Nickroshardtpubdes2016sp

Eddie Went: 31st Annual Quiksilver in Memory of Eddie Aikau

S U R F I N G M AG A Z I N E Eddie Aikau 1946-1978

The Ed dEighti e Twenty Surfers A i k a u Waimea Bay

One Winner: John John Florence In Memory of a Legend

$7.50

The surf event of the year won by local boy John John Florence

Table of Contents Product Pages: All the best gear.

A Sense of Space: The story behind the Julius Schulman and his photography.

The Hurley Pro at Lower Trestles, in San Clemente

The Eddie: A memorial surf event for legend Eddie Aikau.

SWELL Surf Magazine Creator, Founder, CEO Nickolas Roshardt

SWELL

Looking for a magazine with all your surfing needs? Swell Magazine is a monthly distributed magazine with all the latest news, surf stories, and WSL event recaps. Every Issue will take you on a journey across the world, showing you surf spots, local spots, and the best places to be in that town.

Hope you’re ready, because this Swell doesn’t leave.

Editorial Director Nickolas Roshardt Art Director Nickolas Roshardt Managing Editor Nickolas Roshardt Photographers Zak Noyle Corey Wilson Robbie Crawford Ryan Miller

This Swell won’t leave.

www.swellsurfmagazine.com

What’s Up Readers?

This Issue of Swell, I wanted to kick it Old School and show you guys what the classics are about.

We all need to be reminded of how things were back in the day, the simple days. Isn’t that why we surf, to take us away from our busy lives. This issue will take you back to those simple days and relive your mind once again. Enjoy a story about the hawaiian Legend Eddie Aikau and some amazing photography by Julius Schulman. Live The Search!

Nick Roshardt

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Surfer’s Guide

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Food-Travel-5th Floor

Costa Rica

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Beaches of Costa Rica: TamarindoBeaches, Surfing, Estuaries, Turtles, Fishing Playa GrandeSurfing, Turtles, Beaches, Estuaries NosaraSurfing, Beaches, Yoga, Zip-lining, Turtles UvitaBeaches, Whales, Surfing, Dolphins, Snorkeling

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Chemistry Surfboard: $550.00

Tunnel Vision Surfboard: $ 650.00

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Rip Curl Wetsuit: $ 159.95 Quiksilver Wetsuit: $ 184.95

Chemistry Surfboard: $ 650.00

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The SWELL

issue2016

Feature

the eddie

A Contest in memory of Legend Eddie Aikau, where the twenty eight best surfers take on a prodigous Waimea Bay. b y

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N i c k

R o s h a rd t

Feature

Iconic big-wave rider from Honolulu, Hawaii; winner of the 1977 Duke Kahanamoku Classic surf contest, just three months before dying in a boating accident; regarded as the greatest Waimea surfer of his time, and namesake to the Quiksilver in Memory of Eddie Aikau big-wave surf contest.

“He had the ultimate Hawaiian style,” next-generation big-wave charger Darrick Doerner said in 1990. “Take off and drop in, big bottom turn, disappear into a mountain of whitewater, pop out, throw his hair back; that was Eddie. Bully style.”

Aikau was born (1946) and raised in Kahului, Maui, the son of a truck driver, began surfing at age 11, and moved

with his family to Honolulu in 1959. At 16, Aikau dropped out of high school to work full-time at a Dole Pineapple cannery.

Six years years later he began working as a North Shore lifeguard, and in 1971 he was stationed at Waimea Bay, a bigwave break he’d been surfing for years. His debut at Waimea in late 1966 was astounding: “he rode giant waves for over six hours without a break,” Surfing magazine reported, “and when he finally left the water, he was judged by most to have been one of the finest riders of the day.” Ten months later, on the biggest ridable day of the decade, Aikau simply broke away from the pack and was untouchable. The impression

he left was strengthened by his dark and rugged good looks, his fire-engine red board, and his white surf trunks accented with a single red horizontal stripe.

Aikau was a steady performer during the early years of professional surfing in Hawaii.

He was a six-time finalist in the Duke contest between 1966 and 1974; in the Smirnoff he placed fifth in 1971, fourth in 1972, and third in 1976; he also finished third in the 1976 Lancers World Cup, and was invited to the 1971 and 1973 Expression Sessions. When Aikau won the 1977 Duke, he beat future world champions Mark Richards and Wayne Bartholomew, as well as world tour standouts Dane Kealoha, Bobby Owens,

“EDDIE AIKAU, no greater love has a man than this, that he lay down his life

and Rory Russell. He finished the season world-rated #12.

Younger brother Clyde Aikau also made a name for himself in the big Hawaiian surf.

Aikau’s distinctive bowlegged stance was widely imitated in the late ‘60s and early ‘70s, and photos of him at Waimea were published in Life magazine in 1966, three years before Bank of America used an Aikau shot in a nationwide billboard ad campaign. A career low point came in 1972, when he visited Durban, South Africa, for a pro contest, and was turned away from his hotel for being dark-skinned. It was further required that he get a special permit to surf Durban’s whitesonly beaches.

In 1978, Aikau gained a berth on the Hokule’a, a replica of the double-hulled canoe used by ancient Polynesians to sail between Hawaii and Tahiti. On March 16, Aikau and 15 other Hokule’a crew members left Honolulu for a 2,400-mile voyage that would reenact the midocean crossing; five hours into the trip, the starboard hull sprung a leak and the boat capsized, leaving the crew hanging on to the port hull. At 10:30 the following morning, Aikau took a life vest, rain slicker, knife, and strobe light, and set out on a 10-foot surfboard for the island of Lanai, 12 miles to the east. Later that day the Hokule’a crew was picked up by a rescue team.

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for his friends.

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Coast Guard rescuers searched for a week, but Aikau’s body wasn’t found.

The governor of Hawaii declared April 1 to be Eddie Aikau Day (the date was later changed to March 17), and in 1980 a commemorative plaque was installed in Aikau’s honor at Waimea, not far from the lifeguard tower where he worked. A contest in Aikau’s name was held at Sunset Beach in 1984; it later evolved into the Quiksilver in Memory of Eddie Aikau big-wave contest, held at Waimea. The 1986 edition of the contest was won by Clyde Aikau, who used a 10-year-old board that had belonged to his brother.

Aikau appeared in a handful

Feature

“I t ' s

a huge h o n or ju st to b e i n i v i te d to this event, but to a c tu a l l y s u r f in it is a whole d i f feren t t h i n g .

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of surf movies, including Golden Breed (1968), Waves of Change (1970), and Fluid Drive (1974).

In 2000 he was inducted into the Huntington Beach Surfing Walk of Fame; a biography, Eddie Would Go: The Story of Eddie Aikau, Hawaiian Hero, written by Stuart Coleman, was published in 2002. Hawaiian: The Legend of Eddie Aikau, a documentary made by Riding Giants director Stacy Peralta, longtime surf journalist Sam George, and producer Paul Taublieb, debuted in 2013.

Edward Ryon Makuahanai Aikau (Kahului, Hawaii, May 4, 1946 – March 17, 1978) was a wellknown Hawaiian lifeguard and surfer. The words Makua Hanai in Eddie Aikau’s full name mean feeding parent, an adoptive, nurturing, fostering parent, in the Hawaiian language. As the first lifeguard at Waimea Bay on the island of Oahu, he saved over 500 people and became famous for surfing the big Hawaiian surf, winning several awards including the 1977 Duke Kahanamoku Invitational Surfing Championship.

Born in Kahului, Maui, Aikau was the third child of Solomon and Henrietta Aikau. He was a descendant of Hewahewa, the kahuna nui (high priest) of King Kamehameha I and his successor Kamehameha II.Aikau first learned how to surf at Kahului Harbor on its shorebreak. He moved to Oahu with his family in 1959, and at the age of 16 left school and started working at the Dole pineapple cannery; The paycheck allowed Aikau to buy his first surfboard. In 1968, he became the first lifeguard hired by the City & County of Honolulu to work on the North Shore. The City & County of Honolulu gave Aikau the task of covering all of the beaches between Sunset and Haleiwa. Not one life was lost while he served as lifeguard of Waimea Bay, as he braved waves that often reached 30 feet high or more.In 1971, Aikau was named Lifeguard of the Year.

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Feature

The Eddie Aikua 2016 Heat Draw: Heat 1: Shane Dorian (HAW) Kohl Christensen (HAW) Greg Long (CA) Ramon Navarro (CHI) Sunny Garcia (HAW) Ross Clarke-Jones (AUS) Jamie Mitchell (AUS) Heat 2: Kelly Slater (USA) David Wassell (HAW) Grant Baker (ZAF) Reef McIntosh (HAW) Jamie O’Brien (HAW) Aaron Gold (HAW) Tom Carroll (AUS) Heat 3: John John Florence (HAW) Mark Healey (HAW) Clyde Aikau (HAW) Nathan Fletcher (CA) Noah Johnson (HAW) Peter Mel (CA) Takayuki Wakita (JPN) Heat 4: Bruce Irons (HAW) Makuakai Rothman (HAW) Ian Walsh (HAW) Albee Layer (HAW) Kala Alexander (HAW) Garrett McNamara (HAW) Jeremy Flores (FRA) TOP 5 ALTERNATES: Mason Ho (HAW) Danilo Couto (BRA) Mark Mathews (AUS) Koa Rothman (HAW) Ben Wilkinson (AUS)

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Profile

A Sense

of Space By Peter Gossell

All Photos By Julius Schulman

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Photographer Julius S c h u l m a n ’s p h o t o g r a p h y 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 C a l i f o r n i a l i v i n g — a s u n n y, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.

Profile

The subject is the power of photography,” Shulman explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20 different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flower photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.”

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 oversized 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.”

Shulman is equally proud of his own lighting abilities.

“I’ll show you something fascinating,” 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.

“I have four Ts. Transcend is, I go beyond what the architect himself has seen. Transfigure—glamorize, dramatize with lighting, time of day. Translate—there are times, when you’re working with a man like Neutra, who wanted everything the way he wanted it—‘Put the

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Profile

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Profile

camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated. And fourth, I transform the composition with furniture movement.”

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?’”

Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by moving furniture but by adding everyday objects and accessories. “I think he was trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter.

“He was doing—with a totally positive use of the words—advertising or propagandist photographs for the cause.” This impulse culminated in Shulman’s introduction of people into his pictures— commonplace today, but virtually unique 50 years ago. “Those photographs—with young, attractive people having breakfast in glass rooms beside carports with two-tone cars—were remarkable in the history of architectural photography,” Street-Porter says. “He took that to a wonderfully high level.”

“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

Architects don’t see what I see. It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.”

see.

“Most people whose houses I photographed didn’t use their sliding doors,” Shulman says, crossing the living room toward his own glass sliders. “Because flies and lizards would come in; there were strong winds. So I told Soriano I wanted a transition—a screened-in 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. “That’s a wren,” he says, and steps out. “My wife and I had most of our meals out here,” he recalls. “Beautiful.”

When I ask Shulman what Neutra saw in his images, he answers with a seemingly unrelated story. “I was born in Brooklyn in 1910,” says this child of Russian-Jewish immigrants. “When I was three, my father went to the town of Central Village

in Connecticut, and was shown this farmhouse— primitive, but [on] a big piece of land. After we moved in, he planted corn and potatoes, my mother milked the cows, and we had a farm life.

“And for seven years, I was imbued with the pleasure of living close to nature. In 1920, when we came here to Los Angeles, I joined the Boy Scouts, and enjoyed the outdoor-living aspect, hiking and camping. My father opened a clothing store in Boyle Heights, and my four brothers and sisters and my mother worked in the store. They were businesspeople.” He flashes a slightly cocky smile. “I was with the Boy Scouts.”

I ask Shulman if he’s surprised at how well his life has turned out. “I tell students, ‘Don’t take life too seriously—don’t plan nothing nohow,’” he replies.

“But I have always observed and respected my destiny. That’s the only way I can describe it. It was meant to be.”

“And it was a destiny that suited you?”

At this, everything rises at once—his eyebrows, his outstretched arms, and his peaceful, satisfied smile.

“Well,” says Shulman, “here I am.”

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Profile

“American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 21th century.”

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Feature

WSL Takes Over San Clemente The 2016 Hurley Pro is coming back to Lower Trestles, San Clemente from September 7th to September 19th.

Get the full event recap here.

Written by Nick Roshardt

T

he 2016 Hurley Pro at Trestles begins on September 7th and runs through September 18th. Fed by a cobblestone river mouth, the perfect A-frame that is Lowers is widely considered to be Southern California’s foremost highperformance wave.

Mick Fanning will compete at stop number eight on the Tour, after winning the J-Bay Open and skipping Tahiti as

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part of his personal year. Mick hopes to do well enough at Lowers to allow him to sit out the rest of 2016 and still qualify for the 2017 ‘CT.

Going into the event, five favorites include Filipe Toledo, Mick Fanning, Jordy Smith, and Julian Wilson, and ratings leader John John Florence.

And let’s not forget about the dark horses. Kolohe Andino, Conner Coffin, and Jack Freestone all stand a decent chance of taking the event.

Former Event Champions: 2015 Mick Fanning, 2014 Jordy Smith, 2013 Taj Burrow, 2012 Kelly Slater, 2011 Kelly Slater, 2010 Kelly Slater, 2009 Mick Fanning, 2008 Kelly Slater, 2007 Kelly Slater, 2006 Bede Durbidge, 2005 Kelly Slater, 2004 Joel Parkinson, 2003 Richie Lovett, 2002 Luke Egan, 2001 event not held due to the 911 terrorist attacks, 2000 Andy Irons Round 1 Heat Draw: Heat 1: Jordy Smith, Nat Young, Keanu Asing Heat 2: Julian Wilson, Kanoa Igarashi, Ryan Callinan Heat 3: Adrian Buchan, Miguel Pupo, Kai Otton

Heat 4: Gabriel Medina, Adam Melling, Alex Ribeiro Heat 5: Matt Wilkinson, Conner Coffin, Tanner Gudauskas Heat 6: John John Florence, Davey Cathels, Brett Simpson Heat 7: Adriano de Souza, Wiggoly Dantas, Matt Banting Heat 8: Kelly Slater, Filipe Toledo, Jeremy Flores Heat 9: Italo Ferreira, Caio Ibelli, Jack Freestone Heat 10: Mick Fanning, Joel Parkinson, Jadson Andre

Heat 11: Kolohe Andino, Josh Kerr, Stuart Kennedy

Heat 12: Sebastian Zeitz, Michel Bourez, Alejo Muniz Surfline’s Official Event Forecast (Updated: Monday Evening, September 5th): Brief Overview: “A long run of very rippable and favorably angled SW swell on track to build the first couple days of the waiting period, showing the most size the 8th-11th of September. Reinforcing SSW/S swell looks to keep fun-zone surf running through the middle of next week, with potential for modest SW’erly swell over the last couple days of the event waiting period. Winds look generally favorable in the mornings, though SE flow may add some light crumble Thursday.

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Feature

Afternoon winds are lightest Wed/Thu, with light to moderate Westerly flow returning for the afternoons on Friday.”

WSL Fantasy Surf Picks: Tier A: (2 picks out of 8 surfers available in Tier A) Jordy Smith; arguably the surfer whose approach best matches Lowers Julian Wilson; due for an event win at Trestles, Julian’s progression will shine Tier B: (4 picks out of 20 surfers available in Tier B)

Mick Fanning; the positive forecast deems well for Mick to excel

Kolohe Andino; his run of poor ‘CT events at home won’t continue, Kolohe will kill it Filipe Toledo; he will blow all our minds, everyone else will have to step up to match him Conner Coffin; sure to give the judges what they want to see at Lowers Tier C: (2 picks out of 8 surfers available in Tier C) Stuart Kennedy; may match the performance

that he had at Snapper earlier in the year Matt Banting; long overdue for a result worthy of his talent, it should happen here Trestles Timeline: 1990 – Kelly Slater’s first professional contest event win at the Body Glove Surfbout 2002 – Epic swell for Luke Egan’s event Win 2003 – Andy & Bruce Irons’ Round 3 sibling rivalry match up; 15.5 to 15.17 in favor of Bruce 2013 – Julian Wilson’s brilliant runner up performance 2014 – John John Florence’s ridiculous Round 4 performance, earning five nine point rides 2014 – Jordy Smith’s highly anticipated maiden Trestles event win 2015 – Kelly Slater’s much discussed 4.17 scored ride; deemed incomplete maneuver

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What is it that makes us explore?

The relentless urge to pack up and go.

When the rumor of a perfect wave won’t leave your mind.

The anticipation, the laughs, the disasters, the surf.

It defines who we are...

Live T he S ea rc h