yet crisp look, and it comes equipped with the high-quality lenses and comfortable frames we’re used to seeing from the folks at Arnette. Plus, the Arnette Dropout X Thrasher shade comes with interchangeable arms, allowing you to throw in a lighter shade of grey if your mood warrants something a little less on the dark side. This collectable sunglass comes with the Thrasher insignia on the upper left corner of the lens and a custom box. Look for this must-have shade at all fine retailers or at arnette.com.

GROVE MOVE PREMIERE This month we’re partnering up with our longtime friend and talented filmmaker Jack Coleman in premiering his new movie Groove Move at the Lido Theatre on April 10th. Anyone who’s ever watched one of Jack’s flicks knows that they’re like nothing else out there. Groove Move features the likes of household names Rob Machado, Dave Rastovich, Derek Hynd, Alex Knost and underground sliders like Justin Adams, Ari Browne and Rangi Armond, all riding alternative crafts and blowing minds all over the world in the process. Groove Move already world premiered in San Francisco to a packed house, and it had the audience unanimously enthralled the whole way through. We’re excited to be collaborating with Jack on his DVD release premiere, and we’ll see you all on Thursday, April 10th at the Lido Theatre for what promises to be an epic night.

Doors open at 7:00 p.m. so don’t be late!

HEART CHILD A compelling new documentary by the name of Heart Child has grabbed our undivided attention. In this film, producer/director Ben Duffy chronicles the life of 29-year-old Crys Worley who was born with a rare form of congenital heart disease, has battled with this disease her whole life and, while going through treatment for congestive heart failure, learned her own son, Sasha, had been diagnosed with Autism.

Instead of losing hope and throwing in the towel, Crys courageously tackled her disease and her son’s simultaneously, making it her life’s mission to help alleviate Sasha of any of the pain he was enduring. In doing so, Crys introduced Sasha to skateboarding, which he immediately grabbed onto as a healthy outlet and positive source of expression.

Shortly after, Crys founded A.Skate Foundation, a non-profit dedicated to therapeutically teaching kids with Autism how to skate while instilling acceptance and educating them in the process. The story of Crys and Sasha is an amazing tale, one that anyone can relate to and we suggest you all check it out. To find out more information about A.Skate Foundation and Heart Child, go to www. heartchildthemovie.com.

DYLAN GRAVES FIN The crew over at Captain Fin Co. just got done taking home SIMA’s Breakthrough Brand of the Year award, and you’d think they’d be allowing themselves a little time off to bask in victorious glory, right? Not so. Instead, they’ve been busy at work creating new fin products with their team members, two of which are rider-designed and on the shelves this month. The first is the Andy Davis quad set in black base color with pineapples decorating the sides of all four fins. Built for high speed, while maintaining continuity through turns and directional changes, this set is the go-to for your next board that offers the four-fin option. On the thruster side of things, they’ve got Dylan Graves highly anticipated trio of ‘Disfruta’ fins. Everything from the diverse and witty art displayed on all three to the futuristic mid-fin rake on both side fins has us excited to test them out. Look for both of these intriguing sets at your local retailer or on captainfin.com this month.

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OLLOCLIP ADDITIONS The boys and girls at Olloclip have hit another home run with their latest lens additions to their already stellar lens lineup. With the popularity of Instagram at an all-time high and people shooting photos on their iPhones more so than any camera out there, it just makes sense to pick up an easy-to-use lens accessory that gives you limitless photo options. Our latest care package included the new 3-in-1 Olloclip for the iPhone 5C, giving you colorful additions for your macro, fish-eye or wide-angle lens.

They’ve also released their iPhone 5/5S Macro 3-in-1 lens, allowing for the crispest, sharpest shot you’ve ever seen from an iPhone. These lenses truly are amazing, if you haven’t grabbed yourself an Olloclip yet, you really don’t know what you’re missing out on.

Available at

For more information contact Beachworks South Coast Plaza 3333 Bristol Street Costa Mesa CA 92626 714-754-0221

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SMITH CHROMAPOP Here’s a pretty fascinating improvement to sunglass technology from the Smith Optics crew that we just recently got our hands on. Smith’s all-new Chromapop lenses are the life-altering technological additions we speak of that are letting everyone see clearer, further and unveiling the most vivid of details, with undistorted and unmatched quality. The way Chromapop works is by blocking specific color wave intersections as they pass through the lens, eliminating color confusion and bestowing you with a whole new way of viewing the world. We put our new Lowdown’s with Chromapop technology to the test in harsh fishing conditions and they absolutely flourished. Whether you’re fishing or frequently participating in any other outdoor activities, Smith’s Chromapop technology offers the best of the best in visual quality. Check them out at your local retailer or via smithoptics.com.

TRUE TO THIS DELUXE BOX SET In the wake of the world premieres of True to This, Volcom has come out with a three-disc box set to commemorate the film that’s fully loaded with everything you could want with this iconic film. The three-disc box set comes with two Blu-ray discs – one being the original feature and the other being a documentary delving deep into the Veeco Film library – and a 7” vinyl packaged inside a 48-page hardcover bound book featuring iconic photographs from the Volcom vault and behind-the-scenes images from the making of True To This. On the b-side of the 7” vinyl is a custom etching of the True To This mandala. Each True To This deluxe box set also includes a digital download of the film as well as the original film that started it all, Alive We Ride, as a bonus feature. Pretty much more than enough film, photography and entertainment packed into one box than we could ever wish for. Get your hands on this set now, online at volcom.com or at your local surf, skate or snow retailer.

SPYDER SURF FEST 7 Hermosa Beach is a happening little Southern California beach town on any given day of the year, so throw the 7th annual Spyder Surf Fest into the mix and you’ve got yourself an all-day affair that thrives on producing good times for people of all ages. This year the Spyder Surf Fest will be showcasing five bands, a fashion show, autograph signings, free games and giveaways, a live DJ, and for the first time, the LA Surf Awards.

Bring the family, your friends, a date or just yourself; it’s a great way to kick off the spring season. Spyder Surf Fest 7 is going down on Saturday April 5th from 12 p.m. to 6 p.m. in downtown Hermosa Beach right in front of the Spyder Surf Pier Avenue store. For more information and a detailed schedule of the day’s events, head on over to spydersurf.com.

SEA, SEX & SUN

POLARIOD XS100I There are plenty of action sports cameras available out there today, but few come with the quality and reliability that a Polaroid camera offers. That’s why we’re always keeping tabs on what the Polaroid camp is popping out, and the XS100i Extreme Edition HD is the perfect example of a great addition to action sports cameras. The all-new XS100i is as simple, lightweight and durable as any camera out there on the market, and it’s shockproof and waterproof, catering to the needs of anyone who likens themselves to extreme situations. The best part about the XS100i is that it comes with built-in WiFi, allowing you to adjust settings remotely, watch video in real-time and share footage instantly. And not to worry, a full mounting kit is included, so you’ll be out there documenting your adventures right away.

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Hailing from across the Pacific in Australia, The Critical Slide Society has been making waves for quite some time now in the design world with catchy, creative clothing. They’ve just recently planted their feet on American soil and we’ve been able to get a firsthand look at the threads they’re weaving. In particular, their award-winning Sea, Sex & Sun boardshort has grabbed our attention. These 50/50, half elastic back, half fixed front boardies are as enjoyable to look at as they are to wear. With spring basically here and summer hot on it’s heels, the Sea, Sex & Sun boardshorts are a wise purchase whether you plan on spending your time poolside, on the beach, in the ocean or cruising around town with cold brew in hand. Make sure to head on over to thecriticalslidesociety.com or all fine local retailers to get some gear from The Critical Slide Society.

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CORDELL X MARKO X GRIFFIN PONO MUSIC Over the years music has lost its true sound appeal, due in large part to technological convenience. We don’t realize it, but the product we’re always putting into our ears via iPods, MP3s, CDs and the radio is not what’s intended for us to be listening to by the artists themselves. But now, Neil Young is changing the way that we listen to music with his newfound company, Pono.

Pono Music was built on the premise of providing people with the highestgrade quality of digital music around. Pono is once again instilling us with the simple pleasure of raw, unadulterated sound, and people are starting to hear the difference. Music stars all across the board like Sting, Eddie Vedder, Flea, Jack Johnson and Tom Petty are just a few of the experts who’ve given unanimously positive reviews about Pono. It’s comparable to listening to a vinyl or being right there, present in the recording studio. Pono is a revival to the true heart of music, and we recommend everyone visit ponomusic.com today to learn more, join their Kickstarter campaign and become a part of this artistdriven movement.

SENTRY CHRONO LTD

VESTAL VILLAGE

Is the old adage of getting better with age really true? Not in every aspect of life, but if we’re talking about Nixon’s newly released Sentry Chrono LTD then, yes. This revamped, limited-edition timepiece is as strong of a reason to start sporting a watch on your wrist as any. The Sentry Chrono LTD comes in a deep blue color with baby blue indices. And here’s where that old saying comes into play, as the more you wear this watch the darker the tonal blue becomes, giving you a wise and experienced look. Each watch is engraved with your own custom number on the case back, giving each Sentry Chrono LTD owner an added personal touch.

With only 500 watches available worldwide these finely crafted, exclusive watches are sure to sell like brownies at a pot convention, so make sure to get over to your local Nixon retailer or log onto nixon. com today before they sell out.

Well, Coachella 2014 is basically here, calling us all to make a pilgrimage out to see and hear some of the best musical acts alive today. And in between melting your mind and body away in the sweltering heat under the arid desert sun, it’s nice knowing you can always seek refuge in the Vestal Village Oasis 24/7 Pool Party Extravaganza that takes place every year. The Vestal Village has gotten so legendary over the years that a lot of people go to Coachella for the sole purpose of attending this one-of-a-kind party. Now, we’re pretty sure the guest list is pretty tough to crack, but if you know someone who knows someone, then you never know, you might be able to get yourself in amidst the frenzy of fun. At any rate, it’s sure to be another raging year with plenty of stories and hilarious times to recount, so have fun and be safe, party people.

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Cordell Surfboards just added an exciting young goofy footer to their team by the name of Griffin Foy. Griffin, who’s a veteran now at 13 years of age, has been ripping all over lately, turning plenty of heads in the process, and it’s about time someone scooped him up and started making him some magic sleds. Cordell Surfboards and Marko Foam will be teaming up to build Griffin’s whole quiver, giving him the most responsive and fine-tuned EPS surfboards any surfer could ever want. Be sure to keep an eye out for Griffin to be ripping all over on his new Cordell’s, and don’t be surprised if you see this kid on the tour in a few years, as we predict he’ll be a shining star in the surf realm for years to come.

MANTIS UNITED

There’s a new brand that’s breaking out amongst the clutter of normalcy and turning heads and it goes by the name of Mantis United. Mantis is a company based on the true passion for making what they want for the lifestyles they enjoy. They’re not catering to a certain demographic, instead, they’re sticking with what they know so well – their roots that run deep in the surf, skate, snow and other sectors of the action sports worlds. Mantis specializes in American made beanies, shirts and hats as well as high quality sunglasses made in Italy. Check them out at mantisunited.com today.

GOLDCOAST CONFLICT MOD Springtime, summertime and basically anytime is a good time to have a reliable cruiser to skate with at your disposal. The crew over at Goldcoast Skateboards is well versed at giving everyone premium skateboards, especially high-quality cruisers that you all can enjoy no matter what your skill level may be. Their newest cruiser, The Conflict Mod, is a 24-inch deck that rolls with style inspired from London in the 1960s. Not to be pegged as just a pretty piece of wood on four wheels, the Conflict Mod will get you to class, the liquor store or wherever your destination lies faster than any other skateboard out there. Make sure to add the Goldcoast Conflict Mod cruiser to your arsenal by visiting your local shops or by heading to skategoldcoast.com today.

LIRA 2014 SUMMER COLLECTION W W W. L I R AC LOT H I N G . C O M

1. RVCA, Caravan Weekender, rvca.com // 2. Ezekiel, White Sands Photographic 6-Panel Snapback, ezekielusa.com // 3. Nixon, The Apollo, nixon.com // 4. Captain Fin Co., Captain Grill Towel, captainďŹ n.com // 5. Burton, Wheelie Travel Cargo Bag, burton.com // 6. Hurley, Phantom Sandal, hurley.com // 7. Alpinestars, Dry Pack, alpinestars.com // 8. iNi Cooperative, Camp Jackete, inicooperative.com // 9. Vestal, The Guide, vestalwatch.com // 10. Roark, La Pirata Flask, roark.com // 11. Vans, Palm Bifold Wallet, vans.com // 12. Lira, Dead Head Sweat Shorts, liraclothing.com // 13. Spy, Balboa, spyoptics.com // 14. ArtLife, Floripa Tank, artlifeisgood.com // 15. Volcom, Quip Poly Backpack, volcom.com

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Words: Paul Holmes Drop in at Phil Roberts’ Newport Beach studio and you might find him at work on any number of diverse projects, calling for his talent as a painter, illustrator, sculptor or caricaturist. He might be knocking out 90 comps of a new Hollywood movie’s advertising campaign, modeling in clay what will become a bronze trophy for a surfing championship, or even touching up an “artist’s rendition” for a developer creating a new tropical vacation resort anchored by a wave pool. In brief, surfer and artist Phil Roberts is in demand for an enormously eclectic array of projects.

The development of Phil’s career has been of great interest to me personally, as I had a small hand in its taking off. I became Editor of Surfer Magazine in 1981 and I was constantly on the lookout for ways to make the magazine’s covers stand out from the clutter at the newsstand. A few months into my tenure, the magazine received advertising art from East Coast-based surf-trunk maker, Sundek. Advertisers, too, were seeking to stand out from the competition within the pages of the magazine, and Sundek’s boss Bill Yerkes had come up with a novel idea, brilliantly executed: an almost photo-

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real caricature of surf action and a shoreline scene featuring top Sundek team members of the day, Matt Kechele and Lewis Graves, along with photographer Reggie Hodgson, Hawaiian team rider Ken Bradshaw, team coach Bruce Walker and “Balsa Bill” Yerkes himself. I was, to say the least, impressed. Who is this guy Phil Roberts from Cocoa Beach, Florida? And how can we get him to do a Surfer cover along similar lines?

It didn’t take long to come up with an answer. In early 1982, pro surfing was in crisis mode.

At Surfer we were planning a major cover story with the headline “Professionalism: Breaking Through or Falling Apart?” I called Phil with the concept and a commission.

He was very, very stoked, of course. For an almost unknown artist it was a major coup. The result was a gatefold (twopage) cover featuring top surf stars Mark Richards and Cheyne Horan shredding the same wave at Burleigh Heads during the Stubbies event held there each year. With its water-shot perspective, the background of the headland was teeming with a crowd that included all of the key protagonists in the story: pro surfing officials and judges, contest promoters, surf journalists and photographers,

top surfers, even the contest’s popular announcer, Lord Tally Ho Blears. It was topical, fun, excitingly fresh and a huge hit.

Surfer’s newsstand sales went through the roof.

Phil’s caricatures were so good and his depiction of the place and its wave so lifelike it was a piece of artwork much more revealing than any photo that was worth a thousand words. I realized I had to have more – and more diversity – from this talented artist and illustrator. The following winter we took Phil Roberts, along with our unusual entourage of writers and photographers, to document the annual North Shore surf scene in Hawaii. It was Phil’s first visit to surfing’s mecca and he made the most of the opportunity, sketching the iconic surf spots, doing portraits of the key players, once again capturing the experience in a way that was different yet complementary to the photography that was the magazine’s stock-in-trade.

Phil even lampooned his Surfer colleagues during the mission, sketching a cartoon of the whole lot of us in our small Log Cabins house with a caption “The Surfer Rat Pack.”

We all had slightly rodent-like faces, and I was wearing a crown and a tee shirt saying, “King Rat.” The subsequent

coverage greatly added to Phil’s credibility, showing he was not just a caricaturist, but a painter and illustrator of the highest caliber. When Surfer and Bank Wright collaborated on “The Book of Waves” (by Drew Kampion), Phil was hired to illustrate it – and Hollywood soon came calling.

For years now, Phil has been commissioned to create posters for Billabong’s WCT surf contests, design trophies and paint the Gerry Lopez-shaped surfboards that are given to the winner of the Pipeline Masters.

Kelly Slater owns two of the seven boards made so far, the most recent a magnificently painted and gold-leafed creation that dazzles in the tropical sunshine. Slater has said he wishes he had more of them in his quiver of collectibles – and in fact he nearly did, having also been Pipe runnerup three times in the seven years since the trophy board concept was introduced and became an institution.

We’ll be seeing more from Phil Roberts, no doubt. Rumor has it that ASP’s ZoSea management is hiring him to create a promotional campaign for events on its new Samsungsponsored world tour. For more on Phil and his work, visit his site at philroberts.com.

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Interview: Liz Rice McCray This month we caught up with POSE and asked him a couple questions about a quickie wall he did in NYC. Make sure to keep an eye out for more of his works on and off the streets.

If you were to name this mural, what would its name be?

I’ve been calling it “Nite cap.”

Will you tell us where this piece is located?

It’s at Lafayette and Broome in Little Italy/Soho area of New York.

How did this mural come about? Who asked you to paint it?

It was a communal effort between myself, the L.I.S.A. Project and Jonathan Levine Gallery.

How long did it take to create this mural? Will you tell us a little about what’s going on

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in this piece?

It took a day, but I had help and we started the night before.

But it was around 10 degrees when we started so I kept it short and sweet. Paint doesn’t like temperatures that low, so you gotta really baby the cans – sweet-talk them into acting right, etcetera. It’s based on my current love for and obsession with painting, the stress of it being how I make a living and the intoxicating energy that is produced by this mixture.

Basically, running out of bed to get into the studio, painting all day and night, then sitting in bed obsessing about the work – then getting up and doing it all over again. The empty sardine can is a reference to stressing, if I am and able to provide enough for my family, etcetera.

I lovingly refer to it as my Polish alarm clock. All in all, it’s meant to be a very fun, lighthearted observation/therapy. The associations are left open-ended

enough that hopefully people can create their own narrative and dialogue with the work, as to create their own connection with the work and hopefully feel a sense of ownership. The work is meant to have a loud, playful and celebratory expression of the human condition.

A lot was going on while you were working on it. Did the mural have a connection with Armory, Jonathan Levine Gallery and the Volta show?

Since painting on the street is the world I come from and where my gallery work comes from, it made sense to paint a wall a couple blocks away from VOLTA and hopefully give people a better understanding of my work.

Do you have any upcoming projects you can share with us, or are there more walls to keep our eyes open for?

Yes, show-wise, me and Revok

have a show in Dubai at the end of April. Then I will be back in NY in August for a group show at Jonathan Levine Gallery, curated

by Roger Gastman (and will be painting another wall with L.I.S.A. project; this one will be much bigger). I have a solo show at Library Street Collective in November. Wall-wise I will be painting another collaborative mural with Revok this spring in Aspen as well as a collaborative mural with Dabs & Myla in Detroit and at a couple very large-scale murals in Chicago.

Where can people check out more of your art?

Due to my background in graffiti and general hermit/recluse-like nature, I have tried to stay off all social media and Internet for all these years. But last year my buddy Richard Coleman made me an Instagram, so hell froze over, and my intern made me a website that I will make live in a month or so.

Insta is @tenderj and website is posemsk.com.

CHAOS MEETS CULTURE MINOR PANIC DBLANC.COM

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Photo: Divine Words: Matt Warshaw’s Encyclopedia of Surfing Innovative surferboardmaker-coach from Honolulu, Hawaii; a top competitor in the 1960s and early ‘70s, and creator of the swallowtail and sting(er) surfboard designs. Aipa was born (1942) in Honolulu, the son of a sugar plantation worker, and didn’t begin riding waves until his early 20s, after an ankle injury ended his semipro football career. He trained for surfing with the single-mindedness he’d developed as a linebacker, not missing a day in the water for all of 1965, and the following year he was a finalist in the Duke Kahanamoku Classic at Sunset Beach.

Aipa also finished fourth in both the 1967 Makaha International and the 1975 Lightning Bolt Pro, and competed in the World Championships in 1968 and 1970.

It was expected that Aipa, at 250 pounds, would put more power into his turns than virtually any of his surfing contemporaries, but he augmented strength with agility, balance, and finesse.

He was also one of the era’s fiercest-looking surfers, helping him to

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get virtually any wave he wanted, even in the most crowded Hawaiian lineups. “There’s a silently powerful presence about him,” Surfer magazine said of Aipa in 1972, understating the case. Pipeline virtuoso Gerry Lopez put it better: “When you see Ben coming, don’t think, just get out of the way.”

Aipa began shaping almost as soon as he began surfing, and in 1968 he made the board that fellow Hawaiian Fred Hemmings used to win the World Championships.

Aipa Surfboards was founded in 1970, and Aipa soon came into his greatest influence as a designer, first inventing the double-ended swallowtail in 1972, followed two years later by the split-rail stinger; both designs were ridden to electrifying effect by a group of Aipa-led Hawaiian test pilots including Larry Bertlemann, Michael Ho, Buttons Kaluhiokalani, and Mark Liddell. Aipa served as an informal trainer/coach for these surfers, all of whom competed during the early years of the pro world tour, and he

Photo: Duke Aipa

continued to coach in the decades to come, working with pro standouts Sunny Garcia, Brad Gerlach, Kalani Robb, Bethany Hamilton and the Irons brothers, Andy and Bruce. Aipa himself continued to enter contests, winning the grandmasters division of the 1989 United States Surfing Championships and the legends division of the 2000 U.S. Championships.

In the early ‘80s, Aipa began producing a slightly smaller

updated version of the longboards he and the rest of the sport had left behind 15 years earlier.

“I was targeting the guys who were getting married and had less time to surf and weren’t in the best of shape,” Aipa told Longboard magazine in 1999.

“They needed a board that could catch waves.”

Aipa himself was riding a 7’ 6” hybrid in 1998 when Surfer called him “the hottest 56-year-old surfer in the world.”

Ben Aipa was nominated to the International

Surfing Hall of Fame in 1991. In 2004, Surfing magazine named him one of the “Top Ten Shapers of All Time.”

Akila Aipa, Ben’s oldest son, was runnerup in the 1989 U.S. Championships, and has himself become a popular surfboard shaper. Ben’s other children are Lokelani Aipa-Sarazen, who has been known to help with the artwork on Ben’s boards, and Duke Aipa, also an avid shaper and surfer.

The French graffiti crew 123Klan, based in Montréal, Canada (and also known as husband-and-wife duo Scien and Klor), have spent the past two decades creating. From murals, graphic design, toys, and street wear, they have made a name for themselves as incredible artists and have built quite the portfolio. For the first time, 123Klan has released an art book that goes 304 pages deep into their career. From hand-drawn characters to logos to full-page spreads of colorful murals and graphic design, this book is a perfect snapshot of the last five years of 123Klan’s favorite productions. The hardcover book is a must-have for anyone remotely interested in any and everything that has to do with street art culture. Each book also comes with a double die cut stickers spread, signed by Scien and Klor. It is available now via the bandit-1sm. com’s online shop, along with other 123Klan gear, including toys, stickers, silk-screen posters and much more.

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Recently we stumbled upon Paul Rouphail while browsing the wild, wild web. To be honest, it was a photograph of Paul Rouphail’s studio that first introduced us to his art. Below is a brief explanation and insights of his current works. Make sure to check out more of Paul Rouphail’s work on his website www. paulrouphail.com.

In my four years at Carnegie Mellon University School of Art (BFA, 2010), and subsequent three years living in Pittsburgh and Lima, Perú, I have evolved an approach to representational painting, especially in articulating new insights about cities and spaces that speak to my experience and theoretical concerns. After a year abroad painting in Lima, I returned to Pittsburgh in 2012, where I have since attempted to interpret my various experiences through images: cataloguing contemporary urban America(s) as a complex ecology of architectural history. My work exhibits the tension between nature and culture: billboards, blimps, popular and commercial references punctuate Lima’s neon neighborhoods and Pittsburgh’s pre-war grit. However, congruent with or dissonant to their urban and natural surroundings, these elements illuminate the paradox of the aforementioned tensity as a purposeful and uniquely “American” gesture, one that is complicit with commercial possibility and selective historical narrative.

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I am interested in the incongruities of modern regionalism within the framework of American realism. I am not invested in vernacular painting, or in reviving methods of the American naturalists or precisionists. Rather, I am challenged by the complexities “Americana” continue to propose, as Rem Koolhaas suggests of the city grid: the unoccupied, the phantom, the indiscernible. The American city, Koolhaas suggests, “presents a radical break with the conventions of symbolism: [it] does not represent an abstract ideal, an institution of exceptional importance, a three-dimensional, readable articulation of social hierarchy, a memorial.” The city devolves into an empty symbol available for meaning as a billboard is for advertisement.

Concurrently, my work is an attempt to contextualize regionalism within the larger framework of American realism.

It is my intent to display my experiences of both Pittsburgh and South America as scenically unique yet analogous to the larger American pictorial tableau.

Topographically, these regions carry little of the visual familiarity one would associate with the American east-coast vernacular (Thomas Cole, Farfield Porter), or of the distinct panoramas of the American west and South America, respectively (Albert

Bierstadt, Frederick Edwin Church). The urban complexities presented in Pittsburgh and Lima fit outside of the two aforementioned categories, where associations made by a broader audience about the scenic and graphic qualities of these places allude not merely to a region but to the pan-continental American landscape experience as a whole.

I remain sensitive to perspective as a technical point of departure.

My reaction has been to approach the pictures with tactile methodical intention, allowing them to reverberate slowly with interminable zoomability.

I also develop my images as meditations on color, specifically the collision of variable color (atmosphere) and controlled color (advertisement) as a method of magnifying the tension of my subjects, thus revealing the conspicuousness of their respective spaces.

Interview & Photo: MM This month we caught up with Matt Marble and Andrew Atkinson of The Cruel Sea, a new surfboard bag company out of Costa Mesa. Both Matt and Andrew are design staples in the industry. Together they have launched this new venture in hopes that their bags will be the next big “must-have” in a land of must-haves. Keep an eye out this summer, as you’re bound to see one of these bags along your travels up and down the coast. We were able to pin down these two renegades to get the inside scoop.

Why board bags, and what’s the history of the company?

Around 2012, I (Matt) went looking for a well-made, vintage-inspired, striped canvas board bag for my twin-fin fish.

There were a couple available on the market at the time, but they weren’t exactly what I had in my head. The solution became to make my own. Once people started getting hip to my board bag, they started asking for one. My ex-girlfriend and I began making them in our house and eventually we had to get an industrial

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sewing machine in order to help satisfy the demand. We hand-numbered each one, and I think we made about 80 something bags by hand. Now, with partner Andrew Atkinson, we are running full, professional production using super heavygrade, wax-coated canvas.

We are still hand painting all of the stripes too in order to ensure an organic feel. We kind of stumbled upon making our totes too when we saw the amount of extra fabric we would potentially waste. So the totes are made from the scraps of the board bags. They are really cool beach bags or shopping bags or whatever you want to use them for! We feel there is a void in the board bag market. The Cruel Sea began with the simple notion of solving that need with a bag that will last a lifetime with a simple design and a classic aesthetic.

What sets your bags apart from the others board bag companies?

Our company was founded with the intent to create a highly functional board bag with

modern attributes, while looking at the early 1960s. We use the highest quality of materials, the best level of craftsmanship, and designed them with a rock n’ roll aesthetic, inspired by punk rock. All board bags are all hand painted, made with heavy-grade canvas, sewn using vintage Singer sewing machines, and finished using a Union Special over-lock machine. The Cruel Sea takes a step backward, to a simpler time – a time of surf legends and heroes, of style and class, and of individuality.

Where do you get your design inspiration?

The design inspiration comes from a mixture of Andrew’s and my own interests. He brings the military styling and I bring this retro, early ‘60s thing to it. We meet together in mutual love of punk rock. I think the result is a really cool organic combination.

What do you hope to accomplish with the company?

I hope that we can build this

into a solid business that stays true to our initial concept.

Our biggest goal is to produce something that looks really cool, and at the same time, really, an exceptionally built product.

If you could give one person a board bag, who would it be for?

Matt: Personally, I’d like to see Matt Archbold using our board bags. He was always the guy that I looked up to in surfing.

Good taste in music, cars and amazing surfing style.

Andrew: Most likely Miki Dora if he was still alive.

Do you make bags for all board sizes?

Right now we are offering board bags to fit short boards up to 6’2”, fishes up to 5’6”, and fun board shapes up to 5’6”. We will be extending our size scale and introducing longboards very soon!

Where can people check out your bags?

TheCruelSea.US and on Instagram at TheCruelSeaUSA.

FEATURING

ALPINESTARS.COM/WEDGING

Photography: Dominic Petruzzi :: dominicpetruzziphoto.com :: @dominicpetruzzi Model: Allie Leggett :: CW Management & Wilhelmina LA

It’s not every day you meet a girl of this caliber fresh off the train from Kentucky, twangy accent and all. Combine that with good looks, a perfect smile and a carefree attitude and you’ve got this month’s Super Taste. Meeting Allie was a breath of fresh air. She’s anything but your stereotypical girl from Middle America, and you can expect to see plenty more of her as she’s already making big moves in the modeling world. Just remember, you saw her here first, in BL!SSS Magazine, shot by our very own Dominic Petruzzi.

Hair & Makeup: MorganFallon.com // Retouch: JasonSchorle.com // Bikini: Body Glove :: bodyglove.com

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Smith_BL!SSS_Jake_APR14.pdf

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4:53 PM

— Jake Marshall

E = D I D

@ : C L D G I = N

the lowdown

E = D I D

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smithoptics.com/chromapop

zine gets your work to people more immediately. Do you think that’s something that’s more accepted now?

I think it’s really interesting. I think small presses are definitely way more excitable for people. Personally for me, I love a beautiful Steidl book. It’s a fucking beautiful piece of work. But then, at the same time, I really love a well-done Pau Wau production. There’s so much love that goes into the smaller press stuff that just really excites me. You can really tell how much care is going into it. Not that Steidl and Nazraeli and all those guys, not that they’re not putting their love into it, but it’s way more connecting with people.

It’s way more intimate. Do I want to do a book? Yeah. Do I want a Clint Woodside book out? Yeah. But I also really enjoy having this very personal discourse with whoever is looking at my book.

Interview: Rich Jacobs What sparked your desire to start your own photography press?

When I was younger I put out a bunch of records and I’ve always been involved in a little DIY punk thing. I’ve always put out zines on my own. When I was doing that, I needed a platform to have a way to sell it, really, because it wasn’t always just about handing them out to bros and whatnot. I needed a little thing to sell the stuff with. And then, when I moved here [LA], I felt a lacking of the punk stuff, the punk side of my world, so this is my new way of putting out seven-inches and being involved in that scene that is very self-driven. Whatever you want to do, it’s available to you. You know what I mean?

I was really excited about that.

So I was making my own stuff, and then Ed (Templeton) broke his leg, and I was like, ‘Hey, you’re going to go crazy if you don’t have a project to work on while you’re couch-ridden for months, so let’s make a project for you.’ So him and I did a split zine. And while doing that… That was the first time I put out a zine for somebody else. And I was like, ‘Well, this is fun. Let’s keep doing this.’

And then it was downhill from there. Ray from Hamburger Eyes and I were going to share a table at the LA Art Book Fair.

Ray has hundreds of releases, and I had, like, three or four. So I was just going to have a little corner on his table, I was really encouraging him to do the book fair. And he was like, ‘Yeah, I don’t know.’

But then Printed Matter offered us each a table. And he was like, ‘Yeah, let’s do it.’ And I was screwed because I had so little. So I have to put out more books now [laughter]. So to fill the table, I just started banging out zines, and it just worked out really well. It made a lot of

Devin Briggs

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sense, and I just kept going.

What’s been your favorite part of putting your own art and other people’s art into the world? What’s been your greatest reward back?

That’s a little bit of a weird question, but what do you feel like, once you’ve put it out there? What’s come back that’s been surprising to you?

I’m surprised that people are as excited as they are, as quickly as it happened.

Like, we’ve had a little bit of success rather quickly, and I was kind of surprised about that. It’s been really gratifying that people want more. And I’m really excited about being able to put books

out, the money that we make off of certain books, I can put that money back into other stuff for people that are lesser known and help blow them up a little bit. Because now, we already have a little bit of this reputation and people are paying attention. I’m really stoked there’s people that will buy whatever we put out because they’re stoked about what we’re doing.

Have you noticed a shift in people’s appreciation of self-published things?

Maybe before, for someone to take you serious as a photographer, people thought they’d have to have a book, but now self-publishing a

Can you define, roughly - I mean, not to put yourself in a box or anything - but tell me, or explain a little bit about what your vision going forward. Are you trying to only do people that shoot film?

Yeah. Well, we have a few rules. It’s film only, for sure. I try not to go over editions of 400, but I want to make sure it’s something that is obtainable. I don’t want it to be a weird elitist thing.

How many releases do you have so far?

We’re at 20 right now. It’s only been a year and half, and we’re at 20!

Any plans to move toward proper books, or are you happy with the zine format?

I really want to make books. We’re making a little bit of money off this zine stuff, so I’m hoping that… I’m kind of

“It’s just us. It’s not like there’s a secret handshake. We just really get excited on each other’s stuff.”

trying to fill the bank account with what we’re doing so far, so I can step up into books. But I haven’t quite figured how yet.

It’s a big leap, right?

It’s a huge leap, and I want it to be something special. I don’t want it to just be books; I want it to be covetable. I want it to be something that you can really be excited about, and I want it to be a beautiful object. If I do that, I

want to make sure that we’re doing it right, and that’s hard. It’s really expensive [laughter]. And I don’t have any backing or anything like a lot of other people do. I don’t have a distro deal, so it’s just me trying to figure out how to do this. It’s exciting, but it’s not a walk in the park.

You guys, most of the people that you’ve released zines for, so far, you kind of seem like it’s sort of a little club or like a hangout crew.

Well, this is true [laughter]. We’re all photo nerds, we’re excited about books, we all shoot film and we all just really stoke each other out so much that we get each other so excited about stuff, and push each other. Everybody is invited to it. So it’s not like…

You’re not trying to exclude…

It’s just us. It’s not like there’s a secret handshake. We just really get excited on each other’s stuff. So we understand what we all want to do.

Any big surprises? Any new members or people that, you know?

I’m working… I mean, no new members, full-on hard-core members, but we definitely do stuff that are outside… I’ve put out zines for people that aren’t part of the core crew, but they’re still really special.

Yeah, like this new Spot thing that you just did is kind of a cool, different direction.

That was definitely a shocker. The guys at Boo-Hooray just hit me and Ed up and asked Ed to write a foreword – there’s a book coming out with more of Spot stuff. While that was happening, Johan, who runs Boo-Hooray, was like, ‘I really want to do a zine about this stuff to help excite people about Spot’s

Clint Woodside

Spot

Surf Disturbance

Ed & Deanna Templeton

Grant Hatfield

Mike Spears

Nolan Hall

Jerry Hsu

Andrea Sonnenberg

Michael McCraw

work.’ And Ed was like, ‘Well, I know a guy,’ and it just kind of fell in my lap. All his stuff is amazing; it’s got stuff that I’ve listened to since I was a kid. It’s got subjects that I’ve always been involved in the middle of. It’s really amazing.

It’s a nice surprise. I was trying to explain it to somebody today.

This guy recorded some of the most interesting and important hard-core records, in a way, and people know that he was a recording engineer, but who knew the guy took photos like that?

He took such great photos, it’s crazy! There are some amazing photos in that thing.

What are some photography galleries that you think are doing interesting things right now?

That’s tough.

In New York, there’s quite a lot.

There’s a good support system over there for that kind of stuff.

L.A., it’s different.

New York is the most beautifully photographed city in the world, so there’s a lot of photographers there and there’s a lot of backup, you know what I mean? Here, there’s a lot of cameramen. But there aren’t a lot of photographers. I think there’s a lot of good photo shows that happen. & Pens’ Hamburger Eyes show fucking blew my mind.

That was solid, but those guys are always making me feel like I have so much more to do. M+B just did an amazing Alex Prager show. Nolan Hall is in a group show alongside Joe Szabo, Joseph Sterling and Scott Pommier at Paul Loya Gallery in Culver City coming up April 5th.

And we’re doing a show at Jai Tanju’s Seeing Things Gallery in San Jose on April 19th Deadbeat Club: Fieldtrip For more info on the Deadbeat Club, visit deadbeatclubpress.com.

Justin Adams : Salt Creek, CA

Ozzie Wright : NZ

Alex Knost : OTW, HI

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ight : NZ

Ari Browne : Lennox Head, AUS

Byron Bay to Sydney

I was on my way Tasmania. I had never met Jack but decided on good word from a friend to be his tour guide between Byron and Sydney. I picked him up from a friend’s factory in Byron Bay and we made trails. However old you think Jack is, he’s actually older than that. I like meeting older crew who don’t care if they haven’t got all the cars and suits and wives and crap yet. Who cares? Jack doesn’t, and I respect that. I haven’t got many friends with dreads. Jack’s way groovy – the whole deal, he’s living it. The films he makes are just an extension of his character flavored with different film stocks, music and DIY techniques. He liked my music so that made things easy on the road. We got along fine, I showed him some of my favorite spots and we camped in the back of the truck and ate pasta without sauce. We went swimming and walked a deserted beach under full moon light. It was a good time. We barely got any swell the whole trip but I still surfed and Jack still shot, and that’s pretty much how it happened until we ended up in Sydney. From there Jack was invited to go with Ozzie and his crew to my homeland to keep the dream alive. We parted ways, both on our own trips until we meet again somewhere. Keep on tripping, Jack!

-Rangi Ormond

3 Moon Cycles

It was March 9, 2013, and Alex Knost and I were on our way to Noosa, Queensland, Australia for the Duct Tape Invitational. Not about the jersey, the free-surfs were what I was looking forward to filming. I was fully aware that my favorite longboarders would all be there, in particular: Robin Kegel, Joel Tudor, Jared Mell and Alex Knost. This trip was to be only a nine-day affair, but I had other ideas. Ultimately, I knew to really get a feel for another culture and its waves, you have to stay for about a month to really get your feet wet. So I knew I was going to embed myself and stay for three moon cycles (equivalent to three months) in Australia, parting ways with Alex after our nine days were up.

Ultimately, I was there to shoot a new film using Australia as the backdrop, with no real idea of how I was going to do it.

-Jack Coleman

NZ

NZ

Rasta : Byron Bay

Santa Cruz Bonzer

Ryan Burch : Encinitas, CA

Alex Knost : Backdoor, HI

Justin Adams : Upper Trestles, CA

Robin Kegal : Noosa, AUS

Rasta : Lennox Head, AUS

Joel Tudor : Noosa, AUS

Derek Hynd : Byron Bay, AUS Ryan Burch : Encinitas, CA

The Rabbit’s Foot

Rangi Ormond : Boomerangs, AUS

Knost & Kegel : Noosa

Hynd’s Kingswood

Derek Hynd

Creed McTaggart : Brunswick Head, AUS

The Rookie

While in Noosa, Alex’s old friend from years past showed up to shoot and surf. His name was Ryan Heywood.

After hanging with Ryan, who drove from Byron Bay to Noosa (about a four-hour drive), we got to each other’s taste in surfing and surfing in its present state. Ryan was curious to my likings, and showed me a short Vimeo web clip named “Rookie Biatchhhhh.” It was of a 21-year-old kid named Ari Browne who surfed a finless rabbit’s-foot shape in and around the Byron Bay zone. Upon seeing this video short, I was amazed to see this kid doing laybacks on the way up the face of the wave while spinning sideways across it at the same time! This was the most innovative surfing I’ve seen since the Derek Hynd footage at J-Bay. That web clip of Hynd had literally changed my perspective on surfing a few months earlier. So when I saw this video short I think I found one of the reasons I had come to Australia.

It was clear to me now that I needed to find and film some unknown talent like this kid, the Rookie. It all came to be in the end. I stayed with Ryan Heywood in Byron Bay for about two and a half months and filmed with the Rookie during that time period when he was not in school. We scored about three swells at Lennox point, which you will see meshes well with Ari’s approach on the rabbit’s foot.

-Jack Coleman

Our Meeting

I first met Coleman around a campfire in a quaint coastal village.

We enjoyed carrots and hummus.

Meanwhile, Greenough was preparing a platter of cucumber sandwiches in the Coupe. Jack and I got word of the sandwiches and couldn’t resist. Lunch was served out past the breakers. I enjoyed a sandwich, jumped off the side of the coupe, and joined Laird Hamilton in the lineup, closely followed by George and Jack. It was here, in such strong camaraderie, that I first glimpsed the true Jack Coleman.

-Ari Browne

Rasta Days

One day while filming with Ari Browne at Lennox, David Rastovich was out in the lineup. This was the Holy Grail for me; Rasta on a righthand point break would probably be my preference to viewing anything surf. He is, to me, the most pure and talented surfer in the world. He was now in my camera viewfinder and film was being burned. After he exited the water a person approached me, a longhaired guy with slight dreadlocks forming on the back of his head. He asked me my name, I told him, and he then introduced himself as Chris Del Moro. I know of Chris and his surfing and we talked for a bit, exchanged Australian numbers, and we parted ways. Chris stays with Rasta every year in Oz and turns out they’re best friends; this is how Rasta

and I were introduced at a later date.

Chris Del Moro turns out as being another important piece to the puzzle of Groove Move.

-Jack Coleman

Hynd

Derek Hynd is a surfing icon, to me, the most innovative surfer in surfing’s history, a living legend, a hero. For me to get a chance to film him surfing, I figured, was about the same likelihood of getting struck by lightning. As my luck would have it, day five of the trip he was in my camera trimming across the long walls of Noosa. About day 10 of the trip after driving to Byron from Noosa, Derek Hynd walks into the place that we were staying, this space turns out being next door to where he is shaping his boards. This presence was another unexpected twist of fate that changed the landscape for my unborn film. After introductions, someone told him I was a filmmaker, he looked at me, staring through me, and asked, “So Jack, how do you make your films? Are they for hipsters? Or real surfers?” From that point on, I thought about everything I was shooting.

-Jack Coleman

Harry Henderson

Shot Before You Know It

The old adage ‘mutton dressed up as lamb’ should apply to Groove Move the way it applies to just about everything in surfing today, but it

Jared Mel : Baja, MX

Justin Adams : Baja, MX

escapes the tag for a few reasons. The subject matter hasn’t been done to death, mostly dealing with non-generics. The title has a hook about it, even though it’s asking to be a hipster magnet. The sound tracking is quaint and full of reprises but without drenching. The editing matches the grade of film, kind of avant-garde amidst high-def norms elsewhere. A couple of moments are keepers. I think it’s Knost doing the Strauch five drives, very fresh. As for the filmmaker, he’s a rare bird for skill and dexterity but a little invasive. I ended up in a film I didn’t know anything about, but I guess that’s Jack Coleman. Shot before you know it. Grassy knoll.

-Derek Hynd

Hawaii

The island paradise with perfect climates and beautiful blue water was on my “to-do” list for this surf film from the beginning. It has been three years that Alex Knost had been coming to Hawaii in the winter, and I knew this was the year I was finally going to go there and film with him. I have always had this vision in my head of Alex charging big waves in Hawaii, a far cry from most of what people think when you see Alex surf. I wanted to crush that thought, you know, “Alex is a longboarder that only rides small waves.” Alex and I spent 10 days on the North Shore keeping a low profile while trying to snag some waves without crowds and angry locals. We accomplished that, as best we could, with early spot checks and full assessments of winds and tides. Of course, with a little luck we got some great waves. Off The Wall turns out being Alex’s spot of choice to surf, and my camera was there for the whole party. Big Al is all grown up now, and charging some serious waves in the film.

-Jack Coleman

Justin Adams

To me, Justin is the most underground surfer on the planet. In his late twenties I knew of his surfing from urban myths and by seeing him with my own eyes. While in Australia filming unknowns like Ari Browne and Rangi Ormond, I thought Justin would be a good fit for the film. I envisioned a Southern California section that highlighted his unique surfing and laidback approach to life. Justin has never been sponsored or appeared as a main character in a surf film. He has been called “the real drifter” or “fish god” by those of whom lived near him while growing up in the Dana Point area. His compressed approach is surfing folklore and is truly beautiful to watch in the film.

-Jack Coleman

Rob Machado

Invisible Light Finless

Ozzie Wright : Raglan, NZ

Alex Knost : Byron Bay, AUS Dave Rastovich : Lennox Head, AUS

Photos & Interview: Luke McKaye John Hill in one word: Efficient. He’s not one of those guys that just goes out to chill with the homies and gets a clip here and there that eventually leads to a part. His clips are all calculated and deliberate.

When we go out he always has a plan with a list of spots and tricks in mind. Few skateboarders understand what makes for a photogenic trick and respect the process like John. When we go out, we get shit done. Every time.

You moved to Long Beach from South Carolina about a month ago. How’s that Cali life treating you?

Amazingly, I’ve heard good and bad about Cali so I had lower expectations. So far, it’s everything I’ve hoped for and more.

Who are you riding for right now? Are you still technically on Bluetile Skateshop even though you live thousands of miles away?

I’m getting Birdhouse, Lakai, Split, Subliminal Wheels, and yeah, Bluetile is family.

You film every day, right? Are you working on anything specific, or just stacking?

I try to yeah, sometimes after a few intense days I physically can’t the next day. Right now I’m building up footage for a Ride Channel One Am part, and I’m hoping other projects are introduced in the process.

What do you enjoy more: The homie videos that come out with unknown riders and no budget, or the videos major companies put out with the biggest names and deep pockets for production?

I should say the homie videos… but to be honest, major productions. I love both. As long as I can tell the people in the video put their best effort forward, it’ll get me hyped.

Knock on wood, as long as I’ve known you I’ve never seen you get seriously injured – a hot pocket here and there, but never anything that’s put you seriously out of commission.

What’s your secret?

I just take care of myself when I’m not skating.

Stretch before and after sessions. Lots of luck, haha.

Nollie Feeble 60

Back 5-0 180

Front Blunt

Nollie B.S Flip

I saw a clip Bo Mitchell from East Bound and Down posted of you skating The Berrics. What’s it like to be rolling with A-listers like that?

I imagine it’s how anyone in Snoop Dogg’s entourage feels, always. Bo is seriously the man though.

What’s you plan? You moved to LA with some homies, signed a yearlong lease, you’re skating every day and stacking clips, so do you have specific goals or are you just crossing your fingers and hoping for the best?

Both. I plan to just film and get photos for the companies that support me, finish the One Am part, shoot for a mag minute, and a video checkout. I have so many things I wanna do as fast as possible, and I want projects to add up, and I want things to work towards as often as possible, but I am crossing my fingers the whole way through.

Front Crook

Fakie Flip 12

Nollie Front Heel

Interview: Spencer Pirdy Odds are, unless you’re a professional hockey player your job doesn’t involve you frequenting a penalty box on a regular basis. And by penalty box I don’t mean the kind where you sit idly, surrounded by glass. I’m talking about a penalty box involving 20-foot plus walls of water breaking right on your dome, with 9-foot boards sailing toward you like tomahawks right before you’re pummeled into a deadly, jagged reef. Oh, and if you can still gasp for air afterward, once the turbulence has subsided a little, you’ve got to swim another thousand yards up current to put yourself right back in the same perilous position.

For Zak Noyle, this is just another standard day working at his Pipeline office, snapping gold that captivates everyone from diehard surf fans to little old ladies in Nebraska. Zak is now recognized as one of the most elite water photographers in the world, but his journey to greatness hasn’t been a cakewalk. Would you believe he failed photography in high school? Life works in mysterious ways, and we’re happy to have Zak’s A+ images on display. Enjoy.

What are you first memories of being in and around the ocean?

I started surfing in Waikiki. One of the biggest traditions we’ve had in my family and with my extended family was to go to the beach every weekend. That meant going to the beach and surfing, body boarding, body surfing and just playing all day in the water. Being comfortable with the ocean was something my parents made sure was instilled in me very early on. Being a very good swimmer and playing water polo really has contributed to my comfort level in the ocean.

A lot of guys come from a bodyboard background to shoot. I did bodyboard, I did surf, but I never was pro or anything; I just did it for fun. Having that comfort level in the ocean has given me an extra edge to stay out longer because I don’t get as tired. It’s molded me differently in my own way.

What’s a typical day like for you when you’re home?

Well, I’m actually living in town now on Oahu. I only live on the North Shore during the winter.

This morning, for instance, I woke up at 5:30 and went to Sandy Beach to shoot. I grew up in town and just bought an apartment there, but I’m living on the North Shore every winter, to be here for when the waves are up. I like to be right there amidst the action. I’ll sit there all day for when there’s the right window of waves. Pipeline will be so weird. There won’t be good waves all day, but then there’ll be a one-hour window when it turns on. It’s pretty weird, but that’s how it goes and that’s my job. I’m committed to sit there all day and wait for that window of opportunity to open up.

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Danny Fuller

Dede Suryana

Strider Wasilewski

Randall Paulson

Tyler Larronde

We’ve been seeing you all over the map lately. What’s your schedule been like as far as trips and projects?

I just was in Australia doing a little project with one of my sponsors, DaFin. Now, I’m back home but I’ll be heading to Cali soon to do a job with RVCA. Then, I’ll be home for four days and I’ll head off to Atlanta for the Red Bull Illume, a worldwide action sports photo contest. They have all of these amazing images on huge light boxes. So, I’ll be there doing promo work with them. Then, I’ll be home for a few days before heading off to Puerto Rico. That’s just a normal travel schedule, especially with the winter swells about to finish up here in Hawaii.

That sounds like a very full schedule.

Yeah, it is. One of the biggest things I’m doing though is planning a big workshop. I recently got a sponsorship with Canon and got the idea of doing this workshop for the kids. There are so many kids that shoot with GoPros, I mean, it has just exploded. The GoPro created a whole new world of shooting, it’s insane. It’s to a point where I wanted to create a workshop where people can come and try the new Canon cameras and housings and have that put into their hands, let them be able to shoot with it, work with it and try it before making that investment. It’s a big undertaking and that’ll be in May. That’s my biggest project that I have coming up here. It’s a free event and it’s for the community in Hawaii. It’s through Canon USA and they’ll be sending in 30 of their newest cameras, so every participant can have one in their hands.

Everyone will leave the beach that day with a print that they shot, RVCA’s going to do a shirt for the day and just cool stuff like that.

Jesse Merle Jones

So, this project is a form of giving back to your community and enriching the youth?

Exactly. I’m not going to be able to shoot forever, but to be able to do something that inspires a kid is huge. I used to go to shoot at Sandy’s and I’d be the only one in the water. I wasn’t the first one that shot there, no way, but you’d go there in the morning and people would be there just bodysurfing or whatever. This morning when I was there 10 guys were out shooting. It’s just a change of the times with digital access and everything, it’s crazy. I’d like to leave a legacy to help share my passion with others for being in the ocean. Yeah, you can get the GoPro for $300 for Christmas, but getting a $2,000 camera and a $2,000 housing to go with it, that’s an investment. A lot of kids want to do it, but to give them a chance to try a product from Canon, SPL and myself is a really cool and rewarding experience.

You started shooting before GoPros. What are your thoughts on this new movement now that it’s taken over?

I think being able to put a camera in somebody’s hands for $300 with a GoPro is incredible. I like to shoot with my iPhone a lot. My dad always told me that the best camera you have is the camera you have with you. It doesn’t matter that I have a $10,000 camera, if I don’t bring it what good is it to me? So, I think it’s a great thing. I’m not going to be able to swim out and shoot Pipeline 10 or so years from now. It’s going to be these younger 20-year-old kids that are going to come take my spot, no doubt about that.

Dylan Graves

Jamie O’ Brien

Dane Gudauskas

Talk about your dad Ric, who’s a longtime commercial photographer. Did he influence you in your photography?

Yeah, he did, but he never pushed me. I actually failed photography in high school, but he never got upset, never was mad. I was never pushed into it. He shoots hotels, food and fashion. I was always invited to go on his shoots with him, but I never was interested, I just wanted to go to the beach.

It was something that he let me find on my own, and once I found it he helped me in any and every way possible. He was there but never pushed me. That was the sickest thing. When I failed that class he was more bummed that I failed a class in general, rather than the fact it was photography. He still influences me to this day and I still ask him for advice. I show him my work, and

he’s a part of it in that sense.

At what stage of life did you realize photography was your calling?

This was probably around the start of digital. I had access to a refrigerator full of film, and it was a time when photography wasn’t really looked at in the fun, cool way it’s viewed today. You didn’t have a social media platform of any sort. It was the love for being in the ocean, for being able to take a picture, come home, show my mom and she was baffled that you could get that image. I like to shoot for people that could or would never go in the ocean and be able to show them something that they will never see in those ways. It just came from body surfing and seeing barrels and going, “Let me try to shoot this,” and borrowing my

dad’s cameras. That’s where it all started from and then it just took off.

What’s it like jockeying for position at a spot like Pipe while trying not to get sucked over the falls and attempting to link up perfectly with someone?

I’ve been shooting for many years at Pipeline, and when I first went out there by no means did I go straight to the front of the line. I spent my time behind guys like Scott Aichner and Jeff Flindt and did not get a shot. Maybe a single, wide one would swing my way and that was about it. I wanted to show my respect, and little by little I learned from them. Then, as I started to produce work over the years and progress in my shooting I was able to move up. I always showed that respect of

swimming behind them, and little by little they started respecting me by seeing me put in my time and seeing my imagery.

It seems like it’s a little off these days. I waited for years to get to that front position at Pipeline, and now you have foreign guys just swimming straight out there. It was always known that if you put in your time and were from here, you’d get respect. I think one of the biggest reasons people get mad at Off The Wall and Pipe is that you can’t be just waving your GoPro or camera all over the place and ruining someone else’s shot just so you can throw up a post on Instagram. That’s when it becomes a problem. You need to have proven yourself.

It’s the respect of knowing what you’re doing; no one will have a problem with that. If it’s the day of the year at Pipe and

Billy Kemper

Parker Coffin

Zak Noyle Self Portrait

it’s going to make my whole year and someone’s screwing around, that’s when you’re going to hear people speak up and say stuff.

Do you see the pecking order in photography at a spot like Pipe to be paralleled with that of the pack of surfers out there?

Yes I do. When you’re from here it doesn’t mean that you moved here two years ago and you’re a “local” because you put in time, no way. It’s a list of things, not just because you’re from here or that you’re out there a lot.

You wear a helmet when you shoot.

Is that something you’ve always implemented?

It’s something that I’ve just always done. When I first started shooting, a guy by the name of John Mozo took me under his wing. John Mozo was a great photographer and he ended up passing away at Backdoor due to hitting his head, it was presumed. And who knows if that could have saved him or not, but it gives my family and I some peace of

mind. When you’re out there you have boards being ditched everywhere and can sometimes have a 9-foot, really thick board flying towards you. It just gives you peace of mind from the reef, a stray board or your own housing hitting you. I don’t think it’s really a big deal; it’s a wonderful thing to have at Pipeline especially.

What are some of the worst situations or wipeouts you’ve endured?

I’ve been caught in some pretty bad currents that have ripped out, but that’s the thing, you’ve just got to remain calm. You’ve got to assess the situation.

Panicking won’t help anyone. Every time I’m out shooting Pipeline with my fisheye I know I’m going to get caught by a set. I just call it the penalty box. You just have to take a moment to assess the situation and then swim down and all the way back around and out because it’s pushed you all the way in. It’s what happens, it’s the penalty box; you’ve just got to do a hot lap. I’ve done it up to five times in a two-hour period. That sucks, because

it’s usually a big wave that’s hitting you, maybe 8 to 10 feet Hawaiian size, and there’s not much you can do. You just curl up like a ball, get pushed straight in over the reef and hope you don’t hit.

I call it the bait; I think Aichner used to call it that. You’ll shoot one if like John John or someone is going and you’ll go in to get the shot, but odds are you’re going to get the next one on the head. So, you want to make sure it’s a worthwhile one.

What’s one memorable session that really sticks out in your mind?

This was a recent one around the 20th or 21st of December of this past year. It was really bad at Pipe and I sat there from about 6:30 in the morning at the Volcom house watching it. Then, it came to be around noon and we were going to go grab some lunch or do some kind of activity. Instead, we jumped in the water, my housing was loaded and it was absolutely terrible – 12-foot and all over the place. I got in and was shooting for 45 minutes thinking that we should go in.

Then, one good one came in, and then another one, and it kept getting better

and better. It turned out to be the best day of the year. If I’d left earlier that day I would’ve blown it. It was the best day ever.

Where do you see the future of water photography headed?

I think Scott Aichner kind of covered a lot of what’s possible, but I see a lot happening with the quality of cameras, equipment and everything. Everybody wants everything instantaneously, Instagram feeds and all of that. I was doing a lot of things with Surfer Magazine that were live feeds from contests. I think that if you can break news and get stuff out in real time, whether it’s a free-surf or a contest, I think that’s the future.

I’d have to agree. Any shout outs you want to give at the end here?

I’d like to thank Pat Tenore and Brophy from RVCA, and Jeff Wall at A-Frame Media.

Awesome Zak, thank you so much for the time.

Thank you and take care.

Interview: Roger Gastman I’ve known Cleon Peterson a little over 10 years, and I have always thought he is one of the best designers I know.

I worked closely with him designing chunks of SWINDLE Magazine and he nailed it every time. His design work is perfect, his knowledge of fonts is ridiculous, and he can create amazing things in many different styles.

Sometime around 2007, I knew Cleon had started working on a lot of his own art. Honestly, I didn’t think much of it at the time, and I really don’t even remember seeing anything, so I had no idea what he was working on. For all I knew, it was type-based, designinfluenced artwork. Soon after, I think I was in his office working on SWINDLE, I saw some of his paintings sitting on his desk. What I said is anyone’s guess, because I don’t recall the exact words of the conversation, but I know I was taken aback. Cleon’s paintings were beyond anything I ever could have dreamed he was making. They’re for sure a painting my mom would not be happy about if she came to visit, but that was not the only reason I felt for them. Later down the road, it was my 30th birthday party and Cleon brought me the best gift – a painting. It’s rude and crazy and has a scary guy in a military hat in the foreground dragging away a girl who I can assume was very naughty. It’s hanging in my kitchen.

You have quite a storied past. I

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know the information is out there, but give me a few highlights of the first 30 years – your upbringing, living situations, addiction, all that fun stuff. The “CliffsNotes.”

I was born in 1973. I grew up in Seattle with my parents, grandparents and a brother, and moved to New York in 1991, got deep into drugs, then spent the next eight years moving between San Diego, Los Angeles, Seattle and a little on the East Coast, when things got too hot to handle. In between runs, I vacationed in rehabs, probably stayed in close to 20. Spent some time in jail and in psych wards too. In 1998, I got off drugs and decided to go back to college and to graduate school. During those years, I lived in Los Angeles and Detroit. Today, I’m settled in Los Angeles.

Give us one story from those “eight years” you mention above that show through in your work today.

In the early ‘90s our Brooklyn neighborhood was crazy. There were always people fighting in the streets and heroin and cocaine were everywhere. Within the four-block radius of my apartment there were at least six places to score that I knew of. I used to cop in a brownstone next to a White Castle. Once I went to the spot and noticed a guy sitting in a car out front when I went in. When I came out the guy had been shot in the face

and was dead in the car. There was also a lady at that spot that lived under the stairs and acted as look out. She was always there in the dark, all dirty rolled up in her blanket with infected tracks all over her. I remember little kids, seven or eight years old, pointing at me and calling me a junkie. People were always looking to come up and beat you out of your money. That just paints a general picture, but I have a million stories of suicide and robbing and really sad stuff. A lot of my friends from those days are locked up and some are dead.

Surviving addiction can really bring out new demons. How did you first see them emerge in your artwork?

Interesting question. Do you mean like survivor quilt, PTSD, or the psychological dissidence that comes from joining a sober cult and then realizing you don’t fit in? I guess all the problems in life are mild after you’ve experienced the desperation and humiliation of addiction. I think coming out the other side of that gave me confidence and the ability to not be afraid of failing or being judged in life.

If you’ve been to jail, been deemed mentally ill, and lost everything over and over again, after all that ends, you have nothing left to be scared of aside from remembering your past and staying close to what makes you you.

How did you develop the style of your paintings?

When I was a kid, my brother and I did a lot of skateboarding. We hung out at a store called Fallout Records and Skateboards. Fallout also sold underground comics. Being there we were exposed to a lot of cool, very graphic culture. Mark McKee, Sean Cliver, Jim Phillips, Raymond Pettibon, Winston Smith, Charles Burns, Dan Clowes, Gary Panter, Robert Crumb, etc. At the same time, I was painting at art school. There I saw artists like Warhol, Leon Golub, Basquiat, Haring, Jacob Lawrence, Robert Longo and on and on. I was attracted to the dark and absurd. I was also attracted to the subculture. Aesthetically, I was always allergic to oil-based paint so I had to paint in acrylic. Acrylic tends to be flat and graphic.

Allergic to oil-based paint?

Yeah, I’ve always had bad asthma so whatever is in those things, the solvents and oils, I’m totally allergic to.

I’ll also die if I’m around cats. That’s why I always seem crazy when people invite me over to their houses - the first thing I ask is if they have cats.

Your paintings have stayed consistent for years and at the same time continued to grow. What do we see in them now that we didn’t five years ago?

The paintings are a lot larger and more direct. There are big battle scenes. Every aspect of society is at war. Oppressors occupying cities. People isolated in their own worlds doing whatever it takes for them to get by. Groups of people acting out groupthink. People exercising power over the weak. Shame, hopelessness, violence, and desperation.

Do you feel people have exercised power over you through the years?

Absolutely. Once you get wrapped up with the law you realize how easy it is to get vacuumed into that system. And if you have addiction you’re pretty much a mark to that industry. I also think the psych thing is a racket. Once they call you crazy it’s hard to convince them you’re not.

When you ask to be taken off psych meds, they just think that that’s proof that you’re insane. I actually went to see a psychiatrist once to tell them I wanted to come off and wound up leaving the office with more prescriptions. Methadone is another one.

If you’re in that world, you begin to realize

just how powerless you are. Especially once you start visiting county institutions.

I think it is. It actually relaxes me more than anything else. But I think it’s the craft of painting that I’m addicted to.

If you’re able to get into it, it becomes like meditating and a whole day can go by in what seems like 30 minutes. I’ve always enjoyed that. The characters in the paintings push the limits and life to excessive points.

like the people who are offended are the people that think art’s role is to beautify or decorate the world.

Do you plan to explore other color palettes?

I have been thinking it over for a little while. Maybe in the next show.

What is too much?

Nothing in the work is too much. It’s intended to be difficult and challenging to the viewer. It’s intended to make people confront our world. The one thing in life I hate is self-editing, not doing things because we’re worried about how our peers or society is going to respond. Not sharing our ideas because we lack the internal confidence to put them out there.

People respect honesty and transparency.

Do the characters that appear in the paintings have names and re-appear more than once? Is there an on-going story being told?

The figures are nameless. There is a narrative, but it’s generalized and nonspecific.

Since ‘98 you have gotten your shit together and are a productive member of society. Is making these paintings your outlet?

How do you know when to stop? What is too much for the viewer?

To be honest, I just try and stay out of that. Art holds a special power. I feel

Do the different color pallets mean different things?

When I was younger I used tons of color in my work and the result was a pretty picture with lots of color. That color effectively neutralized itself and became grey. The content developed and I began noticing how much the color played in creating emotional response. I want to be direct with the message and with the effect, so I use the most aggressive combinations I can, the stark black and white and the red, black and white.

What do you reference for your paintings? Past lives? Adult graphic novels? Slasher films?

I reference my past and histories that I feel kinship towards.

Do you feel the content of your paintings limits the collector base?

Like, can people with kids hang this stuff?

I’ve noticed that only smart people with good taste like my work. I actually don’t care about making my work friendly or kid safe. Art is not for everyone, and if it

is, it’s probably shit. The art that’s for everyone is the sculpture in front of the bank or the painting in the motel room, and we’re all bored with that stuff.

To be confronted by the violence in your paintings can be shocking for a particular viewer. Have people misunderstood the message and confronted you for being offensive?

If so, how did you react?

The art’s intended to make people feel something. I’m open to having dialogue about the work and always excited to see how people read the paintings.

In the past year or so you have taken your work outside the studio and painted some large-scale murals.

How did that happen?

My friend RETNA asked me to paint his wall and it just snowballed from there.

Did you have to learn new skills to do this?

Sure, Shepard Fairey taught me how to transfer my images onto large walls using stencils. I can basically do an image and make it as large as I want without losing its original integrity. For

me, it’s great because I love large scale and this gives me that opportunity. The other thing I like about painting murals is that my work is challenging, not meant to beautify and not meant as something everyone can unanimously like.

Your work adapts really well to large-scale murals – is it something you hope to do more of?

Yeah, I’m always looking to do more. In May, I’m off to Paris to paint one at the Palais de Tokyo, then to Poland to paint one at the Katowice Street Art Festival.

And just to be 100% clear, you are not a street artist and never claim to have been, correct?

Yes, I don’t consider myself to be a street artist. I’m kind of just doing my own thing.

You are one of the busiest and most productive people I know. Not only do you have a successful art career, but you also have a full-time job, a wife and three kids. How do you balance it all?

I just try and stay productive and don’t waste my time. Maintaining a militant

work schedule helps. I wake up every day at 4 to start painting. I think having kids has taught me how to be really efficient with my time too. I also surround myself with people that are productive in the same way, and I think we all feed off and inspire one another.

I’d consider you to be in that camp too, Roger.

You really wake up at 4 a.m.? What’s a usual day for Cleon?

Yes, 4 a.m. Have to wake up before the asylum does otherwise I can’t focus. I work ‘til 9 then go work with Shepard Fairey designing ‘til 6 p.m. Then sometimes go out, or sometimes come back home to hang out with the family.

Every hour in my day is spoken for so I’ve learned to be really efficient.

What kind of art do you like? Do you collect anything in particular?

Yeah man, I love surrounding myself with great stuff. I collect my friends’ work - Megan Whitmarsh, Richard Coleman, Shepard Fairey and Mark Whalen.

You recently had a successful show

in Los Angeles. Tell me about it.

Yes, End of Days at New Image Art. I think it’s my best show yet. I tried to really fill the space with really large paintings so when you entered the gallery you felt immersed in my world.

Have you been exploring any new concepts recently that maybe did not make it into the new show but are in your notebook or journal, being explored for later work?

I’ve avoided using symbolism in the past because I think it’s a way that people obscure meaning and break out of reality. But I’ve been thinking about diving into the subconscious and dream world for my next series. I think the challenge is how to make that world as real as the world that I’m working in now.

If you were not a painter, what do you think you would be with all that life experience?

If I weren’t a painter, I’d have liked to be a writer/philosopher. I love coming up with out-there ideas and exploring what makes us tick.

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Pants – Catch Surf catchsurf.com

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LIRA 2014 SUMMER COLLECTION W W W. L I R AC LOT H I N G . C O M

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Interview: Pat Towersy Where do you live?

I live on the island of Maui in a small town called Paia.

How has growing up there shaped you and your love for ocean sports?

The way Maui has influenced my life and growing up is that the conditions on Maui are constantly changing and producing world-class conditions for surfing, windsurfing, kitesurfing, standup paddling, canoe paddling, and bigwave surfing. Instead of just watching from shore, I had a desire at an early age to really do them all. Because for me, at the end of the day, I want to ride waves and all of these different sports allow me to surf one hundred percent of the time, know matter what the conditions are!

What is your favorite ocean discipline?

Surfing is the core of what I love to do. All of the other sports that I do are spinoffs of surfing. These different sports have given me the chance to see waves and to see the ocean from so many different perspectives. When I am surfing Jaws and everything is on the line, I can reflect on moments I have experienced doing my other sports and that can allow me to make the best decision. I just love surfing and all the sports I do is my way of surfing the waves!

If you had to choose one to do for the rest of your life, what would it be and why?

That would be impossible for me to choose because they are all so much fun! Riding waves is my favorite thing in the world. The craft I ride them on

I just try to adapt and ride it the best I can. At the end of the day, surfing is something that I want to do the rest of my life!

Why do you prefer SUP over traditional surfing?

I don’t prefer one over the other; I love them both so much. I have just had some incredible opportunities in the SUP world, especially competition. The great beauty of SUP is that I can take it to rivers, lakes, pools and feel the sensation of the glide of riding waves.

So really SUP is the best tool for me to feel like I am surfing no matter what, even if there are no waves!

How do you approach people with a stigma on SUP? Do you think perception is starting to change?

I think because it is a new sport it will come under scrutiny, but it also never helps when people abuse the benefits of the sport. My goal is to showcase SUP in the most positive way possible and show how rad you can get with it!

I truly have to thank SUP racing for saving me multiple times in big surf! I am able to surf nine hours out at Jaws no problem and also wipeout multiple times and not get tired. SUP is an amazing cross-trainer sport that has trained me in the best possible ways to survive big wipeouts.

Who do you look up to? Who inspires you from the young generation of wave riders?

I was fortunate to have mentors like Robby Naish, Laird Hamilton, Dave Kalama and Gerry Lopez who have really helped me so incredibly much and have made the greatest impact on me. I am being constantly inspired by guys like John John, Ian Walsh and Ian

Photo: Hallman

Photo: Hallman

Photo: Servais

Photo: Erik Aeder

Photo: Hallman

Photo: Servais

Photo: Hallman Gentil. They are incredibly talented at their surfing but they are also really nice people.

They are great examples of how to be for the next generation of surfers – ripper shredders, but nice people first.

What was it like to race the Oracle boat?

Racing the Oracle team USA on my kite board was insane! That boat is the most impressive watercraft I have ever ridden on or seen in my entire life. When I was racing it I constantly had it in the back of my mind that it could easily slice me in half if I got in its way. I had an unreal start and about halfway the AC72 got on its foils and by the end it blazed past me. What an insane experience to race that thing! I have taken so much inspiration from the skipper Jimmy, the lead grinder Shannon Falcone, and the entire team. They are true champions.

Any big projects coming up?

This year I really want to defend my SUP

Photo: Hallman race and wave world titles as well as continue to push my limits in big waves, especially at Jaws. I am also working on some super insane projects with Red Bull that I cannot wait to show the world when they are done.

Right now, myself and Poor Boyz Productions are filming a SUP movie; the goal is to show the progression of the sport in big waves and on the technical side, like airs, but most importantly, how much fun it is and how much fun life rules.

Anything you’d like to add? Shout outs, call outs, etcetera?

I would not be where I am today without my incredible support system. A huge thanks to my family, friends and sponsors: Hurley, Red Bull, Naish, GoPro, Nike, Oakley, Maui Fin Company, Vertra, and Turtle Bay Resort! Also, most recently it is always super rad when guys like Shane Dorian and Ian Walsh are hooting you into waves out at Jaws. They are huge inspiration out there. Thanks, guys!

Photo: Servais

Chris Grenier : Frontboard 92

Words & Photos: Michael Azevedo There’s something about the East Coast that just won’t let me leave. Maybe it’s the beautiful landscape, it’s probably the people, but it sure as hell isn’t the muggy summers.

In the end, I think it’s the fact my bank account keeps me beat up and down on my luck. No matter what it is keeping me here I make the best of it, and it’s that phrase that best describes snowboarding on the East Coast. Making the best of it is the only option for those of us suffering from “mad pow disease,” with short supply of the medicine that eases our symptoms.

Being a snowboarder here you’re constantly facing challenges that will make you question your dedication. We get two feet of snow then it rains the next day and turns it all to shit. It gets freezing cold after that and turns everything into a hockey rink. After that, you get a 50-degree day to get you excited

Nial Romanek : SW B.S Nosepress

to board, followed by an artic freeze that sends you back into depression. The weather here is so all over the place it’s hard to know which way is up. We don’t let it keep us down; we go out and do what we can with it. When it’s icy, we think, “Well, it’s going to be fast” and proceed to melt face. We dig through the crust to set up the spot with ice chunks in the landing. Fuck it, right? What else are we going to do?

For those of us from here dealing with this is a daily occurrence.

It fazes no one, everyone just keeps moving. There is a draw to these lands, though. For the snowboarders looking to hit the streets there seems to be a plentiful supply of what they desire. While most spots are spread out from town to town, there always seems to be new places to board popping up. So every year people head east to film, some coming home, some coming to visit, but all with the same goal – to get shots. If you’re from here you know what you’re in for. You know to take advantage of every good day you have, and to come quickly after it snows because you don’t have long.

I’ve seen people come a week after a storm and be

Ted Lavoie : Halfcab 50

Chris Carr

ChrisCarr : 5050 Air 5050

Sam Hulbert : SW Boardslide

completely shit out of luck because it warmed up and rained.

Once you’re accustomed to the weather it’s actually quite nice in the east. The snowboard community is small and tight. Everyone knows everyone, so no matter where you go there seems to be homies to board with. In March there are a bunch of contests that bring everyone out of the woodwork. Like, for instance, the Mike Baker Banked Slalom at Ragged Mountain. It’s just a fun race to get everyone together for some good times. None of that jock shit, no one really cares who wins or who gets last. Maybe no one cared because Ross Powers showed up and put everyone to shame.

This fucking guy falls in both runs and still wins. That’s insane. But all the contests here are like that; it’s more of a gathering than a competition.

Most of the time everyone just wants to wrap it up and go grab some beers.

I personally feel that’s the way it should be. So please don’t be turned off by the mostly crappy weather, or the salty personalities, because if you look hard enough the East Coast holds the cure to what ails you. I promise.

Johnny Lazz : 5-0 to Fakie

Pat Moore : Wall to Rail

Words: Spencer Pirdy :: Photos: Gary Copeland // Volcom Family // Grant Taylor and Arto Saari making new friends // Did we mention almost 5,000 people showed up?! // Alec Majerus and the next generation // The legendary Jamie Lynn // Terje Håkonsen was on hand // David González and a lucky lady // Church of Sun put a fun spin on the night // Mike Aho, Richard Woolcott and Ryan Immegart present True To This!

There’s something about Volcom movie premieres that just sets them apart from the rest: the music, the crowd, plenty of food and drink to go around, and always some mind-blowing, on-screen entertainment. All of this leads to epically fun evenings, and True to This was no exception. Even the biggest storm California had seen in years didn’t deter people from showing up. The place was packed with up to 5,000 partygoers, and no, we’re not exaggerating on those numbers. Every guy, girl, honey, homey, drifter, hipster, shredder and anyone with an inkling of interest for skate, surf, or snow was there, packed in the Volcom HQ parking lot and indoor skatepark, ready to bear witness to a highly anticipated film.

Once the flick began rolling, after everyone was properly lubed and ready, the uncontrollable hoots and hollers became audible from the first scene of Dustin Dollin awaking from his slumber, all the way to the closing mini ramp at sea segment with David Gonzalez and Grant Taylor soaring over a glowing Pacific

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sunset. True to This was well worth the wait, and ranks at the top of Volcom’s greatest hits. The whole of Volcom’s skate, snow and surf team’s talents and personalities were highlighted throughout the film, interweaving weirdly intriguing art direction and one-of-a-kind psychedelically spliced tunes into a near-perfect package. Mike Aho, Ryan Immegart and Ryan Thomas endured countless weeks of sleepless nights putting together this collective classic.

They, and the rest of those involved in the making of this film, deserve a golden trophy of some sort, even though they were probably plenty satisfied with seeing how well received their efforts were by the massive crowd.

In retrospect, America’s first boarding company celebrated the premiere of True to This in legendary fashion. Another Volcom premiere is in the books. Wild enjoyment went down, and everyone’s entertainment appetites were more than satisfied that Saturday night. We’ll see you again somewhere down the road for the next one!

CLI NT WALKER 1 80 N o Co m ply / Austi n, Tx. / PH OTO: Vau ghan WWW.ACTIVERI D ESH O P.CO M

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Words: Josh Grelock :: Photos: Derek Bahn // Artists Dan Quintana, Tomi Monstre, Steven Daily, Juxtapoz Magazine Co-Founder Greg Escalante, artists Karen Hsiao, Rothick Art Haus and proprietors Kelly Castillo, Brandi Milne & Graham Curran // Artists Jason Maloney, Cody Raiza, Glenn Arthur, Juxtapoz Magazine Co-Founder Greg Escalante & artist/writer/film maker CR Stecyk III // Artist STiNK! // CR Stecyk III with JP Olson & artists Gustavo Rimada & Tokyo Hiro // A beautiful Greg “Craola” Simkins piece // Artists EVOL, BROCK77, KASL, HIGH5, 2SHAE, Dan Quintana, Steven Daily & Gustavo Rimada // An amazing piece by Gustavo Rimada

On Friday, March 21st, Hurley teamed up with Waves For Water and BL!SSS to present ‘Born From Water,’ a one-night-only event featuring some of SoCal’s best tattoo, graffiti and fine artists. Naturally, the event was a huge splash, with standout pieces by Craig Stecyk III, Greg “Craola” Simkins, and Tim Hendricks, just to name a few. Not only was there tons of killer artwork to check out, the Hurley Printing Press was there as well cranking out free t-shirts with custom designs from LA graffiti artists 2shae and Kasl. The H2O truck was also onsite selling custom water bottles in celebration of World Water Day. With free beer, tasty snacks from Cabo Chips and Sambazon, and DJ Joshr spinning greasy rock ‘n’ roll on the ones and twos, it’s safe to say that everyone had a good time. To top it off, all sales of artwork that night were matched by Hurley and donated to Waves For Water.

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Words: Joey Marshall :: Photos Brady Field // COLLECTIVE store front, packed house // Skater/Photog: Derek Fukuhara // Ezekiel boys: Mark, Ryan, Derek & Ian // Vaude // Rikki, Slesh & Peter // Rikki & friend // Chris Mumma, Jillian Canter & Troy Elmore // A few people with that one hot girl… Rikki

I guess I’m getting old. Old as in… yeah, I think I was the oldest guy at this particular gathering – at least in the top three. But that never stopped me, and it sure as hell didn’t stop the 100+ youngsters from getting together and celebrating a mess of amazing photography.

Newport’s Collective was the venue and photography from Grant Hatfield, Derek Fukuhara, Captain Soncho, Mark Underwood, Emma Sanchez, Chris Mumma, Nathan Vernes and Matt Payne was on display. Thirsty patrons were generously served beverages by our friends at House Beer, and sweet tunes filled the air from the live set by Vaude. Needless to say, the storefront was absolutely packed to the gills, with people pouring out into the street. Everyone had smiles on their faces, and a lucky few left with pieces to hang in their homes. Things were dwindling down by 11 p.m. and the EZSC (Ezekiel Surf Club) and the rest of the partygoers went their separate ways to continue the night of debauchery. I was highly impressed by the turnout and can’t wait till the next one.

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Photos: Chris Wellhausen & Anthony Acosta // Steve Van Doren and HB Mayor Matthew Harper make it official // Vans Pro Skate team rolling deep // Steve Caballero and Christian Hosoi flying // SoCal Sole of Fame Inductees Christian Hosoi, Tosh Townend and Ed Templeton // Omar Hassan doing what he does best // Steve Olson and Jay Adams join the party // Steve Van Doren driving his Sk8-Hi // Vans Pro Skate riders Kyle Walker, Daniel Lutheran and Geoff Rowley // Hosoi getting his feet cemented // Vans Off the Wall Skatepark, HB Now Open!

The Vans Off the Wall Skatepark and Jack’s Garage skate shop grand opening celebration took place this past month on Saturday, March 22nd in Huntington Beach. The day’s festivities included an official ribbon cutting, tons of skateboarding, autograph signings from Vans pros and the inaugural “SoCal Sole of Fame” induction ceremony honoring local legends. Over a thousand friends, family, skateboarders and fans gathered in the morning hours to be a part of the official ribbon cutting and park opening. Representatives from Vans, Jack’s, California Skateparks and Huntington Beach Mayor Matthew Harper each said a few words before turning the park over to the community to skate.

Once the ribbon was cut, hundreds of skaters made their way into and throughout the highly anticipated new course. Pros and legends skated amongst the big crowds throughout the day. Professional and amateur skaters from the Vans skate team were joined by legendary pros Jay Adams, Steve Olson, Dave Hackett, Laura Thornhill, Eddie Elguera, Marty Jiminez and masses more from the local skate community to put the first grinds and slides on every imaginable edge, ledge and rail in the 42,500-square-foot skatepark. Tosh Townend, Ed Templeton and Geoff Rowley sessioned the salvaged flatbar from the demolished original Huntington Beach park, just like old times, while Vans 104

legends Steve Caballero and Christian Hosoi entertained with doubles in the clover bowl. The Vans Off the Wall Skatepark “SoCal Sole of Fame” ceremony took place in the afternoon, as local Huntington Beach skate legends Christian Hosoi, Ed Templeton and Tosh Townend were the inaugural inductees. The three skaters each put their feet in cement and the impressions will remain there to be joined by others as a part of the skatepark to commemorate the significant contributions of local skateboarders in their community. Designed in partnership with Vans and built by California Skateparks, the Vans Off the Wall Skatepark offers every terrain imaginable. The park is defined by an upper transition bowl area and a lower street plaza area, which is tied together with paving pattern of the Vans iconic checkerboard designed that’s weaved throughout the park.

“Vans is proud to finally share the Vans Off the Wall Skatepark with the community,” said Steve Van Doren, vice president of events and promotions.

“It was a long time coming and we look forward to all of the great skating and events to come.”

The park is now open and free to the public. For more information, visit www. vans.com.

Interview & Photos: Max Ritter This is just a quick hellooo with Bay Area hardcore dude and riff magician Tony Molina. Here we are trying to overcome his ADD. A lot of people are just hearing your music for the fi rst time, since Slumberland is re-releasing your LP and Matador added you to their singles subscription collection, but you actually have been playing in hardcore bands for a really long time. What are all the bands you have played in?

Dystrophy, Case Of Emergency, Lifetime Problems, Caged Animal, Fraudulent Lifestyle, Scalped, Provos, Opposition II Society, a few more. No one has heard of a lot of these bands, which is probably a good thing, haha.

Your solo stuff is a lot more pop than hardcore. Explain the transition and why you love both and how you meld them?

It wasn’t a transition. I always wanted to do pop music since I was like a really young kid, and hardcore really doesn’t have anything to do with me wanting to do that kind of music at all.

I do enjoy hardcore, but they are separate things and they don’t infl uence each other at all, except for maybe the song length thing.

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What are some of your favorite hardcore bands of all time?

Agnostic Front, Madball, CroMags, Warzone, Straight Ahead, Breakdown, Raw Deal, SSD, Infest, etc. etc.

I really like the short song structure of some of your songs. Sometimes it feels like there is only one verse or one chorus and the songs are like punk length. What inspired that and why do you write songs like that?

I’ve been writing songs that short for like 10 years. It’s funny because this LP is the fi rst time I’ve ever been called out on it. I don’t think it was a conscious decision to make the songs short; it just happened that way. You don’t have to stretch some shit out to like 3 minutes just because it has to be standard length or whatever.

People act like it’s a straightup rule or something. If a song feels like it’s done, I’m not going to force myself to repeat or add parts to it. If I did, that song would probably suck.

The best thing about your stuff to me is the guitar harmonies. I’ve seen a lot of Weezer references to your music, but to me that part of it reminds me of Thin Lizzy, even more so on the Six Tracks EP. Then I saw you

at a show recently and I saw you had Thin Lizzy on your t-shirt merch. Talk about that infl uence. Also, who else is a guitar infl uence and who inspired you to play like you do? There is a Metallica cover on that EP and Guided

By Voices cover on the LP as well.

I think I probably took some infl uence from learning a lot of Scott Gorham shit. I used to play along to their albums a lot.

Black Sabbath, Motorhead and Metallica infl uenced my guitar playing a lot too, especially when I was younger and trying to learn how to do solos.

Some of your riffs are pretty complex. Are you at all classically trained? Are they pretty thought out or do you just kind of write those off the cuff?

Not classically trained. I usually get an idea with some chords and put a melody over the chords for the riff and then try to make it into a song as fast as I can. I have a short attention span so I can’t really spend a lot of time trying to write that shit. It gets frustrating or boring when I try to do that.

R.I.P. Scott Asheton. If you were going to cover a Stooges song, what would it be?

Yeah, that’s a bummer. I could never cover a Stooges song because they are Gods, but if I had to I’d probably cover that song Dirt off Fun House because it has such a sick groove. Or that song “I’m Sick Of You” is also tight.

You already have been working on a new album for later this year, right?

How is it coming? When can we hear some of that, and what’s it going to sound like?

I’ve been doing demos at my practice space on this Tascam 8-track that my friend is letting me borrow. I got like nine songs that are done, and a bunch of others I’m working on. It’s going good but I’m taking my time. I think there’s going to be a lot more acoustic shit, and I think the album is going to sound depressing as fuck hopefully.

I’m also making all the songs 8 minutes long so people will actually shut the fuck up about that shit.

Shout-Outs?

Yeah, shouts out to Tanforan, Stonestown, Hillsdale and Serramonte mall.

Thanks Tony! Tony Molina full-length LP Dissed and Dismissed available on Slumberland Records. Six Tracks EP available on Matador Records.

Photo:

Burgerama Live Review & Photo: Max Ritter The Observatory, Santa Ana, CA Sunday March 23rd, 2014

The third annual Burgerama was a wild time! Hordes of bat shit crazy kids enjoyed three stages of music madness. Here is Mac Demarco’s pre-show routine about to get weird on the big stage. His new record Salad Days is out this month.

Reviews: Max Ritter

Black Bananas “Physical Emotions” 7” Drag City

The Spits Kill The Kool In The Red

Matt McCluer The Sweet Sweet Things Lightning Records

Lost Kids Cola Freaks 7” Sing Sing

Another funky futuristic robot hammer from Black Bananas! Not going to lie: this thing has been on repeat. Their new record won’t be out until June, so this will have to hold us over until then. The B-side is a Hot Chip remix.

To celebrate a decade of The Spits, In The Red has given a proper release and re-master to the once “tour only available” album Kill The Kool. Expanded to a double LP with singles, outtakes, and demos, it’s got all the bells and whistles for any Spits fan. In other news, it looks like In The Red has a new website that is arguably less punk than their old one, but it doesn’t suck as bad to use.

Matt McCluer is just a freak of a songwriter and multi-instrumentalist, and he lives right here in our own backyard. Might have seen him lately filling in on the drum set for Tomorrows Tulips as well. Get a hold of his new record. It’s chock-full of his sweet pop jams.

This is a re-issue of an amazing single from a Danish punk band that was originally released in 1979. Thanks Sing Sing records for unearthing this gem! Can’t understand the words but it’s amazing, damn. They had me at the face paint.

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Photo: Kenan Chan

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Photo: Luke McKaye

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