Delaurell springsp by Randy Dunbar

Seaworthy Seaside Travel & Lifestyle

TABLE OF CONTENTS LAST pg. 70 CNIDARIA pg. 46

RICHARD AVEDON: PORTRAIT OF AN ARTIST pg. 34

RICH STAPLETON: PHOTOGRAPHY pg. 18 SEA ESSENTIALS pg. 14

11 FACTS ABOUT ART IN EDUCATION pg. 12 EMBARK pg. 7 CAPTAIN’S LOG pg. 5

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Masthead President and Publisher Morgan Freeman _________________________ Editor Hanah De Laurell Executive Editor Jared Leto Managing Editor Alex Turner Deputy Editors Liam Payne, Luke Hemmings Art Director Vincent Van Gogh Vice President and Associate Publisher Benedict Cumberbatch Vice President and General Manager Olan Rogers Vice President, Circulation Michael Clifford

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Vice President, Public Relations David Beckham Assistant to the Publisher/ Rights and Reprints Louis Tomlinson

Anything and everything about the sea and the lands that surround it. With a love to travel and a love of the sea this is a perfect magazine for anyone who want to travel the world by the vastness of the waterways that cover the Earth. In this issue: -Rich Stapleton, a photographer with breathtaking images of the landscape -Richard Avedon, a legendary photographer with amazing portraits & -Cnidaria, story of the mysterious ocean creatures like corals and the beautiful jellyfish.

Chris Pratt, Senior Accountant Steve Carell, Office Manager

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Harry Styles, Staff

Special Thanks to: -Calum Hood -Adam Levine -Simon Cowell -Robin Williams -Byung Hee -Paul Walker -Ian McKellen -Christopher Lee -Robert Downey Jr. -Evan Peters - Kurt Cobain

Smooth Sailing my friends!

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CAPTAINS LOG Letter from the Editor of Seaworthy Magazine

eaworthy Magazine is something that came from a single experience I had once when traveling. I was sitting in a small seat on an airplane, squished between the wall and my sleeping Aunt. I looked out the window at the

darkness; the only light was from the beacon on the end of the wing of the airplane. The small map on the screen showed that we were flying over the Atlantic, in the middle of a large mass of ocean, no landforms could be seen. Soon the sky outside the small window began to lighten, hundred of beautiful pastel colours began to spread their way across the sky, the dark waters far below. This moment was truly magical. I wondered what the sunrise would have looked like from the waters thousands of miles below and that is when I made up my mind that I would buy a boat and sail across oceans to try and capture this moment again, in the process coming up with an idea for a publication. I have yet to actually buy a boat but in the meantime I will just share all the other things I find magic about the world around us. Please enjoy the articles in the magazine and share in my intense wanderlust. - Hanah De Laurell

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“A Boat, a Whale, & a Walrus” by Renee Erickson. Cookbook. $ 26.99

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ONE PINE TREE The story behind Ippon Matsu craft Beer and Ale. BY JK ROWLING

n the city of Rikuzentakata, on the northeastern coast of Japan, some seventy thousand pine trees lined the shore and, for decades, they stood as a place of national scenic beauty. On March 11th, 2011, the tsunami nearly swept the entire city off the map. Out of the great forest that once stood, only a single pine remained. For the survivors of the disaster, that one tree became a beacon of hope. This beerâ&#x20AC;&#x2122;s design represents charity and hope. A scroll-like, handwritten label seals the top with the story of Ippon Matsu written on the inside. The front label is a solitary pine made of three triangles that are facing up, symbolizing the wish for progress towards Japanâ&#x20AC;&#x2122;s brighter future. The purpose of Ippon Matsu Beer is to spread the message of charity, raise awareness and help those living in the aftermath of the tsunami. All profits are donated to the reconstruction efforts in Rikuzentakata, Japan.

PHOTO BY RICH STAPLETON

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PACIFIC WATERS AND WIDE OPEN BYSKIES KAI FUNG VANCOUVER, CANADA-

ancouver, a bustling west coast seaport in British Columbia, is among Canada’s densest, most ethnically diverse cities. A popular filming location, it’s surrounded by mountains and invites outdoor pursuits of all kinds, but also has thriving art, theatre and music scenes. Vancouver Art Gallery is known for its works by regional artists, while the Museum of Anthropology houses preeminent First Nations collections. While this sea-level port city is known for its temperate climate, the surrounding snowcovered slopes are perfect for winter sports and breathtaking views of the city twinkling below. Vancouver is one of the few places in the world where it’s possible to ski in the morning and sail in the afternoon.

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“The Amazing Book is Not on Fire: The World of Dan and Phil” by Dan Howell and Phil Lester. $ 12.34

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli BY HAMISH BOWLES

“Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934.[1] Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”)[2]  Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks. Monkey fur and zippers (newfangled in the thirties) were everywhere. love of trompe l’oeil can be traced to the faux-bow sweater that kickstarted Schiaparelli’s career and brought her quirky style to the masses. “Dare to be different,”[7] is the advice she offered to women. Pace-setters and rule-breakers waved that flag through the sixties, the seventies, and beyond.

PHOTOCREDIT PORTRAIT: IRVING PENN WINDOWS: PHOTOGRAPHED BY CARLOS DIAZ

WINDOWS INTO THE SURREAL

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1 Facts About Arts in Education 1. Students who study art are 4 times more likely to be recognized for academic achievement and 3 times more likely to be awarded for school attendance. 2. Arts and music education programs are mandatory in countries that rank consistently among the highest for math and science test scores, like Japan, Hungary, and the Netherlands. 3. Music programs are constantly in danger of Seaworthy Magazine

being cut from shrinking school budgets even though theyâ&#x20AC;&#x2122;re proven to improve academics. Show educators how important arts are in your community. 4. The No Child Left Behind Act clearly mandates The Arts (music, art, foreign language, etc.) as a core academic subject. 5. One study group showed that 3rd, 4th, and 5th grade students who were taught a foreign language every day in school outperformed the students who were not exposed to a foreign language on their Basic Skills Test.

Federal funding for the arts and humanities rolls in around $250 million a year, while the National Science Foundation is funded around the $5 billion mark. 7. Researchers find that sustained learning in music and theater correlates strongly with higher achievement in both math and reading. 8. In a study of a high-poverty schools in Chicago, the schools that were participating in the Chicago Arts Partnerships in Education (CAPE) made huge strides in closing the gap between high- and low-income studentsâ&#x20AC;&#x2122; academic achievement.

9. Multiple studies have concluded that curricular

and extracurricular art studies and activities help keep high-risk dropout students stay in school. 10. New brain research shows that not only does music improve skills in math and reading, but it promotes creativity, social development, personality adjustment, and self-worth. 11. Research suggests that studying a second language is essential to the learning process, creative inquiry and critical thinking. Foreign language studies have proven to increase problemsolving skills and overall cognitive development. 13

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sea essentials Cashmere Knit Hat Hunter Matte Black Original Tall Boots Burberry Cashmere Tartan Scarf Cable Knit Wool Sweater

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Herschel Black Backpack GoPro Hero 4 Camera Black and Gold Watch World Travel Journal

English Coast Edition

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Rich Stapleton written by: Lucy Brook

Breathtaking Photography

here are countless reasons to be charmed by Bath, not least of which is its name. To be both noun and verb, while so succinctly expressing the watery essence of itself, would be enough to make me love it, even if I’d never been there. The Romans were drawn to Bath by its hot springs, and visitors continue to be captivated by its classical architectural beauty more than 2,000 years later. I’ve been visiting Bath since I was a child, and for my sister and me, it represented a place of both adventure and contentment. Our mum, who worked long hours, would occasionally announce, “I thought we’d go to Bath tomorrow.” It caused instant excitement, but it also brought about the soothing pleasure that comes from knowing, rather than simply hoping, that something is going to be good. We followed the same ritual each time; get up early to cook sausages until they’re just the right side of burnt; wrap them in silver paper and several layers of newspaper; set off on the 70 mile drive in our rickety VW Beetle; stop halfway and eat the still warm sausages; arrive in Bath for a happy day of wandering and getting lost before, finally, retracing our path back to Dorset. For me, Bath is even more than noun, verb, and watery essence. It’s powerful nostalgia too. I’ve just returned from another happy day in Bath. This time, instead of packing sausages, I took a map of the city that was completed in 1830, when Bath’s magnificent Georgian buildings were already in place. I was curious to see if a street plan drawn almost 200 years ago could still lead me unerringly through the city. The answer was ‘yes’ – a fact that’s increasingly rare in our remodelled, rebuilt urban landscapes. What follows is a little bit of audience participation: I’d like you to imagine yourself standing exactly where I began my walk, and to follow my footsteps. Picture first a handsome circle of houses called The Circus, built in the 1750s

ALL PHOTOS BY: RICH STAPLETON

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by architect John Wood the Elder, and based on the Colosseum in Rome. Position yourself at about 6 o’clock on an imaginary dial, and walk clockwise around its impressive curve. Admire the soaring, flat fronted houses in their myriad shades of damp British seaside sand, and look approvingly on the beautiful filigree Juliet balconies adorning their first floor windows. When you arrive back where you started, walk away from The Circus down Gay Street which slopes impressively towards Queen Square. Here, notice that the buildings are more solidly handsome than their cousins up at The Circus, but still resplendent in the soothing shades of yellow ochre so beloved of those of us who’ve spent happy hours making sandcastles on rainy days at the beach. Walk along the first side of Queen Square and then turn 90 º to your right to complete the second side of the square. Swivel 90 º to your right again for the third side, and then 90 º once more to arrive back where you began. The entire walk takes around nine minutes to complete, and do you see what we’ve done? If you’re struggling to work it out, mark your steps on a map and you’ll see what I mean. We’ve traced the shape of a perfect, old fashioned key. Many have speculated that John Wood the Elder buried this secret key inside the city’s architecture as a clandestine symbol of the Masonic Order, of which he was a member. While that may well be true, I prefer to think of the hidden key as a metaphor for the playful yet elegant spirit of Bath, where crescents, terraces, squares, and circles intersect and overlap, but which only truly reveal themselves to the pedestrian rather than the driver.

'The peace I have dreamed about is here a real thing: thick as a stone and feel-able and something for your hands'

Walk the streets of Bath and you’ll find both the key to its charm and marvel at its power to transform. Just as Charles Dickens made London a character in his novels, so did Jane Austen with Bath, in her final and most political novel, Persuasion. Her heroine, the passed over, put upon Anne Elliot, finally escapes the confining, stifling atmosphere of the aristocratic drawing room. As she walks purposefully towards a life of freedom, adventure, and happiness with Captain Wentworth, she is seen strolling up the broad, liberating slope of Bath’s Union Street. Bath has become not just noun, verb, essence, and nostalgia, but metaphor too. Although thousands of buildings in Bath were damaged in WWII bombing raids, and the town planners of the 1960s and 1970s did their best to slice away some of the city’s most historic features, the city has largely survived

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these assaults on its architectural majesty. It’s the only entire city in Britain to have been granted World Heritage Site status by UNESCO. Much of the architecture put in place in the 18th and 19th centuries is still intact today. In 1962, then Poet Laureate of the United Kingdom, Sir John Betjeman provided the voiceover for a wittily acerbic film warning of the damage that unsympathetic town planners could do to Bath if they were allowed to. In a masterful piece of character acting, he played out the dialogue between himself and a nasal voiced property developer who saw beauty only in concrete stairwells and billboards advertising tobacco. As the camera lingers over the startling contours of a new municipal building in Bath with striking similarities to a huge squatting backside, Betjeman’s imaginary property developer looks on approvingly and declares with adenoidal pleasure, “Building must express itself honestly and sincerely, as for instance in this feature which might be termed the vital buttocks of the construction.” Like Fleur Delacour in Harry Potter and the Deathly Hallows, whose beauty at her wedding enhanced the looks of those around her, Bath’s stone and architecture lift and burnish the most prosaic of shops. Walk up Union Street today, as Anne Elliott did, and you’ll see the same dull, predictable chain stores that can be found the world over. In Bath, however, they take on a more handsome guise, clad as they are in Bath’s yellow stone and housed within its harmonious classical buildings. It was Betjeman once more who captured the city’s alchemical properties perfectly in his poem In a Bath Teashop: Let us not speak, for the love we bear one another – Let us hold hands and look. She such a very ordinary little woman; He such a thumping crook; But both, for a moment, little lower than the angels In the teashop’s ingle-nook. Bath is not just noun, verb, essence, nostalgia, and metaphor. According to Betjeman at least, it’s angel maker too. The town of Bruton is settled very comfortably, almost secretly, within a steep rural valley in the heart of the West Country. Its grey medieval buildings fold into the shape of the fields, and only its spires are visible above the high hedgerows that line the approaching lanes. The same sight would have greeted the American author John Steinbeck as he made his way down these winding roads in the late 1950s. Lured by the ancient history of the area, the inspiration for myths and rumours of magic,

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and the stage for the legends of King Arthur and his Knights, he came to Somerset to make contact ‘with the very old, the older than knowledge, and that this may be a springboard into the newer than knowledge’. Steinbeck was in pursuit of Avalon, King Arthur’s last resting place and the site of the Holy Grail. He may not have found that, but, during months spent in cottage near to the town, he found a respite from a bout of writer’s block and developed a lifelong fondness for the area. ‘Time loses all its meaning’, he wrote one spring. ‘The peace I have dreamed about is here, a real thing: thick as a stone and feel-able and something for your hands’. Peace still emanates from Bruton’s narrow streets, but today there are new temptations to draw visitors. At the centre of the High Street is At The Chapel, bought in 2000 by Catherine Butler and her partner Ahmed Sidki, a furniture designer. They opened it as a restaurant eight years later, and since then it has developed a bakery, a wine shop, and even rooms to stay in. Heavy oak doors and dark wooden floorboards lead into a large, high-ceilinged central room, flooded with light. Long wooden tables and benches run down the centre towards the bar and pale green armchairs, tucked into solid round tables, sitting at its foot. They are made by Sidki, as is the spiral staircase in the corner, which curls up to a balcony. Modern art looks at home on the very white walls: bright abstract paintings, an elegant chandelier of glass baubles hangs from the ceiling, and a white figure – like a contemporary crucifixion – hangs between the tall, narrow symmetrical windows that would have flanked the alter.

'Let us not speak for the love we bear one another Let us hold hands and look'

The calibre of the art hints at the creative life of the area – local novelists, fashion designers and artists are among At The Chapel’s frequent visitors – and to the global gallery Hauser & Wirth, which opened its latest outpost up the road at Dursdale Farm last summer. Their restaurant, the Roth Bar and Grill, is also run by Butler. But in spite of its new-found fashionable status (Vogue gave Bruton seven pages when Hauser & Wirth opened), At The Chapel reflects the town’s older heritage. Food is predominantly sourced locally. They take good advantage of Westcombe Diary, Somerset Cider Brandy, the proximity to the Dorset coast for crab, Lyme Bay for mackerel, and the quality of the meat nearby

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n o d e v A d Richar

t s i t r A n a f o A Portrait

Fahey Klein p resents a majo r retrospective of the photog raphers work.

By Kelly Smith hat do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs. Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings

a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans. Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon died on October 1st, 2004.

“All photographs are accurate. None of them is the truth.”  –Richard Avedon

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cnidaria

he Phylum Cnidaria includes such diverse forms as jellyfish, hydra, sea anemones, and corals. Cnidarians are radially or biradially symmetric, a general type of symmetry believed primitive for eumetazoans. They have achieved the tissue level of organization, in which some similar cells are associated into groups or aggregations called tissues, but true organs do not occur. Cnidarian bodies have two or sometimes three layers. A gastrovascular cavity (coelenteron) has a single exterior opening that serves as both mouth and anus. Often tentacles surround the opening. Some cells are organized into two simple nerve nets, one epidermal and the other gastrodermal, that help coordinate muscular and sensory functions. Cnidarians have two basic body forms, medusa and polyp. Medusae, such as adult jellyfish, are free-swimming or floating. They usually have umbrellashaped bodies and tetramerous (four-part) symmetry. The mouth is usually on the concave side, and the tentacles originate on the rim of the umbrella. Polyps, in contrast, are usually sessile. They have tubular bodies; one end is attached to the substrate, and a mouth (usually surrounded by tentacles) is found at the other end. Polyps may occur alone or in groups of individuals; in the latter case, different individuals sometimes specialize for different functions, such as reproduction, feeding or defense. Reproduction in polyps is by asexual budding (polyps) or sexual formation of gametes (medusae, some polyps). Cnidarian individuals may be monoecious or dioecious. The result of sexual reproduction is a planula larva, which is ciliated and free-swimming. If collar cells and spicules are defining characteristics of the Phylum Porifera, then nematocysts define cnidarians. These tiny organelles, likened by Hickman to cocked guns, are both highly efficient devices for capturing prey and extremely effective deterrents to predators. Each contains a coiled, tubular thread, which may bear barbs and which is often poisoned. A nematocyst discharges when a prey species or predator comes into contact with it, driving its threads with barb and poison into the flesh of the victim by means of a rapid increase in hydrostatic pressure. Hundreds or thousands of nematocysts may line the tentacles or surface of the cnidarian. They are capable even of penetrating human skin, sometimes producing a painful wound or in extreme cases, death. There are four major groups of cnidarians: Anthozoa, which includes true corals, anemones, and sea pens; Cubozoa, the amazing box jellies with complex eyes and potent toxins; Hydrozoa, the most diverse group with siphonophores, hydroids, fire corals, and many medusae; and Scyphozoa, the true jellyfish.

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anemone

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Anthozoa Anthozoans are probably the most famous cnidarians: they include the corals that build reefs in tropical waters, as well as sea anemones, sea fans, and sea pens. They also have a long and diverse fossil record, extending back at least 550 million years. The oldest anthozoans are probably some of the polyp-like and sea pen-like fossils from the Vendian (late Precambrian). A few tens of millions of years later, in the Cambrian period, the first mineralized coral-like organisms appeared. True corals of the kind living today did not appear until the middle Triassic, at about the same time that the first dinosaurs were evolving.

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soft coral

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Pillar Coral

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Lace Coral and fan coral

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cubozoa Cubozoans are marvelous animals. They look like your basic jellyfish, but they can swim pretty fast, maneuver around things, and see fairly well despite not having a brain. Believe it or not. In general, box jellies are similar in form to the “true” jellyfish, known as scyphozoans. However, it is relatively easy to tell the two groups apart. Cubozoans have a square shape when viewed from above. (Gee, maybe that’s how they got their name.) They also have four evenly spaced out tentacles or bunches of tentacles and well-developed eyes. Not surprisingly, given their squishy nature, there are not many fossil cubozoans known. Today, there are about 20 known species found in tropical and semitropical waters. The Australian stinger Chironex fleckeri is among the deadliest creatures in the world, having caused human fatalities.

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Box Jellyfish

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Box Jellyfish

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hydrozoa Perhaps the best-known hydrozoan, familiar to most students of introductory biology, is Hydra, pictured at left. Hydra never goes through a medusoid stage and spends its entire life as a polyp. However, Hydra is not typical of the Hydrozoa as a whole. Most hydrozoans alternate between a polyp and a medusa stage — they spend part of their lives as “jellyfish” which are hard to distinguish from scyphozoan jellyfish. A great many hydrozoans are also colonial. Some form delicate branched colonies, while others, known as “fire corals,” form massive colonies that resemble true corals. Other hydrozoans have developed pelagic (floating) colonies that are often confused with jellyfish, but unlike jellyfish they are composed of many individuals, all specialized for various functions. The “Portuguese man-o’war” and “by-the-wind-sailors” that often wash up on beaches are examples of these unusual colonial hydrozoans.

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Portuguese man o war

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Flower Hat Jelly

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scyphozoa

Scyphozoans include most of the jellyfish familiar to beach-goers; other similar organisms are classified in the Hydrozoa and Cubozoa, two other groups of cnidarians. True jellyfish are graceful, and sometimes deadly creatures. Their stings may cause skin rashes, muscle cramps, or even death. Jellyfish range in size from a mere twelve millimeters to more than two meters across. The largest is Cyanea arctica, which may have tentacles over 40 meters long! Despite their often enormous size, jellyfish have no head, no skeleton, and no special organs for respiration or excretion. Their life cycle involves an alternation between sesslie polyp phase and a free-swimming medusa stage, though the medusa stage, shown in the picture above, usually predominates. Jellyfish are not terribly important as a food source, though they are eaten in some countries. In northern waters, large shoals several kilometers long sometimes hamper fishing by clogging nets.

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White Spotted Jellyfish

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Atlantic Sea Nettle

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black sea nettle

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golden Jellyfish in jellyfish lake

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moon jellyfish

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golden jellyfish

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LAST The friendly bear from deepest, darkest Peru—with his old hat, battered suitcase (complete with a secret compartment, enabling it to hold more items than it would at first appear), duffle coat and love of marmalade— has become a classic character from English children’s literature.

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