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BEST IN THE WEST (PG. 7)

WINDOWS INTO THE SURREAL (pg.9)

TOP SURF SPOTS in U.S (pg. 9-10)

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Montgomery Kaluhiokalani (pg. 14-21)

a sence of space (pg 24)

sharksband (pg.32)

MASTHEAD

SALTY STEEZE Salty Steeze staff is the youngest in all of surf media and its energy is reflected in every image, word and edit. We live the life we celebrate and practice what we preach. Our passports are full. Our stories are rich. We’re dripping wet from the last session and our phones are buzzing with evening plans.

Combine that joie de vivre with our unparalleled access to surfing’s superstars and it’s easy to see why we tell the stories you want to hear. Maybe they come from a trip to uncharted waves, the latest WCT event or in a profile of surfing’s next superstar. Maybe they’re conveyed in a magazine article, an online flipbook or a full-length movie. It doesn’t matter.

The voice, the message and the fun remain the same.

Salty Steeze Magazine — forever young.

Editor:Ben Weiland Art Director: Grant Elllis Photo Asssistant:Sage Burgess Managing Editor:Ashton G. Senior Editor Sean Dohertty William Finnegan Matt George Surfer Photagraphers Chris Burkard Tom Carey Jason childs Shea Lopez Mathew Shaw Manufacturing Operations VP: Greg Parnell Archivist: Thomas Ringer Founder Fabio Gomez Digital @saltysteeze_Mag Facebook/ SaltySteeze Instagram:@SaltySteeze

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LETTER FROM EDiTOR Thankyou for choosing this months issue of Salty Steez.

This month issue is dedicated in memory of "BUTTONS" one of the greatets in the surfing culture.

Thankyou for choosing Salty Steeze.

-F. Gomez

SALTY STEEZE Connection between the surfing lifestyle and the easy lifestyle,while looking good doing it.

AMPD Food-5th Floor-Travel

Food-5th Floor-Travel

BEST IN THE WEST

The closest thing to standing on a beach in Baja, munching on mariscos with sand between your toes is biting into a Best Fish Taco in Ensenada. Only you don’t have to drive to Mexico for this taco – just the heart of Los Feliz. What you put in your belly is made right before your eyes. Soft, crispy crust surrounds tender morsels of fish and shrimp. Sessy lovingly handcrafts each salsa with the specific intention of complimenting the taste of our tacos. Topping it off with the magic cream is a must. What’s in it? Trade secret, but use your imagination. It’s not just about the food when you come to our place. From the moment you walk through our door, your senses are stimulated and your mind is at ease. After a warm “How the hell are you?” from Joseph, you can expect a lively chat.

Even some good-natured ribbing while we cook your tacos. Let the magic of our tacos overwhelm your senses and engulf your better judgement in the sweet, sweet bliss of Baja.

Your guide to the best fish tacos in Baja

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AMPD

Food-5th Floor-Travel

WINDOWS INTO THE SURREAL "life behind the glass"

“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. Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schi

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. with padlocks. Monkey fur and zippers (newfangled in the thirties) were everywhere.

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AMPD

Food-5th Floor-Travel

SANTA CRUZ, CALiFORNiA Lovingly referred to as “Surf City,” Santa Cruz is a surfing mecca that’s perfect for surfers of all levels. Beginners flock to Pleasure Point, while the intermediate set hits Cowell’s Beach to master the art of wave catching. Perhaps the most famous, Steamer Lane, offers world-class waves to the experienced set, while the more relaxed Capitola Beach is a good spot for beginners. No matter your skill level, the popular Crow’s Nest is perfect for seafood lovers. The charming, renovated 10 rooms of the West Cliff Inn provide a comfortable place to lay your head.

HALEiWA, HAWAii Only an hour’s drive from Waikiki, Haleiwa (pronounced hahley-EE-wah) sits on the North Shore of Oahu. The legendary Eddie Aikua got his first taste of waves here and the surf haven of Ali’i Beach Park is the first of many breaks. The Seven-Mile Miracle provides the backdrop for world-class surfing and isn’t for the faint of heart.

The area stretching from Haleiwa to Turtle Bay is a surfer’s dream, especially when colder months usher in 50-foooters and create ideal conditions for the advanced surfer. Grab a Hawaiian style Hula Dog (66-236 Kamehameha Hwy) and watch the action unfold. In town, expect quiet nightlife and rustic, surf-shack accommodations.

ENCiNiTAS, CALiFORNiA A quick 30-minute drive from San Diego, the energetic coastal town of Encinitas is always open for business. Expect thick summer crowds and a glorious combination of wind and waves. There are various staple surf stops from Cardiff-by-the-Sea to the famous Swamis, a stunning reef (now a protected marine area) where high-performance surfers skim the waters. Raul’s Shack (490 S Coast Hwy 101) dishes out endless carne asado tacos and margaritas. The 45-acre sanctuary of Rancho Valencia is an upscale, five-star spot with a full-service spa to massage your sore muscles.

COCOA BEACH, FLORiDA Cocoa Beach is the home of world champion surfer Kelly Slater and the famous surf shop, Ron Jon. The town is also where I Dream of Jeannie premiered. Beginners and longboarders appreciate the smaller, rideable waves at “The Streets,” while Cocoa Beach Pier picks up winds from the west. The Sebastian Inlet is often crowded, but features near-perfect waves. After hitting the waves, try Fat Kahuna’s Grill & Bar (8 Minuteman Causeway). For romantic, oceanfront views, head over to the Inn at Cocoa Beach.

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TOP SURF SPOTS in U.S

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SURFiNG ESSENTiALS 7

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1. Go Pro Camera- You never wanna miss a gnarly shot, always need a go pro to show the crew what massive tide you caught.

2. Cold Weather Gear- Being out in the ocean can get rough, on a gloomy day or when the sun sets.

Cold weather gear is deffinetly a must.

3. Surfing Trunks- Unless you trying ride a wave naked, not needed.

4. Sandals- The hell with getting sand in your shoes and socks, get yourself a pair of sandals.

5. Gerber!- The greatest tool for any ocassion, this tool will save you in many ways.

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6. Sunglasses/Sunblock : Nobody likes a tomato looking guy, pack your sunblock.

7.Extra Pair of ClothingShirt,pans,socks,hat,shirt, etc..

8.Tide Info- Be sure to always check how the tides are going to be way before you head out.

9.Surfboard- How you expect to ride without your board 10. Wetsuit- This is optional depending on your desire you can bring a wetsuit or not.

SALTY STEEZE fall 2016

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oose, jiving regularfoot surfer from Waikiki, Hawaii; winner of the 1979 Sunkist Pro at Malibu, and one of the sport's most naturally gifted riders. He was born Montgomery Ernest Thomas Kaluhiokalani (1958) in Honolulu, the son of an army serviceman, and raised on Oahu's North Shore. At age five he moved with his two brothers and bartender mother to Waikiki; his grandmother said his black curly hair looked like buttons sewn to his head, and gave Montgomery his nickname.

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aluhiokalani began surfing at age nine; at 15 he placed second to future world tour powerhouse Dane Kealoha in the boys' division of the state titles, and also finished second in the United States Surfing Championships.

He shot to prominence in 1975, when he and surfing partner Mark Liddell, riding their new split-rail Ben Aipa-shaped sting boards, set a new high-performance standard in small waves. Like Larry Bertlemann before him, Kaluhiokalani had spring-loaded legs and a riding style that was at once flamboyant and smooth. More so than Bertlemann—or virtually any surfer aside from eleven-time world champion Kelly Slater—Kaluhiokalani was spontaneous and innovative, stringing together turns, cutbacks, tuberides, tailslides,

and 360s with offhanded genius.

Apart from his surfing, Kaluhiokalani was known for his sun-tinged afro (he once described himself as "half-Hawaiian, half black, a little bit Chinese"), and his chattering, laughing, often manic personality.

He wore a curly blond wig for a surf magazine portrait shot, and ate sand in a brief but memorable surf movie

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Along with his win in the 1979 Sunkist, Kaluhiokalani placed third in the 1975 Pro Class Trials, third in the 1981 Pro Class Trials, third in the 1981 Pipeline Masters, and first in the 1981 Peru International. For the most part, though, he was unable to focus on competition or any other facet of professional surfing. "He approached his career," surf journalist Phil Jarratt wrote, "with all the steadiness and timing of a chicken with its head cut off."

Kaluhiokalani was featured on NBC's Real People in 1983, and the following year he appeared on the cover of Surfing magazine's "20 Who Rip" issue. Starting in 1985, however, heavy cocaine use all but

removed Kaluhiokalani from the surf scene. He reappeared suddenly in 1996, surfing better than ever, announcing that "drugs are not where it's at."

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" Out Of Water,I Am Nothing."�

Later that same year, Kaluhiokalani was featured, somewhat incongruously, as a surfer-model in the J. Crew summer catalog. Nevertheless, he was ar-

rested in early 1998 when Oahu police raided a North Shore crystal methamphetamine drug lab; charges were later dropped.

In 2007 he again reentered the public's consciousness as the bail-skipping target of a Dog the Bounty Hunter episode. Having his demons exposed to a national audience deeply affected the Hawaiian legend, and he seemed to finally pull himself free of his drug addictions. A 2012 Surfer profile detailed Kaluhiokalani's struggles, and ran a double-page spread of an extremely fit Buttons, now in his 50s, midway through a flawless carving 360. He was running the Buttons Surf School on Oahu. The 54-year-old had eight children and eight grandchildren.

BUTTONS SURF & SUP SCHOOL

Buttons Surf & SUP School was established by Legendary Hawaiian Pro Surfer Buttons Kaluhiokalani. With a vision to spread Aloha by sharing his love of surfing through teaching others, it is the mission of Buttons Surf & SUP School to carry on this tradition in his memory. We provide quality instruction with a focus on safety, fun, and embracing the Aloha Spirit, just like Buttons.

Let's Go Surfing! In Loving Memory of Buttons Kaluhiokalani

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Buttons Kaluhiokalani was born March 30th, 1958, to a military father and a Hawaiian mother. He was raised on the North Shore until age 5, when jobs in the country became scarce and his mother moved him and his brother to town. At age 7, Buttons learned to surf in Waikiki following the lead of his Uncle Buddy, a Vietnam Vet who rode a 10' log at "Ins and Outs." By age 9, Buttons and his brother were each carrying one end of the 10' board, hoisting it over their heads as they made their way to the beach. This, along with a round nose single fin wooden Piper board, were the boards Buttons was riding as he developed his style as a young surfer in Waikiki.

Buttons came of age during a very exciting time in surf history, when everything was new and surfers were pushing the limits of waveriding and surfboard design. During this time, Buttons' best friend was Mark Liddell. A local Beach Boy, Zoobadee Lau, would take him and his friends to contests around the Island. Buttons' major influences were Larry Bertelmann and Ben Aipa. Soon, Buttons found himself in the company of the influential people who helped shape modern surfing, and he surfed with them every day. Buttons considers himself lucky to have surfed alongside fellow legends Reno Abellira, Rory Russell, Jock Sutherland, Jeff Hackman, Eddie Aikau and Larry Bertlemann, among others.

In 1973, at the age of 13, Buttons traveled to the US Championships in Malibu, California, as an amateur, where he placed second. Seven years later, Buttons won the Sunkist Open at Malibu.

A Sense of Space

By Peter Gossell Photographs by Julius Schulman

Photographer Julius Schulman’s photography spread California Mid-century modern around the world.Carefully composed and artfully lighted, his images promoted not only new approaches to home design but also the ideal of idyllic California living — a sunny, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.

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E

ven if you’re confused by the fork in the driveway, which slopes up to the Edenic apex of Laurel Canyon, or don’t recognize architect Raphael Soriano’s mid-century design landmark, you can’t miss Julius Shulman’s place. It’s the one with the eight-foot-high banner bearing his name—an advertisement for his 2005 Getty Museum exhibition “Modernity and the Metropolis”—hanging before the door to the studio adjoining the house. As displays of ego go, it’s hard to beat. Yet the voice calling out from behind it is friendly, even eager—“Come on in!”

And drawing back the banner, one finds, not a monument, but a man: behind an appealingly messy desk, wearing blue suspenders and specs with lenses as big as Ring Dings, and offering a smile of roguish beatitude.

You’d smile, too. At 96, Shulman is the best known architectural photographer in the world, and one of the genre’s most influential figures.

Between 1936, when a fateful meeting with architect Richard Neutra began his career, and his semi-retirement half a century later, he used his instinctive compositional elegance and hair-trigger command of light to document more than 6,500 projects, creating images that defined many of the masterworks of 20th-century architecture.

Most notably, Shulman’s focus on the residential modernism of Los Angeles, which included photographing 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine between 1945 and 1967, resulted in a series of lyrical tableaux that invested the high-water moment of postwar American optimism with an arresting, oddly innocent glamour. Add to this the uncountable volumes and journals featuring his pictures, and unending requests for reprints, and you have an artist whose talent, timing, ubiquity, and sheer staying power have buried the competition—in some cases, literally.

Shulman’s decision to call it quits in 1986 was motivated less by age than a distaste for postmodern architecture. But, he insists, “it wasn’t quite retiring,” citing the ensuing decade and a half of lectures, occasional assignments, and work on books. Then, in 2000, Shulman was introduced to a German photographer named Juergen Nogai, who was in L.A. from Bremen on assignment. The men hit it off immediately, and began partnering on work motivated by the maestro’s brand-name status. “A lot of people, they think, It’d be great to have our house photographed by Julius Shulman,” says Nogai.

“We did a lot of jobs like that at first. Then, suddenly, people figured out, Julius is working again.”

It all adds up to a very full schedule, which Shulman handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”—and with remarkable ease for a near-centenarian. Picking up the over-

sized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom Mayne—we had lunch with him. Long Beach, AIA meeting. People were here for a meeting about my photography at the Getty [which houses his archive].

High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture.

Then an assignment, the Griffith Observatory—we’ve already started that one.”

Yet rather than seeming overtaxed, Shulman fairly exudes well-being. Like many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of veneration (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the resulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude. As the man himself puts it, “The world’s my onion.”

Given the fun Shulman’s having being Shulman, one might expect the work to suffer. But his passion for picture-making remains undiminished. “I was surprised at how engaged Julius was,” admits the Chicago auction-house mogul Richard Wright, who hired Shulman to photograph Pierre Koenig’s Case Study House #21 prior to selling it last year. “He did 12 shots in two days, which is a lot. And he really nailed them.” Of this famous precision, says the writer Howard Rodman, whose John Lautner–designed home Shulman photographed in 2002: “There’s a story about Steve McQueen, where a producer was trying to get him to sign on to a movie. The producer said, ‘Look how much you change from the beginning to the end.’ And McQueen said, ‘I don’t want to be the guy who learns. I want to be the guy who knows.’ And Shulman struck me as the guy who knows.”

This becomes evident as, picking up the transparencies from his two most recent assignments, he delivers an impromptu master class. “We relate to the position of the sun every minute of the day,” Shulman begins, holding an exterior of a 1910 Craftsman-style house in Oakland, by Bernard Maybeck, to the lamp atop his desk. “So when the sun moves around, we’re ready for our picture. I have to be as specific as a sports photographer—even a little faster,” he says, nodding at the image, in which light spills through a latticework overhang and patterns a façade. “This is early afternoon, when the sun is just hitting the west side of the building. If I’m not ready for that moment, I lose the day.” He does not, however, need to observe the light prior to photographing: “I was a Boy Scout—I know where the sun is every month of the year. And I never use a meter.”

Shulman is equally proud of his own lighting abilities. “I’ll show you something fascinat28

ing,” he says, holding up two exteriors of a new modernist home, designed for a family named Abidi, by architect James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of indoor and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency.

“The house is transfigured,” Shulman explains.

To illustrate the latter, Shulman shows me an interior of the Abidi house that looks out from the living room, through a long glass wall, to the grounds. “Almost every one of my photographs has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the upper right, then a second perpendicular line from the lower right corner to the first line. Circling the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line formed by the bottom of the glass wall—dividing inside from outside—roughly mirrors the diagonal he’s drawn. Shulman then indicates the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the owner saw the Polaroid, she said to her husband, ‘Why don’t we do that all the time?’”

ner. Then there are times I’ll select two or three people—the owner of a house, or the children—and put them to work. Sometimes it’s called for.”

Surprisingly, Shulman underplays this aspect of his oeuvre. The idea, he explains, is simply to “induce a feeling of occupancy. For example, in the Abidi house, I put some wineglasses and bottles on the counter, which would indicate that people are coming for din-

So I told Soriano I wanted a transition—a screenedin enclosure in front of the living room, kitchen, and bedroom to make an indoor/outdoor room.” Shulman opens the door leading to an exterior dining area. A bird trills loudly. recalls. “Beautiful.”

“I tell people in my lectures, ‘If I were modest, I wouldn’t talk about how great I am.’” Yet when I ask how he developed his eye, Shulman’s expression turns philosophical. “Sometimes Juergen walks ahead of me, and he’ll look for a composition. And invariably, he doesn’t see what I see. Architects don’t see what I see.

It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.”

I suggest a tour of the house, and Shulman moves carefully to a rolling walker he calls “the Mercedes” and heads out of the studio and up the front steps. As a plaque beside the entrance indicates, the 3,000-squarefoot, three-bedroom structure, which Shulman commissioned in 1948 and moved into two years later, was landmarked by L.A.’s Cultural Heritage Commission Shulman’s remark references one of his signature as the only steel-frame Soriano house that remains gambits: what he calls “dressing the set,” not only by as built. Today, such Case Study–era residences are moving furniture but by adding everyday objects as fetishized (and expensive) as Fabergé eggs. But and accessories. “I think he was trying to portray the when Shulman opens the door onto a wide, corklifestyle people might have had if they’d lived in those lined hallway leading to rooms that, after six decades, houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter. “He was doing—with remain refreshing in their clarity of function and a totally positive use of the words—advertising or pro- communication, use of simple, natural materials, and pagandist photographs for the cause.” This impulse cul- openness to the out-of-doors, I’m reminded that the movement’s motivation was egalitarian, not elitist: to minated in Shulman’s introduction of people into his pictures—commonplace today, but virtually unique 50 produce well-designed, affordable homes for young, years ago. “Those photographs—with young, attractive middle-class families. people having breakfast in glass rooms beside carports “Most people whose houses I photographed didn’t with two-tone cars—were remarkable in the history use their sliding doors,” Shulman says, crossing the of architectural photography,” Street-Porter says. “He living room toward his own glass sliders. “Because flies took that to a wonderfully high level.” and lizards would come in; there were strong winds.

“I realized that I was embarking on another chapter of my life,” Shulman

says, the pleasure evident in his time-softened voice. “We’ve done many assignments”—Nogai puts the number at around 70—“and they all came out beautifully. People are always very cooperative,” he adds. “They spend days knowing I’m coming. Everything is clean and fresh. I don’t have to raise a finger.” As regards the division of labor, the 54-year-old Nogai says tactfully, “The more active is me because of the age. Julius is finding the perspectives, and I’m setting up the lights, and fine-tuning the image in the camera.” While Shulman acknowledges their equal partnership, and declares Nogai’s lighting abilities to be unequaled, his assessment is more succinct: “I make the compositions. There’s only one Shulman.”

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BiTiNG BACK

We intend to do more than just protect people with our Banz.

Our company pledges to donate 3% of profits to ocean conservation groups with targeted efforts to pass legislation and affect measurable, positive change on our worlds oceans. You can rest assured that with every Sharkbanz purchase, another sea turtle, dolphin, or shark will be safe from harm. We like our toothy aquatic neighbors, but just prefer they keep their distance.

OUR STORY For years, we sat on our surfboards in murky water, wondering what lurked below. We dove reefs and swam helplessly next to 10 foot sand tiger sharks, hoping for the best. The ocean remains the last frontier on our planet, but we couldn’t believe that in the 21st century, no user-friendly solution existed to help ease our mind. After a particularly spooky day of nervous laughter and conversations about the weather to avoid the pointy subject, we decided to do something about it.

After three years of testing, design, development, head scratching, wiping the slate clean, more testing, and close encounters with our toothy amigos, we’re proud to present the first version of Sharkbanz. Throughout the whole process, we were committed to three principles that make this product right for just about anyone: simplicity, style, and affordability.

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Whether you live by the ocean or only visit a few times a year, this is the solution for peace of mind in the seven seas.

Our company intends to do more than just protect people with these Banz. We feel a deep responsibility to preserve and restore the world’s oceans that have done so much for humanity. We also realize that we can’t do it ourselves. So, we’ve enlisted the help of ocean conservation groups by donating 3% of our profits to support their efforts to eradicate shark finning, prevent new offshore drilling, and aid in the restoration and protection of marine ecosystems. To learn more about our efforts, and how you can help

PROTECT YOURSELF, PROTECT SHARKS

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