BL!SSS Magazine | August 2017 | #120

SIMON BIRCH ISSUE 120

K E V I N

“ S P A N K Y ”

R V C A . C O M

|

L O N G

# I N S P I R E D B Y R V C A

T H E B A L A N C E O F O P P O S I T E S

eri k nelsen surf camps

newport beach august 2017 4, o n e-we e k s u rf ca m ps ava i la b le ! re g i ste r at. . .

eriknelsensurf.com

949.464.0077

120

16

ISSUE 120

26 28 30 32 34 36 38 44 52 56 60 62 64 66 67 69

KELLY ORDING

ALESSANDRA MARIA SUPER TASTE

WSL BIG WAVE TOUR

MIZU MISSION: AFRICA ALANI MEDIA

THE ART OF SIMON BIRCH

JOSH GOMEZ INTERVIEW

LICK THE CAT AT HIGH CATSCADE AGENDA FESTIVAL

WEST COAST BOARDRIDERS

SALTY CREW TALK STORY

THE PARANOYDS MUSIC REVIEWS GROMS

WWW.BLISSSRAG.COM WWW.BLISSSMAG.COM

24

BRI CIREL

WWW.BLISSSMAN.COM

20

PRODUCT REVIEW

SS

RANDOMS

CON TENT ISSUE No. 120

+

HEAVY TOMORROW LIGHTNING CRACKER

BY SIMON BIRCH

S

F O R

A N Y

G I R L ,

R V C A . C O M

|

A N Y W E A R # A N Y W E A R

ISSUE No. 120 / STAFF

+

Editor-in-Chief

NI CK K A L I O NZ E S nick@blisssmag.com

Editor

J O E Y MA RS HA L L joey@blisssmag.com

Creative Director

S A S HA L O P E Z sasha@blisssmag.com

Art Editor

L I Z RI CE Mc CR AY liz@blisssmag.com

Snow Editor

J O N F RA NCI S jon@blisssmag.com

Music Editor

MA X RI T T E R max@blisssmag.com

ADVERTISING

ads@blisssmag.com

NI CK VA N DE K A M P vandekamp@blisssmag.com

MI K E WE T Z E L mike@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, BRUCE BEACH, ROBBIE CRAWFORD, RYAN DONAHUE, JOE FOSTER, SEAN SULLIVAN, STAN SIEVERS 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, BRUCE BEACH BL!SSS MAGAZINE / 413 31ST STREET, NEWPORT BEACH, CA 92663 WWW.BLISSSMAG.COM

SIMON BIRCH INTERVIEW PG.44

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.

ISSUE No. 120

SIMON BIRCH

If your favorite shop isn’t receiving BL!SSS Magazine please contact info@blisssmag.com

@805BEER SEE THE GETHEN JENKINS STORY AND MORE AT 805BEER.COM

RAN DoM S

// RNDMS

No. 120

+

CITIZEN WATER

There’s a new water company in town and they go by the name of Citizen Water Co. Brought to you by Bear Flag founder Thos Carson and SoCal Draft Beer’s Evan Chrisher, they’re transforming everyday tap water into properly mineralized, high PH water that your body so badly craves. Their filtration process removes all pharmaceuticals, acids, disinfection products, pathogens and heavy metals that contaminate almost all other waters on the market. They’ve also taken it a step further by offering a variety of kombucha brews on tap [coconut lime, blueberry mint, watermelon cherry and ginger aid] as well as a Caribbean Dark Roast cold brew coffee. Available now are in-home and shower filtration systems but we highly recommend you stop in at 333 East 17th Street in Costa Mesa and talk to water guru Seamus to hear all about what they have on offer – you won’t be disappointed.

SURFEARS 2.0

Surfing in cold water comes with its hazards and one the most common but overlooked issue we have to be aware of is Surfer’s Ear. Basically, being in the cold and wind stimulates ear canal bone growth, narrowing the canal and blocking the eardrum. It’s your body’s defense mechanism to the elements and the results can be quite painful. Problem is, every earplug we’ve used has made us nearly deaf, transforming our typical surf session into a lonely, non-social affair – that is, until we discovered SurfEars. With the introduction of SurfEars 2.0 comes a solution that helps fight the Surfer’s Ear dilemma all the while allowing us to hear the regular banter and hoots and hollers in the lineup. Endorsed by two-time world champ and stud of a human being, Tom Caroll, he’s a believer and so are we! Get them where finer surf products are sold or online at www.surfears. com.

GNARBOX

We do the best we can to keep you informed on the newest, useful, tech gadgets that grab our interest, but every once and again one slips through the cracks. And that’s exactly what happened when a friend of ours walked in the office this past month and was sending us footage off his Gnarbox. We were blown away at the capabilities this little beast of a gadget contains. Not only acting as a 128GB rugged hard drive with Wi-Fi capabilities but paired with its iOS or Android app, it allows you to organize, edit and share HD videos and photos, laptop free. It also comes equipped with USB3, microSD and SD ports, allowing you to connect any camera to quickly access and manage your content. Pretty nifty little gadget if you ask us. Another must-have for all you techy nerds, get yours wherever finer gadgets are sold or direct at www.gnarbox.com.

COMMON ROOM ROASTERS

Gone are the days of “Folgers in your cup,” as the craft coffee craze has all but taken over Southern California.

I can’t even count on my two hands the number of suave coffee shops that have popped up in a five-mile radius in the past 12 months. One that’s really caught our eyes, and taste buds, is the Common Room Roasters in Newport Beach. Nestled in the heart of the industrial surf mecca, at 883 Production Place, these blokes are roasting beans that taste as good as their cafe looks. We had nice little office drop in with roast master Ed Moffat and he told us how his lifelong friend Jeremy Creighton convinced him to leave his homeland in Melbourne, Australia, to do what he does best over here in SoCal. These boys have got the craft coffee game on lock, and though we’re told the bulk of their business is wholesale, their café is a sight to be seen. It’s separated from the roasting area by glass walls, allowing patrons to view the entire roasting process – kinda like the micro-brewery model, and it’s very cool to see firsthand. They always seem to have rad stuff going on, so next time you’re in the neighborhood swing by and have the best cup of joe you’ve ever had.

SPANKY’S TIME WIPER PACK

Haven’t we all written/doodled on napkins in our day? Some do it better than others, that’s for sure. Well, pro skater Kevin “Spanky” Long’s pretty damn talented at the art of napkin writing. So much so that he has a new Time Wiper Pack that Emerica is putting out right now. It’s a collection of characters, motifs, and personal catch phrases. They are the perfect addition to your house, apartment, room or can just be unique art pieces to casually have with you wherever you go. Visit emerica.com or anywhere this collection is sold.

20

ISSUE 120

RAN DoM S

// RNDMS

No. 120

+

BYRD’S NEST NEWPORT BEACH

With the end of one era comes the beginning of another. While we all shed a tear when we heard the infamous Byrd’s Nest in LA was closing its doors, we were elated to hear the Nest has relocated to Newport Beach, and just a stones throw away from our headquarters. With the relocation comes their staple barber shop, all your favorite Byrd products and what we hope can only rival the crazy parties for which the LA Byrd’s Nest was famous. So next time you need a trim, or just wanna ante up your toiletries, visit the new Byrd’s Nest at 415 30th Street on the Balboa Peninsula in Newport Beach. The doors should be open by the time this ink is hitting your fingers, and we can’t wait for the grand opening rager that’s soon to transpire.

HYPERFLEX VYRL

Our buddy Joe Foster has more jobs than a Jamaican. We really don’t know where that line came from but it’s still one of our favorites. When he’s not shooting photos, making music, managing athletes or building ads, he’s lacing up the finest surfers with Hyperflex Wetsuits. That’s why we were a bit confused when an unmarked box showed up at the office with a new Hyperflex Vyrl – but god dang this is one heck of a good wetsuit. It looks like all the hours of R&D have finally paid off – quick drying, ultra light, super flexible, feverishly warm and with a sticker price at just $159.95 for a 3/2 and $174.95 for a 4/3 we’d be shocked if we didn’t see at least one of these in every lineup. Like its name, expect this suit to go viral. Thank you Hyperflex and thank you Joe Foster!

MADSON X SANTA CRUZ SCREAMING HAND

Madson, our favorite shade purveyors, has just come out with a new collab featuring the artwork of Santa Cruz Skateboards. The artwork itself is the iconic Screaming Hand, and damn do these shades look badass. The new collection of sunglasses includes two styles: The Classico and the Magnate. The Classico is an oversized frame inspired by the timeless style of the 1950’s. The Magnate is designed with a subtle wrap that offers a great fit and full protection from the sun. Both frames feature the Screaming Hand and Santa Cruz logo and are available now at www.MadsonOfAmerica.com.

VANS X CULTIVATE HAWAII

Vans just came out with a pretty colorful, cool and common-bond collaboration with Cultivate Hawaii that we are really backing. The Vans x Cultivate Hawaii collection features the Slip-On SF, Slide-On sandal and the Hanalei sandal, each displaying a dreamy, technicolor island scene and a Vans x Cultivate Hawaii logo in the foot bed. The whole collection celebrates Mother Nature and her beauty, and we suggest you get a few of these gems before they’re gone. Visit www.vans.com or any local retailer for more info.

RADIUM BY ZEAL OPTICS

Inspiration is everything. The boys and girls at Zeal Optics know this and that’s why they’ve named their latest frame release after Radium Hot Springs, BC. Anyone who’s been to Radium knows of its majestic healing powers, great fishing, unparalleled landscapes, Class 4 rapids and phenomenal cliff diving. It’s a great destination for any adventurist so it comes as no surprise that the Zeal Optics crew would honor such a magical place with such a stylish frame. And always looking out for the environment, the Radium shades boast ellume Bio-Plastic lens combined with a plant-based Z-Resin frame, reducing the environmental footprint allowing you to enjoy majestic places like Radium Hot Springs for centuries to come. Do Mother Earth a favor and grab yourself a pair today – your grandkids kids will thank you.

22

ISSUE 120

WWW.SKETCHYTANK.COM

PROD Uc T

RE VIEW

// PRDCT

No. 120

+

VOLCOM

HURLEY

QUIKSILVER

SALT LIFE

RVCA

VANS

SALTY CREW

BILLABONG

DUVIN

KATIN

PATAGONIA

OUTER KNOWN

RIP CURL

ONEILL

ROARK

LIRA

Fricken Chino Shorts / $45

Bruce Sport Short / $50

Flagoon Short / $68.50

Refugio Walkshort / $49.50

24

ISSUE 120

Alpha Trainer Plus Threat / $65

AV Covina Short / $49.50

Patio Short / $53

Loaded Heather Hybrid Short / $49.50

Neolithic Amphibian 21� / $58

Salty Chino / $54.99

Baggies Short / $49

Malabar Shorts / $65

Digitize Short / $54

Crossfire X Tropics Submersibles Short / $59.95

Siesta Short / $65

Frazier Short / $46

BRI CIREL interview / liz rice mccray

This month we had the pleasure of interviewing Bri Cirel, oil painter and video artist currently living and working in Los Angeles, CA. Many thanks to Bri Cirel for taking the time to answer our questions. Make sure to check out more of her work at www.BriCirel.com.

Will you describe where you are right now? This way everyone reading along can imagine the setting.

I’m sitting at my computer on my makeshift desk (broken table from Ikea with grandpa’s cane holding up middle) at my studio in a rented house in Panorama City, CA. It’s summertime so the house is super dark with all the blackout curtains drawn shut to keep the sun and heat out. It’s noon now. I just started the coffee and the machine is making gurgles. My 90-pound pit mix is lying on his bed on the wood studio floor behind me. He’s making lots of gurgles too; he’s old. I live across the street from a city park and elementary school, which is usually screaming with kids playing at this time, but during the summer the neighborhood is dead. Right now the studio window looks over an empty gated schoolyard with large trees.

Will you give us some insight to your medium and creative process?

I taught myself how to paint in oils after struggling with the limitations of acrylic paints. Oil paint is pretty magical. It’s a medium that seems to reward dedication and effort. I can see my technique getting better with every painting, but I also can sense how much I still have to learn.

You described your paintings as a “visual puzzle.” I really like this description. While at school, you developed a love for video editing, which influences your painting designs. Will you tell us about text, portrait, and figures?

Yes, I see a correlation between my video work and painting style, but it wasn’t something I developed consciously. I studied film/video in college and became so excited by editing. I love how juxtaposing images through editing activates the brain to make connections even if a relationship doesn’t exists. I realized that to be a powerful tool for both direct and subliminal communication with an audience.

If you could change one thing about the perception of art by the majority of people what would it be?

I wish the stigmatization of art being esoteric or weird would stop. It seems so common for people to dismiss art because they feel like they don’t understand it. Art is simply a language of visuals. All day, everyday we are surrounded by images communicating to us, whether it be via street signs, architecture, advertisements, clothing, etc. Our brains understand and compute what these images are attempting to signal. Art is just tapping into this pre-existing visual language. When people default to feeling like they “don’t get art,” they are selling themselves short. Chances are those same people have bought products because advertisements have successfully used art to make those products desirable. It’s frustrating when people limit the power of art to only the institutions that are trying to control them. Art can expand our ways of thinking and communicating ideas that there are no words for.

Several years after graduating, I began to teach myself how to paint with oils. While creating content and designs to paint, I found myself drawn towards sharp graphic edges and bold fonts. I was less compelled to experiment in a painterly style, and instead I felt interested in mimicking the cleanness of advertisements. I discovered that layering two separate images together acts much like video editing, but because the images are stationary there are different opportunities at play. I could actually deliver a lot more information at once because the viewer can take their time with a still image. So I played around with combining text, shapes, and imagery together and became even more fascinated with how the brain breaks down and prioritizes all the information. Experimenting with how to communicate complex ideas through an image is an interest-turned-to-obsession that has inspired my style to become more like a visual puzzle.

26

ISSUE 120

I would describe my creative process as always on. Basically anything and everything I see gets analyzed. I’m always taking notes and compiling ideas until it comes time to create new designs for new paintings. This part of my creative process is the most intense because I spend days, sometimes weeks just reading, researching, and thinking. I go through all my notes and organize concepts until a fully realized message or look becomes the blueprint to begin a painting.

Ok last question, where can people check out more of your art? Thank you so much for taking the time to answer our questions.

I have work at Parlor Gallery in NJ right now. At the end of summer I will show my two newest paintings with Cave Gallery in Venice Beach, CA. And I have recently been invited to show this January in NY, more details to come. The best way to see all my newest works and upcoming shows is via my website – www.BriCirel.com.

And to see candid studio shots and works in progress, check out my Instagram - @Bri.Cirel

SURF TRIPPING

ENJOY THE JOURNEY. LEAVE NOTHING BEHIND.

www.mizulife.com @mizulife

KELLY ORDING Bay-area artist Kelly Ording creates artwork that blends organically with exact lines and geometrical shapes. Ording’s process-sentric approach allows for paintings to evolve organically with sometime no plan or intention. Ording is a graduate of San Francisco Art Institute. In addition to fine art, she creates large-scale public works and murals.

Your work reflects a meticulous attention to detail through abstract shapes. Have you always worked with abstracts? What is your attraction to this style of illustration?

No, I haven’t always been strictly an abstract painter. There were always abstract elements in my work, such as fields of color or patterns, but for a while I would include some representational element in the work. I often painted landscapes, boats, homes… things like that. My work at that time would tell stories about places I’d been or experiences I had. As I got older, I started to place more importance on the process of painting rather than the end result. I wanted to tell a story about the creation of a painting rather than a story about my life. I try to maintain a nice balance of having control over a painting and letting natural things happen to a painting, allowing it to become what it wants to become. I am attracted to abstract work because it is so open to everyone who views it. It never tells the viewer what to think or what to feel. The imagery is more about process, time, emotion and uncontrollable occurrences. I think that is a place everyone can step into and relate to, like the idea of presenting a viewer with something that they can decide what it is or isn’t. I like giving the viewer the power to decide that.

It is really interesting to see your work take form in different mediums; paintings, murals, fabrics, papers. Do you have a favorite medium and style to work in?

They are all so different, it’s hard to choose a favorite. I suppose I like each medium for a different reason. I guess my first love will always be paper. I love the process of dyeing paper and it’s so open and forgiving to a range of materials. I love that you can use dyes, graphite, ink and paint. Paper is just so tough. I love collage because you can try a million and one things without making a commitment. You can instantly see how a piece will look before it’s all finished – very low stress. Murals are the hardest medium for me, but probably the most fulfilling. I love painting on a big scale and painting outside in the sun, especially when I can paint with my husband, Jet Martinez. Plus, it’s super important to me that artists bring art outside of the gallery and museum and into the public space. Everyone should be surrounded by art in their everyday life and murals are a huge part of that. I love that people could see my work, have a relationship with a piece and have no idea who the artist is. Working with fabric is relatively new for me. I’ve been lucky to collaborate with a few really talented people such as Erica Tanov and Rel Lavizzo-Mourey.

It’s pretty incredible to be out and see people wearing my designs. Also, having my work on clothing or as a fabric is another way that people can have my work at an affordable price, which is really important to me.

28

ISSUE 120

In 2015 you pre-painted a mural for KAABOO, and this year you will be live painting. Do have a different approach or style to painting live versus painting in a more private setting?

We painted the murals in 2015 on the side of a huge building in downtown San Francisco, so it was still pretty public. However, we were high up on the lifts so we were kind of in our own little worlds up there. But, I’m actually approaching the live painting very similarly to painting a mural. In both cases, I design the piece well ahead of time so I know exactly what I’ll be doing once I arrive. It’s always a good idea to get all the decision making out of the way so I can just relax and enjoy painting. This year I am super excited because I will be painting a piece really different than what I’ve done in the past. Instead of the typical rectangular shape of a panel, we’re building geometrically shaped panels, so they will be more sculptural. It’s a nice leap from a mural I recently completed in San Leandro, California. Kaaboo is so cool because they are open to letting artists try new things and experiment. It’s always exciting as an artist to expand your practice, especially if you can do that while listening to music at a festival in Del Mar!

To see more of Kelly Ording art go to www.kellyording.com.

ALESSANDRA MARIA interview / liz rice mccray

Alessandra Maria was born and raised in Seattle, transplanted to New York for almost a decade and now finds herself in Maui. Alessandra’s finding resonance with Dave Hickey’s theory that America is, at its heart, a pagan nation which builds up its own idols and in turn tears them down. Alessandra’s work attempts to go back to the historic start of iconography and remake it from a feminist perspective.

You are “Seattleite,” born-and-raised, abd then you did a stint in New York. Now you just moved to Maui… besides the obvious, why Maui?

Why Maui? Well, I have to dive into what New York was to me first in order to explain. In almost every way New York is my home now and holds the most emotional attachment for me at this point. I cut my teeth there and spent just shy of a decade for what felt like the most formative years of my life. For better or worse, New York wears at your resolve, your self-esteem, your energy, your health (unless, of course, you’re wildly wealthy, in which case you experience all the soft poshness and none of the grinding difficulty). For me, I was unbelievably broke for a while living there, so it was all grind and no glamor; I actually had to walk to the Met from my apartment in Bed Stuy once because there was a show I wanted to study, but I couldn’t afford a metro card.

When you’re confronted with so many spectrums of struggle and achievement, it forces you to look into the mirror and understand what you want out of your own life. You can’t just coast in New York; it’s too difficult and if you don’t have a reason for being there you’ll burn out in two years. So, living there toughened me, and it gave me the fierce desire to make work that was exactly what I wanted to see and nothing less - everyone else’s opinions be damned. It was a vital driving force for me to make good work early on, and I love the city dearly for that.

But, that was about seven years ago. I started to find that the last three years I was enjoying the city a little too much, and the unhealthy, posh things it has to provide. I got tired of having bars as the main activity for the weekend, and I started to desperately miss nature. All the daily challenges didn’t feel so tough anymore (like doing anything for 10 years inevitably will), and the luxuries of amazing rooftop bars and cocktails, shopping, brunch, events, and openings felt a little too soft and privileged. In short, I got comfortable.

I’m not sure where to start. We are blown away by your eerie gold-leaf, mixed-media artworks. Will you please tell us about your latest ongoing body of work?

For the past couple years I’ve been really interested in the process of developing my own personal iconography. Having been raised in a very Catholic (and loving) family, I grew up entrenched in that faith, and the notions of what it meant to be an ideal woman. Mary, in particular, was always held up as our role model. The problem with having Mary as an ideal woman is that she is devoid of sexuality and autonomy. So, as I grew and found myself, I separated myself from the church and struggled to come to terms with what I, as a human and woman, should strive to be. My work is an expression of this ongoing search, from a feminist, secular perspective.

What mediums do you mainly work with? Can you give some insight to the conception of these subjects in your paintings?

I started out working with graphite, but about a year ago I transitioned to charcoal in order to get the darks truly black. I work on ink-tinted paper, and with elements of gold leaf throughout.

All of my subjects start as explorations of the iconography I described.

One element of your painting that affects me greatly is your use of light. How do you create that play of light in your mind?

Because my work lacks color (for the most part), how I light each part of a piece is vitally important to making it come alive. I often try to imagine what lighting in a thick garden looks like, when the sky is almost completely obscured by plants, flowers, leaves, etc. For the figures, I find that using a modern interpretation of sfumato can lend a haunted, living quality. I want the work to feel sacred, like an artifact.

30

ISSUE 120

Maui was a real wildcard. I didn’t really know what would happen, but I knew it would be a drastic stripping of everything remotely distracting. Few bars, fewer galleries, and I’m sorry, but the restaurants just can’t hold a candle to most of the city. But - it has this profound, spiritual beauty that (to me at least) is unparalleled anywhere in the world... the visual inspiration is almost overwhelming; I feel like I can’t go to the grocery store without getting four ideas for pieces. The weather is always perfect, the mountains are astonishing, I’ve seen tens of flowers I’ve never even heard of before, butterflies every day, and a whole world underwater that is so exciting to explore. Now on Friday nights instead of going to bars I go hiking and get to bed early. I suppose the best way to put it is that it was the most pure way to cut the fat of glamor, drinking, and posh out of my life, and heighten the most important aspect - artistic inspiration and creation.

What kind of art do you like? Do you collect any art?

I don’t collect art, not yet. I don’t really think I ever will... I try to focus 100% of my energy on creating my own work, and I could see myself falling in love with collecting. So - like watching Game of Thrones or playing videogames - I’m never going to start!

Any last words for our readers?

If you’re an artist and you get frustrated with what you create, remember not to beat yourself up; that voice that tells you your work is bad is your standards talking, and it can be your greatest tool if you use it correctly. If you have high standards and you keep chipping away at your work consciously to try to meet them nothing can stand in your way in the long run. And, talent doesn’t exist, no one is special. If you’re determined enough to make great work you have the ability to stand next to the greats. In short - you can do it!

Thank you so much for taking the time to answer our questions. Very last question...

Where can people check out more of your art?

Thank you for the interview! For social media, my Instagram is the most updated - my username is @alessandradraws. My website is www.alessandramaria.com, and my email is alessandramariaart@gmail.com.

S SUPER TASTE photography / dominic petruzzi / @dominicpetruzzi model / kayla garvin / @kaylajgarvin agency / factor chosen la / @factorchosen_la

No. 120

32

ISSUE 120

+

ISSUE 120

33

WSL BIG WAVE TOUR / PUERTO ESCONDIDO

It’s easy to get injured at Puerto Escondido, arguably the most challenging beach break on earth. When you’re already injured, like half of the Big Wave World Tour was this year, it makes an event like this all the more hectic.

For good measure, the known injured were Tom Lowe (ankle), Jimel Corzo (local standout with a tweaked knee), Greg Long (another injured knee recipient who kept dry and commentated) and Jamie Mitchell (still healing from a broken sternum). These big wave brethren, the rest of the invitees and wildcards are warriors all year round on the BWWT. So, when the call is made, the green light is given and Puerto is forecasted to be offshore and 30-feet on the face, if you can walk you’re going to do everything in your power to be there to compete.

On the morning of the event all surfers awoke to the dry, howling offshores that begin at around 3 a.m. and last until around 9 a.m. on the majority of summer mornings in Puerto. With the wind there was a reinforcing, long-period swell that was flexing up and down Playa Zicatela with the called 25- and occasional 30-foot faces. A shitload of water was moving out there.

The first horn blew bright and early to maximize time before the onshores hit. Billy Kemper of Hawaii came out on fire with a near-perfect first heat. He would later see himself in the final. Tom Lowe, bent knee and all, took to the Puerto with reckless abandon. He went for it on everything that came his way. Trevor Carlson was another standout who was throwing it all on the line. Portugal’s Alex Bothello, who made his way into the event by way of Greg Long pulling out, took advantage of every second out there.

In the end though it was evident that two of the six finalists clearly stood out in the final hour of competition – Jamie Mitchell and Kai Lenny. Jamie was putting on a performance like no one had ever seen. With a steel plate to protect his sternum he rushed bomb after bomb, often times finding no exit and taking massive beatings. He led the majority of the final, and the headlines were almost written “Most Heroic Performance of All Time.” Although Jamie’s performance was amazing, Kai Lenny came in the dying minutes to steal the show. He found the deepest and largest barrel of the final, emerging with hands raised knowing that he’d just won the event. On land he was elated and proud to have finally made all of the Puerto beating worthwhile in the end. That’s the way Puerto is – guts, wipeouts and only sometimes a little bit of glory. And that’s why we love watching it. See ya next year (hopefully), Puerto Escondido Challenge.

34

ISSUE 120

KAI LENNY CLAIMS VICTORY 7/31/2017

PHOTOS / WSL

left to right: Kai Lenny drive through / finalists - Kai Lenny, Jamie Mitchell, Tom Lowe, Billy Kemper, Alex Botelho, Trevor Carlson / Billy Kemper / Jamie Mitchell / Tom Lowe

ISSUE 120

35

Mizu Mission:

Africa with Julian & Joaquin Azulay

No. 120

WORDS / MAGGIE MAGELLAN

ON AUGUST 14, 2010, JULIAN AND JOAQUIN AZULAY RETURNED HOME

to their native country of Argentina after camping and surfing their way across the Americas. It may seem like just another day to you and me, but for them, this date marked the start of their life journeys. “It was a trip that changed our lives; we came back knowing that we were meant to capture and communicate to the world all we had seen… all we had experienced,” says Joaquin. Motivated by their passion for surfing and adventure, the two brothers took to the world of documentary filmmaking in search of new cultures, new waves and new adventures. What started out as a simple passion project between two brothers soon became a new way of life that they have dubbed “Gauchos Del Mar.” It’s their way of communicating through film the social and environmental messages of countries both near and far. Their films depict different cultures and mindsets; portraying the world, it’s people and sceneries through a lens harmonious with nature. With excursions through North America and South America under their belts, the Gauchos Del Mar headed to Africa… and that’s where Mizu comes in.

Early last year, Joaquin reached out to Mizu explaining their plans to take on the continent of Africa; a twoyear excursion that would begin in Spain and take them down the west coast of Africa along the Atlantic Ocean toward South Africa, with a possible return up along the easternmost coast of the continent toward Tanzania. Africa is the second largest continent on earth in both area and population, but is still considered to be one of the least explored (it also happens to be widely regarded, amongst certain groups, as one of the last remaining undiscovered surf spots). Although the Gauchos Del Mar may use surfing as an excuse to travel, behind the secluded beaches and eternal search for that perfect wave is a deeper intention to present new cultures and new outlooks, and to spread the word of environmental and social goings-on within different communities and civilizations around the world. It was a no-brainer for Mizu to hop on board and provide support. They knew they couldn’t sit by and let this kind of mission take place under their nose; they had to be a part of their journey. After all, a Mizu Mission is an adventure with an environmental heartbeat at its core.

And so, they loaded up their four-man crew with enough Mizu product to see them through their two-year mission… with one condition: Enjoy the journey, leave nothing behind. Going completely single-use plastic free in 36

ISSUE 120

a largely underdeveloped continent is no easy feat. Although safe drinking water is available in some urban areas, rural villages along the coast unfortunately are not so lucky. With health and safety at the forefront, we encouraged Joaquin and Julian to look beyond the impractical task of going waste-free and refocus their sights on the bigger picture: reusing and producing less. “It starts with being conscious of what you consume and how you do it,” says Joaquin. He explains that buying from local markets and buying only what you need is a great place to start. “There are a million and one options a day to reuse if you’re open and aware: when eating out, bring your own cutlery, take your used or empty bottles along to the restaurant with you to refill; and fill up whatever you have on hand, even if it’s an old plastic bottle. The idea is to reuse as much as you can instead of buying a new bottle in its place.” The crew loaded their truck with 250 liters of refillable water tanks for when their pursuits take them away from civilization for extended periods of time. And if they get desperate along the way? “We just pour some drops of bleach into any water we suspect may be dirty to avoid any disease or contamination, “says Joaquin. “Pollution is everywhere, but in Northern Africa plastic pollution is a serious issue and it’s important for us to share that with western cultures. Although we may not be able to change it, as travelers and passersby we can all do our part to not fuel it.”

As for getting from country to country, their vehicle of choice is an old 1985 Unimog that at one point served as an ambulance for the German army. They spent almost two months in Spain gutting the vehicle and transforming it into their new home on wheels. “We want to show Africa from its roots up – the villages, native peoples, wildlife and landscapes that make Africa what it is, and we thought the best way to capture that was to travel by vehicle,” says Julien. They sleep in it, cook it in, and travel in it. The best part? The old Unimog only reaches speeds up to 60 km/hr so they truly get to experience all the nooks and crannies of the vast continent along the way. However, as wildly adventurous and culturally immersive as that sounded, we couldn’t help but think about the dangers that lurk along the uncharted and destitute open roads of Africa. With the world news reporting on stories of rebels, kidnappings and lootings in impoverished parts of the continent, we asked the brothers if they’ve ever felt their safety threatened. “We are not afraid on the road. We were told that Mauritania is one of the most dangerous countries in Africa, but in our experience we have met only the kindest people who’ve invited us into their homes and shared their food - even when food was scarce.” They

ABOVE / THE CLIFFS OF INSANITY, RIGHT (FROM TOP) / BASE CAMP, GREEN EYED LADY, SHANTY TOWN

tell us a particularly fond memory they shared with a few local village kids while in Mauritania. The kids had just caught some fish and were returning home, thirsty from the burning hot sun, when they spotted the Unimog. Seemingly unusual and out of the ordinary, their curiosities lead them to approach the truck. Although the language barrier prevented them from communicating, they shared some laughs, showed them around the truck and snapped a few pictures. “We never did catch their names, but their smiling faces are a memory we will always keep with us,” says Julien. Those encounters of pure simplicity embody the brother’s pursuit and philosophy of “simple living” and are something they portray throughout each of their films.

Although they’ve only just begun their journey, Joaquin says that meeting locals and sharing their culture has been one of the most rewarding experiences of the trip so far. Joaquin recounted another brief encounter with a local Bedouin named Abidin – a Bedouin is described as a “nomadic Arab of the desert” (don’t worry, we had to look that up too). Abidin spends his life alone in the middle of the Sahara Desert, isolated from modern day civilization. He lives in a self-built Jaima (tent) and cares for his adopted family of camels – day-in and day-out. The Gauchos Del Mar went on to spend two nights with Abidin, drinking Saharaoui tea, sharing laughs and learning of his chosen way of life… a way of life so foreign to many of us. “There’s so much out there to share and learn, it’s important to open our eyes to the many ways of life and show respect and understanding to all those who differ from us along the journey.”

As for the rest of their epic adventure saga, Joaquin and Julian still have one year and nine months of winding roads, secluded surf breaks, remote jungles, unmet souls and untold stories ahead of them. Although they admit it wasn’t easy to leave behind their lives in Argentina for two years on the road, what keeps them going is their dedication to their cause and their hope to share the world with anyone willing to open their eyes.

Want to follow the Gauchos del Mar through their excursion across Africa? They can be found on Instagram @gauchosdelmar and their website gauchosdelmar.com. Want to see their recent award winning film? It can be found on Netflix worldwide under the name “PENINSULA MITRE.”

ISSUE 120

37

WORDS /

JOEY MARSHALL

38

ISSUE 120

FIRST MET JOE ALANI THE SUMMER OF 1999. Just 18 years

old and fresh off the plane from Florida, I was introduced to him in the lineup of the infamous 54th Street from my brother Willie, who had transplanted here a year and half or so earlier. Joe had just graduated high school, or maybe he was finishing his senior year, but he had spent his entire life in Newport Beach so I couldn’t have had a better human to take me under his wing. It didn’t hurt that his surfing was far superior than most in the lineup and he had already climbed his way up the pecking order, in what then was still a somewhat regulated stretch of coastline. That summer was spent sneaking into bars, chasing girls and surfing every single morning. He showed me the ropes in Newport, took me into his crew as one of his own, showed me when and where to surf and who to avoid – and for that I will be forever thankful. I have so many fond memories of late night shenanigans, epic surf sessions and ragers at his dad’s house, who was often out of town. His younger brother Noah wasn’t around much that summer, as I believe he was down in Todos Santos, around the corner from Cabo, with his dad at their summerhouse. Even though 18 years has passed and our life-paths have gone in somewhat different directions, I still run into Joe from time to time and am always greeted with that larger-than-life, goofy smile. I’ll always have a soft spot in my heart for this human, as I’m sure many others do, and it’s good to catch up with him and his brother Noah and hear all about what they’ve been up to. Like anything I’ve seen in the past 18 years, these brothers do what they do with passion. It doesn’t matter what the project, what the vision or what the scope, they’ll immerse themselves 100% and the end result will show that. Alani Media is a bi-product of good humans who are passionate about what they do. If you need video work we highly recommend you give them a try.

Enjoy the interview.

“In order to have a lifelong career in this business you have to go outside your comfort zone and learn more about the craft.”

Stealing a favorite question from our Art Editor Liz McCray, can you describe where you’re at right now so all of those reading along can picture your setting?

We’re in our studio space in Dana Point. It’s located in a boatyard behind Doheny called Dana Point Marine Storage. We share it with our friend Chris Stacey, who is a next-level cinematographer and editor. The guys in the unit next to us fix outboard motors so we’re kind of the odd ball/ video nerds in the boatyard.

Now that we know where you’re at, tell us about Alani Media, who’s involved, what’s your motive and how does one get in contact with you for future projects?

Alani Media is a video production company created by two brothers (Joe and Noah Alani) based out of Orange County who have a combined 18 years of experience in the field. Our motive is to create powerful and lasting stories through the medium of digital film. You can see some of our work and contact us through our website, www.alani.media.

Now that we all know Alani Media is currently a combination of yourself and your younger brother Noah, who plays what role in the business? And do you guys ever see yourself hiring independent filmers, editors, photographers, etcetera, or are you just gonna keep it a family-affair?

Joe: We can both do all aspects of the business but what we’ve found since we started the business is that Noah is a stronger shooter and I’m better at doing the editing, so we play to our strengths when executing on projects. If the project is big enough, we’re always open to hire or work with other filmers, editors, etc… We know a lot but sometimes you need to bring in experts who specialize in one aspect of video production.

LEFT / Gavin Beschen Pipe INSET / Noah & Joe Alani ABOVE / Mayhem shaping

ISSUE 120

39

TOP / Forrest Light LEFT / Fro Real RIGHT / Bethany Hamilton tail drift

Joe, you’ve been in the surf industry nearly your entire life and your brother was an exclusive filmer for Kolohe Andino (Brother) for nearly a decade. What made you guys decide that now was time to put it all on the line and launch Alani Media?

Joe: I was with …Lost for 10 years but I don’t think I would have been ready to start my own company 10 years ago. Being able to learn from, observe and work closely with two successful entrepreneurs like Mike Reola and Matt Biolos eventually gave me the experience and confidence to do it myself. I’m grateful for all they taught me and even more grateful that we still have a good relationship and continue to collaborate on projects together. Eventually though you just want to see if you have the skill and drive to do your own thing.

Noah: Kolohe was a big part of starting my career off as a filmmaker, and I thank him for that; it was some of the best experiences of my life traveling the world with him and his pops. In order to have a lifelong career in this business you have to go outside your comfort zone and learn more about the craft. After six years of hanging with Kolohe it was just time to for me to start the next phase of my career.

Obviously both you and your brother are well-versed in the surf world, understanding the players, the angles, and what is needed to separate you from the rest out there, but besides surf what other projects have got you excited at the moment?

Outside of the hardcore surf scene we’ve been working with brands like Kaenon and Olukai. I think we’re most excited about Kaenon’s “Built for Outsiders” campaign that incorporates short video pieces on fishermen, triathletes, mountain bikers and more.

We like shooting outside in the elements, so their projects are right up our alley.

40

ISSUE 120

Are you done with surf? Do you have any projects you’re still working on within the surf world?

Of course we’re not done with surfing; it’s always been our passion and something that’s tied into everything we’ve done so far in video production. We hope we’ll always be doing surf projects. Right now we’re helping Logan Dulien piece together sections for Snapt3. We helped with Mason Ho, Bruce Irons, Parker Coffin and a few other parts in the movie. Noah has been doing a lot of shooting in Costa Rica and the Maldives for Aaron Lieber’s upcoming movie on Bethany Hamilton called “Unstoppable,” so keep an eye out for that as well.

What’s your go-to equipment: cameras, drones, housing, etc.?

We have the RED Epic Dragon 6K, SPL Water Housing and DJI Phantom4 Pro drone.

It’s all about being multi-faceted these days, so above and beyond filming and shooting stills, what does Alani Media offer clients?

We offer the highest quality footage using the RED camera and full post-production capabilities (editing, color correcting, sound design), but the most important thing is we’re easy to work with. We don’t have egos or think we’re the next Steven Spielberg.

We’re always flexible, open to suggestions and work hard with all of our clients.

Kelly Slater and the infamous 540 heard around the world.

ISSUE 120

41

THIS PAGE: TOP / Parker Coffin Rocky Point, LEFT / Ivy Miller Cabo, RIGHT / Ian Diamond Head OPPOSITE PAGE: Mason Ho Pipe

42

ISSUE 120

“Our motive is to create powerful and lasting stories through the medium of digital film.”

What are some of your prior projects or accolades? Where can you see them?

You can see most of our prior projects on our website, www.alani.media, but I’ll still list few below: “Ha’WildLife” – Von Zipper “Built for Outsiders” – Kaenon “How To Do Los Cabos with Alana Blanchard” “Seagypsies by Lost” – …Lost Clothing “Burger Goes to Cabo” – …Lost Clothing “Mason Ho’s Voodoo Child” – …Lost Surfboards “Conway Bowman” – Kaenon “Dan McIntosh” – Kaenon Accolades include License To Chill, 2016 Surfer Poll Awards “Web Series of the Year,” Ward Stories, 2012 Transworld Surf “Web Series of the Year” and 5’5” x 19 1/4 REDUX, 2009 Surfer Poll Awards Nominee for “Best Movie.”

Where do you guys picture yourself in five years?

Doing bigger and better projects with the knowledge and experience built up after five years of running our own video production company.

What’s your ultimate end-goal for Alani Media?

To be able to earn a living and support our families doing something we’re passionate about.

ISSUE 120

43

SIMON BIRCH INTERVIEW / LIZ RICE McCRAY No. 120

SIMON BIRCH IS A UK-BORN ARTIST WHO IS A PERMANENT RESIDENT OF HONG KONG,

China. Birch is known for his large kinetic figurative oil paintings. Recently Birch has ventured into film and installation work, and site-specific multimedia projects. These large multimedia projects

integrate paintings with film, sculpture, installation and performance housed in specifically configured spaces. Birch is the conceptual force behind The 14th Factory – a monumental, multiple-

media, socially engaged art and documentary experience. Birch worked collaboratively and individually on every aspect of the project and is the founder of The 14th Factory Foundation. Birch’s

work has been featured and reviewed in many international publications, including Artforum, The Guardian, The International Herald Tribune, and The New York Times.

To see more of Simon Birch art go to simon-birch.com and the14thfactory.com

44

ISSUE 120

ISSUE 120

45

PREVIOUS PAGE / THE SKY WAS, THIS PAGE / COACHWHIP SUPERCHARGER

46

ISSUE 120

We are always curious where people are at the present time that we interview them; will you describe where you are right now? This way everyone reading along can imagine the setting.

Sitting in the offices of my current project, The 14th Factory. It’s a rundown, 100-year-old building, 150,000 square feet in Lincoln Heights, the oldest neighborhood of Los Angeles. The office looks like it hasn’t been used since the ‘60s and it’s hot as hell in the middle of the summer with no air conditioning. So, having finally opened the show in March, after a five-year struggle, having achieved great success, it’s time to close it up and start working on the next one.

“The 14th Factory is a microcosm of a solution, or at least my incubating conceptual idea of one.”

Thank you for the visual, sounds like a cool building. Will you please introduce yourself to our reader, a little synopsis if you will?

I’m Simon Birch, born in England on the South Coast, part Polish, part Armenian, moved around a lot, grew up in Leicester mainly. I have been living in Hong Kong the last 20 years where I developed my life as an artist, painting portraits and the figure initially and then experimenting more in installation, film, performance, and collaborative works. It is also in HK that I started creating my own independent projects, which have become larger and larger. The 14th Factory is the most ambitious one to date.

Tell us a little bit about your childhood?

There is nothing much to tell.

How did you end up in Hong Kong?

In a way I made a mess of my life in UK. I got myself into some trouble so I ran away at 20 to Hong Kong, which was then still a British colony, an easy option as one didn’t require a work permit. And it was easy to get work, which for me was as a laborer with a construction company in 1997, the year Hong Kong was handed back to the Chinese after a 100-year lease signed on the back of the opium wars, which started in a tiny enclave in Southern China called The 13 Factories.

Do you speak Chinese?

Not great but some Cantonese.

You are a creative initiator of The 14th Factory project, working collaboratively and individually on every aspect of the project. Will please tell us about The 14th Factory project?

As an artist, one becomes a filter and reactor and then a visual communicator, absorbing and interpreting and responding to the world one inhabits. My observation is: the social contract of existence of globalization and population expansion has taken us to a precarious point where we are at risk of collapse, whether it is environmental or political. It may be too late but we have been on the brink before. Connection and communication of ideas online has had little effect and, if anything, borders are re-enforced and we have become more disconnected than ever before.

The 14th Factory is a microcosm of a solution, or at least my incubating conceptual idea of one. It is an action - arriving in a community outside of the main Los Angeles tourist map, bringing a group of multi-disciplinary artists together to collaborate, re-activating an abandoned space, and then having it be accessed and shared and enjoyed by a diverse demographic outside of the established paradigm of art presentation. To me, that’s action whose result is ultimately shared by a greater community.

ISSUE 120

47

“I don’t care about being remembered. I just care about making an impact while I am here.”

48

ISSUE 120

The 14th Factory explores an inherent tension between our need for borders, and dreams of living in a borderless world. It’s a theme that is at once universal but also highly topical. Today, wherever we happen to live in the world, we’re experiencing the painful breakdown of borders – with globalization, unemployment, mass migration – but we’re also witnessing resurgent nationalism and the violent re-imposition of borders, with the building of walls and the securitization of frontiers.

Today, in an increasingly post-industrial world, the word ‘factory’ is almost archaic. The 14th Factory speaks to the implications of this post-industrial world – a closing down, or obsolesce of one model of production that began in the eighteenth and nineteenth centuries. It’s not a coincidence that the project is housed in an old commercial space in Lincoln Heights. The setting is part of its content.

The title of the project The 14th Factory speaks to this theme in different ways. It alludes on one level to the Thirteen Factories of Canton (today’s Guangzhou) in Southern China. This was a zone on the outskirts of the port-city where, through the eighteenth and early nineteenth centuries, foreigners were permitted to trade for part of the year. Of course, the object of this trade was ultimately the opening up of China – imagined as a breaking down of borders in the name of free trade.

Britain, and other powers, would go to war with the Qing Empire to ensure that it opened up. The Thirteen Factories becomes an emblem in this project of a contradictory impetus for lockdown and global expansion. Globalization, embedded in a one-world vision, is often the result of violent intersections. The project explores this tension between the border and the borderless.

The project invites you to think about different scales of border-making: the nation-state as a powerful container that draws lines around places; the borders that cities produce as they grow – enclaves of wealth and pockets of poverty as well as meaning-making itself as a practice that involves taking the world and then framing it to make it intelligible. We cut our experience of the world up in language to make it understandable.

The scope of your work is so impressive. What are some of your favorite materials to work with?

Humans and paint.

THIS PAGE (CLOCKWISE FROM TOP LEFT) / WHIPSAW, UNTITLED (PORTRAIT OF STEVE IGNORANT), GRINDSTONE, UNTITLED (PORTRAIT OF GLEN MATLOCK), OPPOSITE PAGE / ELEPHANT TRAKTOR TAKION

ISSUE 120

49

SCREWFIZZER

“Punk rockers, science fiction, nature, violence, technology….it’s all in there – lifetime of love, loss, fear, pain, hope, history, film, music… all digested and regurgitated.”

50

ISSUE 120

CROWNS IN ‘HYPERCAINE’ ROOM 1

THE CRUSHER

CROWNS IN ‘HYPERCAINE’ ROOM 1

JUBILEE ROOM

CROWNS IN ‘HYPERCAINE’ ROOM 2

INEVITABLE

CROWNS IN ‘HYPERCAINE’ ROOM 1

CLEAN AIR TURBULENCE

BARMECIDE FEAST

Kind of a cliché artist interview question here, but where do you draw inspiration from?

I think I am a sponge for experiences, whether it is absorbing the latest Grime music, losing it in clubs with Skepta and Stormzy blaring out of speakers, or fighting through mud in a Spartan race in Taiwan. I am perhaps a conduit for those experiences, gestating and transforming them into paint, steel and wood and film.

But I barely collect anything and to be honest I have so little now in my life of material value. I have become accustomed with owning and acquiring nothing, and the idea of collecting something that has little function in my process of trying to do something meaningful with my work seems pointless. All my resources for the last five years have gone into The 14th Factory. With no sponsor, gallery or other financial support, I supported it myself and with the help of friends.

These influences are apparent throughout my project and work in textures, sounds, colors, scale and materials. Punk rockers, science fiction, nature, violence, technology… it’s all in there. Lifetime of love, loss, fear, pain, hope, history, film, music… all digested and regurgitated.

Any bits of wisdom you could impart to artists who are just getting started?

Quit, unless you’re ready for a long journey of insecurity and rejection.

Like much of your work, your portfolio is massive. Is there a project/installation that sticks out in your memory as pivotal to launching your career as a worldrenowned artist?

I’m still waiting for that to happen. I haven’t been launched as anything as far as I can see. When a project becomes pivotal and launches me, I’ll let you know.

As an outsider The 14th Factory seems pretty pivotal… What kind of art do you like? Do you collect anything in particular?

I like the work of other 14th Factory collaborating artists and I have some work from them (who are also my friends) through trade.

What are you really into right now, art-related or otherwise?

Exercise, rest and nutrition.

Not to be depressing, but when it’s all said and done how would you like to be remembered?

I don’t care about being remembered. I just care about making an impact while I am here.

Ok, very last question: where can people check out more of your art?

For now, it is online at Simon-birch.com and The14thfactory.com. Hopefully we will open the new project in London next year and then there will be a new set of work to see.

ISSUE 120

51

52

ISSUE 120

How’s your day going?

Pretty good man, just eating an acai bowl and watching the Andrew Reynolds’ 9 Club episode.

Let’s start with the basic stuff: your name, age, hometown, sponsors?

Josh Gomez, I’m 23 years old and I was born in Long Beach, California. I ride for Furnace Skate Shop, DVS, Grizzly, Bones, Royal, Dema, and Plan B (flow).

So you’re with Plan B, you must know Hoops, a.k.a. Dr. Purple Teeth. How’s it working with him?

Hoops is the man. Every day is a good day with that guy for sure. He’s got a lot of energy, always saying the funniest shit and always keeping me stoked to skate, gotta love him.

What’s the weirdest text you’ve ever received from Hoops?

Man, I honestly couldn’t tell you off the top of my head but he’s always screen-shotting me some funny shit he finds online somewhere. It’s hilarious, I’ll get a text at the most random time of the day and always just end up laughing out loud to whatever it is.

Do you hang out with a lot of guys on that team?

Sometimes we will meet up with different dudes like Torey or Filipe… or recently Jagger started coming into town and skate with us a bit. But I usually will meet up with Hoops on the weekdays and just skate with whoever meets up with us. But on the weekends it’s usually the same squad: Devin Lopez, Chris Lopez, Mikey Haywood, Dre Malone and Joslin… and TJ Rogers usually cruises out with us.

ISSUE 120

53

54

ISSUE 120

If you could have a dream sponsor, who would it be?

Maybe like a grocery store or something. I just buy a lot of food so I wouldn’t mind getting it all for free, haha.

We recently hung out at the Berrics for BATB 10, and I bet $5 that Sewa would take it and you bet $5 that Chris would take it. Congrats on that big win. What did you spend that on?

I knew that $5 was mine from the get go, buddy. But uh, I think I ended up using like three bucks at the vending machine inside the Berrics on some M&Ms and some other stuff.

Growing up in Long Beach, what was your go-to local park?

I grew up skating Eldorado Park in Long Beach (@thedoe_).

Who influenced your skating most?

This list could go for days but growing up I was watching Sierra Fellers, Windsor James, Tony Tave, Andrew Reynolds of course, and a lot of dudes that skated at Eldo; we had a lot of legends come out of that park for sure.

What’s the one trick you wish you had?

I always wished I could hardflip, but also a switch-back biggie would be nice to have.

Do you have any projects that are lined up?

Just finished up a little DVS project that should be coming out soon, and right now just filming, stacking up some stuff with Devin and Hoops and seeing where it goes from there.

LEFT TOP / Heel flip, foto: Brandon Alton LEFT BOTTOM / Bump to tail, foto: Brandon Alton ABOVE / Street sweeper, foto: Will Fisher PREVIOUS SPREAD / Nollie backside flip, foto: Will Fisher

If you weren’t skateboarding what would you be doing?

Running a brand, something to do with a business. I’ve always wanted to own my own company but I’ll eventually get to that.

Any advice for those kids who are trying to come up?

It’s just skateboarding, just have fun, create good memories with your homies and If you want to make it happen, you can – it’s really all on you and how much effort you put into it.

Shout outs? Final words?

Just thank you to Hoops at Plan B for hooking me with boards. You, Aaron at DVS Gomez fo life! Randy at Furnace Skate Shop, Jared at Bones wheels, Rudy Johnson at Royal trucks and all the bros: Dev, Lopes, Joslin, Dre, Mikey, Teeps my girlfriend Alysia for putting up with my shit, and my dad for being so supportive and giving me good advice. Oh shit, and of course BL!SSS mag for the opportunity

ISSUE 120

55

56

ISSUE 120

AT HIGH CATSCADE words / jeremy thornburg

ISSUE 120

57

E

n route to Mt. Hood, Oregon, for the fourth annual LTC signature session at High Cascade, some of the crew stopped at the City of Rocks in Idaho for Griffin Siebert to maximize his rock climbing time before his inevitable shoulder surgery he had to get on the last day of the session. With Griff navigating the caravan, we took the least-efficient route possible but eventually arrived to Government Camp and met up with the rest of the crew. It had been quite a bit since we had everyone together, but somehow we managed to get 12 of us to camp for the session and we all piled into one condo.

The second day of the trip our photographer (and Mt. Hood rookie) thought it was a weather day, and together with Griff’s preference for climbing over snowboarding we lost part of the crew on what turned out to be the nicest day on the glacier of the entire session. Off-hill activities highlighted the entire week with everyone’s performance in dodgeball, except for Griff and Spencer Schubert who chose not to play. The slackline over the foampit featured many falls and quite a few makes, and we were lucky enough to watch Bob Plumb (Lizard King’s brother) put on a demo in the bowl!

With the session occurring in the beginning of the summer after a great winter for Mt. Hood, there was an insane amount of snow for everyone to rip on, and that provided opportunity for the diggers to build an amazing park for our session. The on-hill highlight would have to be either the multiple pipe sessions or the big jump on the last day of the session. Everyone was ripping in the pipe, which is always weird to see because no one in LTC really ever rides pipe anymore but somehow they can all still do it, including Sage Kotsenburg who was chucking front 10s in the pipe even when I wasn’t ready to film it, which was my bad.

The big jump was big this year and no one was messing with it all session until the last day where we went straight to it. Everyone was in on the session and it really reminded me about how LTC started – just having fun and snowboarding with your friend. It was the best session because it was pretty much just us over on that side of the park sessioning the jump for the majority of the day. It was great to see the crew having so much fun throughout the session, even when Griff bailed on the entire crew again to summit the peak of Mt. Hood. Everyone was highly critical of the validity of Griff making the summit, as he took not just one but two chairlifts up the majority of the mountain making it incredibly easier. All in all it was one of the best weeks I’ve had snowboarding in a long time, and I can’t wait to go on our next trip!

58

ISSUE 120

photos / bob plumb previous spread: Sage Kotsenburg flying high above the entire Catscade Crew opposite page: top left / Say it, don’t spray if Griff: Blake Paul airing out over Griffin Siebert bottom left / Surf meets Snow: Griffin Siebert right / Adding plants to the Hood: Max Warbington this page: top / Kink rail: Sam Taxwood bottom left / Dial 9 for swag: Ben Bilodeau bottom right / Sam has his own method in the pipe: Sam Taxwood

ISSUE 120

59

AGENDA

FESTIVAL LONG BEACH 7/15/2017

PHOTOS / @INSTABAETH, @SHAINAXWALKER & TASHA BLEU

Not ones to stand idle, the boys and girls at Agenda did something this year that they’ve never done in the past 14 years of existence by premiering Agenda Festival, which was open to the public, on Saturday, July 15th. Years prior the event has been modeled business-to-business, but with the changing time comes changing format, and what better way to show the public what this industry is all about than by merging a music festival to the already bustling booths of the surf, skate, snow, street, food and art scene for which Agenda has become known. Nothing was held back as there were over 500 pop-up shops from today’s most influential brands, with exclusive Agenda-only releases during the show. Foodies rejoiced at the plethora of classy food truck options. But the real draw had to be the music festival, with Hurley’s main stage presenting the likes of Yes Julz, The Beat Junkies, A$AP Rocky, Lil Dicky, Cam’ron, Ludacris and headlined by Tyler, The Creator, while Volcom’s second stage, hosted by Burger Records, featured performances by Cowgirl Clue, Fat Tony, No Parents, Nobunny and The Garden. Long Beach was definitely the place to be on this beautiful SoCal Saturday, and with over 15,000 in attendance and the packed crowed in absolute awe of all the stellar performances, it’s safe to say the Agenda crew hit another homerun with this new tradeshow format. We’re excited to see how things transpire in the years to come, and it was great to see the next generation kids excited about what this industry has to offer. We’re sure the next one’s going to be even bigger and better, and we can’t wait to see what they think of next.

60

ISSUE 120

Ludacris closing down the Festival / Agenda – open to the public for the first time ever / A$AP Rocky rockin’ with Tyler, The Creator / Yes Julz / A$AP – pre performance / Tyler, The Creator / Cam’ron on the mic

AKALA K

KA LA

15

U KA

DELIC

MA I PH KALA DOL

N

KALA A RC

HTOP T

AC

CO

BU RST Sarah Blackwood WALK OFF THE EARTH

A L A S HA R

KALA

MA K

K

U•B

AS

S

KA

KA - S

KAL ABRAND.COM

AN

LA

RM

for everyone. Find your voice with Kala!

TE

colors to help cultivate your creativity, Kala has something

WA

ways to use their Kala ukulele. With a variety of woods and

LA

Sarah Blackwood and Walk Off The Earth find innovative

KA

OB

RUM

BLER

S-S

WEST COAST BOARDRIDERS SALT CREEK 7/21/2017

PHOTO / CHAD LaBASS

PHOTO / KENWORTHY

PHOTO / KENWORTHY

SAN CLEMENTE WINS WEST COAST BOARD RIDERS CUP

WORDS / JAKE HOWARD

Surf clubs are back. In spirit, maybe our little surf turf wars never really went anywhere. Maybe they were just watered down by surf schools and Wavestorms. Regardless, the club thing and all the geographic animosity it brings is back and making a strong resurgence.

It’s like this: About a year ago, Huntington’s Casey Wheat, Ziggy Williams, and Chris Moreno got together and started the West Coast Boardriders Club with the goal of bringing friendly rivalries back to California surf towns. Huntington, Newport and Seal Beach quickly assembled their squads. Each town pooled talent young and old, from the crusty 50-something guy that’s been telling the same stories for 30 years to the uber groms that don’t have stories to tell yet, the goal was to bring generations together and pit them against neighboring hamlets up and down P.C.H., solidifying the “brotherhood” in the process. The concept was a success. People were stoked.

Word got out.

“My dad was an old Wind & Sea guy,” says Eric Diamond, who co-founded the Dana Point Surf Club along with Pat O’Connell. “The whole idea of bringing the town together, having pride in where you’re from and the legacy you are part of, that was a big deal in my dad’s day and we wanted to rekindle the magic.”

This summer Diamond and the boys from Dana hosted the West Coast Boardriders Cup at Salt Creek, and this time San Clemente and Laguna Beach joined the fray. Intended to be a six-team surf club extravaganza, Laguna was a no-show on the day of the comp while San Clemente boasted a roster full of CT surfers and national amateur champs. As one might expect, they ran herd over Dana Point, Newport, Huntington and Seal.

“I’m really nervous,” grinned an ever-stoked Pat Gudauskas before paddling out for his heat. “I got the whole town riding on my shoulders – that’s a lot more pressure than a QS heat or something.”

62

ISSUE 120

PHOTOS / JOE FOSTER (UNLESS NOTED)

left to right: Team San Clemente / Team Newport Beach / Team Huntington Beach / Matt Archbold / Andrew Doheney / Brett Simpson / Dane Gudauskas / Kaleigh Gilchrist / Chris Waring / Team Dana Point / Chris Billy / San Clemente with the win

WWW.SUPERBRANDED.COM

@SUPER_BRAND

SALTY CREW

TALK STORY AT HOBIE 7/27/2017

PHOTOS / RYAN DIVEL

We’ve said it before but one of our favorite things about working in this industry is teaming up with like-minded brands and giving back to the local communities. That’s exactly what happened on the night of Thursday, July 27th, when the Salty Crew boys teamed up with Traeger Grills at the original waterman’s storefront, Hobie Surf Shop, in Dana Point for a night of games, great food and some epic story-telling from none other than past WSL champ CJ Hobgood. It was a night for the groms, as CJ kept the crowd entertained with unbelievable stories of surf and fishing adventures from his youth. The kids were all smiles as they played casting games for swag, CJ hosted an impromptu autograph session, and all the while grill master Rory Taylor and super rep Kasey Curtis kept everyone well fed with delicious bites off the Traeger Grill. And while bellies were being filled, local band Hold Fast kept everyone’s ears delighted with a live jam session. The highlight of the event had to have been the raffle at the end where even more swag was handed out to the crowd, and one lucky winner even walked away with a brand new Traeger Grill. It only made sense for this to go down at Hobie Surf Shop, as it is literally an icon to the Southern California surf scene. They first opened their doors just two blocks away from their current location in Dana Point back in 1954, boasting the first surf shop in Southern California. They stayed true to their roots and offer only premier waterman brands that promote clean living and an ocean-orientated lifestyle – something Hobie Alter would be proud of today. So it comes as no surprise that these two waterman brands would team up to give back to the local community. If you missed it, don’t worry, as we’re sure Hobie Surf shop will play host to plenty more events like this in the near future.

64

ISSUE 120

left to right: The local community, all smiles and well fed / Tommy-Gun Ruiz / CJ Hobgood with the magic raffle fingers / Hold Fast (formerly The Hobbie Cats) were jamming / It was a night for the groms / Insurance super agent Ryan Divel / Kasey Curtis on the Traeger Grill / Justin Hugron & Hobie Surf Shop manager Cameron Heard / Ryan & CJ

THE PARANOYDS No. 120 / MUSIC INTERVIEW

INTER // VIEW

Interview & Photos by David Evanko

What’s the deal with the music scene on the west side of Los Angeles? Can punk make a comeback?

When we started playing live shows we were pretty much exclusively playing on the west side at Cinema Bar, Timewarp Records and some spots in Venice. There are lots of tiny/divey venues and the punk scene is thriving and can definitely have a comeback moment there.

I hear that each of you are immigrants/direct descendants of immigrants.

Given the current state of the world, how do you see this factoring into your songwriting?

We don’t get too overly political with our songwriting. What we really try and do is just create an inclusive environment for everyone. But, we have a new song and Laila sings a bit of Farsi in it!

Since moving from Santa Monica to Chinatown, has your taco intake declined, increased or has it remained pretty stable?

Hmmm, that’s tough to say. I would say remained the same. There’s a good spot

by Staz’s old place, Tacos Delta, that’s still close to Chinatown. Also, Guisado’s is still walking distance. David is a fan of Tierra Caliente on Cypress Avenue, shout out to Tierra!

Which direction do you see LA’s music heading over the next few years?

It’s popping off so hard right now that it’s hard to imagine what it will be like down the line. Genre-wise, it seems like there’s a general trend heading towards glam.

I actually have no clue.

Aside from the punk influences, what genres or artists are you inspired by?

A whole lot. We’re all big Devo fans (we dressed up as them for Halloween last year) and we’re into Gang of Four and Television and stuff like that. We are also into Roy Orbison and David especially loves sort of cheesy ‘80s music. RIP George Michael.

Does the song “Sleep Paralysis” come from personal experience?

No, but we’re super paranoid about that happening.

You also have a song about Pet Cemetery. How big are you on Stephen King?

Pretty big. Horror in general is something that inspires us. Staz owns the original ”IT” on VHS – pretty sure it’s like two massive cassette tapes, like Titanic.

66

ISSUE 120

Your records make me feel like I’m in an episode of Buffy the Vampire Slayer. If you could replace the title song with any of yours, which would it be?

“Bad Idea” would be a great intro to Buffy. Also, we’d love to play at the Bronze.

We didn’t realize how good we had it with TV shows and movies in the ‘90s and early 2000s. There were so many real bands at like the prom dance… it’s cool that the new Twin Peaks is sort of bringing that back.

Anything in the works for the second half of the year?

We have some shows coming up and we’re working on writing and recording.

We’ll have some new stuff out in the fall.

RE

RE VIEW S

VIEW S

No. 120 / MUSIC REVIEWS

NICK CAVE & THE BAD SEEDS

Photo & Review by Max Ritter

The Greek Theatre, Los Angeles, CA / Thursday June 29th, 2017

I am back at the Greek this month, and this time it’s for the “Prince of Darkness.” I have to say, not many people can captivate an audience like this guy. The man stalks the stage like he is the flowing brush of a masterful painter. He’s so natural, effortless and oozing of conviction. Once you’re caught in the tractor beam, it’s more of a religious experience than a concert. I feel like Cave aims to make an intimate and personal connection with each viewer in any reasonable range of the stage. When he does so, he stops and stares right into your soul just long enough to make you feel somewhat awkward and violated before your head explodes you think to yourself, “Was he just staring into my soul?” And he definitely was. That’s Nick, and don’t get me started on Warren. I don’t have the time here. Shout out to my friend Johnny Clayton for the ticket. He also lets me bum his HBO login to watch Game of Thrones – mad respect.

REVIEWS BY MAX RITTER

REVIEWS BY ROB MOLT

Acetone / 1992-2001 / Light In The Attic

Waxahatchee / Out In The Storm / Merge

In their span from 1992 through 2001 Acetone toured with the likes of Oasis, Mazzy Star, The Verve, and Spiritualized, and released some very timeless and beautiful records, but surprisingly they are still relatively unknown. You can’t find them on streaming services. Looking back their lack of mass popularity is likely due to being overshadowed by an era dominated by grunge music. If you appreciate the tastes of someone like Neil Young (who signed the band to his record label in ‘97 and put out two of their records) then you should hear this band. Their record York Blvd. is a play through and I was dumbfounded when I first heard it. This anthology is also being released as a companion to the book Hadley Lee Lightcap – a nonfiction novel that traces the backstories of the three members.

Oh man, break-up albums. Leave it to killer indie rock girls to pull you right in and let you know all about it. That is exactly what Katie Crutchfield does on her fourth release, “Out In the Storm.” The mix of heavy and harmony leaves you to question whom the dude was and why he screwed up a woman this awesome.

The cathartic songs blast from a guitar-band sounding fully formed and backing her all the way. The sound, a nod to ‘90s angst, makes sense with Dinosaur Jr./Sonic Youth producer John Agnello recording them all playing in a room together whenever possible. Listening makes you wonder if you could be the next better guy – that is, if you aren’t too intimidated by her brilliance.

Willie Nelson / …And Then I Wrote / Jackpot Records

Sleaford Mods / English Tapas / Rough Trade

Here we have young Willie looking like a serial killer! Pre-headband, this was Willie Nelson’s debut album on Liberty records, which was recorded in August/September of 1961. A handful of the songs you might recognize, like “Crazy,” were already successful hits that he had sold to other artists at that point in time but Willie was relatively still unknown. There are some classic songs on here and the record as a whole is great for sitting around trying to decompress from stress while possibly drinking wine and thinking nostalgically of your dead grandma or trying to feel like a cowboy… or maybe just trying to be more like your dead grandma in general. It’s been reissued by Jackpot Records, based in Portland, Oregon, so go get it.

If you think any real performance requires instruments then you’re going hate Sleaford Mods. The producer of the duo, Andrew Fearn, literally just presses play on the track and bobs his head while drinking beer. Vocalists Jason Williamson, a mod vet, takes a straight worker approach to his clever, witty raps.

The combination is so understated and dry it will leave you trying to figure out why you dig it so much. They’ve been called the only interesting thing in music, true punk, and the best thing since Wu-Tang – yet Sleaford Mods are none of that. What they are is a crash course in current British culture and politics delivered with creative, simple beats below a East Midlands vernacular about the washed up and burned out. Don’t judge, just get a beer and head bob.

Big Thief / Capacity / Saddle Creek

Sweet Apple / Sing The Night In Sorrow / Tee Pee Records

Singer/songwriter Adrianne Lenker, of Big Thief, looks like the folky, Americana version of Sinead O’Connor. Nothing Compares 2 U though, Sinead.

To be honest, I haven’t even heard this yet. But it is one of guitar god J Mascis’ other bands, and everyone else in the group has long hair too. I can honestly say I’ve seen all of Jay’s bands. (Remember the NYC show EG?) So trust me, Sweet Apple’s first record was loud and a bit of glam pop. This one is said to be even more wide-ranging, with insurgent guitars, glitter-stomp, and orchestrated pop, at once timeless and contemporary. And the players speak for themselves.

But I’ll include the name drop anyway: Mark Lanegan (Screaming Trees, Queens Of The Stone Age), Robert Pollard (Guided By Voices), Rachel Haden (Haden Triplets) and Doug Gillard (Guided By Voices, Nada Surf). So like I said, I haven’t heard it but I don’t need to.

Karriem Riggins / Headnod Suite / Stones Throw

Downtown Boys / Cost of Living / Sub Pop

An hour of wizardry beat-making for you to get inspired to buy an MPC.

Whatever I had just ingested was definitely taking effect as I dipped into the new Sonora tent at Coachella. The DIY art, pretty lights, and air conditioning were a perfect call for my quickly escalating brain cruise. And that’s when I ran into the sonic rock wall of Downtown Boys. They blew my squirming mind. Front woman Victoria Ruiz had me in her beautiful Latino hand. Among the garage kids was an energy emitting from the girl/boy punk band and their powerful political anthems that immediately had me thinking I’d found something that had been missing at the festival – loud, distorted youth power. Their music is a mix of American rock and East Coast street (the album is produced by Fugazi’s Guy Piccioto), and it’s got smart power. Luckily, the positive punk was inclusive because I was the oldest dude and probably the highest. Thanks Downtown Boys from that smiling old guy.

ISSUE 120

67

Kai McPhillips @kaimcphillps

Age: 14

Sponsors: Salt Life Cole Surfboards On a mission Rainbow Sandals

Photo: Kenworthy

68

ISSUE 120

Hometown: San Clemente, CA

Favorite Surfers: Dane Reynolds Sebastian Zietz Tom Curren

mcphillips / 120

Stella Reynolds @stellareynolds_

Age: 11

Hometown: North Hollywood, CA

Sponsors: Element Val Surf Volcom Vans Favorite Skater: Nora Vasconcellosn

Photo: Kenworthy reynolds / 120

ISSUE 120

69