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MAGAZINE
CONTENTS Cover : Lars Gillebo - Hippy Jump Photo : Bodvar Hole
MASTHEAD SLAPPY Magazine is your go to place for skateboarding, art, photography, and creative outlets within street culture.
EDITOR IN CHIEF WESTON WOODS
PHOTOGRAPHY BODVAR HOLE
ART DIRECTOR HULK HOGAN
PROJECT DIRECTOR DWAYNE "THE ROCK" JOHNSON
DESIGNER
"STONE COLD" STEVE AUSTIN
PHOTO EDITOR JOHN CENA
EDITOR AT LARGE "MACHO MAN" RANDY SAVAGE
PROJECT MANAGER RANDY ORTEN
ESSENTIALS ARTO SAARI PHOTOGRAPHER / PRO SKATER Finding your craft is an enlightening moment, mastering it, on the other hand, gives you the conviction to explore other avenues of interests with equal confidence. Arto Saari is a creative that’s triumphed in more than one sector. While in school we’re taught to be jack of all trades as oppose to a master of one, Saari proves that skill sets can be transferable, and limiting yourself to one single pursuit need not be the only way.
Photographer’s play book for getting inspiration. Bravo camera bag is the best if you want to travel light. Leica M-240 35mm F2 The M-240 – my go to camera and I usually keep a M6 body as back up. My board is a given – it’s taken me all over the world for the last 20 years. Why ditch it now? Hardluck rag to remind me to go fast and eat shit – get up and do it once more time. Film – usually Portra 400 and some Tri-x or Iilford 400 Martini knife – a pure necessity at all times for any Finnish person. Auran sinappi(Finnish mustard) – another pure necessity. Do not leave home without it. You should consume this with everything. Passport – you never know when you have to hop on plane and get out of the country you are in. Nicorette – picking up smoking is the dumbest thing ever. New Balance numeric 358 is the ultimate skate shoe – period.
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F F O K KIC oor fl h t 5 • l e v a food • tr
Philippe The Original is one of the oldest and best known restaurants in Southern California. Philippe’s was established in 1908 by Philippe Mathieu, who claimed the distinction of having created the “French Dipped Sandwich.” One day in 1918, while making a sandwich, Mathieu inadvertently dropped the sliced french roll into the roasting pan filled with juice still hot from the oven. The patron, a policeman, said he would take the sandwich anyway and returned the next day with some friends asking for more dipped sandwiches. And so was born the “French Dipped Sandwich,” so called either because of Mathieu’s French heritage, the French roll the sandwich is made on or because the officer’s name was French. The answer is lost to history. Phillippe’s is well known for its reasonable price point and the amount of food you get for the cost. This spot is perfect for skaters in Los Angeles because of this exact reason.
The spot has been featured on The Ride Channel for their series called “SKATE” with Danny Montoya. After skating the whole day Danny and his crew finish off the day at Philippe’s saying “Come to LA, I would suggest checking this place out. It’s really cheap and keeps you full.” Phillipes can be found on 1001 N Alameda St in Chinatown. Next time you’re in the area, we recommend Phillipe The Original whole heartedly
Philippe:
ich
ch Dip Sandw
Fren The Original
stin By: Steve Au
F F O K KIC oor fl h t 5 • l e v a food • tr
Henning Braaten was nine years old and wanted only one thing from his parents - a board. As he sat in his house in late 1988, he could see his next-door neighbour whizzing around a skate park he had made in the back garden, complete with a quarter pipe propped against the wall of the house. But Braaten had a problem. For the previous decade skateboarding had been banned in Norway, and widely condemned as a public menace. Not long after skateboards first went on sale in Norway, officials noted that American children were getting hurt after colliding with traffic - 28 had died in 1977 and 100,000 had been injured. So a prohibition was announced, which came into force on 15 September 1978. “The Environment Ministry said protecting children is more important than letting big business make money,” reported United Press International’s Oslo bureau. “Importing skateboards, selling them or advertising the American sidewalk sport also are banned under the new law.” Braaten had no access to the underground smuggling network that supplied skaters with their boards, so for a while he had to go without. Joakim Henrik Wang was luckier. “I remember the tension of stepping off the boat in Norway with two boards strapped to your back or tucked
away in your suitcase, hoping you wouldn’t get pulled to one side by customs,” Wang remembers. “I had endless discussions with my father about smuggling the stuff.” He still feels exasperated, 30 years later, with the politicians who introduced the ban. “We thought it was bullshit that it was illegal,” he says. “I think it’s partly if you don’t understand it, and you can’t control it, you want to ban it. It’s a really basic human reaction.” The prohibition was not absolute, however, and allowed the possibility of exemptions. “Exemptions will only be granted to a limited extent and for special purposes,” it stated. A single skatepark in Oslo, Norway’s capital, was allowed. It was a place skaters could visit in peace, without fear of arrest - though they might get questioned by police on the way there. “You had to walk around with your membership card for the Oslo club. I have to have this piece of paper in my back pocket to prove I was part of the club which had the only legal ramp? Not even North Korea has banned skateboarding.” For those outside Oslo, subterfuge was required. In cities across Norway, skaters set up their own parks and pipes made of plywood and planks. Some were small and hastily-built, while others were well-crafted. Most were
E N.O. H T N I D E N N BA in Norway 11 year skate
ban
vage By: Randy Sa
tucked into copses or deep in the undergrowth, off the beaten path. Wang was arrested twice. The first time was in his hometown, when he was seen skating near the local train station. “My dad had to come and bail me out,” he recounts. “You don’t have to do that if your kid plays football, do you?” The second time was in Oslo, when Wang was walking with a friend in the city centre. The police didn’t believe the pair had been skating at the legal ramp in the city; they were taken into custody, and spent the night in a cell. As the end of the 1980s approached, enforcement of the ban gradually relaxed. “Around 1987 it kind of changed,” says Wang. “They mellowed out. They realised the ban was coming to an end and didn’t crack down as bad.” When it eventually was lifted in 1989, skateboards flooded the market. Skateparks sprang up across the country in the early 1990s. Brands got in on the craze, tying their products to skateboarding. One of the country’s major magazine publishers, better known for celebrity gossip publications, even started printing a skateboarding magazine. “Driving a car is just as dangerous, if not way more. Why skateboarding was banned is something I find quite weird.”
y: Photograph Bødvar Hole
KICK-OFF food • trave
l • 5th floor
Visual Communication pros are experts at designing the perfect window display or pulling together the perfect outfit—and making it look like a work of art. With classes in quick sketching, Photoshop and Illustrator, and practice working in teams and analyzing trends, students become experts at design and visual communication. In the classroom, students collaborate on real-world projects with companies like Saks Fifth Avenue and Disney Stores North America. Internships have included Anthropologie, Giorgio Armani, and Warner Bros.
A Closer Look The Visual Communications Program offers students a diversified, creative business background in visual presentation, exhibit/trade show design, retail and event marketing and store planning, with an emphasis on the fashion and entertainment industries. Students benefit from exposure to practical and theoretical visual merchandising techniques. Courses include presentation design, color theory, concept visualization, trend forecasting, and computer graphics. For more information on Visual Communications check out the FIDM Website or call. fidm.edu/en/majors/visual+communications/
800.624.1200
V.C.O.M
Displays th roughout th e 5th floor at FIDM.
By: Hulk Ho
gan
INTERVIEW
BØD VAR HOLE ILLUSTRATOR
PHOTOGRAPHER
by WESTON
WOODS
B
odvar is a close friend of mine who I had meet through a mutual friend. We both love skating. photography, filmography, and art, so it was an easy start to a long friendship. Over the summer I flew out to Norway to meet up with Bodvar and our crew to go on a roadtrip from top to bottom of the country and make a series out of it. This interview is from a recent phone call we had.
Yo Bodvar! Whats up man! Hey, Weston. Just got home, its 10pm here in Norway. Is it cool if I ask you a few questions about the roadtrip and what you've been up to? Yeah, go for it. So it's been about a month, what have you been up too? I went to Spain a couple of days after we got home, stayed there for a week. Got back to Lillehammer and worked for almost a month straight while skating at night and then went to Latvia. Got home four days ago or something.
Awesome, did you bring your camera too? Yeah, I shot digital in Spain and film in Latvia. Going to develop it myself for the first time in some weeks or days. That's sick that you're gonna develop your own photos, I feel like thats kind of a lost art. Yeah it took me so long just to find a darkroom I could practice in, turned out my boss had some old equipment in his garage. Yeah I'm sure it's not as common to find a darkroom in Lillehammer than it is in Los Angeles or other big
cities. What camera and film are you using for the series? Yea, exactly! I'm using a Sony a6000 for digital, and Canon AT-1 with Ilford Hp5 Plus for film. Any particular reason for that specific camera and film? I usually just use whatever I can get my hands on. I don't really care if its expired or whatever, I just want to take pictures and see how they come out. But the AT-1 is my go to camera. Continued on Page 22.
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Yeah, that's what you used for this whole series, right? Yeah, everything from the roadtrip was on the AT-1. It's really fun to mess with, and the pictures always come out clean. I was stoked when we found out we got to use some of your photos for the magazine, esspecially the cover. Yeah, I remember when you told me. It was hard to pick out which one I wanted to go on the front. I like every picture so much and each has good memories attached so it's always hard to pick. Picking your favorite photo is like picking you're favorite kid or something. Exactly! So what is it that gets you hyped to go take pictures now? Has it changed? It's still the same for me. I love photography, and I work at the camera shop so I'm just surrounded by shit that I love all day. It's just the moment when you capture something that no one else really takes a second look at. Sick! Well I think that should be fine, thanks for you're time, dude. Yeah of course, you gotta come back to Norway soon, or maybe I'll go to you. You're welcome any time, man. Alright, sounds good. I'll talk to you later. Later, dude.
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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, lowslung homes featuring ample glass, pools and patios.
“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 furniture movement.” being. Like many elderly people furniture movement.” with nothing left to prove, and To illustrate the latter, Shulman with nothing left to prove, and To illustrate the latter, Shulman who remain in demand both shows me an interior of the Abidi who remain in demand both shows me an interior of the Abidi for their talents and as figures house that looks out from the for their talents and as figures house that looks out from the of veneration (think of George living room, through a long glass of veneration (think of George living room, through a long glass Burns), Shulman takes things wall, to the grounds. “Almost Burns), Shulman takes things wall, to the grounds. “Almost very easy: He knows what his every one of my photographs very easy: He knows what his every one of my photographs employers and admirers want, is has a diagonal leading you into employers and admirers want, is has a diagonal leading you into happy to provide it, and accepts the picture,” he says. Taking a happy to provide it, and accepts the picture,” he says. Taking a the resulting reaffirmation of his notecard and pen, he draws a the resulting reaffirmation of his notecard and pen, he draws a legend with a mix of playfully line from the lower left corner to legend with a mix of playfully line from the lower left corner to rampant immodesty and heartfelt the upper right, then a second rampant immodesty and heartfelt the upper right, then a second gratitude. perpendicular line from the gratitude. perpendicular line from the As the man himself puts it, “The lower right corner to the first As the man himself puts it, “The lower right corner to the first world’s my onion.” line. Circling the intersection, world’s my onion.” line. Circling the intersection, Shulman is equally proud of his he explains, “That’s the point Shulman is equally proud of his he explains, “That’s the point own lighting abilities. “I’ll show of what we call ‘dynamic own lighting abilities. “I’ll show of what we call ‘dynamic you something fascinating,” he symmetry.’” When he holds up you something fascinating,” he symmetry.’” When he holds up says, holding up two exteriors the photo again, I see that the says, holding up two exteriors the photo again, I see that the of a new modernist home, line formed by the bottom of the of a new modernist home, line formed by the bottom of the designed for a family named glass wall—dividing inside from designed for a family named glass wall—dividing inside from Abidi, by architect James Tyler. outside—roughly mirrors the Abidi, by architect James Tyler. outside—roughly mirrors the In the first, the inside of the diagonal he’s drawn. Shulman In the first, the inside of the diagonal he’s drawn. Shulman house is dark, resulting in a then indicates the second, house is dark, resulting in a then indicates the second, handsome, somewhat lifeless perpendicular line created by handsome, somewhat lifeless perpendicular line created by image. In the second, it’s been the furniture arrangement. “My image. In the second, it’s been the furniture arrangement. “My lit in a way that seems a natural assistants moved [the coffee lit in a way that seems a natural assistants moved [the coffee balance of indoor and outdoor table] there, to complete the balance of indoor and outdoor table] there, to complete the illumination, yet expresses the line. When the owner saw the illumination, yet expresses the line. When the owner saw the structure’s relationship to its site Polaroid, she said to her husband, structure’s relationship to its site Polaroid, she said to her husband, and showcases the architecture’s ‘Why don’t we do that all the and showcases the architecture’s ‘Why don’t we do that all the transparency. “The house is time?’” transparency. “The house is time?’” transfigured,” Shulman explains. Shulman’s remark references transfigured,” Shulman explains. Shulman’s remark references “I have four Ts. Transcend is, I one of his signature gambits: “I have four Ts. Transcend is, I one of his signature gambits: go beyond what the architect what he calls “dressing the set,” go beyond what the architect what he calls “dressing the set,” himself has seen. Transfigure— not only by moving furniture but himself has seen. Transfigure— not only by moving furniture but glamorize, dramatize with by adding everyday objects and glamorize, dramatize with by adding everyday objects and lighting, time of day. Translate— accessories. “I think he was trying lighting, time of day. Translate— accessories. “I think he was trying there are times, when you’re to portray the lifestyle people there are times, when you’re to portray the lifestyle people working with a man like Neutra, might have had if they’d lived working with a man like Neutra, might have had if they’d lived who wanted everything the way in those houses,” suggests the who wanted everything the way in those houses,” suggests the he wanted it—‘Put the camera Los Angeles–based architectural he wanted it—‘Put the camera Los Angeles–based architectural here.’ And after he left, I’d put it photographer Tim Street-Porter. here.’ And after he left, I’d put it photographer Tim Street-Porter. back where I wanted it, and he “He was doing—with a totally back where I wanted it, and he “He was doing—with a totally wouldn’t know the difference—I positive use of the words— wouldn’t know the difference—I positive use of the words— translated. And fourth, I advertising or propagandist translated. And fourth, I advertising or propagandist transform the composition with photographs for the cause.” transform the composition with 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
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
Architects don’t see what I see. It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.” “Most people whose houses I photographed didn’t
“American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 21th century.” 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
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.
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.”
RO RIP
This series is from a recent roadtrip from Lillehammer to Larvik, NO. Along the way we documented our trip through photos and a full length video which is coming in Winter 2016.
RO RIP
RO RIP
Thanks FOr NOthing!