BL!SSS Magazine | November 2014 | #87

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JOSH HARMONY

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JEREMY LEABRES

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RVCA.COM


F E AT URED A R TIS T

BERT KRAK The RVCA Artist Network Program is an ongoing venture which aims to showcase the talent of accomplished as well as emerging artists who inspire our generation and push the boundaries of creativity; providing something of substance and culture.

JEREMY LEABRES FRONTSIDE 5-0 LOS ANGELES, CA


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Creators & Innovators

7 S e a s We t s u i t

Bobby Okvist


“TO CREATE SOMETHING, IT’S REALLY IMPORTANT FOR ME BECAUSE THAT’S WHAT I DO – ITS MY LIFE” CONNECT WITH US | ARNETTE.COM | @ARNETTE | #LIVEARNETTE

SEE THE REST OF THE INTERVIEW AT YOUTUBE.COM/ARNET TE

CONNECT WITH US | ARNETTE.COM | @ARNETTE | #LIVEARNETTE


Š2014 Luxottica Group. All rights reserved.






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Artist: Cryptik

RANDOMS // 28 PRODUCT REVIEW // 34 MELISSA COOKE // 36 MARY STENGEL BENTLEY // 38 RYAN BURCH // 40 BROOKS SALZWEDEL// 42 1010 // 44 INSTAGRAM // 46 SUPER TASTE // 48 PATRICK MARTINEZ // 50 ALESSANDRO GALLO // 52 SHEETED IN ICELAND // 54 DAVID CASTELLS // 58

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RYAN CRAIG PHOTO PROFILE // 62 THE ART OF CRYPTIK // 68 FASHION // 72 RYAN TARBELL // 80 VOLCOM STONE PRESENTS MR. PLANT // 86 MT HIGH: BUCK STRIKES BACK // 88 HURLEY X FENDER PRESENTS STRAT // 90 ARNETTE LOST NEWPORT CHAMPS // 92 5TH ANNUAL EZEKIEL X ACTIVE HALLOWEEN PARTY // 94 HENRY WOLFE // 96 REVIEWS // 98 GROMS // 102


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ASHLEY SMITH MODEL EAST CHAOS

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KYLEA BORGES ARTIST WEST ORDER

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

EDITOR joey marshall joey@blisssmag.com

CRE ATIVE DIR ECTOR mark paul deren : madsteez madsteez@madsteez.com

ASSISTANT EDITOR spencer pirdy spencer@blisssmag.com

EDITOR AT L ARGE liz rice mcCray liz@blisssmag.com

SNOW EDITOR jon francis jon@blisssmag.com

MUS IC EDITOR max ritter max@blisssmag.com

ADV ERTIS ING 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, Sean Sullivan

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

NOVEMBER 2014

Newport Beach, CA 92663 www.blisssmag.com 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.

RAEN.COM

ARTIST: CRYPTIK :: PHOTO: RYAN HURLEY

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



randoms

RAEN “SLASH” SIGNATURE SHADE Raen just came out with a stylish take on their Vista shade, Brian “Slash” Hansen’s signature frame. Brian’s one of Raen’s original bearded skate ambassadors known for having equal style on and off of a skateboard. His latest Vista frame has a matte black outside with an inside that modestly unveils a “Coyote” Navajo print, giving it an intricately designed accent for all to enjoy. Bottom line, Brian’s got impeccable style, and if you get his new Vista frame from Raen maybe a little bit of it will rub off on you. You can purchase the Vista at Active Ride Shop, and see more on raen.com.

BUILDING THE REVOLUTION MAMMOTH OPENING DAY Winter is creeping in and with that we’ve got a lot to look forward to at one of the best resorts in California – Mammoth Mountain. This month Mammoth is celebrating Opening Day, which they’ll be kicking off on Thursday, November 13th. They’ll be celebrating all weekend long with plenty of contests in the park, fun on the mountain and live music, drinks and food around the Main Lodge. By now you’ve probably also heard of their acquisition of both Bear Mountain and Snow Summit Resorts. So, if you can’t make it to Mammoth and need to stay local, make sure to head to one of the two for a guaranteed good time! Visit mammothmountain.com for season pass info and more on events and snow conditions.

Today, a lot of consumers have lost sight or are unaware of the humble beginnings of the surf industry. Many brands began in the back of someone’s garage, had their first accounts at surrounding local shops and successively grew and expanded in an organic way. In the past decade or so we’ve seen a big shift toward chain stores, and there’s a new movement that’s seeking to reroute people back to their local surf shops. Building the Revolution is not the name of a brand but a mantra for a collective of surf industry vets that want to keep surfing in the hands of surfers. The idea to ‘Build the Revolution’ came from actually listening to what surf shop owners needed. Now, we’re not saying you should stop shopping at chain stores. Hell, maybe that’s your only option. However, it’s time to realize that core, local, family-owned shops are what helped this industry thrive in the first place, and they need our support now more than ever if their small businesses and the surf industry as a whole are to survive. Follow @building_the_revolution on Instagram and join the movement today.

GROOVE MOVE ON iTUNES You may remember the premiere we had awhile back for our boy and esteemed filmmaker Jack Coleman’s newest flick, Groove Move. The night was one to remember and Groove Move’s Super 8 finless mastery has wooed every audience from here to Australia. If you missed out on getting a DVD copy, or just dislike DVDs altogether, you’re in luck because the film is now available on iTunes. Make sure to purchase Groove Move the next time you’re perusing the iTunes store. You’ll be helping to support a fully independent filmmaker like Jack who does it solely for the love of creating.

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GROSSO PRO CLASSICS One of the most animated, legendary pro skaters of all time, Jeff Grosso, just put out two new Vans Pro Skate shoes that you’ll definitely want to have on your feet ASAP. The two Pro Classic styles consist of the Sk8-Mid Pro and the Era 46 Pro. The shoes come decked out with premium suede textiles for skate-ability, custom insole artwork, all-over tonal checkerboard details and Vans Pro Skate DURACAP underlays for added reinforcement. Vans Pro Classics are available exclusively at finer skate shops worldwide. Check vans.com for more info, and be sure to catch Grosso’s latest season of Loveletters to Skateboarding playing on offthewall.tv.



randoms

TRES NOIR

Our brother from another mother, Jason Arnold, is back to his old tricks and is now running the marketing for the good folks at Tres Noir Sunglasses. He proclaims he’s got a black cloud that follows him around and he’s bringing his darkness into the new image that is Tres Noir. He stopped by our office this last month and dropped off some shades from their newest collection and they sure look nice. Featured here we have The Brushwood, which were our personal favorite, but they make frames for everyone. Check them out at tres-noir.com or at any finer retailers across the nation.

CAPTAIN FIN WETSUIT Captain Fin just came out with their new line of wetsuits just in time for the chilly winter months. Their wetsuits are constructed with highquality, lightweight neoprene that’s extremely flexible with durable seam construction. They also utilize Finex, which contains hollow fibers for trapping body heat and reducing water absorption, making for a lighter, warmer suit. To top it off the suits feature engineered kneepads, classic back zip entry and custom logos as stock features in their premium wetsuits. Captain Fin wetsuits are truly one-of-a-kind, so make sure to grab one at your local shop or online at captainfin.com before they run out!

BIG BAD WOLF There are plenty of ordinary options that parents can go to when it comes to buying their kids clothes, but sometimes ordinary just doesn’t cut it. Recently we’ve seen glimpses of a new line for the little ones that is anything but ordinary, entitled Big Bad Wolf. Big Bad Wolf was founded by Amy Wong and is a street-inspired fashion, art and culture line perfect for kids aged 2 to 10. The line is drawn from renowned artists and brands from all over the world, giving you plenty to choose from for those special little people in your lives. Visit bigbadwolfkids.com and get your kids decked out today.

TRIBE SNOWBOARDS There’s a new snowboard company popping up in Mammoth this winter and they go by the name of Tribe Snowboards. Tribe was founded this past month by Mammoth local Jake Elhart and the name is derived from the idea that a tribe is a community, consisting of families and friends that share like values and ideas. Though the boards won’t be available for purchase ‘til summer 2015, they’re kicking off the birth of the brand with a launch party at Z-Ranch on Wednesday, November 12th, the night before opening day. It’s gonna be a blast and you should already be up in Mammoth for opening weekend, so be sure to go to Z-Ranch to start the opening weekend off right. 30

GOPRO HERO 4 GoPro, the original action sports camera kingpins, just came out with their newest camera model that brings POV, action sports documenting to a whole new level. Just a few of the improvements the GoPro Hero 4 comes with include: built-in Wi-Fi and Bluetooth, fast and powerful photo capturing (12MP photos at up to 30 fps), two-times the performance with improved image quality and professional video with ultra-high resolution. The possibilities literally are endless when it comes to using a GoPro, so head over to your local shop or visit gopro.com to grab the new GoPro Hero 4 today!


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


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CONVERSE CONS COLLECTION Converse just came out with their latest shoe collection that blends the best of music, sneakers and skateboarding dubbed the Converse CONS limited edition collection. The first in the collection is a collaborative effort with Converse ambassador and hardcore band Trash Talk. The sneaker itself, the Converse CONS Pro Leather Skate, is built for all day skating, rowdy late-night show antics and anything in between. The sneakers have plenty of distinct Trash Talk details with the reliability and quality that all Converse shoes carry. The Converse x Trash Talk CONS Pro Leather Skate is available at Active Ride Shop stores, Converse San Francisco, Santa Monica and Soho stores and at Converse.com.

TRIPLE CROWN

SUN VALLEY Sometimes you need to get away, and it’s always good to have a world-class snow resort at your disposal during the winter months. Sun Valley Resort in Sun Valley, Idaho, is our choice for taking an out-of-state snow vacation, and it’s a place that our very own snow editor John Francis enjoys frequenting. With daily, non-stop flights from Los Angeles to Sun Valley in 2.5 hours, connecting flights from all major airports on the West Coast, consistent snow and top-notch accommodations, it’s the perfect place to get some high-quality shredding done this winter. Look for flights via Alaska Air and visit SunValley.com to get your season passes today.

Get psyched up, surf fans! It’s time for the 32nd annual Vans Triple Crown of Surfing to begin on the North Shore of Oahu. This year there’s a whole lot at stake, a 1.4 million dollar purse in fact, and plenty of surfers vying for a spot on next year’s World Tour, ready to lay it all on the line. The window for the Reef Hawaiian Pro at Haleiwa is from November 12th - 23rd and then onto the O’Neill World Cup of Surfing at Sunset Beach that’ll be held from November 24th - December 6th. And, of course, the Billabong Pipe Masters from December 8th – 20th where we’ll see whether Gabe, Mick or Kelly will be crowned World Champ. Make sure to log on to watch all of the action at vanstriplecrownofsurfing.com.

EDDIE: “A SEQUEL TO DEAD MAN WALKING” “Eddie” is Pete Cropsey’s sequel to “Dead Man Waking,” in case you missed it in the title, and it’s a continuation of Eddie Wilkins’ spiritual journey as he tries to escape the life of drug addiction and crime. It picks up right where he left off, and this fast-action sequel is a must-have for everyone. We’ve been harassing the author Pete every time we see him about when number two of the trilogy would be released, and we’re thrilled to say that you can get yours now on amazon.com. Full of action with stories so absurd you know there’s some truth to them. Make sure to pick up your copy today.

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RUSSELL X VERVE SANDLES Russell Surfboards is known for churning out some of the most finely crafted surfboards around. Anything from your standard shortboard to a styled out mid-length, Russell Surfboards has you covered. And now, they’ve even got our feet covered, as JP Roberts stopped by the other day to give us a few pairs of the new Russell X Verve collab sandals. These sandals are topnotch with a comfortable feel and the ability to withstand all of the wear and tear any surf adventure might bring. You can never have too many pairs of flipflops, so make sure to stop by the Russell shop on 2301 W. Balboa in Newport Beach to grab a pair of the Russell X Verve sandals today.



1. Volcom, Alaska Flannel - $59.50, volcom.com // 2. RVCA, Kraken Flannel - $60, rvca.com // 3. Nixon, Southgate - $80, nixon.com // 4. iNi Cooperative, Staple Hoodie - $69, inicooperative.com // 5. ourCaste, Moose - $99, ourcaste.com // 6. VISSLA, South Flannel - $69.95, vissla.com // 7. Vans, Birch Plaid Button Down $49.50, vans.com // 8. Neff, Scott Flannel - $45, neffheadwear.com // 9. Alpinestars, Harvest - $49.95, alpinestars.com // 10. Captain Fin Company, Fred Unlined Flannel - $58, captainďŹ n.com // 11. Roark, The Nordsman - $68, roark.com // 12. Ezekiel, MacGyver Shirt - $57, ezekielusa.com // 13. Imperial Motion, Teon Flannel - $59.95, imperialmotion.com // 14. Lira, Cholo Flannel - $59.99, liraclothing.com // 15. Globe, Corsair - $64.95, globe.tv // 16. Hurley, Saxon Sherpa - $80, hurley.com 34



My recent drawings acknowledge the relationship between photography, painting and performance in portraiture. I take photographs as I paint and pour liquids onto myself, using my face as a canvas. The photoshoot references the practice of drawing and painting; then the fi nal graphite drawing references photography. The boundaries between the mediums are broken down and the processes are interwoven. The images depart from the framing of traditional

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portraiture. The viewer is not given an entire bust of the subject; rather the frame zooms into up-close sections of the face. The cropping pushes the subject to the surface of the paper, making the fi gure more ambiguous. Flesh becomes abstracted: obliterated by paint on the skin and distorted by the eye of the camera lens. Flesh and hair intertwine with ripples and bubbles. The scale of the drawings engulfs the viewer in a sea of marks. Brushstrokes break down to reveal illusion.

My drawings are made by dusting thin layers of graphite onto paper with a dry brush. The softness of the graphite provides a smooth surface that can be augmented by erasing in details and textures. No pencils are used in the work, allowing the surface to glow without the shine of heavy pencil marks. Illusion dissolves into brushwork and the honesty of the material. instagram.com/ melissacooke melissacookeart.com

“No pencils are used in the work”


#OFTENCOPIEDNEVERDUPLICATED WWW.FREESTYLEUSA.COM


Interview: Kelly Shannon Growing up in Nashville, Tennessee, artist Mary Stengel Bentley has undoubtedly been infl uenced by Nashville’s deeprooted history with music, and seeks for her paintings to resonate the way a great song feels. It is very rare that an artist favorably declares technology as their greatest inspiration. But for Bentley, living in Silicon Valley’s San Francisco wing has been a completely unique infl uence on the artist’s work. Intrigued by a Steve Jobs quote regarding simplicity and how “Simple can be harder than complex,” the San Francisco artist explored the Binary code. Binary code is the backend of all computer functioning, as all computer language and instruction is based in Binary coding. It’s comprised of just two numbers, 0 and 1, and according to their sequence, have this codes can have an incredible impact on modern day life. Similar to conceptual artist Sol LeWitt’s Wall Drawings, which were created off a set of instructions, Bentley uses Binary code in a number of ways to instruct her work. “To me, a line is the most simple form,” she says. “It is the fastest way to get from point

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A to point B. It also has the ability to change the mood of a painting by simply changing its scale, color and length.” Because it’s so unique, please tell us how your fascination with Binary code began. My fascination with Binary code was very organic. For years, I have been creating work based off of a series of instructions I give myself. The instructions dictate the marks I make, and the image is the result of that particular set of rules. After moving to the Bay Area and being so close to technology creation, I started noticing a parallel universe behind all the apps, websites… a universal language, if you will. Binary code is a set of instructions that inform the app or site to produce a service; just like the rules I created for myself to produce an image. After researching the subject matter further, I began to fi nd interesting observations that I wanted to translate visually. How big of a role does living in San Francisco play on your work? Right now, more than ever, I feel it’s very important to be making this work in San Francisco. The buzz of the technology world is here and

I’m infl uenced by the spirit of entrepreneurialism all around me. I have started to make installations that put my Binary Paintings in context of the city (through my imagination of the city - very abstract). It’s a ‘jumping off’ point for me and I’m excited to push this theme as far as I can take it, as I fi nd there are so many exciting variables that I can play with to change the point of view of the work. Does each of your paintings have a message? Each painting has meaning, though not always a specifi c message. After talking with engineers on the subject of Binary, I learned that it is not a language one can read. After this discovery, I became less interested in translating it literally and fi nd it more powerful to let perception guide a painting’s particular message. That being said, I do have works in progress that I am embedding some translated code into the subject matter. I’m not concerned that people need to know what’s embedded to extract meaning or the message from the painting. The colors you use are beautiful and so complimentary. How does

color play a part in your paintings and within the Binary code? Because of its simple components, color becomes an important component in my Binary Painting Series. I’ve been infl uenced by the teachings of Joseph Albers and color fi eld artists, such as Mark Rothko, Helen Frankenthaler, Morris Louis and Clifford Still. Based off these teachings, I’ve learned that color can dictate mood and tell a story. The mood also informs the message of the painting, making color act as a component of the subject matter. Mary Stengel Bentley’s work has been exhibited nationally, with highlights including Google Headquarters in Mountain View, CA, and the Texas Biennial. Her work is currently being shown in a group show at ArtSpan Gallery in San Francisco at 934 Brannan Street until November 9th. She is also working with a technology company called Lightwave to create Bioreactive Art using their technology and her Binary painting concepts. She is represented by In Situ Works based in New York.


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By now you’ve seen Ryan Burch’s most recent clip, ‘The Rush of the Continuous Rhythm.’ We’ve all known of his abstract surfi ng and unconventional board designs for a while, but it’s in this clip that you really see the practicality and functionality of his endeavors coming to life. Here’s what Ryan has to say about what sparked his interest in an alternative way of riding waves, the reasoning behind his shapes and what really has him hooked. Who or what inspired you to start shaping and riding the equipment we see you on today? Richard Kenvin was probably the biggest inspiration to me as far as riding what I ride today. I was surfi ng with him and my friend Lucas Dirkse in La Jolla a lot when I fi rst got into “other” boards, and Richard was fi lming us and showing us stuff of others on fi shes. He introduced me to Carl Ekstrom who has been making asymmetrical boards since the ‘60s. So, it all

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really came from Richard. Would you call what you ride alternative equipment? Of course, it’s an alternative replacement for the short board. It’s what I ride in place of a normal three-fi n board, and when I surf them I think the same as I used to think when I rode a thruster. You create these asymmetrical tails along with some pretty interesting nose shapes and outlines. In your mind, how does this translate into a more highly functional surfboard? The tail shape I typically use is just a smooth arc that ends at a point. It’s pretty much just to connect the two different rail curves. The noses have gotten a bit out of control. The fi rst time I made the pickle-fork nose I hated it. But it worked so well on every board I tried it on and it seemed the more radical the better. It was a result of trying to keep the effective planing surface all the way up to the nose. Unlike the

narrow, pointy tips of the past, I wanted to use the board all the way up to the nose. It was at the same time everyone on tour was going to 12-inch wide noses on short boards. I would just say I went to a far extreme especially with the wide square and huge crocked noses I did a while back. Is it the speed generated from these boards that has you hooked or the lines they allow you to take? The lines are a product of speed so it is defi nitely the speed and the effortless ability to obtain it. When you’re making these boards do you always have a specifi c spot in mind? At least a certain wave shape and size, but usually I have been making boards for an upcoming trip with a certain wave in mind. Do you still ride a regular thruster from time to time or are you completely over them? Yeah, I try to build a new one every year. I love making them

because you see a lot of them and they are hard to make. It gives you a good way to see how your shaping skills are, and for the right waves they are still great, even for me. Do you shape boards for the general public or just for yourself and close friends? At the moment I shape just for close friends and myself. I don’t have a shop set up at home and on the road I’m using friend’s spaces and it’s hard to make enough boards for just me and the people around me. I have sold boards in the past and it’s such a good way to hone in on the craft of building the boards, but I’m trying to learn as much as possible by riding them while my surfi ng is still there and I’m able to travel. I’m sure I will be stuck in a shaping room begging for orders when I’m older like many other master board builders are today. But right now I can surf. What’s the future of shaping in your eyes? More individualism.



encroachments on these natural places. My inspiration for the latest works came from North American National Parks. I’ve always been very fond of nature and the preservation of parks and forests. In your earlier work the industrial and man-made elements were much more in the forefront. What inspired the departure from that in this new series? I wanted a person to feel like they are being transported to another place, another place that seems a littler more feasible than some of my older works which were more abstract. The works are not completely void of industrial or man-made objects. I’ve just hidden them more within the landscape as something to be found as a surprise. What is your favorite place in Los Angeles? Oh, Los Angeles. There are so many places… Ferndell, Barnsdall, the Natural History Museum, Museum of Jurassic Technology, Silver Lake Ramen, Cinefamily, the roof of any building and sometimes simply driving west during sunset really makes one appreciate this city. Where might we fi nd you at 3 p.m. on a Sunday afternoon? Each Sunday is a battle. It’s one of my true days off and I struggle between being completely productive or completely lazy and stay inside. The last two Sundays I have found myself in Palm Springs to the tide pools in San Pedro. Cats or dogs? “Cats or dogs?” – Ack! This question is cruel. I have a cat but I also love dogs. So, both.

Interview: Tressa Williams, Gallery Director of George Billis Gallery LA Your work is very unique. Tell me a bit more about your process and how you developed it. My work involves a lot of different mediums, the main one being graphite. I draw on layers of Mylar using mechanical pencils with different grades from 9B to 9H, depending on the detail needed in the section of the piece. I fl ip back and forth between layers of Mylar to create the foreground, middle ground and background. The other mediums I use range from an old, transparent, yellow ochre tape I found in a surplus store, colored pencil to watercolor.

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Once I feel the drawing is fi nished I build a box around the panel then cast the layers of drawings into resin to hold the piece together. I most recently started to explore wax as the medium to hold them together. Why resin or wax in certain pieces? I’ve started to explore using wax for two reasons: One, even though it’s harder to work in, it is less toxic. Another reason I’ve started to use wax opposed to resin is the texture that wax creates. Resin is very smooth and refl ective - wax has a skinlike feel to it and does not have

a glare, which brings the viewer in closer. There is no particular reason to why one piece would have resin or wax. I guess just time constraints and the size of the piece. Why mountains? Where do you look for inspiration? I see mountains as being these great markers of strength and masculinity in nature. They are large and unmovable. Not much can destroy a mountain except for man by use of industrial mechanics. I will usually add some sort of manmade elements into my work so we don’t’ forget our own

Where do you start with a new piece? I will usually start with found imagery or pictures I’ve taken myself to be pulled as the main focus: a mountain, a bridge, a building in mid-construction, etc. This drawing will then be ‘sandwiched’ between two other layers, one on the front and one at the back. I will then draw a few small images on the top (front) layer as the foreground, then draw the background on the last (back) layer. I’ll often go back to the center, back and front drawings until the piece feels completely fi nished because once I cast it in resin I can no longer change anything about the piece. It’s a like having closure - there is no going back. Move on and be happy with all your decisions.



Interview: Liz Rice McCray There is a hole in the wall and we love it! This month we are featuring artist 1010’s mural in Hamburg, Germany, from the Knotenpunkt Festival. Artist 1010 uses a 3D technique to paint a colorful and convincing large-scale hole. Looking forward to seeing more holes from 1010, and thank you for the enjoyable interview.

got the opportunity to work with a big empty warehouse for some weeks. They took their chance and organized the first Knotenpunkt in no time and basically no money. I´ve painted a small mural there, which they liked so much that they decided to organize a bigger wall for this year’s event. I really appreciate that!

Does this mural have a name? If yes, what and why? No, not really. When I paint outside I just call these paintings holes in walls.

The elements played a part in this mural, so how did it effect the adaptation of this piece? Hamburg has very intense weather, especially in October when fall starts. That’s usually the time when the sky turns grey and we get stormy winds and a lot of cold rain. I knew that I had to speed up the work but I’ve actually been lucky. The weather was surprisingly good during the two days that I was painting. It was only raining hard for about two hours and the wall was not facing the wind.

Where is the mural located? Will you tell us a little about the neighborhood? The mural is on a quiet street called Bleicherstraße, which lies in St. Pauli, one of the most vibrant and lively districts of Hamburg. It’s located next to the harbor and traditionally it is the heart of Hamburg’s nightlife. The old red light district is full of cafés, bars, restaurants and clubs. You painted this mural for Knotenpunkt Festival in Hamburg, Germany. Can you tell us a little about the festival and how you got involved with it? Knotenpunkt is organized by the Affenfaust, a Gallery that is run by four energetic young fellas for the past three years. Last year they

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Will you tell us about your creative process with this mural? Usually I take a photo of the wall and make some shots from the house and the area around it for inspiration. Then, I go to my studio to make a sketch and choose the colors. Once this is done I sketch down the piece on the wall and start to paint it from the inside to the outside. I start inside the hole with

black or another very dark color and work myself further and further out to the light. This mural looks very large, how big is it? Do you normally paint on this scale? So far that’s the biggest hole I have painted. Too bad it’s not the normal. I would love to paint more of these 20-meter walls in near future. What did you enjoy most about this piece? In the beginning I didn´t know how the neighbors would react to it. The house next to it is full of elderly people and I already know how many of them react to changes. I was a bit concerned that they would just hate it. At the end a couple came down and told me that they liked it and the message. They interpret it as a bridge over a deep gap. I liked that. It’s always nice when viewers get something positive out of your art. Another nice thing was this crazy squirrel that bunkered walnuts in a tiny hole on the top of the house. It also was one of the reasons why I changed the color of one layer from fluorescent pink to a warm bright orange. How and when did you first begin creating the style of work we presently see today? I’ve been working very figuratively

in the past and changed that around two years ago. It was a long process to get to this point. I constantly try to learn new things and develop slowly as a person and as an artist. This changes my perspective on a lot of things and influences my output of course. Most of the time these changes can be little nuances but sometimes they are more radical. Do you have any upcoming projects you can share with us? More walls to keep our eyes open for? The next big project I am looking forward to will be a surf and paint trip to Panama over January 2015. If there is somebody out there with a wall that needs a hole piece let me know. Until then, I am concentrating on producing new canvas and prints in my studio. I had a lot of work in the last month and am very enthusiastic about finally being able to focus on some weeks of studio time. But for sure there will be some new murals coming soon. Where can people check out more of your art? I am trying to keep my website updated at www.10101010101010101010.biz. I’ve also started Instagram some weeks ago @1010zzz. But usually I just manage to feed my Facebook with news and that’s at www.facebook.com/1010art.


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Photography: Dominic Petruzzi :: dominicpetruzziphoto.com :: @dominicpetruzzi

If you’ve ever wondered what you’d get if you mixed a little Southern hospitality with some Latin fire we gotta tell you it looks quite nice. Let us introduce you to the lovely Alyssa Arce, born and raised in South Carolina and recently relocated to Southern California. She’s been on fire lately, pursuing her modeling career and taking the best the West has to offer her. For Alyssa, it’s just a matter of time before she’s known all over the world but something tells us no matter how much success comes her way she’ll always stay the classy southern gal we’ve come to know. Stay classy, BL!SSS readers. Model: Alyssa Arce: @miss_alyssaarce :: Wilhelmina LA Hair & Makeup: Olivia Taddio :: oliviaroseartistry

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Words: Tricia Khutoretsky/Curator, Public Functionary I first met Patrick Martinez a couple years ago in Dallas. Our mutual friend, Dzine/Carlos Rolon, had a solo exhibit opening at the Dallas Contemporary and we were both invited to his celebratory dinner on the night of the opening. Patrick and I happened to sit near to each other at one of the tables

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and we were introduced. His last name wasn’t mentioned, and he was introduced to me as, “Patrick, he’s an artist.” We chatted like new friends about Dzine’s exhibit, about art, about where we were from and where we were going. The table was full of travelers from LA, New York, Chicago and myself, from

Minneapolis. Patrick didn’t share much about his art, and it wasn’t until the end of the dinner when I asked for his card so I could check out his work that I realized he was Patrick Martinez. I was momentarily star-struck given that I had been a fan of his work for many years, following his career and work online, as most

of his audience does. I always thought that as an artist, his voice and perspective was bold, smart and loud. It’s hard not to notice Patrick’s work within the landscape of young, up-andcoming contemporary artists. But the surprising thing was that I spent an entire dinner talking


to him, and I would have never matched him to his work. Patrick, in person, is soft-spoken, quiet, humble and sweet. Unlike the artist’s dinner table demeanor, his work boasts bold confidence, a loud voice and a demand for attention. A couple years later, we are far past dinner as strangers: a curator from Minneapolis and an artist from Los Angeles. After presenting a solo show of Patrick’s work last November at my new gallery, Public Functionary, and braving Art Basel in December together, we’ve developed an ongoing working relationship. We’re helping each other out in our artistic pursuits. And this relationship developed organically, the kind of thing that happens when you stay open to the flow of energy and ideas. What I admire about Patrick is that he isn’t forcing his way into the art world; he is gracefully defining his place in it. He is deeply dedicated to his art, he fully invests himself in it, always has. This leads to art that is honest and complex. It is bold but it is quiet, it is simple but beautiful. It is most of all, timeless and yet urgent. Now that I know Patrick, there is no doubt that he is what he creates.


Interview: Liz Rice McCray This month we were able to catch up with Italian artist Alessandro Gallo after his debut solo exhibition in the United States at Jonathan Levine Gallery in NYC. Gallo and his hybrid human/animal ceramic sculptures have received broad popularity in Europe. Now, positive word of his sculptural masterpieces has been sweeping the United States. You were born Genoa, Italy, and studied in London. Now you are based in Helena, Montana. We’re very curious, why Helena? And how long have you been in Montana? I moved to Montana almost one year ago. Helena is where me and my wife met for the first time, a few years back. Her name is Beth Cavener, she is an artist and her work is stunning. We met at the Archie Bray Foundation that is an International Ceramic Center that provides wonderful facilities and a great working environment for artists working in clay from all over the world. Its exciting present and glorious past make it world famous. We thought it would have been great to be near it. The natural, quiet beauty of Montana did the rest and convinced us it was a great place to raise our little son Nicco and set up a studio. What are you really into right now? Right now? Right now I’m into my baby and being a good dad. When I’m not working all energies are devoted

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to our little man and his many needs. Sometimes it’s very hard but it’s definitely awesome. Nicco is the best thing that’s ever happened to me and I’ll never forget witnessing his birth. You just had your debut solo exhibition in the United States at Jonathan Levine Gallery in NYC; will you tell us about the show? The show ran until October 4th. It was titled ‘Strani Incontri,’ Italian for ‘Strange Encounters.’ The title mainly refers to the people that I met in my travels, foreign and strange by definition, but also to my way of working – where familiar situations collide with unusual and somehow weird animal heads. The result is odd figures that are at the same time plausible and impossible, as if coming from a parallel universe where some of our physical laws went wrong. How did sculpting ‘human animals’ come about? Animals are very evocative and their traits can be extended metaphorically to humans. Some animals hunt, some run away, some hide very well, some are active during the day and some are nocturnal and so on. Because of this, they’ve been used in stories and myths in all ages and cultures to embody invisible virtues and vices. Animals, together with posture and clothing, allow me to represent psychological types.

How long does it take to create one of your pieces? It depends on what pieces but generally, for individual figures, around a month. Where do you take scenes to sculpt from? Strictly from what’s around me. I’m fascinated by people. Sometimes I find myself observing strangers in airports, waiting in line, on a train and so on. I look at what they wear and their posture. I try to reconstruct or imagine what they’re up to, their stories, where they are from and so on. Our bodies and dress choices speak silently about us all the time. One of the elements of your sculptures that affects me greatly is the clothing they are wearing. Their attire seems amazingly accurate for a pregnant bunny head or a toad-headed man. How do you pick what they should wear? I actually never pick. I start from real people and I try and portray their choices by being as loyal as possible to what they’re actually wearing. I try and represent their individuality, physical and psychological. This means that I work hard to find the small traits and details that give them a life of their own, separate from me. And the best way to do it is to draw from reality,

always surprising, as opposed to my own limited imagination. When I see someone I want to do a piece of, I’ll ask them to model for me as they are, or I’ll have friends wearing the same clothes and then take pictures from many sides and angles for reference while sculpting and painting. I like to play with how we perceive ourselves and how other people see us. The toad might be seen as ugly but he feels great and he makes it clear with his Superman shirt. It’s titled: ‘I feel good.’ What do you think is most understood, and misunderstood, about your work? Sense of humor. Being solemn and being serious are two different things. Sometimes foolish things, deliberate and sincere, are serious, whereas severity, especially when self declared, can be unintentionally silly. What was your first animal hybrid? My first animal hybrid was a man with the head of a donkey – a self-portrait. The donkey is proverbially stupid, stubborn and works hard so it seemed an ideal reminder not to take myself too seriously. Thanks Alex for taking the time to answer our questions. Make sure to check out more of Alessandro’s work on his Instagram @ alessandrogallo_net, and his website www.alessandrogallo.net.



Words: Nate Zoller :: Photos: Burkard Iceland is one of those places that never seemed real growing up. In third grade geography I stared at the map daydreaming of what it would be like to visit. I imagined ice rinks everywhere, polar bears and reindeers, igloos, penguins and blondes in big fur coats. I thought of a barren wasteland of blizzards, of James Bond in Die Another Day, but I never thought about the surf. Fast forward 15 years and I’m on a plane overlooking Canada’s white-capped mountains. I’m thinking too much as a striking Icelandair stewardess hands me my third Reyka soda. Icelandic vodka is even more fitting than Russian, either that or the stewardess is just a bombshell, I don’t know. But it goes down smooth and my mind melts into the back of my tiny airplane pillow. I wake up to darkness. The plane has landed at Keflavik International Airport and it is nine in the morning and it is completely dark. My eyes are droopy from the alcohol,

Nate Zoller

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maybe, but definitely from the sun not showing up. My body is awake but my mind is not; darkness creeps for 19 hours a day here. Our mission is to make the most out of our short window of light in order to capture the magic of the Fjords and surf unridden waves in a place as far from coconuts as you can get. And so our crew, consisting of revivalists and savages, wait in the airport for our photographer Chris Burkard’s flight to land. As we drink our espressos and eat our Northern Euro (fishy) style sandwiches, we hear the rattling walls of an arctic airport. Like most days in the winter, there is a massive blizzard blowing from every direction possible. I walk outside (think of the scene in Cool Runnings when they walk out of the Calgary airport) wearing coldweather thermals, a long-sleeve shirt, a sweatshirt, a flannel, a jacket, a snowboard jacket, gloves, wool socks inside Danner boots, and Roark chinos. The sleet of the storm slaps me in the face as I walk out of the sliding airport doors into the white


blizzard of darkness. My body heat drops. I am one part freezing and two parts freaked out. I think of surfing in weather like this, weather you only see at the top of Mammoth Mountain on a blustery day. “Suit up!” I hear from within the airport. It’s Burky. “I’ll go grab the Defender and we’re heading straight for this left point I know of!” I walk back into the airport, grab my boardbag, put hand and feet warmers in, take a deep breath, and jump in the car. Fuck it, I think, I’m in Iceland, the land of fire and ice. Sure enough, the roads in Iceland are icy, but I’ve driven through black ice before and this was different. The snow flying sideways created mini tornados in the road, National Geographic style. Luckily, Burky was driving and not only did he know how to drive our Land Rover through the blizzard, but he knew exactly where we were going.

Twenty minutes outside the airport walls and we exited the white tundra to the sight of an offshore left peeling into a snow-filled black sand shore. It was reeling, kind of. I got out of the car and it happened again, I was struck by the cold. The snow was still falling and it couldn’t have been warmer than 25 degrees out, the water teetering around 40. All of the sudden the left started looking mushy. More than any location I’ve been to around the world, the cold of Iceland rules over surf froth. The massive tides, wavering swell charts and rabid storms working together are one thing, and a tricky thing in this region, but then you have to find that psyche to suit up in a snowstorm. The best way to prepare for a surf in the arctic is to put the wetsuit on inside the car, heaters blasting. Warm up the extremities first because if you

put your suit on with a low body heat, you might as well ask for hypothermia. Once you feel somewhat warm (you are never warm in the Icelandic winter) slide those legs into your 6mm hooded fullsuit. It may take a bit of work but that is good, anything to raise your body temp. Next stick your feet in those 7-mil booties and your hands in the lobster-claw gloves. Pull that hood over your head and stick your face in the heater for one last bit of warmth. Jump out of the car and feel invincible in the heavy amount of rubber surrounding your body. Make a snow angel and get out there.

After spending 10 days driving from south to north and back chasing good weather, we had come full

circle. We saw double coated Icelandic ponies, watched the Northern Lights in long underwear, drove through the magic fjords of the north, fell off radar in the arctic tundra to “shave a couple hours off the drive,” saw wild reindeer, ate reindeer burgers, slept in small fishing village cottages with Jacuzzi’s, ate cod roe out of toothpaste shoots, met a local legend named Sigr, swam through ice lakes, surfed a glacier river mouth, surfed under snow-capped mountains, surfed through a blizzard, stood under massive waterfalls, drank Viking lager and Reyka vodka to stay warm, never stayed warm, and totally lost sight of reality in the midst of such beauty. There’s so much to see in such a small island country. New waves around every corner: point breaks, reefs, slabs, wedging beachies, everything. All you have to do is predict the weather, which is seemingly impossible in the artic.


Raph Bruhwiler offshore and it was a slab and it was a right and Raph (Bruhwiler) and myself are regular foots so it was a done deal. We had no more time to check spots. This was it. We suited up our thick rubbery armor in ankle high powder, sat in front of the car heater for a few minutes and bolted for the ocean 200 yards away. A quick shimmy under a barbed wire fence and over some snow covered boulders to the edge of the water and now I could see what the wave actually looked like – big and throwing. From the first wave to the last, the session was surreal: Just the two of us trading off angry, thick-lipped slabs. Barrels, carves, hearts in throats. After two hours Raph went in from cold extremities. I stayed out; my blood was boiling from excitement. I felt warm and I was scoring a right slab in Iceland by myself. I surfed for another hour, as long as I could before we had to head to the airport to catch our flight. Outside the airport we packed our boardbags in the snow, cackling at the yard sale in front of us. I checked my surfboard bag at Icelandair and the lady at the counter had never seen a surfboard

But on our last day of the trip, with the swell receding from its gargantuan winter purple into a sexy auburn red, our hopes were high. We woke four hours before sunrise (6:30 a.m.), knowing that no matter what we were boarding a plane at the end of the day. We paid the nice, round lady at our hostel and got in the Defender for one last surf mission. It was cold this last day, maybe 15 degrees but I was more restless than cold. My mind was racing on that last car ride in the dark. We had driven the entire circumference of the island and I had seen more than most traveling Iceland are likely to see, but I was restless still. I had soaked in the culture,

the vodka, the lobster sandwiches and the two percent Viking lager. I had seen reindeer and puffins and the northern lights. I surfed next to Icebergs, but still I was restless. I wanted that last taste of the pie, one last dip into that dark and stormy Northern Atlantic. The Defender sped through the white lane with heaters blasted. First wave we saw and the wind was sideshore, the swell maxing again. Hope fumbled. We kept going. Around another bend, the wind had switched. Offshore. A wave was slabbing onto a lava reef just far enough away to trick us into thinking it was small. But it was


Raph Bruhwiler

bag and didn’t know what to do. I was wearing a Viking horned hat and we laughed and she gave me my boarding pass and I walked through the airport on a cloud. I found my happy place in the form of a three-hour session at a nameless surf spot that might never be surfed again. I was happy and the trip opened my eyes to a whole new world of coldwater surf exploration. There were no crowds, no people anywhere really, and that’s what the trip was all about: beauty in solitude, sheeted in Iceland.


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Interview & Photos: Luke McKaye David Castells is one of those dudes you just love to be around. His hype level on skating, and life in general, is so high at all times it’s contagious. There’s a language barrier, but we have a lot of fun with it. He’s born and raised in Spain, so his view on skateboarding is a little different than most of the people I know. It’s refreshing to skate with someone who has a new take on things and grew up with different influences. The dude definitely taught me a lot about European skateboarding, which makes me want to book a flight right now and go exploring with him.

You’re originally from Spain, but how long have you been in the U.S.? I’ve been here for about seven months now; I came on a student visa. I’ve been

taking classes at USC Costa Mesa. I just went back to Spain a few weeks ago to skate Barcelona Extreme. I went back only to skate that contest, and I didn’t make the finals. It was disappointing because I spent a lot of money to go back, but it worked out because there was another contest in Barcelona a week later that I didn’t know about. It was a contest sponsored by Harley Davidson, and it sounds crazy but I won first place and the prize was a brand new Harley. I didn’t have time to register the bike or anything, but it’s waiting for me at my parent’s house when I go back to Spain. That’s amazing! When are you going back to Spain? Soon. Less than one month from now. I want to stay here longer. Maybe when I go back I will sell my new Harley Davidson so that I can come back to California.

Nollie Crook


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Did you know anyone here before you came? I came to San Diego a few years ago and skated a lot with the Skate Mafia guys. Wes, Marion, and Jimmy showed me all the spots, and I was able to link up with them a few times since I’ve been back. My friend from Spain set me up with Anai Garcia; he was a filmer in Spain for many years until he moved to Hollywood to film different stuff. We’ve filmed a lot over the past seven months – he’s going to put out a part for me pretty soon.

Switch Heel

Who have you been staying with? Right now I’m staying with Leticia Bufoni. I met her when I went back to Spain for that contest, and when I told her I didn’t have anywhere to live for my last few months in California she was super nice and said I could stay at her place… so grateful. Before that I was staying with a few students

from Mexico that I found on craigslist. It wasn’t really working out so well. What is skateboarding like in Spain compared to the U.S.? In Spain there are NO picnic tables! I am going to miss the picnic tables here… and the handrails. In Spain the handrails are much different. One handrails will be a very high three-stair and the next one will be 40 stairs and too steep. Here there are perfect handrails everywhere. And the ground is very smooth. In Spain there are a lot of spots but they are much harder to skate because everything is so old, and the ground is not so smooth. I’ve seen you eat a lot of donuts. Almost every time we’ve gone out I’ve seen you get donuts. Why do you love donuts so much? I love donuts! In Spain they do not have the donuts like in the U.S. Here there is a donut shop on every corner.


Nollie Heel Flip Nose Slide

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I think I will miss the donuts more than anything. But other than that, the food here is not very good compared with the food you get in Spain. Who do you ride for? I’ve rode for Nomad Skateboards in Spain for 11 years – just put out a new pro model. I also ride for Adidas Spain, Independent, JSLV, Skull Candy, and Ricta. Wow, 11 years? So Nomad has been pretty good to you? Are they a major brand in Spain? They’re probably the biggest company in Spain, and they sell pretty well throughout Europe. They have riders from like 10 different countries and shops from Portugal and Japan carry them. Yeah, they’ve always taken care of me. I started riding for them

when I was 13 and there have never been any problems. And Adidas has done a lot to help me out. They helped pay for a lot of my flights and get me into all the contests in Europe. Has it been difficult to get your packages while you’re in the U.S.? You mostly deal with the Europe team manager’s right? My TM’s in Europe have done a lot to make sure I can still get product. Jasch Muller and Marcus Gomez from Adidas Europe set everything up with Adidas reps in the U.S. to make sure I got my shoes. The last run of boards for Nomad coincidentally were being pressed in Southern California, so I was able to get a stack of my new pro model from the U.S. and not have to deal with customs or anything like that.

Nose Blunt

Nollie


Stephen Koehne, Off The Wall. The pecking order for water photographers on the North Shore of Hawaii can often times be as intense as the surďŹ ng order in the lineup. Not only do I enjoy the extremely thick and heavy lip-line, I also enjoy the fact that the ten or so photographers in front of me are not in view during this critical moment. 62


Words: Matthew Myers Who is Ryan Craig? It’s kind of like asking ‘Who is Clark Kent?’ or ‘Who is Bruce Wayne?’ These guys each have their normal, birth-given names, but no one really knows them by these titles. They are known by their alter egos, and in this case, Superman, Batman, and Chachi. Ryan has known friends and colleagues for years that still only know him by one name, and that name is ‘Chachi.’ The ironic thing about Chachi’s nickname is that there really isn’t a very good story behind it. To explain quickly, while in high school Chachi worked at a frozen yogurt shop inside an arcade. One day his co-worker’s buddy came in and said, ‘Who’s that Chachi (Scott Baio of Happy Days) looking mother-fucker?’ And bam, just like that, the boys laughed, Ryan hated it, and it stuck. Now, fast-forward 15+ years and the name Chachi is still going strong. Chachi grew up like most Santa Cruz groms, riding a boogie board at his local beach. But as most kids moved on to standing up on short boards, Chachi kept laying down on his boogie board while pulling into heavy closeouts and infamous rock wedges. His love of the ocean grew deep and at the same time he took a few photography classes at his high school and later community college. One day while sponging at Its Beach, Chachi fractured his L4 vertebrae. He scorpioned violently into the sand and would be out of the water for over a year. Now cue the cliché, ‘Everything happens for a reason.’ While he was out of the water, Chachi began shooting more and more photos, and suddenly he became hooked. “It’s funny, when I was growing up I didn’t really look at photography as something I wanted to do or even consciously admired,” Chachi explained. “When I finally did take notice of photographers I think Chris Van Lennep is the first surf photog that caught my interest. I could identify his images before reading the captions.” This soon led to Chachi studying the surf magazines and admiring surf industry icons such as Aaron Chang, Jeff Flindt and Scott Aichner. During Chachi’s first trip to the North Shore, he swam out to Pipe and had an unforgettable experience. “I remember I saw Aichner in the water and was almost star-struck,” he said. “I even went so far as to tell him that he was an inspiration and my favorite photographer hands down. Moments later, I accidentally kicked Aichner in the head with my swim fin and he snapped on me. The incident didn’t ruin my idea of him as a photographer, but I realized the business and the pecking order is oftentimes uber-competitive and unfriendly.”


Tom Dosland at Pipeline. Slowing down the shutter on Tom Dosland proved to be the right choice; one of the better speed blurs I’ve captured.

Kelly Slater, Backdoor. As Kelly locked into this wave it hit backwash which ared the lip out while simultaneously spitting as he passed me. He popped up twenty or so feet inside of me and laughed about how heavy that little wave was and how the backwash annihilated him.


Luke Davis, Dylan Goodale and Michael Dunphy in Mexico.

Waterfall, Kauai.

Owen Wright, Central California.

Matt Myers, Central California. Chachi headed back home to Santa Cruz and became a workhorse behind the lens. While he wasn’t waiting tables at Capitola’s Zeldas restaurant (where 10 years later, he still works part time when not traveling and shooting), Chachi was waking up in the wee hours, presunrise and capturing gorgeous, pulled-back images of Santa Cruz’s unique lineups. Chachi’s also well known for his water photography. He isn’t scared to swim out when the conditions are dangerous, or drive around all day long to find the most photogenic waves. As a young aspiring pro surfer, I remember him calling me late at night and demanding, “I’ll be at your house at 5 a.m. We’re headed south to Big Sur to pull into closeouts.” All I wanted to do was hit snooze, but he’d drag me or a few of our buddies (Darshan Gooch, Austin SmithFord or Kyle Buthman) out with him and scream at us to pull into 8-foot shore break so he could ‘get the shot.’ Our crew would wrap up the days huddled around his computer going over the images. There would be non-stop heckles about who blew which air section. Chachi has a very dry sense of humor, but he’s the kind of guy that would give you the shirt off his back. That’s just a small example of the time Chachi puts into his craft. He studies swell charts like a blood-seeking hound. After shooting all day, he edits photos all night long, fueled by chocolate milk (honestly, he’s

Burma Taxi.

Dale Staples, Rocky Rights.

Palm Trees, El Salvador.


Nic Von Rupp, Pipeline.

Fall in California is stunning.

Kyle Buthman, Puerto Escondido. Kyle is an amazing tube-rider who loves to travel to Mexico. Sunrise tubes are his specialty.

Noi Kalukakui and Nic Hdez in Central California.

Dillon Perillo, El Salvador.


Noi Kaulukukui, stock air at Pleasure Point. Noi has some of the silkiest smooth style out of anyone in Santa Cruz.

John Mel and Thelen Mckinna Worrell exhausted after a long surf.

Tanner Gudauskas in a little Nicaraguan bubble. obsessed with Hershey’s syrup). He will never accept failure, and he is determined to shoot photos because that’s what he loves to do. He has traveled the world, but in his eyes he’s only scratched the surface. His career highlights showcase these skills – numerous cover shots including Surfing Magazine, being hired as a staff photographer for Transworld Surf, and most recently winning the 2014 Follow the Light Foundation Award (after previously being a finalist on four occasions). Like I said, Chachi has a never-give-up attitude. As Chachi sets his sights on the horizon, he hopes to continue to travel and see the world while branching out into more sports as well as adventure/lifestyle imagery. He would love to take up a staff position at a major magazine, as well as a company that fits his core beliefs (such as Patagonia). Although, what really would make a dream come true would be for a surf-stoked grom to open a magazine and notice right away, ‘Wow, what a cool photo by Ryan Craig!’ before ever reading the caption. To keep up with Ryan ‘Chachi’ Craig, follow him on Instagram via @ chachfiles.

Luke Davis.


Cryptik, a Los Angeles-based artist, creates works of art that explore the realm of spirituality and consciousness. His iconic depictions of deities and spiritual leaders, along with his signature style of calligraphy, can be seen throughout the West Coast, adorning the urban landscape and galleries alike. The goal of his art is to offer people a different perspective, one that encompasses teachings from diverse wisdom traditions, in order to help them develop a broader philosophy of life. Will you please introduce yourself to our readers? I go by the alias, Cryptik, but more importantly I represent the Cryptik Movement. Will you explain how you define The Cryptik Movement? The “Cryptik Movement” is really 68

my way of creating something bigger than myself. It’s always been important for me to stay behind the scenes, maintaining as much anonymity as possible, so that I don’t take anything away from the message. It’s about creating something that anyone can be a part of, regardless of their ethnicity, gender, beliefs, etc. If the message resonates with you, JOIN THE MOVEMENT! What does the Cryptik Movement hope to achieve or facilitate? Simply, it’s about spreading the universal message of peace, compassion, understanding and tolerance, but in a wider sense it’s about challenging people to see things differently. The most important thing for me is to get people to start asking their own questions and finding their own

truths. If the Movement is only just the spark that sets people off on their own spiritual journey, I think I’ve done my job. Your current body of work circles around “Eastern Philosophy,” common themes and universal symbols such as Mahatma Gandhi, Bob Marley, Ganesha, Buddha combined with circling typography transcending positivity. Will you elaborate? Are your main inspirations religion? What are some of your consistent influences? I chose ‘Eastern Philosophy’ as a starting point, only because it’s something that most people are already familiar with, but is by no means the only path I’ll be exploring. It’s hard for me to believe that any one religion, philosophy, or belief system has

it all figured out. It seems more likely that each may possess a piece to the greater puzzle, which is the mystery of life. I’m inspired by various religions and philosophies as much as I am by science and quantum physics, ancient civilizations, consciousness, mystical experience, etc. I believe truth and beauty can be found in all teachings, if you have an open mind, which is the source of everything I create. Do you mind us asking, what is your religious background? I was actually raised Catholic, but I definitely don’t consider myself a religious person at all. I do believe in a higher being whether you want to call it God, Brahma, the Universe, etc… one God, many names. I guess that would make me agnostic?


How and when did you first begin creating the style of work we presently see today? I’ve been fascinated with calligraphy and graffiti ever since I was a kid, but it really wasn’t until early 2000 that I began exploring this path. I always fantasized about writing graffiti, but I realized early on that cans weren’t my gift, so I just stuck to what I knew best. We enjoy your use of metallic colors - will talk about the symbolism, if any? I’ve always been drawn to metallics and foils, especially on black! If you look at most holy books, they’re all black with gold foil. It just has this real holy/mystical vibe to it and makes anything feel sacred. What is the root of your letterform? It’s really just my own version of stylized English, inspired by many of the ancient scripts including: Arabic, Sanskrit, Hebrew, Hindi, etc. I noticed that they all shared a similar essence and it made me wonder if they might have all originated from an even earlier source… the script of the GODS, which is what I’m trying to imagine.


What mediums do you commonly work with? Mostly acrylics, but I’ll use whatever it takes to do the job. How long do your paintings take to complete? Typically I can finish a small piece in a week or two, but it’s really when the piece says, “I’m done,” which may take a week or two months. Do you have your own brand of signature product? Definitely. We do offer a limited selection of various offerings from: apparel, prints, skate decks, iPhone cases, books, etc. When I started out, I was buying hundreds of blank tees and printing them in my garage to give away to friends and family. Eventually, I had so many folks asking that I decided to make them available to the public a couple of years ago. I understood that some people may not be able to get a fine art piece, but they might be able to pick up a print or a tee, so I always make sure there’s something for everyone. You seem like a really positive guy. Is

there anything that really disagrees with you? Negative people. Where do you call home? Currently, I’m based in Los Angeles. In a positive way, when it’s all said and done how would you like to be remembered? To be honest, I don’t really care if I’m remembered. I just want to try to be the best human being I can be while I’m here. Do you have any upcoming projects you can share with us? At the moment, I’m working on some outdoor/indoor murals and paintings, along with a collaboration with Hurley that I’m excited about. Shout-out to Ryan and Bob Hurley! Also, I’ll be in Miami during Art Basel later this year to paint a mural with the very talented Daleast. Hope to see you there! Where can people check out your art? My website, www.cryptik.com, Facebook CryptikMovement or on Instagram or Twitter @cryptk.



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Dress – RVCA rvca.com


Top – Hurley hurley.com Sunglasses – Tres Noir tres-noir.com


Top – Volcom volcom.com Shorts – Model’s own Sweater – Volcom volcom.com

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Sunglasses – D’Blanc dblanc.com Sweater – Volcom volcom.com

Sunglasses – D’Blanc dblanc.com


Sweater – Lira liraclothing.com


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




Interview: Chris Bradshaw :: Photos: Ben Birk An OG at 23! Long before your parents thought it was cool, before the GoPro, before the X Games and all the glamour, before it became a worldwide sport, there was snowboarding. When it meant nothing to many and everything to a select few. Snowboarding was raw; it was for the weirdoes and bad kids. It was what let you release that inner demon; a way of expressing yourself to a bunch of L7 squares called skiers. While being banned by most ski resorts and looked upon as a “trend that wouldn’t last,” there were still some kids that were in their own little worlds wearing obnoxious, brightcolored getups with Sorels duct-taped to their feet, bombing down the hills slashing and bashing everything in sight! It was during those good times at a shitty

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little rundown resort called Snow Valley where I met Ryan Tarbell – a 6-year-old, helmet-wearing bobblehead that had the fire burning deep within and who was just like the rest of us hoping that one day snowboarding would be the answer. Even at age 6, when most kids couldn’t correctly throw a ball and still pushed mongo, he was there everyday he could be, shredding with a natural ability and making it look better than most guys twice his age. Over the next decade he molded style and became really good at snowboarding, winning all the local contests and getting some well-deserved recognition as a young kid. But it wasn’t the contest wins or the popularity that motivated him; he did all that to achieve his goal which was

to be on the hill more than most, chasing that feeling he got from learning a board slide or a correct turn. Since meeting Ryan and becoming good friends over the years we have spent a lot of time together on and off the hill. Whether it was snowboarding, fishing or partying, Ryan never disappoints. He has a way about him that people are attracted to; he’s an all-around good human who treats people with the respect they deserve. After all the time spent together and all the hard work he has put into it, he is finally getting recognition as an up-and-coming household name in snowboarding. And while he may be new to the mainstream world of snowboarding, he’s been there since day one, ripping hard, perfecting his skills and becoming one of my favorites

to watch. In the era of energy drinks and Instagram as a way of making it big, Ryan is still dedicated just as much as he was at age 6, at the hill everyday practicing or out on his own dime traveling to film a solid video part – which, to him, is more important than being cool with fake followers and suck-me-offs for free product. And for that I have nothing but the upmost respect for Ryan, and I am proud to see this kid shine in the days to come. While still working odd jobs as a part-time gardener or painter, he saves his money and uses it to chase the dream of one day making his passion a job. A shredder’s shredder, Ryan is the voice among a small group of people who still love this shit for


the feeling rather than the fame. All I can say is don’t sleep on this kid; before you know it he will be one of your favorites. And even with all the fame, money and exposure he will still be the same little 6-year-old I met back in the day, just soul shredding for the love. It doesn’t matter to him and that’s what makes me so hyped on this kid and happy to call him my good friend. Ryan Tarbell is the truth! When’s the first time you strapped in: age, place, and board? I was four years old at Snow Valley and had a 112 Morrow. What’s the first trick you learned? The first trick that I learned was how to ollie.

Do you ever get scared filming a trick or have you ever backed down from a spot? Yeah, sometimes it can be scary when you take a couple good beatings but I don’t like to give up and back down once I’ve already got myself into something. Usually if I’m not feeling something before I’ve started then I’ll back down. How many tries did it take when you switch-nose-slide the Big Bear middle school kink? And what the fuck were you thinking? I don’t remember exactly but I think it was like 15 tries or so after I hopped onto it sideways. I don’t know what I was really thinking at the time... the season before I

did it I got half-cab-5050 on it. After I did that I had the thought of maybe trying a switch nose slide on it if I ever went back to it again. The next season came around and I was filming one day with Markass and Johnny Miller when they asked me which spot should we go to tomorrow. I joked around saying, “Fuck it, let’s go to the middle school kink tomorrow” and laughed. That night I went out and partied and woke up the next morning not really giving a fuck about anything except wanting to go snowboard. It was a Saturday so the mountain would be busy and have long lift lines so I didn’t feel like going there and dealing with the crowds. So me, Johnny and Justin Mulford somehow ended up talking each other into going to the middle school kink after I was first joking about

going back there, and I somehow talked myself into trying a switch-nose-slide after we got there and set it up and ended up doing it. That was the craziest fucking feeling I think I’ve ever got riding away from something. Do you have any rituals or routines as far as getting prepared mentally for a spot or trick? Not really, just go with the flow and have a good time. You’ve been riding for Academy for a long time. I remember when they had Scott Stevens, Grendys, Otterstrom and Cassanova… what happened? Do you believe in keeping it underground in hopes of a brighter future, or is it a


respect thing you have for them for taking care of you for so long? Yeah, the team used to be heavy at one point, and then the investors at the time fucked it all up, I believe. Academy has always had my back and has been there for me since day one. I respect them for always taking care of me through the thick and thin! Your brother Chad is the shit, a close friend and one of my favorites to watch shred. Being the little brother, how hyped are you to have had him show you the ropes? What’s one of the gnarliest things you’ve seen him do on a snowboard? Yeah my brother is the shit, I couldn’t be more thankful to have a big brother as cool as Chad to show me the ropes of snowboarding and life growing up. I for sure wouldn’t be where I am today if I didn’t have him to look up to as a little kid. I love watching him shred and I’ve seen him do all kinds of crazy shit that I don’t even think many people have ever seen him do. I would have to say the year you, me and him made our own movie “Fuck Yeah,” I saw him do some of the gnarliest shit. One of them was him pin-balling between these trees that was literally an opening just enough to get a body through. It was crazy! I also saw him do one of the sketchiest ollies that year that I think I’ve ever seen live with my own eyes. Speaking of Gnarly, how long have you been


homies with Keegan? How does it feel to be on his dream team? I’ve known Keegan for a really long time. He used to always come up to Bear and do USASA contests when we were really young; I think we were like about 12 years old at the time. That’s back when I first met Keegan, and then as we got older he would come up an hang out, shred Bear or we would go film around town with his camera that he had back then. He used to always bring up Gnarly stickers for me and all the homies back before Gnarly was even a company. Then one day, I think it was Keegan, Dylan Fait and the homie Bryce rolled up to Bear to come shred and brought me some Gnarly t-shirts that were some of the first ones that they ever made. If I remember right, I think one of their homies in Laguna made them out of some surf shop that he worked at, or something like that. I remember being so hyped getting those tees and them telling me that they’re gonna start making clothes. Ever since that day I’ve been down for Gnarly and couldn’t

be more hyped to be a part of it and support Keegan’s company. Keegan is one of the realist human beings I know and is a true fucking boss! How do you feel about contests? Are they more for the spectator or the rider as far as marketing what they call a sport? Contests are cool but it’s not really my thing. I guess it all depends on what kind of contest it is though. There could be some fun ones here and there, but I’d rather go shred with some homies and have a good time instead of being under a lot of pressure – that’s not always fun to me. I think contests nowadays are more for the spectator instead of for the rider. That’s just my opinion though. If Dale from ESPN called and wanted you to film for the X Games Real Snow Street or Keegan called saying Gnarly was making a video, who would you film for and why? Keegan’s video without a question!


Like I said, contests are cool and all but it’s just not me. X Games Real Snow could be cool depending on how it goes for you, but it seems like it would make filming feel more like a contest. Personally, I think it would put a lot of stress and pressure on my back and would make filming not as fun as it’s supposed to be. In my eyes filming is supposed to be fun and whatever that you want to make out of it. I enjoy filming and being at a spot with homies and making it a good time and memory. So filming for a Gnarly movie would definitely be a lot more fun to film for, in my opinion. What’s your ideal accomplishment in

snowboarding, when it’s all said and done, that would make you feel like it was all worth it? Mainly just knowing that I did it all for myself and for the love of snowboarding. It would be dope to film that “one part” one day that really means something to me; that gives you that good feeling for the soul. Something that I can look back at later in life and be like, “Fuck yeah, that was the funnest year of my life!” With all the million-dollar companies out there, why do you think it’s so hard to make it in snowboarding, as far as

actually making enough money to live and be happy? That’s a hard one… I don’t know. I think snowboarding is just at a weird point right now. There are not a whole lot of opportunities out there. It has its ups and downs… if Mother Nature isn’t doing good then the company’s aren’t doing good either. It’s drought season, haha. Where would you like to see snowboarding be in the future? And to any little kids reading this, what’s one thing you have learned from shredding that’s helped you in real life?

I just want to see snowboarding head in a good direction and stay alive forever no matter what happens! Keep the generations of kids flowing in the right direction and all shred ‘til death. One thing that I’ve learned from shredding is to let it keep you out of trouble. All you need is a snowboard. Fuck everything else, keep snowboarding! Shout outs and sponsors? 686, Academy, Flux, Gnarly and Electric. Thank you to all my sponsors, family, homies and anyone who has helped me out and supported me along the way. You know who the fuck you are, thank you all!



Words: Joe Edukas :: Photos: Seth Huot // The calm before the storm // The Volcom snow team // Harrison Gordon // On-screen action // Pat Moore and Tim Peare // Everyone ready for Mr. Plant // Donny Stevens, Curtis Ciszek, Scott Blum, Alex Lopez, Bryan Iguchi and Ryan Immegart // The man behind many a VEECO classic, Richard Woolcott Pat Moore and Volcom have done it again with Mr. Plant. Volcom has been putting out classic surf, skate, and snow movies since the beginning, such as one of my all-time favorite snow flicks “The Garden,” starring Terje Haakonsen and Bryan Iguchi, to surf and skate films such as “BS” and “CHICAGOF.” Volcom films never disappoint when it comes to creativity, technicality, and music! They stick to the roots, with movies like “True To This” always keeping us coming back for more. Pat Moore has been throwing it down in snowboard films for nearly a decade. His riding style is fast and aggressive, making him a standout anywhere and everywhere there is snow. Along with Pat, the film brought back some of the greats with Terje Haakonsen, Bryan Iguchi and Jamie Lynn, while also bringing in other riders such as Curtis Ciszek, Scott Blum, Mike Rav and a ton more! If you have ever been to a video premiere at Lido Theatre you know what you’re getting yourself into. Mr. Plant’s premiere did not disappoint. From all the top riders and the huge Volcom presence the place was going off! The night started off with a Red Bull bus dropping people off in droves all with drinks in hand. The upstairs of Lido was full of ice chests packed with a variety of St. Archer beers and people who wanted to have a great time.

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Now, let’s get to the movie! It starts with a gnarly wipeout section, which makes you wonder how these guys get up and keep going until they get the shot. It then turns to Jake Welch’s part and he throws it down. It mellows off a bit after that going into the backcountry with Curtis Ciszek and then into the legends section with Terje, Iguchi and Lynn, all of which still tear it up. The next section of the movie is a mix of riders who all kill it in a fast-paced mix of backcountry, park, and street scenes. The closer, of course, is “Mr. Plant” himself, Pat Moore. Backed by Metallica’s “The Call of Ktulu,” Pat’s part shows his versatility, dropping off two-story buildings in the city as well as hitting huge features in the backcountry. Although his part is technically the end, the method section in the credits is all time, bringing back old footage from classic snow films and adding new footage from the past season. In the end, people were stoked and ready for the snow season to begin. As in any Lido premiere, the festivities kept going as everyone moved to Rudy’s for the after-party. Then it all just became a blur from there. Pat Moore, director Jake Price, Seth Huot, and everyone else that had parts in this film went above and beyond getting it done in just a year. Of course, we have to thank Wooly and the Volcom crew for the good times as well!


PHOTO: DOMINICK

JAMIE THOMAS OLLIE @activerideshop | #activePro | @jamiethomas Bliss-JamieThomas.indd 1

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Words: Todd Proffit :: Photos: Joseph Stocking // Nick Guin // Zack Foster // Buzz Holbrock // Your Mamma’s a snow blower // Girl on box // Vendors // Buzz Holbrock // Raffle Winner

Mountain High hosted its season pass kick-off event “The Buck Strikes Back” with 40 tons of snow and a rail jam in the middle of the town of Wrightwood. The event kickoff allowed anyone with a 2014/15 season pass the chance to get on the snow first. After a few hours of letting season pass holders shred it was time to close the course and clean it up for the Pros. The Pros quickly shook off the summer dust and started throwing down some bangers. In the end it was Buzz Holbrook edging out Zack Foster for the win and bragging rights. After the awards, the course was open for everyone to enjoy. Thanks to all the vendors for showing their support and here’s to a wet winter. Cheers!

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Words: Josh Grelock Photos:: Stuart Szerwo // Hurley Headquarters // Fender’s Nate White & Chris Cote // Artist Craig Stecyk and his axe // Artist Tokyo Hiro and his axe // Ray Barbee & Greg Escalante // Hurley’s Greg Teal & artist Christian Jacobs // Meagan Newhouse & Rosie O’Laskey

Jimi Hendrix. Buddy Holly. Eric Clapton. Eddie Van Halen. All of these legendary musicians have their own brand of guitar wizardry that changed the face of rock ‘n’ roll. And all of these rock icons have one thing in common – the Fender Stratocaster is their axe of choice. It’s been 60 years since the Strat first rocked the music world in 1954, and it still sounds as epic as ever. To celebrate, who better to team up with an iconic SoCal brand like Fender but an iconic SoCal brand like Hurley? The two brands tapped 20 artists and musicians and gave them each a Stratocaster to use as a canvas to create their own unique work of art. The resulting pieces were listed for auction on eBay from October 22 to November 1st, with all proceeds going to Waves For Water, which helps bring clean water to those in need all over the world.

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On October 24th, these 20 one-of-a-kind guitars were displayed at Hurley HQ in Costa Mesa for a one-night-only event, appropriately titled STRAT. Standout work included pieces by Hurley favorites CR Stecyk III, Tokyo Hiro, and Cryptik, lowrider icons the De Albas, and Smiths guitarist Johnny Marr. Hundreds of attendees took in the works of art as they enjoyed ice-cold PBRs, ate skewered snacks, and grooved to the jazzy sounds of the Mattson 2 with special guest musician and skateboarding legend Ray Barbee. For the hardcore guitar enthusiasts, there was even an original ‘54 Fender Stratocaster rotating inside its own custom glass display case. With the eBay auctions not having closed at press time, it’s unsure yet exactly how much money Fender and Hurley have raised for Waves For Water – but it’s safe to say this event rocked.


WARNING! The National Forest Service has received an unusually high number of Yeti sightings from shredders in the San Gabriel Mountains. Have you seen him? Snap a picture of you and the Yeti this winter and you could WIN an Anytime Season Pass to Mountain High for the 15/16 season ($699 Value). Tag #HAVEYOUSEENHIM on Facebook, Twitter, and Instagram. The more pics you post the better your chances of winning. Three passes available in all. Visit mthigh.com/haveyouseenhim for complete details.


Words: Daniel Shea :: Photos: Dave Manning // High School Champ Sam Neiger // Legends division winner Todd Miller // Taj Miller joined his dad at the top of the podium by winning the Elementary division // Perennial Newport standout Daniel Shea // Open Girls winner Kaleigh Gilchrist // Brighton “Bones” Brandenburger is making a comeback // Middle School winner Griffin Foy // Nick Fowler blasting an oncoming section The 26th Annual City of Newport Beach Surf Championships went down September 27th and 28th at 54th street. This competition has been a WQS event in previous years with champions such as Andy Irons and Nate Yeomans, but now it is a community-based event for groms and legends alike competing for bragging rights. Once again the waves and weather delivered an epic weekend. The contest was held at 54th because the sand bar created a mini right point break off the 56th jetty, offering waist- to chest-high peelers all day, ideal for ripping. It was awesome to see the wide range of surfing generations together. From 10-year-olds to their 50-year-old fathers, everyone was frothing for their heats. Some competitors were even of the same bloodline, like Taj and Todd Miller, who took out all of their competitors to become champions of their respective divisions (Elementary and Legends). Richie Collins was in the water helping his youngest daughter catch waves while his eldest daughter, Meah, was taking out

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boys in the high school division with her powerful frontside turns. Victor Done drove down from college in Santa Barbara to defend his Open Men’s title, and defend it he did by precisely beating out Nate Dorman, grom Parker Cohn and Daniel Shea. In similar fashion, Victor’s longtime friend Kaleigh Gilchrist made it back to town from college to also win the Open Girls division, just edging out Meah Collins. In the Master’s division Eric Vallely took another title, his second in a row. In between surfing heats, the competitors got to enjoy acai bowls from Banzai Bowls, burritos from Wahoo’s Fish Tacos and even sample a few … Lost surfboards that were available for demo. Also, a Kolohe Andino surfboard was raffled off on the final day. Middle school finalist Dylan Hord was able to take home an extra raffle prize. Congratulations to all competitors and a special thanks to Jack’s, Arnette, …Lost and the City of Newport Beach for cosponsoring the event.



Words: Mark Willingham & Danny Kurtzman :: Photos: Ryan Mark & @morgnar // Scarecrow // Active Posse // Danny from Ezekiel with some Active babes // Active hotties // Marc Melanson (Active Long Beach), Ezekiel rep Reid Watanabe & El Gringo // A Dazed & Confused Derek Fukuhara & Walking Dead Jen Hackler // EZSC nerd Kyle Kennelly & his cheerleader Becca Mantei // Anthony Peterson (Active Chino Hills) & his beautiful victim

For the fifth straight year the crew at Ezekiel and the homies from Active Ride Shop got our rage on for the Annual Halloween Party at The Wayfarer in Costa Mesa. It’s hard stepping up the game each and every year, but the dudes at Active always come decked out in the most insane Halloween costumes and the decorations were on point. The night had some great tunes by Heavy Accents, Shae B and Tropicool (A.K.A. Lieutenant Dan), Wayfarer grub was bomb, and of course you can’t go wrong with free booze (THANKS DANNY!). Shit got a little crazy but we wouldn’t expect anything else. Congrats to Nic (A.K.A. Mike Tyson) from Active Burbank for taking home a cool $100

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for best costume along with Anthony (A.K.A. Dexter and his hot kill victim) from Active Chino Hills for winning scariest costumes, and for our amigo Bryan for taking home most original… how many bracelets does a $100 buy? Big thanks to Esmail for all the support along with Jenner (A.K.A. Bodhi) Tall Todd, Mel B, Brent, Tyler (what, no Beer Savage?), Keith, everyone at corporate and of course a huge thanks to every Active Store Manager, Assistant Manager and to all the sales cats for always giving us the love! Let’s do it all again next year.



Interview: Max Ritter :: Photo: Benjamin Kutsko

Tell us a little about the title track of your new EP, Encino. What’s it written about? I think it’s about the concept of purgatory. I wrote it last year while I was living in a small town on the central coast, near Monterey. It was a lonely time and I felt pretty isolated and homesick for LA (I’ve since moved back). That experience inspired the lyric and that coastal landscape inspired the music. How did you develop the concept for the Encino video? Who is that pretty lady? That is the immensely talented actress and musician Jena Malone. The concept for the video started with a trip to see the James Turrell retrospective that was at LACMA last year. The director of the video Ben Kutsko and I were both really infl uenced by that show. He had the idea of a

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woman dancing in front of a soda machine at night, and we developed the story (such as it is) around that image. My uncle used to drive us around in his El Camino when I was a kid and play The Point by Harry Nilsson. That was how I discovered him. How did you fi rst discover Harry Nilsson? That’s awesome. I moved out to LA from New York about six years ago. Before I left a friend gave me a bunch of CDRs for the drive, one of which was Nilsson Sings Newman. I was familiar with his hits but that was my fi rst proper introduction to his stuff and I kind of dove in from there. It was a big infl uence on my last record. On this EP you’ve covered songs by Nilsson as well as Arthur Russell. Why did you decide to cover

these tunes and tell us a little about how have these artists infl uenced you. I think of Nilsson and Arthur Russell as outliers. Each could write songs that were accessible and timeless, platonic ideals of the form. Yet they both pursued their own idiosyncratic musical visions, even if it limited their audience. I admire that creative balance and that artistic conviction. You grew up in a family of entirely creative types. Did you ever see yourself doing anything else? For a while I was gonna be an actor. After college I went to drama school and was playing music on the side. But at a certain point I realized that in order to improve I would need to focus on one or the other. So I dropped out and made music the sole focus. How was touring with the

band Dawes and what are you onto next? It was really fun and terrifi c exposure for us. All the shows were sold out and we had a great response from Dawes’ fans. Next up is the EP release show on November 11th at the Bootleg Theater in LA. For this show I’ve been working in collaboration with a video and lighting designer to create an immersive experience that is as stimulating visually as it is sonically, with the visuals specifi cally tailored to the sound of the music. Sort of like a stadium concert but in miniature. We’ll be playing songs from the EP as well as a full-length record, which is due out next year. Thanks Henry! Henry Wolfe’s Encino EP is out November 11th. The release show will be on 11/11 at the Bootleg Theatre in LA, supported by Aaron Embry.



Fermented Mermaid Meat Live Review: Max Ritter :: Photo: Elvisafjordur Hitzelvik The Cave, Laguna Beach, CA September 24, 2014

Still dripping of frozen sweat from the Fjordic Thunder Metal Fest in Isafjordur, Iceland, the Dead Mermaids arrived to the ancient, Juaneno Indian cave in the hills of Laguna Beach. Under an orange moon, a sage haze and fifths of Brennivin, the DMs cracked skulls and drank blood ‘til dawn.

Reviews: Max Ritter

Sheer Mag 7” S/T Self-Released Debut fuzzy power-pop from Philadelphia-based band Sheer Mag. Opener “What You Want” is a near perfect song. Sold out but you still have to hear it. Maybe you can get one on the deep Web. Still learning about that.

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Noise In My Head: Voices From The Ugly Australian Underground (Book) Published by Hozac Books

Dead Mermaids/Coral Fangs Split 7” The Roark Revival / Cottage Records

Journalist and musician Jimmi Kritzler spent four years intensely documenting the heavy subculture of Australia’s current underground cult music scene and compiled his interviews and photos for this incredible book. Subject matter consists of extremely personal and honest tellings of drugs, crime, death and oh yeah… music. First book published by Hozac Records.

Serious savage shred on this limited edition split seven-inch, brought to you by the good folks at Roark. The Dead Mermaids do some mean double-kick Viking-metal for side A. On secret side B it’s Coral Fangs ruling on some punk hammers. Coral Fangs is Johnny McCray, Greg Teal, and Andrew Atkinson… WHATTTT! Legends! If you know, then you know. Find one lurking the earth or ROARK-DOT-COM while they last.

20,000 Days On Earth (Documentary) Draft House Films Must-see documentary film depicting an introspective look into the mind of Nick filmed during the making of his 2013 album Push The Sky Away. The film creatively blends an improvised narrative story with a hint of traditional documentary styles for a unique and cinematic perspective on the artist. Mind was completely melted. Then my car got broken into. Was worth it though.


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