DEEP Surf Magazine 2012 March April by danielle.siano

GREEN ISSUE

Bali: Green Essence DEEPZINE.COM

/ Pu’u

Rincon Classic Coverage March~April 2012 • Volume 7 / No. 2

Save 10 Movement

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Beautiful scenery, perfect waves, shelter, water and food. What more do you need? “Getting the Point” by Chris Pedersen of Forever Stoked.

COVER SHOT In a world of perfect waves there are few places that imprint your mind like this one. I would trade all the airs and turns in the world for one of these tubes. Benny B, perfectly pitted in a Caribean greenroom. Photo by Chris Burkard

WWW.DEEPZINE.COM EL DIRECTOR:

Andres Nuño EDITOR:

Chuck Graham GRAPHIC DESIGN:

Danielle Siano www.daniellesiano.com PHOTO CORRECTION:

David Levine SALES:

andres@deepzine.com CONTRIBUTING WRITERS:

Lea Boyd Craig Comen Derek Dodds Glenn Dubock Chuck Graham Dan Hamlin Michael Kew Nicole de Leon

DEEP SURF MAGAZINE March/April 2012

L. Paul Mann Joel Patterson Kara Petersen David Pu’u Ryan A. Smith Shawn Tracht CONTRIBUTING PHOTOGRAPHERS:

Bryan Alano Jeff Berting Alma Billgren Marisa Breyer Chris Burkard Caterina Caligiuri Tim Davis Javier Delgado Glenn Dubock Michael deGruy David Dunaetz Aubrey Falk Chuck Graham Lori Graham Craig Hamlin Michael Kew

Tony Luna Loren Luyendyk Ken Manfred L. Paul Mann Chris Pedersen David Pu’u Tim Schmidt Jon Shafer William Sharp Ryan A. Smith Josh Sparrow Bill Tover Shawn Tracht SUPPORTING STAFF:

Lea Boyd Peter Dugré Erin Lennon Kris Whittenton

DEEP Surf Magazine Twitter@DEEPSurfMag

PUBLISHER:

Michael VanStry ASSOCIATE PUBLISHER:

Gary L. Dobbins

GENERAL INQUIRIES & SUBMISSIONS:

info@deepzine.com Owned and Operated by RMG Ventures, LLC Carpinteria, CA Tel: 805.684.4428

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Letter from the Editor �� 10

Rincon Classic Coverage �� 12 Tide Chart �� 12 Tidelines �� 16 Ladies Room SWoBs �� 18

Board Trachting Third World Barrel Flute �� 20

View From The Hill ��22 DAVID PU’U

CHRIS BURKARD

Dropping In On Trevor Gordon �� 24

Northern Exposure �� 24 DEEP Reviews �� 40 Surf Shop Down Low Surf Connection �� 41

Comen Sense �� 42 Save 10 Movement �� 48 Music & Entertainment �� 52 Green Room �� 54 TONY LUNA

CHRIS BURKARD

Final Frames �� 56, 58

FEATURES 26 BALI: GREEN ESSENCE Story and Photos by David Pu’u Photos by Dubock.com, Bill Tover, Jon Shafer Donna von Hoesslin and David Pu’u set out for Bali to meet David Booth, who founded and developed the East Bali Poverty Project. The EBPP uses education as a starting base and also runs various environmental initiatives that harness human and natural resources for mutual benefits, provide sustainable food sources and ensure the preservation of the local environment and ecosystem.

36 TONY LUNA PHOTO ESSAY Story by Chuck Graham Longtime Rincon photographer Tony Luna shares his images from the 1980s. Luna never made a living being a surf photographer, but made a career out of advertising photography. Check out his film photography that includes shots of Martin Potter, Tom Curren, Gary Elkerton and Matt Moore.

DEEP SURF MAGAZINE March/April 2012

30 BIO RESINS: BEING ECO IS COMPLETELY UP TO YOU Story by Derek Dodds Photos by Kew, Alano, Burkard, Berting, Kew, Davis, Tracht Derek Dodds explains the eco friendly glassing options. Most surfboards have three resin layers that cover the foam core; the laminate coat, the hot coat and lastly the gloss coat. The majority of surfboards today are built with polyester resin and fiberglass cloth. The difference between using polyester, epoxy and bio resins can be huge environmentally.

44 TRAVEL JAPAN Story by Joel Patterson Photos by Chris Burkard Surfer Magazine current editor-at-large Joel Patterson transcribes a trip to Japan through the eyes of Dan Malloy with photographer Chris Burkard sharing his photographry skills. The Japanese are largely considered the most considerate surfers around. “When you’re surfing in Japan, if you even look at a set wave, other surfers will back off. It’s like etiquette taken to an extreme.”

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LETTER FROM THE EDITOR

LORI GRAHAM

March / April 2012 Volume 7, Issue 2

I KNOW I’VE WRITTEN this in a previous issue, but again the ocean begins in the mountains. Last September through November I was training for a 50-mile trail run race. I’m a creature of habit in some circles, so I tend to run parts of the same routes day in and day out. I guess people walking their dogs on Santa Barbara’s frontcountry trails are as well. From what I can see, there’s a growing trend amongst some dog walkers to bag their animal’s poop, but then they either forget to pick the bag up on the way back, or they’re just too cool to carry it along and they think someone else will pick up after them. After running by this one particular poop sack too many times to count, I’d finally had enough and carried it back the last six miles to my truck. One less plastic bag of tootsi rolls that won’t reach the ocean. Is it really that difficult to pick up after ourselves and our pets?

In our annual Green Issue we have a certain responsibility to bring a level of awareness to our readers. There aren’t enough pages to fill with all the mounting concerns threatening our planet, and unfortunately it’s just baby steps we’re making at our desks. We’ve expanded our editorial palette to bio resins, increasing awareness of plastics in the ocean and on our beaches. This issue isn’t without its usual staples, that being a photo essay by Tony Luna from his 1980s archive and Dan Malloy’s travel afflictions with Japan. We hope you enjoy this issue of DEEP and continue your own personal stewardship with the planet.

DUBOCK

Enjoy.

Chuck Graham

WHO’S ON BOARD?

JOEL PATTERSON Writer Joel Patterson has been sitting at desks for surf magazines since the Clinton administration. Nowadays, he finds himself surfing more and more. He spends his days as SURFER Magazine’s editor-at-large and as a writer and editor for public radio’s economics show “Marketplace.” He lives in Los Angeles.

TONY LUNA Photographer Making his living as a professional photographer for the last 30 years, and living by the ocean the entire time, Tony Luna is no stranger to surf photography. Although he made the decision early on in his career to focus his skills on advertising photography, he still manages to shoot some surfing images if he’s not in the water surfing.

DEEP SURF MAGAZINE March/April 2012

KEN MANFRED Photographer Ken Manfred began taking photographs in 1976. He continues to pursue his passion for photography while exploring subjects such as motorsports, geography, place and context. Inspired by photographers Jesse Alexander, Keith Fishman and Kenro Izu, his work has been published in Road Racing World Magazine. Manfred makes his home in Carpinteria with his wife, Paula, and his two sons. You can view his work at www.kenmanfredphotography.com.

RYAN A. SMITH Writer Ryan A. Smith is the editor-in-chief of SLIDE Magazine. After graduating from CSUN in 1998, he started in the surf media industry as an editor at Longboard Magazine and has since authored five books and created hundreds of print and web features. When Smith is not working, he can be spotted riding all sorts of surf craft on the points between Santa Barbara and Malibu, or relaxing with wife Marisa on their ranch in Ojai.

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Rincon Classic 2012 Coverage

Dane Reynolds winning his first contest since 2001. Hard to imagine.

Dane Captures Rincon Classic Title BOELSTERLI WINS HER EIGHTH WOMEN’S TITLE By Jon Shafer

he 29th annual Quiksilver Rincon Classic Surf Contest presented by Channel Islands Surfboards was held on the weekend of February 11 and 12. The Classic enjoyed solid, “regulation” headhigh Rincon, and boasted a level of competition never quite seen before at the event. In what some have called “The Battle for the 805,” the Pro Division finals pitted Santa Barbara’s Bobby Martinez against Ventura’s superstar Dane Reynolds, both ASP Tour vets, in a showdown that is sure to be fabled in the same fashion as the cobblestones of Queen Rincon herself. Never before has this homegrown event drawn the caliber of talent that it did this year. And, in the end, it was Reynolds who prevailed, coming from behind on the judges’ scorecards THU 01

11:24 0.73 6:58 2.91

FRI 02

12:11 0.35 7:10 3.16

SAT 03

5:21 7:27

4.76 3.45

MARCH 2012 Tide Chart Ventura, CA

DEEP SURF MAGAZINE March/April 2012

SUN 04

6:11 1:20

5.12 -0.32

MON 05

6:57 1:51

5.43 -0.53

to best Martinez in the final minutes of the finals. Pete Mussio put on a great show as well, and young Parker Coffin, just 16, showed why many believe he’s on the fast track to becoming an ASP Tour contender. Coffin has spent a great deal of time in Hawaii this winter, earning the respect of many while systematically mastering the North Shore breaks and Pipe. It was obvious when watching him compete at the Rincon Classic, that he will be a force to be reckoned with on the pro tour in years to come. Other standout performances included Nate Winkles who pulled down his first ever Rincon Classic Men’s title, and Demi Boelsterli who took the Women’s trophy for an unprecedented eighth time—a remarkable achievement. Former World Champion and legendary TUE 06

7:40 2:22

5.63 -0.62

WED 07

8:24 2:54

5.66 -0.55

THU 08

9:09 3:27

5.5 -.032

FRI 09

9:56 4:01

5.13 0.07

SAT10

10:48 4:36

4.6 057

surfer Tom Curren blew spectators minds by surfing as well, or better, than the guys half his age—on a 4’11” experimental snub-nose design by Daniel Thomson, who shapes boards influenced by hydrodynamic planing hulls. Congratulations are in order for the competitors and winners in all divisions. There simply isn’t enough space or magazine pages to name them all. (Visit www.SantaBarbaraSurfer.com for more photos). Graced by weather, surf, and outstanding performances by competitors at every level— from the Groms and Wahines to the WorldClass Pros—the 2012 Rincon Classic was, in my opinion, the best Rincon Classic yet. It just keeps getting better and better, and we look forward to next year. SUN 11

6:37 6:15

-0.24 1.13

MON 12

TUE 13

WED 14

THU 15

7:42 2:00

9:00 3:39

10:30 0.01 5:34 3.1

11:51 -0.14 6:52 3.42

-0.12 3.39

0.01 3.04

WSURF.COM TIDE CHART

RC12 Coverage OFFICIAL RESULTS

TOVER

PROFESSIONAL 1. Dane Reynolds 2. Bobby Martinez 3. Pete Mussio 4. Parker Coffin MEN 1. Nate Winkles 2. Justin Paul 3. Dennis Rizzo 4. Gabe Venturelli 5. Sean Lesh 6. Tiago Portes

TOVER

WOMEN 1. Demi Boelsterli 2. Aubrey Falk Luyendyk 3. Michelle Perry 4. Meghan Frontino 5. Lisa Wynn Luna 6. Olivia Siemens

WAHINE 1. Jesse Ransone 2. Abby Browne 3. Zoe Luna 4. Alanna Moore 5. Olivia Siemens

Nate Winkles carving a classic cutback at the Rincon Classic. DUBOCK.COM 3

DUBOCK.COM

TOVER

SHAFER

GREMLINS 1. Eithan Osborne 2. Tommy McKeown 3. Jake Quittner 4. Ryder Alves 5. Zane Booth 6. Alden Capps BOYS 1. Mickey Clarke 2. Jason Knell 3. Decker McAllister 4. Henry Hepp 5. Peter Healey

Demi Boelsterli winning her eighth straight Rincon Classic.

DUBOCK.COM

JON SHAFER / SANTABARBARASURFER.COM

JUNIORS 1. Charlie Fawcett 2. Decker McAllister 3. Christopher Imperato 4. Dryden Brown 5. Frank Curren 6. Beau Clark MASTERS 1. Vince Perry 2. Gabe Venturelli 3. Greg Venable 4. Kas Alves 5. Max Cail 6. Jason Smith GRAND MASTERS 1. Brett Jordan 2. Tony de Groot 3. Tony Luna 4. Chuck Graham 5. James McClintock 6. Dave Johnson

1 Former 3x World Champ, Tom Curren,

leaving no doubt he can surf anything.

2 Longtime Rincon local Donnie

LEGENDS 1. Don Campbell 2. Kit Boise Cossart 3. Dave Johnson 4. Danny Bralver 5. Andy Neuman 6. Frank Morales

Campbell is now a living legend.

3 Juniors winner Charlie Fawcett. 4 Robert Curtis walking the nose to

victory in the longboard division.

5 Parker Coffin torqueing himself to a

LONGBOARD 1. Robert Curtis 2. JP Garcia 3. Evan Trauntvein 4. Danny Bralver 5. Brad Frohling 6. Dave Johnson

fourth place finish in the Pro Divison.

6 Boys winner Mickey Clark.

FRI 16

5:29 4.94 12:54 -0.32

SAT 17

6:39 1:42

5.06 -0.42

SUN 18

7:35 2:21

5.15 -0.41

MON 19

8:22 2:55

5.16 -0.3

TUE 20

9:04 3:25

5.08 -0.09

WED 21

9:42 3:52

4.9 0.18

THU 22

10:19 4.65 4:18 0.5

WETSAND SURF SHOP

FRI 23

SAT 24

10:56 4.43 4:42 0.87

11:34 3.98 5:06 1.26

SUN 25

12:15 3.6 5:28 1.65

MON 26

6:46 1:03

0.41 3.21

TUE 27

7:35 2:07

446 E. MAIN STREET VENTURA Not to be used for navigation. Do not rely on data for decisions that can result in harm to anyone or anything.

0.59 2.87

WED 28

8:38 3:52

0.75 2.71

THU 29

9:56 6:23

0.78 2.85

FRI 30

11:10 0.66 6:51 3.11

MARCH 2012 Tide Chart Ventura, CA W W W.DEEPZINE.COM

RC12 Coverage

BILLGREN

TOVER

ALMA BILLGREN

CATERINA CALIGIURI

SHAFER

DUBOCK.COM

TOVER

CALIGIURI

7 Itâ&#x20AC;&#x2122;s a scene man. The Rincon Classic. 8 Grandmasters winner Brett Jordan. 9 Third place

Pro division finalist, Pete Mussio. 10 Womens finalists. 11 JP Garcia, second place longboard. 12 Diminutive competitor, Patrick Welsh, dropping

in at Rivermouth. 13 Tony DeGroot, second place Grand Masters. 14 Gremlin winner Eithan Osborne.

Bobby Martinez arguably the best

15 Pro division finalists. 16 Tommy McKeown, second

backhand surfer in the world. SHAFER

place Gremlins.

DEEP SURF MAGAZINE March/April 2012

Tidelines Chadd Konig slips into a little greenery at a Gaviota spot he paddled past during last year’s TransparentSea Voyage.

Chadd Konig’s Green World Story and Photos by Michael Kew

ANTA BARBARA’S Chadd Konig, 24, is a rising voice in the environmental movement that greatly involves California surfers. DEEP sat down with the stylish, longhaired regularfooter in late January.

DEEP: What was last October’s California TransparentSea Voyage all about for you, and what will this year’s be like? Chadd Konig: TransparentSea was a trip down the coast, from Gaviota to San Diego, a month-long sailing and paddling adventure with the intention of highlighting coastal environmental issues, with particular attention given to cetaceans, dolphins and the waters they inhabit. The journey was full of artists, musicians, surfers, healers, chiefs, chefs, and it entailed 17 hours at sea through the night, recording a song a day, murals painted in each town, a full vegan campaign, and two hours with two 80-foot blue whales. In each community we passed through, we held an event to benefit a local issue or organization. The trip was made possible by the first TransparentSea campaign, which was Byron Bay to Bondi, Australia, in 2009. It successfully highlighted the plight of humpback whales and the threat faced by Japanese whaling fleets. DEEP: Being a local Santa Barbaran, how did you get involved and why? CK: In the summer of 2009, Nole Cossart and I paddled from Santa Barbara to Mexico to raise awareness about development along the Gaviota Coast. This year I connected with the Surfers for Cetaceans family a couple months before their journey and welcomed them to stay on the property I live at in Gaviota. I joined the family and paddled a few days down the coast. It was magical, and the crew encouraged me to join and paddle the full journey. I was familiar and comfortable with the Southern California coast due to the previous paddle adventures, and I helped to guide when needed. It was my greatest journey to date! DEEP: Being a surfer, how do you fit into the whole environmental thing? CK: As surfers and humans, we are totally dependent on the ocean and Earth. As people who go in the ocean on a regular basis and derive heaps of joy from it, we are all forever indebted to the waters and those beings who call it home. I feel and know I must use this body and life to enjoy and better our naturally watery world.

DEEP SURF MAGAZINE March/April 2012

DEEP: What are the biggest problems Konig with nature. facing California surfers today? CK: As far as specific issues, water quality and plastic are huge. Visit surfrider. org to read about their “plastic-free” initiatives and info on the water quality of your local beach. You can visit the Santa Barbara Surfrider Chapter website to sign the current Petition to Preserve the Gaviota Coast, the last 20 miles of undeveloped coastline in Southern California. However, I believe the absence of a collective voice could be the biggest issue we face. There are 3.3 million surfers in the United States, with the majority of those along the West Coast. We as surfers spend between $2-5 million a year in the communities where we live and ride waves. Beyond that, the surf industry is a billion-dollar business, and we have a say in the resources used and products produced. We have a powerful voice! It is necessary to establish a collective voice on certain issues. We must evaluate each decision we make because we are in unison deciding and determining the outcome of our “surf world.” A good resource for this issue and all others is Lauren Hill’s website blog.merseabeaucoup.com. DEEP: Who and what influences you? CK: Nature, first and foremost! Any and all people who are passionate and committed to bringing goodness and benefiting our Earth and it inhabitants. Landon and the entire Smith family, Nole Cossart, David Rastovich, my father, Greg Long, the Dalai Lama, Sambazon, Billabong and Clif. DEEP: What does 2012 hold for Chadd Konig? CK: In a few days, I’m going to El Salvador to finish the building of a local high school, plus do a little surfing and such. In March, I’m going to a permaculture certification course and then doing Maui’s Dolphin Day/Recycled Raft Race in Raglan, New Zealand. Following that, I will be on a friend’s farm in Australia for a bit. From June 11 to July 6 are the International Whaling Commission meetings in Panama. By August, I hope to be back around Santa Barbara, getting ready for a paddle adventure along the Central Coast. October holds the potential for another TransparentSea journey. Also check out s4cglobal.org and transparentseavoyage.com.

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Ladies Room

AUBREY FALK

LUYENDYK

LOREN LUYENDYK

“A Wave of Change” Surfers Without Borders

Clockwise from Left: Land of the long left, Raglan, Whaingaro. South Island riches. Beach in Oz reminds us of a simple truth.

By Nicole de Leon

ONGTIME SURFERS Loren Luyendyk and Aubrey Falk have taken the term “power couple” and squared it. These two colorful personalities, who were married on a northern Santa Barbara mountaintop two years ago, have created quite a life for themselves, one that expands far past their immediate desires and extends into the realm of educating others. Avoiding the consumer-driven temptations of living in Southern California, they decided to create a grassroots organization in 2008 that mimicked their personal values rather than sitting back and waiting for someone else to do so. They started Surfers Without Borders (SWoBs) while living in a mobile home above El Capitan point. In the years following, they traveled down dusty roads in their SWoBs van to Central America, flew to New Zealand and Australia, and educated local people about their environment and provided them with strategies to preserve it. In the next few months, they plan to travel back to New Zealand to work with the Maori community to educate them on local environmental issues. After managing to pin them down in the midst of their busy work and another January swell, here’s what the fun-loving couple had to say.

DEEP SURF MAGAZINE March/April 2012

DEEP: SWoBs just got back from Australia and New Zealand a few months ago. What were your objectives for this trip and what were some accomplishments you felt you made? SWoBs: Our main goal when we travel is always about connecting with the local people. Building good relationships is the first step and is what creates a solid foundation for any project. We encountered so many inspiring people doing amazing work in almost every place we visited and are now going to return to work with some of them. DEEP: How would you compare New Zealand and Australia’s environmental awareness to that of the U.S.? SWoBs: It is hard to sum up all of them because, like in the U.S., California is radically different than Missouri; the mindsets are so radically different. However there seems to be a pattern in which people who live on the coast are generally more open-minded and have a more integrated view of the world. We will venture to say that Kiwis and Ozzies that live near the coast spend a great deal of time outdoors and integrate nature deeply into their culture. We were very impressed by the facilities offered on many of the beaches we visited there—lots of bathrooms and trash cans with recycling.

Ladies Room

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DEEP: What are some of your goals for 2012? SWoBs: We are looking to host more hands-on workshops, both locally and abroad. We have a two-week Permaculture Design course in Raglan, New Zealand on March 4 through 18. The courses will demonstrate practical skills to increase self-sufficiency starting from our basic needs. We will be collaborating with different sites that are already demonstrating regenerative land use practices. Our goal is to have many sites like these across the globe that can serve as working educational centers for people to come and learn and experience these practices. DEEP: Your efforts in several countries outside of the U.S. have been admirable, but what do you feel our most pertinent environmental issues are here in California? SWoBs: Water, water, water. How are we using water? Where is it coming from? How many millions of gallons are we flushing down the toilet or watering lawns with every minute that are not being used to grow food that we need. Palm Springs is a scary example of this misuse. Golf courses in the desert? The reality of the situation in some areas is frightening, and people haven’t yet begun to reap the repercussions of this misuse. Water is life; therefore, we must start honoring it.

Carpinteria

PHOTO: DUBOCK.COM

LUYENDYK

PACIFIC COAST CAFE “CLOSEST LOCATION TO RINCON” 6440 Via Real, #1 Pacific Health Foods (944 Linden Ave.) Santa Barbara Cantwell’s (1533 State St. Santa Barbara 2580 Lillie Ave, Summerland) Santa Cruz Market (324 W. Montecito St.)

PHOTO: MIKEY BILGREN

Aubrey Falk using nature’s pure water. No treatment required.

Tri County Produce (Milpas St.) Goleta/IV IV Deli (6549 Pardall Rd.) SB Menus.com

DEEP: What examples can you give me from your own life that can inspire others to live a more environmentally sustainable life? SWoBs: Eating food that our family, friends or we, have just harvested directly from the land. Participating or supporting this simple act is the best thing we can do for our physical environment. Nature is full of abundance, we just have to pay attention and gratefully accept all the gifts she is offering. DEEP: What does the name Surfers Without Borders mean to you? SWoBs: For us it describes the essence of a deeper life philosophy. We believe the term “surfers” is not just limited to people who ride waves on boards in the ocean. A surfer can be any person that is consciously riding a wave—all of life is constant moving wave of energy. We may come to understand and experience that there are no real borders that separate our oceans, land, or sky. Everything is connected. We can choose to harness our own power as creators and start to paint a new picture—one of unity amongst cultures with reverence for the planet and all of life. Visit www.surferswithoutborders.org to donate or learn more about SWoBs.

Inquiries: Paulo Gazze (714) 588-5554

www.FrootyAcai.com W W W.DEEPZINE.COM

Board Trachting The Barrel Flute getting barreled. TIM SCHMIDT/SURFWANDERER.COM

Third World Surfboards “Barrel Flute” By Shawn Tracht

THINK the thing I like best when working with Jason Kline of Third World Surfboards is that he’s an outside-of-the-box thinker. Every time I talk to him he is as excited and frothing with positive energy as I am about surfboard design. Moreover, being that I’ll ride anything from my finless to my seven-fin to a board that Stretch up in Santa Cruz made me, which has holes drilled straight through the deck, Kline’s Barrel Flute’s unorthodox stature was right up my alley. SHAPER’S CONCEPT

A couple of years ago everyone got into the whole alaia thing and people were trying to surf planks of wood left and right. I always admired the speed alaias could achieve, but disliked the buoyancy issue and their tendency to slide all over the place. I wanted something that would have the same acceleration and trim characteristics, but could hold in the pit of a barrel, handle a strong bottom turn and catch waves easily. The concept was to have a board for smaller, racy barrels, where one could just sit on the tail and fist-stall to stay in the tube. Since there is no room in the barrel of small waves to pump, you just take your arm out of the wave and the board will accelerate on its own. This application works great for racy, medium to small waves—too fast to shortboard, and draining too much for longboarding. Since this model is not made for carving, I could focus on applying all aspects of the board’s design towards the “gas-pedal approach.” Thin, sharp rails, flat rocker, single concave, and highly raked, medium-height keel fins. Combine this with the traditional teardrop shape of an old single fin and you have a board that goes fastest when you’re standing on the tail. The prototype was too fast, so I was later able to sacrifice some speed for a little more maneuverability. The result is a maneuverable board that can make any section and lets you focus more on tube time. It’s a specialty board for sure, but a neat one to have in your quiver.

DEEP SURF MAGAZINE March/April 2012

SURFER’S TAKE

First off, flat equals fast! I don’t care about anything else right now. Flat equals fast. If you want a board to go fast, then, flat equals fast. The Barrel Flute is as flat as I’ve ever had a foam and fiberglass surfboard made. There is virtually no rocker. Apply that idea as well to the rails. They are sharp from the back of the tail, all the way up to the nose, and this equals a race machine, because, yes, flat equals fast. Most of the time, surfboards have sharp rails from the tail to about eight- or ten-inches past the front fins. The idea is that the further your rails are sharp, the flatter the edge of the rail is, and, again, flat equals fast. That being said, most boards, when you feel the rails, get softer and rounder as they approach the nose, and that’s because curve equals performance and forgiveness. Usually, you want drive off your back foot and smooth curvy transition for turning on your front rails. So most boards are made with sharp rails near the tail and softer rails on up forward. However, the Barrel Flute wasn’t meant to turn. It was meant to get tubed, slotted, pitted, taco-ed, kegged or whatever other great names you have for the barrel. This board was made to get in the barrel and travel barrel. “Speed, I am speed,” said Lightning McQueen in the Disney movie “Cars.” Well, the Barrel Flute has got to be Lightning McQueen’s cousin; it’s built for the straightaways. It’s a novelty board built for riding tubes. If you take it out on a fun mushy swell, you’ll hate your session, and the same can be said for a bad beach break. But—whoa, Nellie—when you get this board on a steep face and in barrels, flat equals fast, and it’s one of the fastest boards I’ve ever ridden. Rincon barrels are its girlfriend, and El Cap, when it’s on, is the Barrel Flute’s mistress. It’s meant for small to medium barrels, and if you like challenging your surfing through board design as much as I do, then call Jason Kline and design your next speed craft, whether it’s the “Barrel Flute” or some other concoction you both come up with. Kline is a genius of interesting design.

Jason Kline playing his Barrel Flute. COURTESY OF KLINE

THIRD WORLD SURFBOARDS Shaper:

Jason Kline Board Shape/Design:

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Small to medium barrels running down the line Fins:

Big Keel Fins / Twin Fins This board is perfect for:

Going straight and fast down the line in the barrel Surfboard Tester Shawn Tracht’s Normal Shortboard:

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NEW COLUMN View From The Hill

Go Surfing COLUMN by MARISA BREYER

Ryan A. Smith is a Southern California native who has been surfing since the ‘80s and writing for surf mags since the ‘90s. Now a resident of Ojai, Smith scours the shores of the 805 and 310 seeking fascinating waves and ruler-edge stories.

HE ODDS-ON bet is you are a surfer. And, if you are a surfer, a real surfer, you literally need to surf. You have to do it. If you go without it for too long, undoubtedly, bad things will happen. There are no two ways about it. Surfing provides a strange, otherworldly cynosure that we require to survive; it’s a sanity pill, if you will, a shower for the mind, a semblance of rightness in this backward life. Surfing is necessary to help wash away the daily stress and madness that weigh down the shoulders of a 21st century, post-post-modern existence, even if only for a few, ephemeral, precious seconds. I am pretty sure you do not think about work or bills or house repairs or the grocery list when you are riding a wave. I know I don’t. In fact, I do not believe it is even possible to worry about anything while surfing; you are forced to focus on the wave ahead of you, behind you, or atop you and, perhaps, give thought to your surfboard’s capacities. Go ahead: Try to fill your mind with nonsense next time you drop in to a wave and ride along. Then try sneezing while keeping your eyes open. Nope. It’s funny how a sometimes cutand-dry fundamental such as this can get lost in the monotonous shuffle, and also when seemingly obvious, steel-toe boot epiphanies (duh) kick you in the arse. A few weeks ago, for example, a lawyer friend of mine drove up to Ventura from Los Angeles so we could surf a good day

Ryan A. Smith

DEEP SURF MAGAZINE March/April 2012

together at a little spot I like to call “Cecrets.” He was late to arrive, appearing with an appendant Bluetooth pinned to his ear with firm and case babble chirping nonstop. I stretched my wetsuit on, waxed up, and paddled out, knowing the late-morning glassy condition was fleeting. He sat in the parking lot for an hour, working inside his Tundra cab on a gorgeous winter Sunday as a three-diamond swell was pulsing. When he finally did make it to the beach, I caught up with him along the point—he was irate, rapidly spewing jargon referencing barely decipherable law projects, names, deadlines, two-faced jerks in his office, and the fact he’d clocked almost three ceaseless weeks of suit-and-tie work. He was clearly disturbed. There he stood, fullsuit on, log under arm, ocean lapping at his ankles, waves peeling at pace for hundreds of uninterrupted yards, yet no smile shown, no excitement evident at all. Sideways, quickly, during one of his thin, breath-long pauses, I offered: “When’s the last time you surfed?” He didn’t know. Maybe since summer. He continued with his diatribe; I looked out toward a large stack building at the indicator. We waded into chest-deep water, thick eelgrass covering the rocks as we stepped forth, launching ourselves outward. Still, he was gabbing on and on, until he actually raised his gaze and noticed the sizeable, outside set rolling into our cove. He put his chin down and paddled, silently and with purpose.

RYAN A. SMITH

The bumper sticker says it all. “A bad day of surfing, is better then a good day at work.”

A few minutes later, floating in the lineup, I urged him into a nice right-hander. Backside, he made the drop and bottom-turned; the long wall ahead stood up and flaunted its curves at him. Admittedly very out of surfing shape and having not paddled for a few months, he surprisingly and perhaps purely instinctively cross-stepped, touched the nose five, backpedaled, drew high and low lines with his heavy singlefin pintail, grabbed a rail to push through a crashing section and repeated his moves all the way to the sand, a good 300 yards from where I sat. As I watched him casually walk

back up the point’s sandy path, I thought to myself, “He probably doesn’t even realize what just happened.” Once back in the takeoff zone with me, he saddled onto his noserider and wiped the ocean from his face, reticently staring out to sea. “I bet you weren’t thinking about work on that wave,” I said. “Ha, ha,” he smiled as his shoulders loosened, head bowed, and hands skimmed the cold ocean surface. “Nope.” He swung around and paddled into another one.

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Dropping In On TREVOR GORDON

Mythical Creatures, Farm Animals— No Surf

Trevor Gordon on a FCD 5’7” Fark quad, made with extruded polystyrene foam and epoxy resin.

Story and Photos by Michael Kew “A-Chicken” by Gordon. Gordon and his other love.

DEEP: How would you describe your art? Trevor Gordon: A bit folksy, colorful, textured, simple. I try to paint or draw people in ordinary moments and natural situations, like a man sitting on a porch playing guitar, or a lady stoking a campfire. DEEP: What’s your process? TG: I usually start painting spontaneously. Sometimes I’ll wake up in the night and have to start a painting just so I don’t forget by morning. Other times I will be listening to a song and something will pop into my head, and if I can, I’ll start painting something right then. More often than not, I’ll end up painting over the original idea, but it’s the initial moment of starting the painting that’s hardest. My style is very quick—I can’t stand waiting for the paint to dry or washing the brushes—so I end up painting with my fingers on top of wet paint. I guess that can add to it sometimes, but it can also screw it up. DEEP: What has influenced and inspired your new work? TG: I was in Canada last October, and I went crazy filling up notebooks with drawings of mythical creatures, pictures of people, and objects I saw. Someone said the drawings reminded them of Inuit art. When I got home, I bought a few books on the subject and got really inspired from them. They seemed to just focus on simple objects of everyday Inuit life, with a unique, exaggerated style. I prefer to draw things that aren’t necessarily going on around me—rather just spontaneous ideas, subjects, or themes. However, while traveling, I usually draw what’s on my mind or things I’ve seen. DEEP: Farm animals seem to play a theme in your newest work. Why? TG: I’ve always been fascinated with farm life and that whole way of living. Although Santa Barbara is ocean-based, there are a lot of ranches and farms surrounding it, so it’s easy to get inspired. Lately I’ve had a lot of fun with drawing portraits of animals. I can’t say exactly why—it’s just what is coming out. DEEP: Tell me about your upbringing and artistic background and how you have developed in style and technique. TG: My parents both share an artistic eye. My dad went to Brooks for filmmaking and my mom used to design, sew and sell a line of children clothes. I guess some of that appreciation for design and attention to detail has rubbed off on me, so much so that I sometimes have to step back from tending to the details in order to care less, to get to where I want a painting to be. I grew

DEEP SURF MAGAZINE March/April 2012

up doodling in sketchbooks during school, like most kids. I didn’t start really taking art seriously until high school, when I mainly focused on detailed abstract drawings. Pens and pencil, mostly. It wasn’t until a few years ago when I starting to do bigger scale paintings. I spent a lot of time experimenting with techniques and making tons of art and appreciating all types of art. My style has evolved basically through little breakthroughs in technique that I follow for a while until I grow bored and start experimenting again. But I think they all share a common theme. DEEP: How has the world seen your work? TG: I’ve been in a few art shows and have had some of my own, over the last year or two, that were really successful. Patagonia will be having some of my art on several T-shirts in the near future, and I’ve also made a few hand-painted shirts, which I hope to expand on. DEEP: Talk about your relationship with Santa Barbara. TG: I love Santa Barbara and its variety. It’s so close to amazing backcountry, perfect waves, and the Channel Islands. Sometimes the amount of people can become overwhelming, so I try and travel as much as possible. It’s the best feeling coming home to a place like Santa Barbara because it’s a really comforting place. It feels nestled into California’s coast. DEEP: What is the connection between surfing and art? TG: Not a whole lot, honestly. Not sure why that is. I just have never gotten into surf art. I appreciate it, but I’ve always found it a bit cheesy to actually perform. Maybe the fact that I surf so much is why my art focuses on more of a land lifestyle theme. DEEP: If you decided, or were forced by circumstances to stop making art tomorrow, where would you focus your creative energy? TG: I would focus all energy on music. I try to play music as much as possible as it is, but if I were forced into exiling my art I would have the energy to get over that lazy lump of actually learning to play well. DEEP: Where would you like to take your art in the future? TG: I hope to have the ability to get to a stage where I can have a proper studio and paint as much as possible. To learn more about Gordon visit www.trevorgordonarts.com.

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A stormy dawn over Tamarind Bay, Nusa Lembongan.

Plumerias floating in a fountain.

School kids meandering home in the rain. Ubud, Bali.

A black sand beach where workers pick up and sort black pebbles to be used for construction.

As Donna Von Hoesslin and I walked at the waterline at sunset we looked down and saw two identical pieces of seaglass. She did not know I would be asking her to marry me a couple days later.

Mary Osborne heads for the inside bowl section on a semi deserted day.

Bali: Green Essence Story and Photos by David Pu’u

Balinese SUV. About 90 mpg and Bali air conditioning is a standard feature.

N THE past few years, it seems that everyone has turned toward green. In fact, the color has become a necessary branding indicator for everything from chain stores to politicians, and sometimes one with little significance. It is certainly a pity that the green movement has come to this, but here is why. In the hard light of day, people are what matter. We are one of the few entities on this spinning ball with the power to mitigate our effect. But where does one begin? Look in the mirror. It must begin with the individual. The Laws of Exponentiality and the tenet of Ephemeralization, which was expounded on by Buckminster Fuller in 1938, basically say that we ought to be able to do more with less. This

really is the key to going green. Unfortunately, it is the polar opposite of capitalist commerce and most political systems of governance. That is what made the trip to Bali by Donna Von Hoesslin, owner of Betty B’s in Ventura and my girlfriend, and some of the women on her team a fascinating concept. Here you had a capitalist—a businesswoman—determined to create some positive change by being truly green. She resolved to invest in socially sustainable projects in a developing country that would supply her company with ethically made, yet price-competitive products. We had met David Booth, a former British civil engineer with the World Bank, a few years back. Booth basically retired to Bali, where he founded and developed an

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Sierra Patridge cross stepping at a remote Balinese break.

Von Hoesslin sharing with some of the ladies she works with.

A worker cleaning parts in a small dish of soapy water. When you bring commerce into a community of craftsmen, they begin like this.

DEEP SURF MAGAZINE March/April 2012

NGO called the East Bali Poverty Project (EBPP). The group of us embarked on the trip to Bali in an effort to give back and to explore additional methods of bringing commerce to the people Booth had literally dedicated his remaining years of life to saving and putting on the path to an economically, culturally and ecologically sustainable future. This particular morning we rolled down the gravel drive of Villa Gayatri (our palatial trip headquarters) in Ubud with Gusti at the wheel. Thanks to planning, hope and circumstance, we were joined by four of Von Hoesslin’s company iconsambassadors and filmmaker Aaron Marcellino for the two-hour drive into the mountains of East Bali. We had been invited to attend a festival where most of the children who had been educated through the project would be participating in one great big party of sorts. It was part of a celebration of Balinese Independence Day.

In 1998 Booth set out specifically to find the poorest people on Bali. He figured that he should begin his plan by putting it to the most difficult of tests. He had heard rumors of a lost tribe, a group cut off from Balinese society by a volcano eruption and the ensuing simple fact that no one thought to ever look for them. Hiking deep into the mountainous country of Eastern Bali with a guide, he found them. They were a lost and dying tribe—people who, as Booth observed, never smiled. Most who travel Bali have experienced the cultural blessing of the Balinese smile. It is a renowned national asset. The people smile—it is how they are set spiritually. But that wasn’t the case for the long-lost tribe. They had lost their smiles and much more. Booth saw them as a test case for world cultural development. He began to develop a plan to restore them one person at a time. He would do it through the children. No one is exactly sure where the tribe came from originally,

but Booth suspected that maybe it had been Lombok, due to a strong resemblance to those who reside on that island. The eruption, poor diet, a persistent problem with goiter, and a few other environmentally related issues had combined to provide a lack of real history due to memory loss. In effect, these people were the tribe that the world had forgotten and who, literally, had no real knowledge of their own history. Imagine that, not knowing where your family had come from or your town. In terms of Western understanding, that is true loss and deprivation—not having a history. No connection to anything. They were a people who had lost almost all aspects of everything vital and necessary for human existence. They were failing. I met and interacted with the children and had a hard time keeping back the tears because I understood that now these children have hope. A future now exists for them, where only death and oblivion had loomed prior. The short of it is that the tribe is back. And in their return, Booth has shown us a way that we can transform our own society potentially. It is a

great story that will make the world smile. We all need hope. No matter what our lot in life. Hate, division and separation are odd and common bedfellows. Love is a better way, and it is much stronger. We saw the effects of it our entire trip. It was a great gift, and we learned in the process of surfing, communicating, planning and working with Betty B’s affiliates in Bali (yes, this is somewhat ironic) what “green” and “sustainability” ought to look like: health and happiness. Pursue that. We have the world and the oceans to gain. On the back end of all of this, one of my favorite organizations, 1% for the Planet, which was conceived by Patagonia’s Yvonne Chouinard, had at Von Hoesslin’s behest and efforts, put the EBPP on its donor list as an environmental cause. I was impressed by this because it illustrated to me that some people in charge really do understand that the key to a green world is in affecting people. It left me with a dose of hope. To learn more about the EBPP visit www.eastbalipovertyproject.org/ tag/david-booth.

Von Hoesslin filming one of the lead artisans building a seaglass ring. What she did not know is that it would be her engagement ring.

Osborne with East Bali Poverty Project founder David Booth.

Bali sunset and boatmen watching the surfer’s ride.

Agung, an upper Caste Hindu, on his tiger bike.

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CHRIS BURKARD

1 You know its good when you break the nose of your surfboard and still don’t go in. Zander Morton, in a Caribbean trance. 2 Nick Cooper of Coop Deville Surfboards glasses many of his EPS epoxy boards with a resin tint.

Being Eco is Completely Up To You by Derek Dodds

OU CAN’T surf a foam blank. Modern surfboards are fragile at their core and require a protective shell to shield them against the harsh physical abuse of surfing. Simply put, a surfboard would not be a surfboard without resin and fiberglass—unless, of course, it was made from wood or plastic. Most believe that the early Polynesians invented surfing and brought the sport to Hawaii. I per-

DEEP SURF MAGAZINE March/April 2012

sonally believe it was the Norwegian Vikings, not the Hawaiians, who were the first surfers. You can’t tell me that those Norsemen didn’t try to surf at some point while traversing the coasts of Europe, Asia and the North Atlantic islands. The Vikings were hardcore, and I bet they were also the original tow-in crews, using their seagoing clinker-build vessels to pull in fellow Vikes into those hidden Scandinavian pits. Did you know the word “knarr” is the Norse term for ships that were built

for Atlantic voyages? I’d venture to suggest that the word “knarrly” or “gnarly” had its roots in the early Viking lexicon and is further proof of this theory. Anyway, let’s get back to the Hawaiians. Those early Hawaiian boards were made of wood. In 1949 Bob Simmons designed and built the first styrofoam core boards, using plywood veneers and sealed with resin. Then in 1958 Hobie Alter took that original Bob Simmons design one step further, producing boards

with polyurethane foam cores while utilizing fiberglassing techniques using polyester resins to form the outer shell of the surfboard. That brings us to the point of this article, historically speaking at least. Most surfboards have three resin layers that cover the foam core; the laminate coat, the hot coat, and lastly, the gloss coat. The majority of surfboards today are built with polyester resin and fiberglass cloth. Wikipedia defines polyester resin as “unsaturated resins formed by the

SHAWN TRACHT /SURFWANDERER.COM

BURKARD

3 Chad Jackson of Kaimanu Surfboards has started shaping his own Bamboo boards using bio resin. 4 Hidden under this cold-water slab and dwarfed by the natural landscape around him, Josh Mulcoy lives for his trips into the Pacific Northwest. 5 Glassers at FCD Surfboards working on the last stages of multiple boards at once. 6 Mulcoy finds a moment of solitude amidst the rugged landscape. Unpredictable weather, currents and wildlife allow spots like these to remain untouched.

BURKARD

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JEFF BERTING

BURKARD

BERTING

8 A glossy freshly bio epoxy glassed Pat Ryan “King fish” rests on racks at Eco Boardworks. 9 Ry Harris of Eco Boardworks in the shaping bay looking busy. 10 The glass shop of FCD Surfboards full of ads and photos of team riders doing what they do best.

reaction of dibasic organic acids and polyhydric alcohols.” Polyester resin is the cheapest resin available in the industry and yet offers the poorest adhesion, has the highest water absorption, highest shrinkage, and releases a high level of volatile organic compounds or VOCs. (This article is sounding like a chemistry class.) VOCs are organic chemicals that have a high vapor pressure at roomtemperature conditions. Ever walked into a glasser’s shop or repaired your board at home? That smell is your evidence of VOCs; don’t breathe in too deeply. It’s the VOCs that you need to watch out for. High exposure to VOCs is not a good thing and can cause all kinds of health issues and environmental problems. I don’t support the doom and gloom approach, but long-term exposure to VOCs can lead to gnarly illnesses, like cancer. Epoxy. The word alone sounds a little sexy, and when you hear it you should pay attention because it’s a better alternative to polyester resin. Epoxy is high-strength glue that is far superior to the majority of paste glues available on the market. Its full name is polyepoxide as it is formed by the reaction of polyamine and ep-

DEEP SURF MAGAZINE March/April 2012

oxide. The epoxide is the resin base of the reaction, while the polyamine is the hardening substance. When combined, these compounds bond together on a chemical level in a criss-crossed fashion that makes the resulting substance strong. This reaction takes some time to develop and is normally called the curing of the resin. Depending on how thinly the two substances are poured, and the mix of hardeners and resins, the curing time can vary. In some cases, heat can be applied to speed up the drying time, but normally it is cured only with time. Epoxy is lighter, stronger and emits significantly less VOCs than polyester. Sounds good, right? Epoxy also allows for more flex strength than polyester, which means that your board can withstand greater punishment from the lip. The thing is, epoxy resin is more expensive than polyester and tougher to work with, so the masses gravitate toward the cheaper and easier alternative. So what’s better than epoxy resin? Bio-based resin, the ecological alternative. Oddly enough bio resins have been around for several decades and have gone pretty much unnoticed except by those few people

unable to tolerate the smell of commonly used petroleum-based resins or the random experimental hippie. Well, it’s safe to say those days are over now, and pretty much everyone has become a guardian to the environment in one way or another. I ventured out and asked a few resin gurus about bio resin, and they came back with some interesting nuggets of eco-knowledge. First to respond was Tony Gowen from Phix Doctor. I have known Gowen for a few years now because Wave Tribe distributes his eco ding repair kit, something I have used myself and highly recommend. According to Gowen, using bio resin has environmental advantages because “bio-based resin is sourced from plants, a renewable resource that reduces the need for petroleum in the manufacturing process. The Phix Doctor formula is free of toxic compounds and emits nearly zero carbon particles during the curing process.” I like the idea of nearly zero VOCs, which made me wonder about other bio-based resin. So I called Desi Benatao over at Entrophy resins and found out their bio resins are an epoxy-based polymer that is partially derived from pine trees and vegetable oils. When asked

about the environmental advantages of bio resin, Benatao answered, “we’ve really tried to break this down so that in the end consumers can understand it, and in our minds, the one environmental issue we can all relate to is global warming. We’ve done an extensive study using life cycle analysis models and the key figure from that work is that our resins have about 50 percent of the carbon footprint of conventional petroleum derived resins. Using this data we are in the process of getting third party certification for carbon footprint savings as well as environmental preferability.” So, what I learned after talking with these guys is that bio resins are really a more refined epoxy resin that is derived either from all plant sources and/or a combination of plant and other sources thus decreasing our reliance on petroleum based compounds. That’s a win-win for everyone. But the thing that I thought was even more important, especially to us surfers, is that zero or near to zero VOCs are emitted while using the bio product. Having a lower carbon footprint is good and all, but being able to repair my boards without frying my brain is what I am most interested in, and I know

BURKARD SHAWN TRACHT /SURFWANDERER.COM

MICHAEL KEW

TIM DAVIS

11 Josh Mulcoy has been riding epoxy boards for years and judging from this turn has found no reason to change that. 12 Jeff Hull of Resist Surfboards putting the finishing touches on a custom ordered EPS epoxy board. 13 Gerry Lopez and Fletcher Chouinard collaborating in the shaping bay. 14 Trevor Gordon on a FCD Fark quad, made with extruded polystyrene foam and epoxy resin.

you are too. The reality is that it’s hard to be green and still get what we want at the price that we are comfortable with. I don’t see any of the pros talking about bio resin or promoting how green their boards are. I googled green surfboards and couldn’t find any credible surfboard shapers pushing bio resin or green boards. Great respect goes out to Fletcher Chouinard for pushing green innovations in his board-building art. He obviously has different DNA than the rest of us, which is evident in his business model of “causing no unnecessary harm.”

With the majority of boards now being built in China and Thailand by non-surfers operating under low or no regulatory guidelines, the likelihood of the industry moving towards bio resin doesn’t seem plausible. Yet, every small step toward a greener lifestyle is a positive expression of a cleaner and healthier future (check out this NASA video if you still think global warming is a myth: http://ow.ly/8EEZB). You are probably wondering what you can do? I’ve got some ideas. If you are going to buy a ding repair kit, consider the bio alternative. Buy your boards from local shapers, and

request that they use epoxy to glass your next board, or go a step further and ask for bio resin. Support local surfboard shapers like Chouinard and glassers like Greenhouse Glassing who use these greener materials, and educate your friends on the subject. Put your wallet to work, that is how real change takes place. I wonder what the ocean looked like back in the day of the Polynesians and Vikings, before our plastic and petroleum-based society? I can’t imagine any Viking rolling up to something like Trash Island in the Pacific or observing early Hawaiians throwing garbage into the lineup

at Pipe. The oceans must have been emerald paradises back then in the Norsemen’s era, as clear and clean as a windless morning barrel in Fiji. I hope that one day, we, as a tribe of surfers, are able to help revive our ocean’s health while living in a responsible and conscientious way on land. Wherever you can, please consider choosing the eco-alternative—it’s completely up to you. (I’ d love to hear your comments and feedback. For more information on ecology, surfing and stoke please write to derek@wavetribe.com or look for me on a Mini Simmons around Ventura County beaches.)

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Northern Exposure

DAN HAMLIN

Arkinson has been surfing the Central Coast longer than most. Here he is reaping the rewards of a little local knowledge. Despite having suffered some serious environmental abuse, this coastline’s natural beauty continues to shine through.

A Crude Topic

JOSH SPARROW

By Dan Hamlin “OUR WETSUITS used to smell like gasoline after we surfed out there. It was from all the oil and tar that was in the water. You know how on certain days there will be yellowish foam that forms on the water; well, it used to be like that all the time.” My good friend Mark Arkinson was telling me about what it was like surfing near the old Unocal oil wells that used to operate near the Rancho Guadalupe dunes. For years the operation had leaked oil into

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DEEP SURF MAGAZINE March/April 2012

(hours subject to change depending on swell)

the earth just a few hundred yards from the ocean’s edge until it was finally shut down in the early ’90s. Unocal was also responsible for the spill in Avila Beach just a few miles north. I wondered at how such catastrophes could barely garner the attention of the media. Even now, some 22 years and millions of dollars spent in clean-up efforts later, you can still see the yellow foam on certain days. Industrialism’s footprint never quite gets washed away with the tide. I owe a lot to friends like Mark. He’s not that much older than me, but he’s been surfing for a lot longer than I have, and he’s been generous enough to share some knowledge with me over the years about our waves and our coastline. He grew up in a crew of surfers who endured a lot to enjoy a few waves at their local beach. The usual hardships of cold water, sharks and locals seem minor when compared to dealing with an oil company and the poisons it was polluting the lineups with. It’s hard to imagine that an oil company can have such a great effect on the surf world. Or rather, maybe it’s not hard to imagine. I’m often reminded of these things when I’m hiking through the dunes that once produced so much oil. The wells are gone, but some of the remains can still be found—like sign posts for future generations of what not to do. This small stretch of coastline has weathered a lot of abuse over the years. But I’m not here to point my finger at anybody. I recognize the hypocrisy in scolding oil companies for producing oil while simultaneously driving my gasoline-powered car to the beach. I don’t think it is a matter of the oil so much as it is a matter of how responsible we are with our resources. Maybe I’m naïve, but it seems to me that many of our environmental woes are the result of man’s irresponsibility with the stewardship of our earth’s resources. But I digress. People will continue to be drawn to the coast, the appeal of the ocean being too great for people to ignore it even if it is polluted. As H.P. Lovecraft once said, “But more wonderful than the lore of old men and the lore of books is the secret lore of the ocean.” Hopefully the cleanup at the Rancho Guadalupe dunes will someday provide future generations with an oil free beach to enjoy where they can seek out that secret lore without having to detox afterwards. And at least these days Mark and the rest of us won’t smell like gasoline when we get out of the water.

SANTA BARBARA SURFER.com

S U R F R I D E R F O U N DAT I O N S A N TA B A R B A R A C H A P T E R

dane reynoldS.

2012 rincon claSSic pro champ.

Rincon Beach, California Surf

CELEBRATING 20 YEARS OF PROTECTING OUR LOCAL BEACHES AND COASTLINE IN 2012

wE AlwAyS hAvE ThE lATEST

Surf reportS • Swell forecaStS • photoS • VideoS • profileS

• Come to our mixers - socialize, enjoy free pizza and refreshments, get informed on hot topics aﬀecting the coast. 2012 Schedule: April 19, June 21, August 16, October 18. • 7:00 pm @ Watershed Resource Center, Arroyo Burro Beach (next to the Boathouse), 2981 Cliﬀ Drive, Santa Barbara • FREE Chapter t-shirts to anyone who joins or renews membership at the mixers • All ages welcome

Check website for upcoming event listings or to sign up on our monthly e-newsletter www.santabarbara.surfrider.org

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PHOTO ESSAY

‘80s Film Session

Tony Luna By Chuck Graham

EING THE EDITOR at DEEP, I have the privilege of scouring hundreds of images that will potentially work for each magazine. So when Rincon local Tony Luna dug DEEP for a selection of his images from the 1980s, it made perfect sense to bring them together for a photo essay. Luna doesn’t shoot much surfing these days, but it was fun to take a step back into what is arguably the most colorful era in surfing. DEEP: How did you get into photography? TONY LUNA: When I was about 10 years old, my mom gave me a twin lens reflex camera and a roll of black and white film. She worked for a pro photographer when she was younger and got me started. I shot with that camera for a few years, and then in the mid ’70s I got my first 35mm camera, a Nikon F. DEEP: What was it like photographing surfing in the ’80s? TL: Everything was film back then, and all the publications wanted transparencies. Exposure and focus were critical. A little bit over exposed, or a little out of focus didn’t cut it. Shooting the Santa Barbara area was a little different. Many people were still riding white single fins, and wearing black wetsuits. And some of the locals did not want photos taken at their break, period. You didn’t even think about taking a photo in Oxnard or Ventura! DEEP: What do you remember most as a surf photographer from that era? TL: Bright colors! My girlfriend at the time (Lisa) and I moved from S.B. to Hawaii in late ’82 and lived on the North Shore and in town for about a year. Everyone was wearing pink or yellow, something neon, and their boards all had these bright airbrushes. A total contrast from the S.B. scene, but it made for some great photographs. DEEP: What is your job description today? TL: Mostly advertising photography; lifestyle, fashion, kids, product. Some of the jobs can be a little technical, but it’s kind of cool to be able to communicate an idea or a concept visually. To be able to illustrate what your client wants to say using a photograph is satisfying to me. DEEP: What camera equipment were you using then? TL: Nikon bodies and lenses in a Scott Pries housing for water shots. Nikon 300mm and a Tokina 800mm for the beach stuff. All manual equipment, no auto focus back then. The worst part about it was waiting until the film got processed to see if you got anything good! We were shooting Kodachrome 64 back then. DEEP: Are you a Brooks Institute of Photography graduate? TL: Class of 1982, honor roll six or seven times and the Merit Award winner of my graduating class. It all came pretty naturally to me. I guess it’s like that with anything. When you do something you’re passionate about, you’ll succeed.

DEEP SURF MAGAZINE March/April 2012

One thing that really amazed me about Hawaii in the ‘80s, was how good the boogie boarders were! Led by Mike Stewart, these guys charged and got more tube time in a day than most surfers got all season.

Jeff Crawford at the “Offshore Pipeline Masters” contest. The soup coming up the face of this wave, and just the water in general, look so cool. He was charging and holding his own on a single fin, when most everyone else was on thrusters.

Late ‘80s Matt Moore cutback. This was shot with a “flash fill” in order to freeze the action of the speed blur from the slow shutter speed.

David Pu’u on a super short board at Rincon. Before Pu’u became the accomplished photographer that he is now, he was a talented shaper and professional surfer.

Magic Island sunset, south shore Oahu. No Photoshop work in this image ... all old school with film!

Kim Mearig, Laniakea. Mearig dominated the women’s tour in 1983 and won the world title. Her explosive maneuvers tied with her feminine beauty raised the bar in women’s surfing.

Tom Curren, cutback. I love the way the board is just gouging into the wave on this shot. Tom always makes it look so easy. Martin Potter at Laniakea. During the winter of ‘83 we were the care takers of a rental house at Laniakea on the North Shore. The Gotcha team rented the house that year … need I say more? Ben Aipa, bottom turn at Laniakea. In my opinion, Aipa one of the most influential surfer/shapers of the late ‘70s thru early ‘80s. Such a great surfer and way ahead of his time as a shaper.

PHOTO ESSAY: LUNA

Sumba beach walkers, Nihiwatu, Sumb,a Indonesia. These women came from a local village near the Nihiwatu Surf Resort on Sumba to collect octopus and other sea life off of the reef at low tide.

Gary Elkerton, “S-Turn” up the face. Such a powerful surfer … I love the angle of this shot, and how the board is so on the rail.

W W W.DEEPZINE.COM

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Come Join our Spring Events...

MARCH 15, 7-9 pm “California Abalone Industry ” A pictoral history by Scrap Lunday. Free (members) $5 (non-members

APRIL 28, 7-9 pm Sea Festival Ship tours, arts & crafts,food, demos

$4 person/12 & under free Featuring

Surf Artist Rick Sharp Exhibit

S.B. County Lifeguard Tryouts are March 10 and 31

Lifeguarding Opportunities: Arroyo Burro Beach (Hendry’s) Goleta Beach & Jalama Beach

EVERY SATURDAY: ALL DAY SURF FILMS Permanent Surf Exhibition featuring locally-made surfboards and artifacts

For more information call (805) 962-8404 x115 113 Harbor Way # 190, Santa Barbara • www.sbmm.org 40

DEEP SURF MAGAZINE March/April 2012

For Updates on 2012 Employment and Tryout Information visit www.sbparks.org/aquatics

NEW Junior Lifeguard Program at Arroyo Burro Beach County Park For more information visit www.sbparks.org/jg

Surf Shop Down Low

Lompoc’s Hidden Gem By Shawn Tracht

Travel hints:

El salvador By Matt Thomson Las Flores.

Spring Surf Getaway The Surf Connection team from left, Shelby Chase, David Dunaetz, Daniel DAVID DUNAETZ Dunaetz, Alisa Cummings and Robin Dunaetz.

AMIDST THE open, rolling hills of old California, Lompoc’s Surf BRANDS CARRIED: Connection is a core surf and skate LRG, Volcom, RVCA, shop hidden in Central California. Billabong, Quiksilver, Kr3w, Supporting kids and local artists O’Neill, Xcel, Vans, DVS, and showcasing a collection of Lakai, Converse, Fallen, vintage surfboards from the ‘60s Globe, Circa, Reef, Cobian, and ‘70s, the shop pulses with pure UGG, Oakley, Spy, VonZipper, surf spirit. Electric, RayBan, Sector-9, Off the beaten path of a tourist Arbor, Mooseberry Mountain destination, Surf Connection is the Candles and more. realized dream of David Dunaetz and his wife, Robin. Both David and Robin grew up in Lompoc and felt the town was the perfect fit to start their brand. They put together a plan, and in April of 1991, opened the doors to their very own surf shop. Being surrounded by two quality beach breaks, Lompoc has no shortage of good surf. Though it is a small town, the surf community is tight, and the loyalty and camaraderie of these local surfers is what keeps Surf Connection going. “It’s the local community,” said Robin, “because we are not right on the beach and not a tourist town, (their) support is why we thrive.” In return, the community gets all of what Surf Connection has to offer—on a surfing level and by looking out for the community at large. Though rooted in board sports, the shop regularly contributes and gives back to the town that supports it. Surf Connection helped organize efforts to get the first skate park built in town and has hosted skate competitions since 2000. These efforts have cemented the shop’s reputation. “What I love about our shop is the people,” said Robin. “We have seen so many kids grow up, move away, and then move back to town to raise their families. These whole families now make our shop family bigger.” Surf Connection 664 North H Street, Lompoc Tel: (805) 736-1730 www.surfconnection.net or Facebook: Surf Connection

April in El Salvador is May - Oct. when the dry season comes Wet season to an end and the waveLarge S/SW swells, rich wet season begins. Head high+ waves Odds are you’ll have blue skies, offshore winds, and Nov. - April possibly the first SW swell Dry season of the season. Expect fun, Offshore winds consistent surf, and maybe Chest-high waves even epic conditions.

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Comen Sense

SHAWN TRACHT

To Be Green Or To Not Be Green?

When is enough, enough?

By Craig Comen

AN HUMANS BE GREEN? Can we save the planet? And who are we in the greater scheme of things? Since we feel we are at the top of the evolutionary chain, is it our responsibility to alter, preserve, and justify things? A pretty good take on this comes from George Carlin and his segment about saving the planet. At least the laugh is worthwhile if you do not get anything more out of it.

DEEP SURF MAGAZINE March/April 2012

My footprint is huge, and for as little as I try to take from Mother Earth, I still am affecting her in a harmful manner. My intentions are good, but by God, I really am a pessimist at heart. I wish it were otherwise. All it takes is one drive down a crowded freeway or a stop into a big store to see that we are all screwed. How many brands of soap do we need? How many choices of potato chips? How many wetsuits, surfboards, or color choices of Patagonia’s new waterproof jacket? I challenge Yvon Chouinard to make fewer styles and color choices; Dave Rastovich to get fewer boards, and Al Gore to take fewer airplanes rides if they really want to reduce their impact. But, what the hell? All we can do is really point our finger back at ourselves. Maybe our planet does not want us to save it but wants another species to go bye-bye. I wish for all our children to enjoy a healthy planet, with wholesome food, nature, and an abundance of love and waves, music and all good things human and non-human. Green? How about light? Maybe instead of a color it should be an adjective that describes how, where and what way we live our lives. I like light. Less materials, less consumption, less I need of this and that. Just the basics, and like Thoreau said, “simplify, simplify, simplify.” Shop only at second hand stores, buy local, eat only in season, drive and fly only when necessary. Trade, barter and give away. Downsize—the less space you have, the less crap you need to fill it with. What a tall order. I am really full of it. Good luck. As I was sipping a margarita in Mexico I saw on the umbrella, “Made in China.” My SUP came from Thailand, my trunks from China, my necklace from Hawaii, my watch who knows where, and the list goes on. In these areas of the world—where ignorance is bliss, no organics or recycling exist and community is lost all for the sake of making some dollars—we need to sound the horn and help them become citizens of the globe. We need to discourage our gringo style of consumerism, Coca Cola consumption and other corporate greeds. Leaving a small footprint is becoming harder and harder even as the world and its technologies get more nano. Think how great it would be if we could carry our boards in our back pocket, put them in water to expand and be ridden, and then eat them after the session for nourishment. It’s not a good dream for shapers and glassers, but they could fit into the picture somewhere and maybe catch more waves and less dust. After filling your brain with words, I challenge you to think for yourself and let me know your choices, thoughts and options. May you all rip the wave of your dreams.

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PLACES YOUâ&#x20AC;&#x2122;LL PROBABLY NEVER SURF

JAPAN

IS FOR TRUSTFUNDERS

Finding great surf in the Land of the Rising Sun requires money, patience, and guidance. Just ask Dan Malloy, he’s been trying to score in Japan for a decade. DAN MALLOY’S STORY as told by JOEL PATTERSON Photos by CHRIS BURKARD Malloy had to get in the water and ended up scoring some flawless Japanese surf, but barely made it out in time for the flight home.

From Left: Japanese flag. Looking to bring a piece of Japan home, Dan Malloy uses the indigo dye to write Japanese letters on his board. With steps leading right into the water and waves like that, a lineup never seemed so inviting. Surfing into the evening the entire day of waves started to become a blur. With a storm on its way this Japanese rushed out climbing the man made jetty looking to get a few gems before things turned sour. With the sun setting in the land of the rising sun, Malloy lays back into a wave that only seemed to get better the longer we stayed. On the final day of the trip the waves began picking up. W W W.DEEPZINE.COM

Trying to score surf in Japan for years this trip finally gave Malloy what he was hoping for.

WE DIDN’T

SCORE UNTIL the last two hours of my most recent trip to Japan. Chris Burkard and I had been in the country for two weeks, and we’d had a blast making friends and surfing, but it wasn’t until the last day, just before a huge storm came through, and just before our flight, that it was finally going off. It was pure luck. We’d blown it that morning and went to check some other spot. We figured we only had about an hour before breakfast, packing up, and heading to the airport, so we surfed for a while and then decided to drive past another sandbar. When we got down there it was double overhead or bigger on the sets and firing. I looked at everyone and said, “I’m going surfing no matter what. I don’t care if I miss my flight.” I jumped in the river mouth and got shot out the back. I’ve spent a lot of time in Japan, but I’ve never been in waves like that there. After a couple of hours I came in and told everyone I was changing my flight to stay longer, but a local who really knew the weather charts said it wasn’t worth it, that a storm would arrive in the next couple hours with howling, onshore winds. So I went back out and surfed until our Japanese friend was out on the jetty yelling for me to come in to go to the airport.

DEEP SURF MAGAZINE March/April 2012

The surf was incredible that morning, but it was a rare moment. Because Japanese waves are generated by typhoons, swells are really hard to predict and often come with powerful, stormy weather. It’s really a blessing in disguise for Japanese surfers because if you don’t know how to read the charts, you aren’t going to score much. On my first trip there a decade ago, I surfed knee-high waves for three days, and then I flew home. My sponsors sent me to surf in a WQS contest, so I was picked up at an airport just outside of Tokyo, and everything we did during the trip was rushed—so much so, I hardly even remember any details. I did a couple more trips like that first one: quick hits with little memorable moments to take away. But then about seven years ago, I began taking longer trips to hang out. I would go on open-ended tickets for a couple of weeks at a time and just cruise. That’s when I started to see Japan for the amazing place it is. In the dozen or so times I’ve been there, I’ve surfed in a hood and gloves in freezing-cold Hokkaido and in boardshorts in the semi-tropical south. And I haven’t even come close to seeing even a fraction of all the breaks. Japan has so much coastline to explore, it could take years to even scratch the surface of what the country has to offer, but you’d probably go broke before you scored a dozen times. The price of being in the country is very prohibitive, so you don’t just save up a little chunk and disappear to Japan for a while—you need cash and patience. But if you do end up going, something to keep in mind is that the tradition in Japan is to take care of everything for a guest—from shuttling you around to ordering your food. So if you go over with a pod

Clockwise from Left: Here farmland meets a thick canopy of forest. Visiting this temple was just one of the many experiences that seemed to transport us back in time. Malloy would agree the positive vibes in and out of the water were unlike anywhere else he has traveled. It seems no matter where you travel there will always be the dedicated local fishermen. Kohei Chiba is a local shaper, surfer, and was nice enough to take us under his wing. Dan Malloy was just as excited to surf these waves as he was to experience the Japanese culture.

of your fellow countrymen, you can easily spend your whole trip in a bubble, which kind of isolates you from having real, meaningful experiences. I’ve found it’s best to go with just one or two friends. That way you can begin to meet people and experience their world, eventually breaking through the formalities. The culture can seem like the exact opposite of Western culture, especially a place like California, where I grew up. In Japan, generations upon generations have lived on this tiny group of islands, so for thousands of years they’ve been acutely aware of the limited resources at their disposal. For example, they think carefully about how they deal with their trash, because there’s only so much room for it. And when they build something, they build it to last because they know their grandchildren are going to be using it one day. You get the feeling that every space is used perfectly. You see these beautiful little houses with a tiny patch of earth out back, barely the size of a closet, and they’ll have a little garden there, producing a ton of food for the family. Back in California, we have so many beautiful wooded valleys, so we figure no one will care if we turn one of them into a landfill. Having come from a place where open space is so abundant, I’m always fascinated by how the Japanese have learned to do more with less. And for the same reason I’m interested in Japan’s cultural heritage, I think Japanese surfers love how we have so little connection to our past, how we don’t really give a shit. I’ve surfed with a lot of Japanese who are way better than most of the Brazilians on the WQS roster, but Japanese culture seems to have bred the over-the-top competitive-

ness out of them. When you’re surfing in Japan, if you even look at a set wave, other surfers will back off. It’s like etiquette taken to an extreme. They are so concerned with politeness, I feel like maybe that’s why a Japanese person has yet to qualify for the World Tour because it’s definitely not for a lack of waves. While their surf can be inconsistent and typhoon-dependant, their coastline has very little continental shelf, so swells come out of really deep water. And when all the stars align, it can easily be world-class and pack a lot of punch. I’ve had some sessions at river mouths that were eye opening, to say the least. If I was advising someone on the best way to score in Japan, I would say keep your crew small and your agenda un-ambitious. Remember that the waves aren’t good all the time, but if you’re open to cultural experiences and exploring, you’ll never be bored. Make contact with local surfers ahead of your trip and meet up with them. Having people to show you the ropes makes all the difference, and in the process you will get glimpses into a culture that’s so much harder to find if you’re on a package deal being hand-held by a guide. Personally, I think that’s how all travel should be. That way you don’t just take home memories, but you build relationships that can last a lifetime. And while not being able to speak Japanese is a barrier, I’ve been a ton of times and always had fun. All I can say is “Happy New Year”— Akemashite omedeto gozaimasu—but that only comes in handy once a year. I should probably learn something more practical, like, “Excuse me, where’s the bathroom?”

W W W.DEEPZINE.COM

“Save 10” Movement Story and Photos by Shawn Tracht

DEEP SURF MAGAZINE March/April 2012

We can’t keep letting this trash enter our beautiful ocean.

It’s not much to ask to pick up after yourself, so don’t wait for someone else to do it.

The author doing his part. JAVIER DELGADO/SURFWANDERER.COM

Nice little righthander below a trash-free bluff.

I began a mission to just “Save 10” pieces of trash from going in the water each time I was at the beach.

-Author, Shawn Tracht

Lets keep the ocean a playground and not a dump site.

OOL WAVES hitting the inside sandbar, friends on the beach walking to and fro after a good session, and a group of pretty girls sunbathing in teeny bikinis and surrounded by old wet trash. Smiling, waving, and calling the boys over, something is detracting from their beauty on this warm California day. It’s the plastic water bottles, Styrofoam yogurt dishes, cheeseburger wrappers, baby wipes, cigarette butts, and the uber-inventive milk-shake spoon straws that are half-buried in the sand all around them and lining the beach as far as the eye can see. Like what you see? As the day goes on, surfer boys come and go, and though disgusted by this nuisance of trash,

not one of them bends down to pick it up. “Yo, bro, that’s gross! I didn’t litter and put that trash there, and I shouldn’t have to pick it up,” many of them say. “Eeww! Gross,” the girls shout in their best valley-girl vernacular tone, “I’m not touching that trash.” Yet they continue to lie within it.

The Problem In the middle of the deep Pacific, islands of trash, in what is known as the Great Pacific Garbage Patch, float, sort of, in a vast collection of trash that’s said to be twice the size of Texas. Cleanwateraction.org, an organization that’s been fighting for clean water for 40 years, wrote an article titled “Want to Solve Marine Debris? Change the 3Rs to the 3Ps.” It stated that, “marine debris is primarily comprised

W W W.DEEPZINE.COM

You can spend hours doing beach cleanups, but it’s too overwhelming. Just Save 10—do your part and spread the word.

of convenience food packaging and single use disposable products—products the plastics and packaging industry believe we can’t live without. Plastic makes up 60 to 80% of marine debris (in some places it is as high as 90 to 95%) and the ratio of plastic to plankton floating on the ocean surface in the Pacific Gyre is 64:1 (by weight).” So what happens to all that trash that we decide not to pick up on a daily basis? Author and biogeographer David M. Lawrence voyaged out to the North Pacific Gyre and found that most of the plastic that he picked up was tiny, widely dispersed and invisible to the naked eye. Lawrence wrote, “the truth might actually be worse and far more insidious. Compared to a big mound of trash, for one thing, it’s impossible to clean up tons of tiny and widespread specks of plastic. You can’t just scoop them up.” Ultimately, the scariest threat of this plastic pollution is its health risk to the entire food

DEEP SURF MAGAZINE March/April 2012

chain, us humans being at the top. Fish and birds easily mistake these specks of plastic for plankton. Just type in “plastic pollution” or “the Great Pacific Garbage Patch” into Google, and you’ll find appalling pictures of birds and fish found dead and filled with plastic that they had mistaken for plankton and other food. So what do we do?

Bring Forward the Save 10 Movement Now in the past, I, as much as anybody, have been guilty when it came to trash clean up on the beach and of not lending a hand when the beach and ocean needed me to do. Consequently, I want to speak honestly about the hurdles that I jumped in regards to picking up the trash on the beach on a daily basis, as well as how I’ve overcome the excuses. Until a couple years ago when I began a personal quest to “Save 10,” the three biggest

setbacks for me were: 1. It’s gross. 2. The trash isn’t mine. 3. I shouldn’t have to pick it up. However, daily, that didn’t do any good. I am also guilty of missing my fair share of beach cleanups during the year. I always had something else going on. Excuses: We were going out of town. I had to be somewhere else. I only had so much time to surf, so I couldn’t make it to the clean up that day. What?! After years of non-action in defense of the ocean that I love, I knew that I needed to grow up. I needed to challenge myself to something that was attainable. I also needed to make a difference to help the ocean myself before I had a right to expect others to do it. Thus was born “Save 10.” With the idea that goals set at attainable levels are those we follow

Fraggle keeping things clean.

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Take a look in the mirror. Are you putting trash where it’s supposed to go?

through with, I began a mission to just “Save 10” pieces of trash from going in the water each time I was at the beach. Now, if you pick up your 10 pieces of trash after the fourth of July or any holiday celebrated at the beach, your will may still be a bit weak, and your 10 item pickup may seem quasi-useless. But you know, if we all began to just “Save 10” each time we surfed, it would add up. That may seem idealistic, but when movements are born and believed in, they become social very quickly—they go viral. An easy way to change the trash climate on the beach is to make it cool to clean up by saving 10 rather than doing nothing at all. We don’t have to yell at each other, fight, or get upset. Just leading by example could spawn a social movement. It could become the new cool for what’s expected of a surfer. To learn more and share your stories, go to www.surfwanderer.com

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Music

From left: Aoki’s shows are all about the flash. / Fans go gaga for Aoki. / The man himself, Steve Aoki.

Steve Aoki Launches Massive Attack in Santa Barbara Story and Photos by L. Paul Mann STEVE AOKI returned to his roots to play two shows in Santa Barbara on Jan. 20. The first was a showcase concert at his alma mater, UCSB. His career in music began in Isla Vista, where he staged countless underground concerts in the “Biko Room” at his college residence. The

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DEEP SURF MAGAZINE March/April 2012

master producer then formed his own record label, Dim Mak, in 1996. His work as a producer and collaborator was already well known by the time he released his first self-composed recording in 1998, “Pillowface and His Airplane Chronicles.” Aoki’s electricon dance music (EDM)—a hardcore sound similar to Nine Inch Nails and Black Sabbath—has become some of the most played in nightclubs around the world. His second show in Santa Barbara was in one of the concrete blockhouses at the Earl Warren Showgrounds. The showgrounds have a long history of producing legendary live concerts in Santa Barbara, long before venues like the Santa Barbara Bowl were utilized. In the ‘60s many of the most popular bands in the world played there, including Led Zeppelin, The Doors, and Jimi Hendrix. The cavernous hall utilized by Aoki and his army of opening DJ’s may not have had very good acoustics, but this was somewhat remedied by the massive bass speakers, necessary for the full effect of the thunderous and hypnotic dance beat. An ear shattering decibel level overcame the building’s acoustic shortcomings, a level so loud that the show could have not taken place legally anywhere outdoors in Santa Barbara. Nearly three and a half hours after the event started and four sets in to the evening, second-in-command DJ Datsik (a.k.a. Troy Beetles) was still performing his set to a packed crowd. By the time Aoki started his set at 10:45 p.m. the crowd was engrossed in a sweaty surge on the dance floor. When Aoki was revealed, his massive DJ booth towered above the crowd, almost touching the ceiling. Like a wizard waving his wand, he began to mix and flail about looking down on a possessed orchestra of bodies. Part of the appeal of Aoki’s live shows are his animated histrionics that lend themselves well to endearing the DJ directly to the crowd. As an array of LED panels animated behind, large panels in front illuminated to spell out his name. Later giant floating balloon letters spelling his name settled into the crowd. Occasionally the master showman would leap from his pedestal into the crowd and surf through the steamy masses. By the time his set ended shortly after midnight, he had presided over Santa Barbara’s longest and most intense dance party in recent memory.

Music

Hot Tuna band playing at the Lobero.

David Bromberg Quartet and Hot Tuna rock Lobero Story and Photo by L. Paul Mann

PACKED HOUSE at Santa Barbara’s Lobero Theater was serenaded by some of American rock blues’ most elite veteran performers, David Bromberg and Hot Tuna, in a sold out show on January 6. Bromberg’s long opening set featured his quartet of accomplished musicians, playing in an amplified acoustic format, which was the order of the evening. The Grammy-nominated Bromberg has been on the pop charts since 1972. He has collaborated with some of the biggest names in classic rock music, including George Harrison, Jerry Garcia, Bob Dylan, Willie Nelson, and of course, Hot Tuna. Lamenting love lorn blues were the order of the night for Bromberg and his musicians—Nate Grower on fiddle, Butch Am-

niot on electric bass, and guitar extraordinaire Mitch Corbin. The quartet opened with “Brown’s Ferry Blues” in a furious flurry of wailing strings, and another sarcasm drenched lost love lament, “Fifty Dollar Wig,” followed. Toward the end of the 90-minute set, Bromberg introduced the band and quipped, “I am perversely proud to have guitar players better than me in the band.” To the crowd’s delight, Bromberg was joined onstage by Hot Tuna’s band members, Jorma Kaukonen and Barry Mitterhoff. The trio played a pair of classic Bluesy tunes, “Uncle Sam Blues” and “Ninety-Eight Degree Blues.” The Bromberg’s quartet returned to finish up what was probably one of the longest opening sets ever for a band at the Lobero. First they played songs from Bromberg’s new album, “Use Me,” then in a final encore, the band came to the edge of the stage and played an unamplified version of the classic “Roll On John.” Hot Tuna then kicked off a nearly two hour set—the trio consisting of Casady, Kaukonen, and longtime band member Mitterhoff on mandolin. They began with an old Hot Tuna gem, “Been So Long.” The band then played the first of several covers, by the Reverend Gary Davis, “Children of Zion.” Kaukonen often cites “Blind” Gary Davis as a principal influence on his guitar playing. Hot Tuna’s first new studio album in over 20 years, “Steady As She Goes,” features the track. Cementing the theme of the night, classic American Blues, the band also covered many of the genre’s most enduring legends. They included songs by John Lee Hooker, Mose Allison, Blind Blake, Julius Daniels and Lightnin’ Hopkins. Songs from the band’s exceptional new album were interspersed, painting a historic link from the old to the new in the evolution of classic blues picking styles.

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Green Room This is what lies beneath.

DEGRUY

Diving Deep with Mike deGruy By Kara Petersen

*Shortly after this interview. Mike deGruy tragically lost his life on February 4, 2012.

ou could say Santa Barbara resident and natural history filmmaker Mike deGruy was swept up in the Gulf Stream. Born in Mobile, Alabama, deGruy grew up where the deltas, swamps and rivers of the south converged into Mobile Bay and rushed out to sea to be carried around the world. Purchasing his first regulator at age 11, it wasn’t long before he too was caught up in the rush of ocean currents. Setting out to become an educator on all things oceanic, deGruy was in his third year of the University of Hawaii’s marine biology PhD program when fate intervened and handed him a camera. The inventor of the Nautilus Exercise equipment, impressed with deGruy’s display of chambered nautilus specimens at the Waikiki Aquarium, sent him on an expedition to Palau in the Western Caroline Islands to collect the shelled namesake for his facility in Florida. At the last minute he handed deGruy a 16-millimeter Arriflex camera and asked him to film the whole thing. In many ways, deGruy remained true to his original goal of becoming an educator; through the medium of film he reaches a larger audience than he ever imagined. His long list of accomplishments includes documentaries for the BBC, National Geographic and the Discovery Channel, as well as multiple Emmy Awards. He sits on many film and environmental boards including an advisory post with Heal the Ocean. The highlight reel of his favorite locales includes footage under Antarctica’s ice, where “everything

DEEP SURF MAGAZINE March/April 2012

you see is something you’ve never seen before,” to the Marshall and Caroline Islands of the South Pacific with their marine lakes, lagoons and vertical drop-offs. His list also holds a spot for our own Channel Islands. His favorite local dives are in early November when crystal clear waters reveal all the dimensions of the diverse California kelp forests full of elephant seals, bat rays and huge schools of fish. I recently had the opportunity to talk to deGruy about the unique perspectives he has gained from over five decades of peering into the depths of our oceans. What struck me most after our conversation was his reminder that it is one continuously moving ocean. The ocean knows nothing of the boundaries we put on it or separations we attempt to designate by countries and governments. “It is all one ocean and everybody shares,” deGruy said. I asked him about the environmental concerns facing our ocean today and to share his opinions on the most pressing of the issues. Without a doubt, plastics are the biggest threat to the ocean today, deGruy told me. Plastic gyres are generating more and more press. As it turns out, these alleged floating islands of trash are real. There is a slight misconception, however, as the main portion of plastic pollution is not necessarily floating in a mass on the surface of the ocean. Much like an iceberg, of which only a small portion is visible above the surface of the water, the largest and most threatening portion of plastic is actually below water.

“Every dive, every time, everywhere I see trash,” said deGruy who recently returned from piloting a submersible thousands of feet deep into the Mediterranean Sea for the upcoming documentary, “Plastic Oceans.” “Plastics are coming from land and being swept into the ocean by rivers. We can stop it, if we stop single-use plastics.” There are many dangers of plastics in our ocean, from ingestion by marine wildlife to the littering of our shores to the poisoning of our food chain. Plastic is easily broken down into smaller and smaller pieces by the sun, all the way down to a molecular level. Buoyant plastic containers can be seen bobbing in gyres around the globe. Those that are not broken down into molecules are resting silently on the ocean floor. The small pieces of plastic resemble food to larval fish and plankton who gorge themselves on what appears to be appetizing food only to find that their stomachs quickly become clogged full of plastics they cannot digest. They literally overdose on plastic. Sometimes, the baby fish and plankton stop eating before their stomachs reach max capacity, falsely feeling full, and starve to death. If the fish do survive, they will most likely be eaten by larger fish. Through this process plastics are bio-accumulated up the food chain, eventually reaching our plates. Another danger of plastics in our ocean is their toxicity. Not only are they made of harsh chemicals, plastics also attract a whole host of other, nasty chemicals. The chemicals bond to the plastic, increasing its toxicity.

The irony, deGruy points out, is that the plastic that ends up in our ocean was made for single use. Though we think we are tossing it away, it never actually goes away. Plastic lasts for thousands and thousands of years collecting in our ocean, finding uses for itself that man never intended and that are detrimental to the well-being of our planet and ourselves. In addition to the host of environmental problems, the production of plastic takes a taxing toll on our natural resources. According to the Plastic Ocean website (www.plasticoceans.org), its take a quarter liter of oil to make a one liter plastic bottle. Other startling facts from their website include: In 1950, 50 million tons of plastic were produced. In 2008, 245 million tons of plastic were produced. In 2010, 300 million tons of plastic were produced. Half of these used only once before being thrown away. More than 1 million plastic bags are used per minute. deGruy’s diving record includes both poles, becoming a submersible pilot, hundreds of dives in many types of submersibles, filming the hydrothermal vents in both the Atlantic and the Pacific, and the Titanic wreckage. He counts the hidden wonders off our own coast amongst the most beautiful treasures of the world and reports that in each of these treasured locales he finds the plastic we use once and throw away. The out of sight, out of mind attitude no longer holds true.

Green Room

REMEMBERING

MIKE DEGRUY December 29, 1951 – February 4, 2012 I didn’t know Mike for very long, but he was the kind of guy it didn’t take very long to get to know. We spent three days exploring the Channel Islands on a Santa Barbara Middle School trip, hiking to Carrillo’s Monument on San Miguel, diving in the California Kelp Forests offshore, and joking and talking story in the galley aboard the Conception. His passion is infectious, I use the present tense because even though Mike is gone, the passion he had for life is still palpable. He was the kind of person that inspired others to be their best, to give back and to live to their highest potential. Last month I spoke to Mike about the ocean, why he loved it so much and what we need to do to protect it, not knowing it would be the last time I ever talked to him. I can still hear his voice though, in the gentle tide washing up and down the beach and the offshore winds blowing out to the islands.

Carpinteria moves toward bag ban

n a move that has landed Carpinteria on the eco-map, the small town’s city council voted in late 2011 to draft a ban on distribution of single-use bags within city limits. Plastic bags, with their environment-tarnishing reputation, are the main target of the ban, but should the ban go through as discussed, large CHUCK GRAHAM stores such as grocery chains will also be required to ditch paper bags as a means of packaging purchased items. The green-minded council began discussions of a bag ban a couple years ago, but city attorneys discouraged an ordinance for fear of legal battles. Plastic bag bans enacted by other California cities had been dragged into court by plastic bag manufacturing coalitions who claim that such laws require costly environmental impact reports. Manhattan Beach fought the plastic coalitions to the level of the state supreme court, which deemed an EIR unnecessary for a plastic bag ban. In light of this 2011 ruling, the Carpinteria City Council decided to move forward on its long-considered ordinance. Initially, the council supported a ban on all single-use bags, but several local businesses decried the proposal, arguing that the blanket ban would cut deeply into their bottom line. In the most recent version of the proposed ban, small businesses and restaurants would still be able to hand out paper bags to their customers. Details of the proposed ordinance are still in the works at city hall and should be back before the council for approval in coming weeks. – Lea Boyd Trolling for trash.

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Final Frames I presented by The Endless Summer Bar-Cafe

January sunset with Santa Claus. KEN MANFRED

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DEEP SURF MAGAZINE March/April 2012

Final Frame II presented by Anacapa Brewing Co.

Mike McCabe sharing the ocean with a humpback whale. WILLIAM SHARP

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DEEP SURF MAGAZINE March/April 2012

SCREENING AT LOBERO THEATER

MARCH 10, 2012 To see results, photos and more find us on Facebook and online at sundancebeach.com

Team rider: Haley Fiske photo: Philip Gibbs

Santa Barbara, CA 24 East Mason Street • Santa Barbara, CA 93101 805.845.5606

www.bluelinepaddlesurf.com

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