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T he man wh o m ade f re e s ur f i n g p os si bl e.

RICHARD AVEDON

Fahey Klein presents a major retrospective of

the photographers work.

INTERVIEW WITH CUTSNAKE.

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SEAWEED MAGAIZINE

Is a magazine that was started in Dana Point, Ca and now resides in the city of angels‌ Los Angeles Ca. Sharing and shaping that common bond between surfing, skating, music, partyin. We share that necessity to keep pushing forward, and striving for innovation in the things we love to do, everyday. We are not just a f@#king rad magazine! We are our own lifestyle brand with sick threads!

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CURRENT 9 SURF SOUNDS 10 5TH FLOOR 11

THE NOMAD 14

Dion Agius the man who made free surfing possible.

RICHARD AVEDON 22

Fahey Klein presents a major retrospective of the photographers work.

LAST WORD FIN.

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JACOB ROMERO EDITOR IN CHEIF OF ART DIRECTOR KEITH BRAMLETTE

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ASSOCIATE DIRECTOR KYLE VARA ACCOUNT DIRECTOR MICAH BRADSHAW SENIOR MARKETING MANAGER DAVE DILLARD SENIOR BUSINESS DIRECTOR GREGG ROMERO CHEIF TECHNOLOGY DIRECTOR AMANDA JOHNSON CHEIF ADMINISTRATIVE OFFICER AMANDA JOHNSON EVENTS MANAGER KEITH BRAMLETTE SENIOR BUSINESS DIRECTOR KYLE VARA CHEIF TECHNOLOGY DIRECTOR MASON KLINK WEB BLOGGER JACOB ROMERO GRAPHIC DESIGNER

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TOP FIVE SURF SPOTS IN CALIFORNIA. From Lower Trestles to San Onofre State Beach, Southern California is home to not only some great beaches, but to some of the best in the world.

1.LOWER TRESTLES 2.RINCON 3.MALIBU 4.BLACKS 5.SAN ONOFRE STATE BEACH

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SOUNDS: CUT SNAKE. 1. SUBB-AN-’PLEASURE FROM THE BASS’ 2. LITTLE FRITTER - ‘GLABELLA’ 3. JAMIE JONES - ‘PERCOLATOR’ 4. CUTSNAKE - ‘SHAKE IT OFF’ 5. FLUME - ‘SLEEPLESS’ 6. THE DRUMES-’LETS GO SURFING’ 7. LITTLE DRAGON- ‘CRYSTAL FILM’ 8. LYKKE LI- ‘ LITTLE BIT’ 9. FLUME- ‘ PAPER THINE’ 10. FLUME- ‘ON TOP’

Paul Fisher and Leigh Sedley, Cut Snake.

What is “deep house” music? It’s boppy, DJ-made, highly dance-able and highly fun.

Especially when surfers Paul Fisher and Leigh Sedley of the duo Cut Snake are spinning it at some San Diego carnival-club or on the beaches of Bali. And while house music isn’t exactly what you’d expect most surfers to get into, you’d be surprised by the people that are asking, “What is that?” Recently signed

by Jay-Z’s Three Six Zero agency and with a debut album on the way, Cut Snake just might slither into your next favorite playlist.

—Beau Flemister

delivered with an album due to come in Q2 of 2014 and a tour on either side of the release.

8 years ago, the duo were in Hawaii on the pro surfing tour. It had been raining like crazy leaving Paul Fisher and Leigh Sedley needing something to pass the time. Both being avid house music fans, it was off to the nearest electronics shop for a bottom of the line midi controller and from there, Cut Snake was born. Leigh was the Australia Junior Surf Cham pion and went on to win World Series Events and Fisher became one of the most popular surfer personalities on the circuit due to his web series, FollowTheFish TV and his collection of video clips and photos. Together the two began playing parties and quickly became noted for their sound.

We play a lot in San Diego and Los Angeles, and as far as Australia and Bali. Places like Voyeur and Bang Bang in San Diego and then we’ve done the Roosevelt and Standard Hotel in LA. Which was big for us because some really big DJs got their starts there.

Describe a particularly cut snake Cut Snake show you’ve had, as of late.

Signed to Three Six Zero Group in 2013, Cut Snake have a TV show in the works and music being

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Where’d the name Cut Snake come from?

Cut Snake: It’s an Australian expression from “mad as a cut snake.” [laughs] We use the term for everything, really. Like, if Parko is ripping, he’s going mad as a cut snake. It’s loose times and mad as f–k; anything that’s crazy.

Where do you guys usually play?

house music, but we’d play it and they were curious and they dug it. Even just the other week on a boat trip, Hawaiians Koa Rothman and Ian Walsh heard our songs and Ian was like, “Whoa, what is this? I need this for the chicks!” [laughs] But I think that has to do with our sound.

Anyone can get into it; it’s not too in your face, but has just the right tempo. It’s really accessible. But the support from the surf community has been amazing. Ultimately, we just want people to hear our music and have a good time.

Recently we were playing at an amazing club in San Diego and acrobatic dancers were coming out of the walls in outfits, dropping down from the roof, spitting fire from their mouths — it was like we were in Cirque du Soleil or something. One guy had a big snake on stage and was throwing it around the crowd; it was pretty loose that night. [laughs] You think surfers in America are catching on to house music like they have in Australia?

I think so. When we first came over, not a lot of the surfers over here had heard much

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WINDOW DRESSING Themed windows make brilliant vignettes on FIDM’s 5th floor.

By Dagmar Winston Photographs by Kyle Swinehart Each semester at fashion school, FIDM, located in downtown Los Angeles, the 5th floor is host to a variety of window displays created by the Visual Communication students. Each semester they are given a theme and told to run with it. The results, quite often, are spectacular. This semester’s theme is nature and instructor Katherine LoPresti instructed students to build their window displays with “as much organic materials as possible.”

The students work as teams to build everything from the dresses to creating the typography for the windows. The group effort pays off as the nine windows are often the center of attention for visiting parents and prospective students.

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Dion Agius the man from Tasmania, never staying in one place for to long, now getting paid to free surf and sell a lifestyle.

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ou don’t find Dion Agius: you intersect him. From the time we first meet in a bar in New York, it takes a year and three different continents before we collide again on the east coast of Australia. And even then it takes an eight-hour road trip.

Kerouac called rootless travelling “the one noble function of our time”. Sounds nice, but the words look thin when held up to the dirty streetlights of a truck stop outside some abandoned town.

On the road, in search of Agius, also on the road.

In the last five years, he hasn’t spent more than a month in any one place.

Professionally, his hustle has paid dividends: everyone knows who he is, but no one knows much about him. He’s that aerial guy, that hipster surfer, the artist, the businessman. Doesn’t he come from Tasmania? Is it true he drives a Porsche and bootlegs alcohol?

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to the Gold Coast when he was a kid. He came up surfing heats at the Snapper Boardriders Club, a few years after guys like Mick Fanning and Joel Parkinson. He has a place in Byron Bay now, the closest thing to a home. “The most I ever get in one place is a month, max,” he says, as we float between sets at a windy beach break south of the famous bay. His filmer and best friend Beren Hall sits poised on the beach, hoping Agius will do something clip-worthy before the sun disappears behind a gathering storm.

The last week has been bereft of good surf, leaving him plenty of time to wonder exactly what his job is all about: “It’s strange because I’ve been home for three weeks now. As soon as I leave I can’t wait to come back. But as soon as I’m here for a week or two, I can’t wait to get moving again.”

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Tissus dollaborero volesci doluptur, quate labo. As quo et es sinum fuga. Ibus.

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I just really hope that our generation can reiterate the fact that it’s not all about competiion surfing. Not everyony wants to compete.

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e don’t find Dion Agius: you intersect him. From the time we first meet in a bar in New York, it takes a year and three different continents before we collide again on the east coast of Australia. And even then it takes an eight-hour road trip.

Kerouac called rootless travelling “the one noble function of our time”. Sounds nice, but the words look thin when held up to the dirty streetlights of a truck stop outside some abandoned town.

On the road, in search of Agius, also on the road.

In the last five years, he hasn’t spent more than a month in any one place.

Professionally, his hustle has paid dividends: everyone knows who he is, but no one knows much about him. He’s that aerial guy, that hipster surfer, the artist, the businessman. Doesn’t he come from Tasmania? Is it true he drives a Porsche and bootlegs alcohol?

He does come from Tasmania, but the family moved

to the Gold Coast when he was a kid. He came up surfing heats at the Snapper Boardriders Club, a few years after guys like Mick Fanning and Joel Parkinson. He has a place in Byron Bay now, the closest thing to a home. “The most I ever get in one place is a month, max,” he says, as we float between sets at a windy beach break south of the famous bay. His filmer and best friend Beren Hall sits poised on the beach, hoping Agius will do something clip-worthy before the sun disappears behind a gathering storm. The last week has been bereft of good surf, leaving him plenty of time to wonder exactly what his job is all about: “It’s strange because I’ve been home for three weeks now. As soon as I leave I can’t wait to come back. But as soon as I’m here for a week or two, I can’t wait to get moving again.”

“I would prefer to film them at that stage then go out and surf with them. It was kind of almost a way out of it.”

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Tissus dollaborero volesci doluptur, quate labo. As quo et es sinum fuga. Ibus.

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Well, first off I want to say f-king Dane is probably, out of all the surfers in the world, the guy I respect the most out of anyone.

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everyone knows who he is, but no one knows much about him. He’s that aerial guy, that hipster surfer, the artist, the businessman. Doesn’t he come from Tasmania? Is it true he drives a Porsche and bootlegs alcohol?

He does come from Tasmania, but the family moved to the Gold Coast when he was a kid. He Club, a few years after guys like Mick Fanning and Joel Parkinson. He has a place in Byron Bay now, the eople don’t find Dion Agius: you closest thing to a home. “The most I ever get in one intersect him. From the time we first meet in a bar in place is a month, max,” he says, as we float New York, it takes a year and three different between sets at a windy beach break south of the continents before we collide again on the east coast of famous bay. His filmer and best friend Beren Hall sits Australia. And even then it takes an eight-hour road poised on the beach, hoping Agius will do trip. something clip-worthy before the sun disappears Kerouac called rootless travelling “the one noble fun behind a gathering storm. The last week has been ction of our time”. Sounds nice, but the words look thin bereft of good surf, leaving him plenty of time to when held up to the dirty streetlights of a truck stop wonder exactly what his job is all about: “It’s strange outside some abandoned town. because I’ve been home for three weeks now. As soon On the road, in search of Agius, also on the road. In as I leave I can’t wait to come back. But as soon as the last five years, he hasn’t spent more than a month I’m here for a week or two, I can’t wait to get moving in any one place. again.”

Professionally, his hustle has paid dividends:

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Fahey Klein presents a major retrospective of the photographers work.

By Kely Smith

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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.

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hroughout 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.

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hroughout 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.

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Fin .

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