Traffic Summer 2014 by Infiltrate Media

RITES OF PASSAGE

BOXERS

BOBBERS

BUILDING BEAUTIFUL BMW BIKES

MARIANNE FAITHFULL HOMAGE

GIRL ON A MOTORCYCLE PLUS

12 O’CLOCK BOYS | WOODEN SURFBOARDS | THE FRENCH CONNECTION

SUMMER 2014 ISSUE 2

IN THE

ZONE DAVID GOLDBLATT OFFROAD IN A CABOOSE VAAL SKATEBOARDING

HITTING

THE WALL

APARTHEID CYCLING TOUR SCANDAL - PART 1

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Editor’s Letter Summer 2013 Issue 2

ow, the last few months have been quite a ride, and it is with some relief that we’re finally able to launch Issue 2 of Traffic Magazine. The response to our launch issue has exceeded all expectations, and we’ve been amazed, humbled and encouraged by the feedback we have received from all over the world. We have travelled far and wide in putting the (late) Summer Edition together. In these pages we celebrate T R A F F I C

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the cinematic work of a French photographer, the small workshop specialising in custom German motorcycles, British sex symbols of screen and tarmac and the flourishing skateboard scene in Vanderbijlpark. We have an intimate chat with David Goldblatt, who drives his bakkie (pick-up) all over South Africa on photographic missions. There’s also the modified Porsche as daily driver, the hand-built wooden surfboards, a Rapport Tour scandal, Heidi Klum, Ferris Bueller and three new films to look forward to. Enjoy our second issue.

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JASON BRONKHORST jason@trafficmagazine.co.za S U M M E R

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CONTENTS TOUCH AN IMAGE TO READ ARTICLE

COVER FEATURE

GIRL ON A MOTORCYCLE

FEATURES RITES OF PASSAGE

ON THE ROAD WITH DAVID GOLDBLATT

HITTING THE WALL SUMMER 2014 ISSUE 2

CONTENTS

BOXERS AND BOBBERS

IN THE ZONE

ON-RAMP

OFF-RAMP

REGULARS

GALLERY

RITES OF PASSAGE

PROFILE

FASHION

PRODUCTS

DAILY DRIVER

GARAGISTE

DOCUMENTARIES

FILM

ROAD TO HELL

FOOD

SUMMER 2014 ISSUE 2

P HO T O G R A P H Y B Y L A UR E N T N I VA L L E

GALLERY

FRANCE

FRENCH FOREIGN LEGION Paris native Laurent Nivalle and is an artistic director, designer and photographer for French car company CitroĂŤn. These images are the perfect marriage between a passion for cars and a love of photography.

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P HO T O G R A P H Y B Y H AY DE N P H I P P S

SOUTH AFRICA

THE LONG ROAD Voortrekker Road is one the longest roads in Cape Town. This series of photographs serves to document the traces of the former inhabitants and their sense of community, which is becoming more obscure by this economic decline.

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WO R D S A N D P H OTO S BY J A S O N B RO N K H O R S T

BRITISH BRUTE 1970s Britain was the birthplace of a few memorable beauties: Rachel Weisz, Thandie Newton, Kate Winslet, and this 1974 Jensen Interceptor Series III. A rare sight on South African roads, this particular car features the low compression 7.2 litre V8 and generates around 300 bhp. Having owned a V12 E-Type Jaguar and several V8 Land Rovers, current owner PHILIP LOCHNER talks about his life-long love affair with big bore British engines.

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hat is it about the Jensen Interceptor? When I was a young boy we spent holidays on my grandparents’ farm in Marydale, which is about halfway between Kimberley and Upington in the Northern Cape. The room I used to sleep in faced the main road out of town, and in those days you had these farmers who came along in their V8 Ford and Chev bakkies, those big engines rumbling along. I was lying in my bed, and I knew that one day I had to own that sound. I’ve been into my V8 Land Rovers for years, but I wanted that sound, that particular sound from my childhood. Around 2000, I became aware of the Jensen, with it’s 7.2 litre engine - the mother of all V8s. I researched the marque, and realised there was the Series 1 and Series 2 with the 6.3 litre V8, and then there was the 7.2, and I knew, that’s the one for me. And so the hunt began.

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Where did you finally get the car? The previous owner was a collector from Irene, who had 32 cars in total, among them a Bentley Turbo R and a 1934 Lagonda 4½-Litre M45 ‘Silent Travel’ Pillarless Saloon. He passed away in December 2012, after which the executors who heard I was interested, contacted me to say the car was mine. Did it need some work once you bought it? It had stood for 20 years, and I had to repair or replace the brakes, gearbox, cooling system, carburettors, engine oils, points, plugs the whole lot. I got it running and drove it home. A great looking example, but you say that’s not the original paint? Unfortunately it suffered a respray sometime during its journey South. It was a proper backyard spray job, and they used kilograms of body putty. The original colour was Brientz Blue, which perfectly complemented the Magnolia cream leather interior. It was a rare colour combination. Are you thinking about restoring it? Yes, it’s a good candidate for a ground up

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THE ORIGINAL COLOUR WAS BRIENTZ BLUE, WHICH PERFECTLY COMPLEMENTED THE MAGNOLIA CREAM LEATHER INTERIOR.

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restoration, but the problem is taking it off the road. I start suffering from withdrawal symptoms. I enjoy the car and use any excuse I can get - I go buy milk in it, and I go to gym in it. My view is that I have the car now, it goes, so I drive it. That’s basically the reason why I’m not motivated to sort out the paintwork. The current condition of the paint also allows me to enjoy the car more, without being too precious about it getting bumped or scratched in parking lots. Would you ever sell? My plan is not to sell it, unless I get a ridiculous offer. I really want to keep this car, and once I do the gearbox conversion it will easily cruise at 120 all day, with that beautiful burble in the background. That’s what i call bliss It’s sad when you see these very special cars that are hidden away. When I drive this car it’s incredible the reaction i get. People recognise that the car is something special. There’s no replacement for displacement... I was driving behind a Chery QQ the other day with its 800cc engine, which is smaller than just one of my 900cc cylinders, and I have 7 more of them! It kind of puts things in perspective.

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BOXERS AND BOBBERS THIS FATHER AND SON TEAM'S BIKE BUILDING HOBBY HAS FLOURISHED INTO A THRIVING CUSTOM SHOP IN JUST THREE SHORT YEARS. words and photography DEVIN PAISLEY

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was a perfect Thursday afternoon in the mother city, and I was surrounded by beauty. Blue skies, golden sun, and perfect weather. I hit the N1 North out of the city, turning onto the straight black strip of N7 before exiting into the winding Durbanville hills. Only a motorcyclist will understand the feeling of freedom that these hills instil: no cars, perfect twisting asphalt, rich landscapes and endless horizons. Pure riding bliss. I was on my way to pay a visit to FD Classic Worx - previously known as Freak’s Speed Shop – and I was itching to see what they’d been up to. FD Classic Worx is a business run by Freek De Villiers and his father Joe, a retired financial advisor. And business has been good. So good, in fact, that the increase in demand has seen the duo 2

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THIS FATHER AND SON TEAM HAVE EVEN BUILT TWO AIRPLANES. recently move their operation from Freek’s home in Durbanville to a dedicated industrial premises, one large enough to house the veritable fleet of motorcycles that they’re now working on. Their passion for old BMW airheads is evident as soon as you set foot in their new workspace: I counted eleven bikes in the workshop, and another three entire airheads that were completely dismantled and stored on the shelves. As is the case with many petrolheads, Freek inherited his obession with octane from his father, who has indulged his passion for building anything and everything mechanical since he was a youngster. He has built several hot rods in the past, and as if that isn’t impressive enough, 4

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this father and son team have even built two airplanes, one of which is actually powered by a BMW motorcycle engine! Freek works as a pilot for SAA, and has chosen to do the evening shifts, leaving his days free to continue building and restoring bikes. The foray into bike building began when Freek was looking for something with a bit more soul than the ubiquitous super bike that everyone seems to be riding these days. He has owned 3 superbikes: a Kawasaki ZX 6R and two Suzuki 1000cc. Then there was a transition to a KTM 950, followed by the first old Beemer. And with that, the rest, as they say, was history. Freek sold everything modern, and “began to buy real bikes,” he says with a mischievous grin. The kind you can tinker with. And admire. “My first bobber was built 3 years ago,” he says. “While my wife was heavily pregnant.” Two years ago, Freek laid hands on a 1979 BMW R80/7 and decided to start customising it. While his initial idea was to create a cafe racer, Freek found himself lowering the rear end of the BMW – and then lowering it some more - until someone mentioned he had built a bobber. “Bobber?” said Freek, and the fire was 6

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“I DON’T EVEN GET TO WORK ON MY OWN BIKES ANYMORE.” kindled. The BMW drew rapt attention wherever he took it, and people were fascinated by it. They wanted to know if it was for sale, and if not, whether he could build one for them. The storm of adoration was a clear sign, and Freek realized that he was onto something. Three years and fourteen bikes later, Freek says things have gotten just a little hectic. “I don’t even get to work on my own bikes anymore,” he says ruefully. FD Classic Worx has been firing on all cylinders (both of them, that is), and luckily for Freek, his father Joe jumped in to help meet the demand. “It keeps me off the streets,” the now-retired Joe says with a wry smile, and a gleam of pride in his eye. The love and attention to detail that this father and son team invest in their work is evident in everything they build. 7

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“WE’RE NOW MAKING BOLT-ON BOBBER KITS FOR THE DIY GUY.” They take me upstairs to the spares store, which I reckon would get the nod from even the fussiest BMW technicians at Motorrad headquarters. Everything is well organised, and neatly packed into sections. Every time they restore a part to use on a customer’s bike, Freek creates an identical part for his personal stock, leaving him with a large inventory for future projects. Because there are only so many hours in a day, the logistics of doing custom builds and restorations are daunting, and the father and son team have had to devise ways to leverage their time. One of their solutions is the creation of a catalogue of parts that will be available as a 9

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kit (or selection of individual items) which will enable owners to actually do their own bobber conversions. Laser cut steel seat supports, and fibreglass fuel tanks made by a business next door, are also among the parts that will be available. “We’re also turning into a bit of a retail store now,” says Freek, gesturing over his shoulder toward the racks behind him. “So we’re manufacturing bolt-on bobber kits for the DIY guy who wants to do his own thing. That includes vintage-type taillights, seats, grips, that sort of thing. And we’re also stocking Biltwell helmets and apparel now.” One thing that Freek delights in sinking his teeth into is painting. “I absolutely love it! I could spend hours just painting,” he says, visibly enthused, and shows me his spray booth setup. There are heaters, thermometers, air filters, negative pressure… quite clearly, this self taught painter knows his stuff - and it shows in the work he’s putting out, like the flawless R80 Dakar tank hanging in the booth as we leave. But there’s more: there are plans to build a bar and lounge upstairs in the workshop and to make it more of a clubhouse than a factory somewhere for likeminded riders to meet up and 1 0

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“I ABSOLUTELY LOVE IT! I COULD SPEND HOURS JUST PAINTING.” kick back, to dream about road trips and custom builds, dreams that have taken a bit of a back seat with the workshop running full steam ahead. Before I leave, I ask how his wife handles his addiction. “Well, the first bike I built, I told her I was building it for our son. So, when I finished the bike, and wanted to sell it, she said ‘No ways, that’s our son’s bike!’ “ “So, I had to build another one. I kind of knew it would happen that way.” Smooth, Freek. Pretty smooth. I shake his hand, and pull my helmet on. The road is waiting.

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FD CLASSIC WORX ON FACEBOOK

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Restorers of early 911 and other classic Porsche models for over 35 years.

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GIRL ON A MOTORCYCLE P HO T OGR A P H S B Y ROSS GARRETT

STYLED BY C A ND I C E L E E MOOR E

MARIANNE FAITHFULL WAS THE POSTER GIRL OF THE SWINGING SIXTIES: THE SINGER AND ACTRESS WAS DATING MICK JAGGER, AND SHE APPEARED TO BE THE GIRL WHO HAD IT ALL. THE REALITY WAS FAR DIFFERENT. by LLOYD GEDYE

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TITLE CREDITS VEER ACROSS THE screen, and a dramatic first-person camera shot screeches you straight across the tarmac in a reckless motorbike swerve. The scene is set, and there’s no doubt here: a main course of rebellion is being served up in a big way, with a juicy side order of eroticism. It’s 1968, and the movie is titled The Girl On A Motorcycle, also later released as Naked Under Leather. The story, outrageously provocative even in the swinging 60’s, has a gripping, road-accident quality about it. You have a pretty good idea that bad things are about to happen, but there’s nothing you can do to fight the rapt fascination they exert over you.

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The opening gambit: Rebecca, a young (and recently married) woman, leaves her husband sleeping in bed, and races across the border to her lover, wearing nothing but a black leather bodysuit. British singer and actress Marianne Faithfull was recruited at the last minute to play Rebecca, after the original actress, a Playboy centerfold, suffered a drug overdose. It was Faithfull’s full leather body suit in the film that transformed the image of biking leather forever - and reinforced Faithfull’s nowlegendary status as one of the most unbearably desirable rock ‘n roll rebels of all time. As Rebecca reaches for her biking leathers, she caresses her naked body with them. “Feels like skin,” she says. “I’m like… an animal!” And, as she languidly slips into her leather suit, she begins to rationalise her flight of infidelity. “Sometimes it’s instinct to fly. I am not going to feel guilty.” Rebecca’s plight, a battle of the ages, is one S U M M E R

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we’ve all known one way or the other. She’s torn between two worlds: safe, smiling monogamy on the one hand – and the moist heat and prickly urgency of desperate lust on the other. And the Harley is her escape. “Being married is a little death,” she thinks to herself. “… his kindness is killing me.” Rebecca twists the throttle open, and pulls away. The town is grey and uninspired in the early morning light. Her anguish is palpable. “Why don’t they rebel?” she says to herself. “At least the young ones! Rebellion is the only thing that keeps you alive.” Motorbike culture and rebellion have been comfortable bedfellows for a long, long time. In fact, the earliest feature film centering around a motorcycle was the Charlie Chaplin film Mabel at the Wheel, made in 1914. Then, of course, came Marlon Brando in The Wild One (1953), Elvis Presley in Roustabout (1964) and occult filmmaker Kenneth Anger’s film Scorpio Rising (1964), which explored the occult and biker subculture as well as exploring the phenomenal idol worship of characters like James Dean and Marlon Brando. Biking culture was, by now, already overbearingly macho. Psychopathic even, if you should glance through literature that S U M M E R

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defined the era, most notably Hunter S. Thompson’s Hell’s Angels. Thompson took his writing (and his riding) seriously: he rode alongside the Hell’s Angels on a BSA A65 Lightning for an entire year to make sure that his novel would be utterly credible. And it is.

“SOMETIMES IT’S INSTINCT TO FLY. I AM NOT GOING TO FEEL GUILTY.” Faithfull, on the other hand, was already her own 60’s rebel. In 1965 she met Rolling Stones manager Andrew Loog Oldam at a launch party, and he was impressed enough to sign her up as a recording artist in her own right. 4

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Her first single, a Jagger/Richards song, As Tears Go By, charted at number 9 in the United Kingdom and at 22 in the States. The followup, a cover of Bob Dylan’s Blowin’ in the Wind, bombed. This was not much of a surprise, because it really was utterly forgettable, but then things changed, and Faithfull had a string of several more top ten hits throughout 1965. It was in that same year that she married John Dunbar, gave birth to their son - and then moved out to become Mick Jagger’s lover. These were heady times, perilous times, and her life rapidly spiraled out of control, characterized by a litany of drug busts and court appearances as the law cracked down on the rebellious Rolling Stones. Most infamously, Faithfull was arrested during one such drug bust, wearing nothing more than a fur rug. Her inexorable addiction to cocaine and heroin began to affect her stalled singing career, and she began to pursue acting as a means of ressurecting her popular notoriety. In 1967, Faithfull became the first person to use the word “fuck” in a mainstream studio picture, while appearing in the film I’ll Never Forget What’s’isname alongside Orsen Welles. Then, in 1968 she miscarried a baby S U M M E R

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girl, and shortly after that, was approached to star in The Girl On A Motorcycle. To say that Faithfull was at this point troubled, would be a masterpiece of understatement. She was an icon of full-blown rebellion, hated and desired by thousands. And as a Rebecca, she was perfect. The biker film era really began in 1965 and 1966, just after the 1964 smash hit Leader of the Pack by The Shangri-Las. Russ Meyer’s Motorpsycho was released in 1965 and Roger Corman’s The Wild Angels, which featured Peter Fonda and Nancy Sinatra, was released in 1966 - sparking a whole slew of motorbike-themed films that eventually grew to become a massive niche industry. No less than 8 biker films were released in 1968. By 1969 the number was up to 11, and by 1971 it had rocketed to 17. By 1974, though, only three bike films made it into cinemas, and the whirlwind romance was over. The Girl on a Motorcycle, as iconic as it promised to be, wasn’t actually the first film to focus on a woman’s symbiotic relationship with a bike. The Hellcats, a 1967 production, featured an all-female gang of bikers, and S U M M E R

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in 1968 (the year of its release) two other competitors entered the arena: The MiniSkirt Mob, and She Devils on Wheels. Girl on a Motorcycle, based on an erotic French novella titled La Motorcyclette by Andre Pieyre de Mandiargues, attempts - rather clumsily - to grapple with the ageless issues of free love, monogamy, commitment, desire and lust. And the bike, of course, is a perfect metaphor for Rebecca’s lust. “A car is something outside of yourself,” her lover Daniel tells her. “A motorbike becomes part of you… you are the sensations, there between your thighs.” “My black devil! You make love beautifully,” purrs Rebecca to her Harley in one memorable scene. The film itself has very little narrative, and in fact consists mostly of scenes of Rebecca riding her bike as she experiences vivid flashbacks to moments in her past. Spoiler alert: the film ends with Rebecca involved in a horrific crash, flying through the windscreen of an oncoming car. Luckily, though, the real-life Marianne Faithfull didn’t come to an equally tragic end, and is still with us. Faithfull saw out most of the 70’s as a junkie, but in 1979 resurrected her music career with a S U M M E R

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vengeance, delivering the classic Broken English. Together with Barry Reynolds, she crafted an album that was so honest, and so severe, that it captured the public’s imagination on a scale never seen before. This was more than a collection of songs: this was an album mined straight from her personal

“A MOTORBIKE BECOMES PART OF YOU… YOU ARE THE SENSATIONS, THERE BETWEEN YOUR THIGHS.” experience over the previous two decades. The now well-known single, The Ballad of Lucy Jordan, just cracked the UK top 50 at position 48, but the whole album itself possessed astounding strength 1 0

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in its totality as a body of work. The standout track was the last song, Why D’Ya Do It, with its rocking riff, set over a reggae rhythm. The song saw Faithfull venting: “Why’d ya do it, she said / Why’d you let that trash / Get a hold of your cock / Get stoned on my hash?” It’s love gone bad, and sung from the depths of the jealous rage. “Why’d ya do it, she said / Why’d you spit on my snatch? / Are we out of love now / Is this just a bad patch?” And then to ratchet it up a little, make sure there are no grey areas: “Every time I see your dick / I see her cunt in my bed.” The end of the song sees Faithfull repeat the line, “Ah, I feel better now.” Catharsis. On many of her earlier recordings during the 60’s, Faithfull had sounded… well, tame, producing beige covers of folk and popular songs. Some of these recordings still hold a certain charm today, but at the time, she barely stood out from the pack of competing singers in the psychedelic 60s. A powerful change had taken place by 1979, S U M M E R

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though, and the pioneering woman confronting the world on Broken English was a very different human being to the pretty pop star who had once graced the arm of Mick Jagger. Faithfull was never a great songwriter, but her breakout 1979 album turned her into an exceptional singer, one who could take other people’s songs and make you believe that she had written them. From this turning point, the musical analogy of a pin stuck in a map, Faithfull delivered a string of albums, twelve in all, in the three decades spanning 1981 and 2011. Some of them are admittedly patchy, like 2011’s Horse’s and High Heels and 1983’s A Child’s Adventure - but there were also some genuine pearlers. Between 2002 and 2008, Faithfull released three magnificent albums: Kissin’ Time released in 2002 saw Faithfull working with Beck, Blur, Pulp and Billy Corgan from Smashing Pumpkins fame. Highlights included two songs recorded with Beck, Like Being Born and Nobody’s Fault, which saw Faithfull delivering two poignant performances from Beck’s 90’s slacker Americana. The title track is a typical Blur song of the era, featuring Damon Albarn and Faithfull sharing the vocal duties. A very sexy song indeed, and one that deserves to become a quiet classic. S U M M E R

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2005 saw the release of Before the Poison, an album Faithfull recorded with Nick Cave and the Bad Seeds and PJ Harvey. The album also features a song written by Damon Albarn, which would later be reworked on his own studio album The Good, The Bad and The Queen. Crazy Love is a typical Cave ballad that Faithfull inhabits with a gorgeous ease, while Desperanto is an unhinged blues jam from the Bad Seeds, driven by some fantastic organ. By the time the Bad Seeds come in singing, “Everybody Loves My Baby”, it’s clear that this is raw, raunchy-ass rock ‘n roll. Of the PJ Harvey songs, the best is Faithfull’s well-known take on No Child Of Mine, but the rocking title track is a winner too. 2008’s Easy Come, Easy Go saw Faithfull again teaming up with Reynolds and some stellar session men, including Marc Ribot, to deliver a double album of covers. The songs included artists like The Decemberists, Brian Eno, Bessie Smith, Morrisey, Antony Hegarty, Rufus Wainwright, Randy Newman and Dolly Parton. Since 2005, the headlines have sporadically carried reports of Faithfull suffering from bad health, with the singer combating breast S U M M E R

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cancer, Hepatitis C, and most recently, a back injury which has led to the cancellation of numerous tours including a tour of Israel and Lebanon that was scheduled for August 2013. Marianne is currently recording an album of new material, with the release date to be confirmed soon. She is, and always will be, the icon of an incredible era: an object of controversy and desire, outspoken, loved and revered by thousands around the world. A survivor. A legend.

T R I UMP H B ONNE V I L L E A ND L OC AT I ON C OUR T E S Y OF T R A D I T I ON A L T R I UMP H , E DE N VA L E , 0 1 1 6 0 9 4 5 90 MODE L K AY L A D AW N K U Y L E R , FA N J A M

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“TO ME THE MEANS OF GETTING TO A PLACE ARE ABSOLUTELY PRIMARY; THEY ARE AS PRIMARY THE CAMERA ITSELF.” words SEAN O’TOOLE photos WARREN VAN RENSBURG

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he logistics of the photographer in the field are interesting to me, and they are a vital clue often to the way the photographs were conceived and made.” I’m talking to photographer David Goldblatt about his white Isuzu camper. This lumbering white behemoth, customised to Goldblatt’s requirements by Pretoria North engineer Pottie Potgieter, has long intrigued me. In a way, this big hulk of manliness is a kind of secret key to Goldblatt, the Randfontein born photographer who has devoted his life to making unhurried images of South Africa and all its complicatedness. 2

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Goldblatt, who has used all sorts of vehicles to produce work since declaring himself a professional photographer on 15 September 1963, including a bicycle and – in the 1980s – a BMW600 (“I really loved my bike), concurs. “To me the means of getting to a place are absolutely primary; they are as primary the camera itself,” he says. “If I am in a vehicle that I feel is unsuitable I am very uncomfortable.” Which is an odd admission. Not too long ago I saw Goldblatt – South Africa’s equivalent of Walker Evans – trying to awkwardly sneak his camper into a corner space at the National Gallery in Cape Town. A security guard, about to pounce, quizzically observed the crabwalk manoeuvres from a distance. And before that, this after a mutual lunch together in Joburg, I watched as the diminutive Nadine Gordimer, winner of the Nobel Prize for Literature in 1991 and Goldblatt’s collaborator on his first book of photographs, On The Mines (1973), awkwardly climbed into the passenger side of his imposing vehicle as she hitched a ride home. 4

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NADINE GORDIMER, WINNER OF THE NOBEL PRIZE FOR LITERATURE, AWKWARDLY CLIMBED INTO THE PASSENGER SIDE OF HIS IMPOSING VEHICLE AS SHE HITCHED A RIDE HOME.

“You should exhibit that car of yours,” I told Goldblatt not long after. He simply frowned. A year or so later, piggybacking on a more formal interview with the photographer, I decided to purposefully question him about his camper. Let me start by saying that I’ve interviewed Goldblatt on many occasions. Listening to him talk, openly and excitedly, about his camper on the phone I heard a far less polished or rehearsed Goldblatt than had become accustomed to. The man speaking wasn’t a notable someone, an artist addressing a cultured audience in perfectly composed sentences; rather, here was an exasperated motorist standing by the side of the road looking under the raised bonnet and mouthing to himself, “What the fuck?!” Goldblatt bought the turbodiesel Isuzu workhorse that forms the bedrock of his vehicle, a demo model with 29 000km on the clock, in the early 2000s. The purchase coincided with a new project that would involve travel to remote parts of the country, S U M M E R

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“I WON’T TELL YOU ALL OF THE DISASTERS BECAUSE IT IS JUST TOO BORING.”

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places determined by geographical coordinates, not the availability of hotels. Having owned and extensively travelled across the country in a Volkswagen camper between 1982 and 1993, he was certain about his demands. “My thoughts went to a 4x4 with a caboose.” He pauses on the last word. “A cabin that would enable me to travel freely,” he clarifies. “I realised I would have to have one designed to my specs.” He followed up on a classified advert in The Star advertising a fiveton truck for sale. It owner, a wealthy man who had commissioned an “extraordinary living home on wheels,” directed Goldblatt to Potgieter. In his early dealings with Potgieter, whose workshop was in a railway yard, Goldblatt was adamant he didn’t want a fancy custom job, just a caboose to replace the basin – or bakkie – removed from the Isuzu. “The long and the short is that he not only built a custom vehicle, but he combined what I wanted with his conception of what the vehicle should be. It was a very poor mixture

eventually. I spent a huge amount of money on things that were totally irrelevant. But finally, after a lot of back and forth. I had a vehicle that was functional and does what I want.” Goldblatt christened the vehicle by taking his wife, Lillie, and two grandsons, on a trip to Pilanesberg National Park. This, at least, is the abbreviated version. “I won’t tell you all of the disasters because it is just too boring,” says Goldblatt midway between recollecting a fireside-quality story of roadside breakdown. The sites of these various breakdowns push pins into names of towns, cities, dorps and nowheres across the country, and offer a way of mapping Goldblatt’s late career colour photography, when landscape began to replace human subjects as his principal concern. “I was in Laingsburg and invited Lillie to come visit,” recalls Goldblatt of one relatively minor incident. “I booked us into a caravan park nearby. We went in for the night. With a great show of my efficiency and effectiveness, I S U M M E R

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switched on the hot water geyser to wash the dishes. I’m buggered if the thing didn’t start spouting hot water all over the interior of the caboose. From every orifice it seemed to be sprouting boiling water. It was an extraordinary display.” As the crow flies, it is about 100km from Laingsburg to Gamkaskloof Nature Reserve in the Swartberg Mountains. In 1966, driving a Peugeot 403 (“they were great cars”), Goldblatt visited this remote part of the country. He photographed the Marias kids, Ella and Betty, swimming in the cement reservoir built by their father, Freek Marais, also farmer Piet Swanepoel, who similarly eked out an existence in this isolated valley that is today still known as “Die Hel”. In 2004, the valley now a nature reserve, Goldblatt returned in his Isuzu camper to make new photographs. He slept overnight at the foot of the pass. “Before dawn I went up the pass to the position I had chosen, set up my camera, took some photographs. Then I noticed that the apron that Pottie had insisted on putting on the 8

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“I’M BUGGERED IF THE THING DIDN’T START SPOUTING HOT WATER ALL OVER THE INTERIOR OF THE CABOOSE... IT WAS AN EXTRAORDINARY DISPLAY.”

vehicle was coming away from the bodywork. The apron was a fibreglass thing that required a special custommade mould so that the lines of the front of the vehicle were caught up by the caboose. It went right around the vehicle concealing the vehicle and undercarriage, giving the vehicle a certain elegance in Pottie’s eyes. I had never liked it, nor wanted it, but that was the price for getting Pottie to make the vehicle to my specs.” On closer inspection Goldblatt saw that spillage from the diesel inlet had eaten away at the adhesive that kept the apron attached to the body. He roped the loose apron to the stanchions and headed off. Later, while in a train of cars navigating a stretch of road works along the N1, Goldblatt saw something flapping in the rear-view mirror: the apron had come unstuck from the body and was flapping in the wind. “I didn’t know what to do, you can’t stop. I kept going hoping that I would get to the other end of this stretch of road before there is a disaster. I looked into my mirror again and saw that it had S U M M E R

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broken away and was flying higgledypiggledy over the road and veld. Fortunately, the guy behind me had seen its danger and held back.” Back in Johannesburg, Goldblatt, his wife following in another car, made the familiar journey to Mobile Designs, Potgieter’s now defunct business in Pretoria. Goldblatt gave Potgieter six weeks – the duration of a foreign work trip – to fix the camper. No apron, he insisted. “I came back, go to Pretoria, and I am fucked if he hasn’t now screwed an aluminium apron to the back of the vehicle. The trouble with Pottie was and is that he is such a nice man that you could never really get cross with him.” Turns out the new apron concealed the slot for winding down the spare wheel, a discovery left to Goldblatt while on the road in the Queenstown district. It is too simple to fault Potgieter as a poor engineer; Goldblatt, who was born in Randfontein in 1930, has a habit of identifying with working class subjects, especially maverick craftsmen. Aside from Potgieter another key 1 0

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unacknowledged figure in Goldblatt’s unwritten biography is Andrew Meintjies, the murdered photographer who built and marketed the home-grown Panfield large-format camera. Goldblatt numbered amongst its handful of global users. “The Panfield camera was better than my vehicle,” insists Goldblatt, “but there was a common thread running between Andrew and Pottie: they were both extremely arrogant. If they did something, then it was done. Andrew never tested anything. You would get him to do something, then get in the field and it wouldn’t fucking work. You would go back to him and he would say, ‘Ohhhh!’ Pottie had the same kind of attitude.” In 2012 Potgieter shut down his company. The maintenance of Goldblatt’s camper has since been taken over by another Pretoria businessman, a former Telkom “technical boffin” named Le Grange. Curiously, tellingly, even strangely, in spite of their many exchanges Goldblatt never photographed Potgieter. Goldblatt’s reasoning is simple: “It was usually too tense to indulge in that sort of thing.” S U M M E R

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HITTING THE WALL WHY DOES THE SOUTH AFRICAN PELOTON LOOK THE WAY IT DOES? THE DEFUNCT RAPPORT TOUR OFFERS ONE WAY TO ANSWER THIS COMPLICATED QUESTION. IN PART ONE, WE REVISIT THE EARLY HISTORY OF THIS MULTISTAGE RACE MODELLED AFTER THE TOUR DE FRANCE. by SEAN O’TOOLE

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ONE DAY WHILE RUMMAGING THROUGH STACKS OF BOOKS

in a Sedgefield antique store – read resort town junk shop with a token Royal Albert tea set – I found a moth-eaten copy of the magazine Panorama. Dated January 1976, this particular issue of the old National Party government cultural mouthpiece featured five professional cyclists on steel-frame races competing in the 1975 Rapport Tour. Quaint, I thought, and paged to the story inside. Hello! Who is this black rider? The question turned out to be a wormhole, one that connected me to a time when apartheid politicking, competitive cycling and Hollywood celebrity momentarily collided in a Karoo setting. At least, that’s the legend. Being less than four decades old, this legend is too young

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to be called a myth; it still needs to sever its umbilical connection to the nurturing circumstances of truth and fact. Here’s what is certain. In September 1975, a month before the start of the third Rapport Tour, the defunct invitation-only bicycle race between Cape Town and Johannesburg, Elizabeth Taylor and Richard Burton, two Hollywood royals at the waning apex of their careers, visited South Africa to attend a celebrity tennis tournament. A week later, the divorced couple flew from Johannesburg to Chobe National Park in Botswana, where they promptly remarried. “The scores of newsmen who descended this week on Chobe, where the Burtons have been staying since 6 October, learnt that the couple had left to explore Botswana,” reported the Sunday Times on 19 October, the same day Portuguese rider Fernandes Mendes won the Rapport Tour. According to the newspapers journalist, David Barritt, who in later life would function as mining magnate Brett Kebble’s PRman before his murder, Taylor and Burton had been married in a “simple mud dwelling” by Ambrose Masalila. S U M M E R

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The lead peloton on a stage of the 1975 Rapport Tour.

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On the sports pages of the same paper cycling journalist Norman Crews declared that the penultimate stage of the Rapport Tour, from Potch to Alberton, had been the “dullest” he had ever seen. “In the ensuing 40-man sprint Alan van Heerden pipped Irish champion Pat MacQuaid in front of the turned-out town,” reported Crews. McQuaid, 25, was an Irish PE teacher from Dublin riding for an English team under the alias James Burns. His teammates included fellow Irishman Sean Kelly, 18, a farm boy jobbing as a bricklayer; his racing pseudonym was Alan Owen. “Arriving under a cloud of secrecy, the British team were masquerading under pseudonyms to avoid suspension for competing in South Africa,” reported Crews in a Cape Times article published on 3 October. “I will be suspended for life if our officials find out I have come here,” explained one rider to Crews. There was a specific context to this subterfuge. The hardening of the apartheid context throughout the 1960s saw South Africa banned from the 1964 Summer Olympics in Tokyo. In 1970 the International Cycling Union S U M M E R

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The Clover team for the inaugural 1973 Rapport tour: George O’Brien (manager), Richard Moteka, John Moding, Abie Oromeng, Elias Ramantele and George Shabalala (assistant manager).

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(UCI), cycling’s governing body, followed suit and shut its door on local competitive cycling. The Rapport Tour was the white republic’s dubious response. According to the sports historian Lappe Laubscher the idea for this multi-day race grew out of 1972 conversation between Arrie Joubert, a veteran Afrikaans sports journalist, and Raoul de Villiers, a Bloemfontein carpet merchant and then vice chairman of the whites-only South African Cycling Federation (SACF). De Villiers, who later became the organisation’s president,

calculated that it would cost R12 000 to organise a local race similar to the Tour de France. Louis Luyt, the fertiliser and brewing mogul who in 1975 was scheming to purchase a controlling stake in the Sunday Times, offered to stump up R5 000. Rapport newspaper agreed to come up with the balance, on condition they were granted naming rights and that the race was multiracial (“veelvolkig”). This latter demand was not entirely a token gesture. In the lead-up to the 1975 Rapport Tour, the Cape Times conjectured that Jack Ntseau, a Botswana-born black rider who achieved widespread attention after placing third in the KWV Tour of the Winelands, was a viable contender. “He has the power and stamina to see out this 2074km race. If he can curb his desire to ‘challenge’ and pay more attention to tactics, Ntseau could become the first South African and first black cyclist to win this exciting tour.” De Villiers approached Piet Koornhof, the newly appointed minister of sport and recreation, who pledged government support to the race if at least two foreign countries participated in it. Basil Cohen, the charismatic owner of Deale & S U M M E R

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THE BRITISH TEAM WERE MASQUERADING UNDER PSEUDONYMS TO AVOID SUSPENSION FOR COMPETING IN SOUTH AFRICA.

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George Shabalala, assistant manager of the Clover team (R.S.A.) receives the merit award from the mayoress of Bloemfontein, Mrs A.S. Vorster on behalf of Abie Oromeng, who withdrew as a result of an accident.

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Huth, a specialist cycling store at 128B Main Street in central Johannesburg, secured an Italian and two French teams for the organisers. Route planning was the last major hiccup: an administrator in the Orange Free State, upon hearing of the inclusion of a team of black riders, refused permission for the 1973 race to pass through his town. An Italian, Pierre-Luigi Tagliavini, won the inaugural Rapport Tour. A year later a long in the tooth Brit, Arthur Metcalfe, won the second tour. Although given less publicity than rugby and cricket, which were similarly the site of sanction busting and activism, participation

in the “rebel” cycle race was not without consequence. The Scot, John Curran, who won two stages in the 1974 tour, served a six-month ban for racing in South Africa. It was a slap on the wrist given that the ban ran through the European off-season. McQuaid, who had recently won the Tour of Ireland, weighed the odds. Like Kelly, the Irish national junior champion, McQuaid had his sights set on Olympic glory in Montreal the following year. The Rapport Tour, which offered international riders free flights, accommodation and living expenses, presented a perfect opportunity for off-season training. McQuaid arrived in the politically isolated republic via London, Paris and the Congo. Depending on who you read this is where the story takes various routes, truth here more grey than black. Enter Taylor and Burton. One popular version of the legend – it is told by British cycling journalist David Walsh in his biography Kelly (1986) – has it that the newlyweds travelled to Oudtshoorn for their honeymoon, their visit coinciding with Giuseppe Santini’s winning ride on stage four, an uphill climb from Mossel Bay to S U M M E R

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Oudtshoorn that earned the Italian an award of a mounted ostrich foot from the mayor, SM Greef. In Oudtshoorn, the legend continues, John Hartdegen, a local Sunday Times journalist

GIUSEPPE SANTINI’S WINNING RIDE ON STAGE FOUR EARNED AN AWARD OF A MOUNTED OSTRICH FOOT FROM THE MAYOR. who in his earlier years published short stories under the nom de plume Shane O’Flaherty – because it sounded literary – allegedly asked Tom Shardelow, the British team’s manager, if he could photograph the cyclists with Taylor and Burton. Shardelow, the winner of two silver medals for track cycling at the 1952 Helsinki 7

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Olympics, presented Hartdegen with five riders. “I pointed out to Shardelow that two of the men I had photographed spoke with pronounced South African accents, and that a third was a member of another foreign team,” Hartdegen wrote in an expose article published in the London Daily Mail. “The Secret Team Who Masquerade As Britain,” read his article’s sub-header. Fleet Street was more outraged by the fact that Irishmen were posing as Brits than the context of the sports ban. “That finished the team,” recalled Shardelow. Now 83, he lives in Edgemead, a suburb of Cape Town. His two silver medals hang in a framed display on a wall between the kitchen and lounge. Shardelow, whose scrapbook includes newspaper clippings from a period when competitive cycling wins made front page news in Johannesburg, disputes Hartdegen and Walsh’s versions of what happened. “No,” he squeezed out while abundantly and incredulously laughing at mention of Taylor’s presence. Described as “a gentleman of gentleman” by Cohen, Shardelow remembers McQuaid as the star rider on the 1975 tour. S U M M E R

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Kings of the Mountain: Mike Cary - Trek Team (R.S.A.) and John Moding - Clover team (R.S.A.)

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elaborated the newspaper. “The good-looking Briton, full of grit, was one of a bunch of 40 riders who hit the Marine Drive.” Shardelow, an electrician by training, blames latent animosities between English and Afrikaners as the reason why McQuaid and Kelly’s identities were eventually leaked to the foreign press. “The journalist that reported them was a guy that was tied up with SA cycling,” said Shardelow when I met him at a garden centre to talk about this forgotten episode of South African cycling history. “He made his money “He was by far the fastest guy in the whole out of it.” When I mentioned Hartdegen’s name race, but you had to get him there to finish. If he countered by offering Joubert, the journalist you got him there he would ride away from credited with the idea of the tour. everyone. He was like Mark Cavendish is now, This minutia is possibly irrelevant. As a tremendous sprinter.” This account is corroborated by news reports anticipated, McQuaid and Kelly were banned for six months. Then the bombshell: UCI from the time. “Tearaway Burns Sets ‘Em compiled a list of all the foreign riders who had Alight” read a headline to a Sunday Times ridden in the Rapport Tour, which it passed article detailing McQuaid’s accomplishments. on to the International Olympic Committee. “An exhausted but jubilant James Burns of In May 1976, McQuaid, Kelly and 14 other Britain burnt up the Humansdorp to PE stage international riders received lifetime bans from of Rapport cycle tour and then immediately jumped into the sea to cool his aching, hot feet,” Olympic competition. S U M M E R

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P HO T O F E AT URE

IN THE

ZONE

VAAL SKATEBOARDING RECENTLY HOSTED AN EVENT AT THE SAUL TSOTETSI SPORT AND RECREATIONAL CENTRE IN ZONE 14, SEBOKENG, AS PART OF THE CAMPAIGN TO PROMOTE SKATEBOARDING IN THE LOCAL COMMUNITY. photos WARREN VAN RENSBURG

ANDREW VAN RENSBURG, founder of Vaal Skateboarding, has been skating in the Vaal for the past 16 years, and has watched the local skate scene push through many highs and lows. In September 2013 he started a Facebook group in the hopes of creating a platform where the local riders could connect, share content and stay updated with any relevant news and events. The interest and feedback since then has been both overwhelming and encouraging. And so Vaal Skateboarding was born: an initiative focused on promoting skateboarding across the Vaal Triangle region, with the aim of leaving a meaningful and lasting impression. Although the Vaal has a unique and fast-growing community of skateboarders, it unfortunately has poor and few facilities available where the riders can develop their skills. Through positive community interaction and support VSKB hope to build and maintain a healthy level of interest in the sport and see better facilities established in the future.

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C OMP I L E D B Y T R A F F I C M A G A Z I NE

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The Ride The Ride explores motorcycle riding as it is meant to be: as a means of getting around with attitude, as an extension of one’s own body, as an expression of personal freedom, but also as a

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Monochrome Project Each camera in the Dutchmann Monochrome Series is shipped with a complimentary 36 exposure black & white film and a pre-paid courier envelope addressed to Dennis da Silva - South Africa’s most accomplished darkroom printer. Simply point, shoot and post. R9 500 – Click here to visit the website

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Stylmartin Indian Motorcycle Boots Waterproof and breathable lining, offers internal ankle and toe protection. Anti slip Vibram rubber soles. R3570 – Click here to contact the South African distributor

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D A I LY DR I V E R

W ORD S B Y J A S ON B R ONK HOR S T

1970 PORSCHE 911 T

RUI ESTEVES RUI IS AN ENTREPRENEUR AND CO-FOUNDER OF BREWERS & UNION, AN INTERNATIONAL CRAFT-BREWING COMPANY. RUI'S DAILY DRIVE REFLECTS THE ARTISANAL NATURE OF HIS BUSINESS - SMALL BATCH BAVARIAN ARTISANAL BEER AND PRECISE GERMAN ENGINEERING SEEM TO GO HAND IN HAND; A CELEBRATION OF OLD WORLD AESTHETICS AND PROCESSES. photography RUI ESTEVES

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SO, WHY A PORSCHE? Once you drive a Porsche you’ll understand. I can go on and on, but it won’t accurately describe the driving experience. If I have to go from A to B, it had better be engaging and fun. WHERE DID YOU FIND THE CAR? In Cape Town. The original colour was “Bahia Rot”. It was in good condition, with a decent body and solid engine. It was a daily driver with no problem as it was.

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D A I LY DR I V E R

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“NEW CARS FEEL LIKE NUMB APPLIANCES. OLDER CARS ARE VISCERAL. YOU HAVE TO USE ALL YOUR SENSES TO DRIVE THEM. IF YOU CAN TALK ON THE CELL PHONE AND DRIVE IT, I DON’T WANT IT.”

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JOSÉ DID SOME GREAT WORK ON THE CAR – HOW DO YOU KNOW HIM? My old man met him during his days at the Corvette club. WOULD YOU DESCRIBE YOURSELF AS A PETROL HEAD? Sure, I guess I’m a petrolhead. I don’t buy ‘performance cars’. I buy cars preferably from the late 60’s / early 70’s. My first was a 1964 1/2 Mustang. CAN YOU TELL US A BIT ABOUT YOUR CAR HISTORY? My old man used to race a Mini Cooper S in the early 70’s. So yes, I contracted the virus from him. I’ve restored and owned numerous American cars from the late 60’s/ early 70’s. A few years ago I bought a 1970 Mercedes 280SE as a daily driver and fell in love with old German cars.

ANY PLANS FOR FUTURE MODS? It’s already been relatively hot-rodded. Brakes, exhaust, suspension, wheels flares. I’m not gonna mess with it too much since it is otherwise super original and numbers matching. CAPE TOWN AND PORSCHE – THE PERFECT COMBINATION. YOUR FAVOURITE STRETCH OF ROAD TO DRIVE? For quick daily thrills, I just go up Kloof Road in Camps Bay AND FINALLY, WHAT IS THE MOST MEMORABLE MOMENT IN THE CAR? The first time I drove it. I remember thinking “This is exactly how every car should be.”

VISIT BREWER’S AND UNION

WHAT IS THE BEST THING ABOUT THE PORSCHE AS A DAILY DRIVER? The old 911 is so small and nimble, understated and unique, reliable and relatively economical with its 2.2L flat six. Ticks all the “daily driver” boxes.

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FA S H I ON

BEYOND THE SWIMSUIT

MASERATI + KLUM

VIEW THE WHOLE SERIES ON OUR SITE T R A F F I C

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Italian luxury car manufacturer Maserati continues to celebrate its 100 years of history with a 7-page photo feature titled “Beyond the Swimsuit”, which appears in the 2014 Sports Illustrated Swimsuit Edition. “We started our next 100 years of craftsmanship by kicking off 2014 with the launch of one of the best received Super Bowl commercials, “Strike”, featuring the all new Maserati Ghibli, and extending the brand to another massive cultural icon, Sports Illustrated Swimsuit 50th Anniversary issue,” said Harald Wester, CEO of Maserati S.p.A. Shot by Italian Master Photographer, Francesco Carrozzini, the series depicts scenes that befit one of the world’s most famous women, Heidi Klum; the Hollywood star with the glamorous Quattroporte Ermenegildo Zegna Limited Edition, the business woman with the Ghibli S Q4, and the thrill-seeker with the GranTurismo MC Trofeo Race Car. This is also a nod to a brand with proven tradition and one of the highest standards of quality in the industry, who has been hard at work engineering automobiles that will usher them into the next 100 years of innovation.

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G A R A G I S T E : W H AT ’ S HE B U I L D I NG I N T HE R E ?

P HO T O G R A P H Y B Y NE I L R OE

NEIL ROE is

ZEPPELIN SURFBOARDS KEEP ON FROM HIS HUMBLE BEGINNINGS IN 2005, NEIL BUSSIN’ HAS BEEN LOVINGLY CRAFTING SOME OF THE BEST MADE WOODEN SURFBOARDS EVER SINCE.

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G A R A G I S T E : W H AT ’ S HE B U I L D I NG I N T HE R E ?

When did you start making wooden surfboards and what gave you the idea? I started my first board back in 2005 when I was living in Durban. I had only been surfing for about five years and I’d already been through half a dozen boards, every time a board broke I’d have to scrape together my hard earned cash to buy a new board, only to have it end up damaged and broken a few months later. At the same time I had a growing pile of damaged and boards in my garage that was beginning to look like an environmental hazard. I was looking for a board that could last 10 or 20 years and didn’t cost the earth to manufacture. I have a product design back ground and I’ve always loved working with wood so after doing some research on the internet I decided to have a go at making myself wooden surfboard. You build your boards in your garage. How many do you build at a time? In the beginning I would only build one board at a time, my first board took me over a year to complete, back then I only worked on weekends or whenever I could find a spare

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moment. I’ve since picked up the pace a bit, right now I have three boards on the build with another three on the cards, I have more time now and can work on making boards almost everyday. I have seen your surfboards up close. There were two wooden surfboards, a funboard and a wing tail. I couldn’t believe how light they were. It’s apparent that they are hollow but how do ensure their strength and durability this way? Well to start with, wood is a way stronger material than the foam cores used in regular surfboards, so you are already ahead of the game there. I use an epoxy and fiberglass shell for structural strength and to protect the wood from the water. The overall combination of internal frame, wooden decking and fiberglass shell results in just about the strongest surfboard you can get. Even considering the destructive force of the ocean, a well maintained wooden board can last a lifetime. This longevity along with the fact that most of the waste produced in making a wooden board is bio degradable makes it clearly a much more responsible and sustainable choice of material.

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G A R A G I S T E : W H AT ’ S HE B U I L D I NG I N T HE R E ?

Explain a bit of the process and what it takes to make one. The process starts on the computer where I design the board using 3D modeling software, once I’ve refined the design I use the 3D model to create a set of ribs that forms a sort of “fish bone” rib structure similar to the inside of an airplane wing. I then set the ribs into a jig and proceed to bend and glue planks around the ribs to create the top and bottom decks. I then bend thin planks around the profile of the deck/rib sandwich in multiple layers resulting in rails. At this stage you have a rough surfboard “blank” that needs to be shaped with a planner and plenty of sanding as the final surfboard shape emerges. Once the construction phase is completed, I laminate the board with fiberglass and epoxy. Finally I wax that baby up and hit the waves! Your boards are intricately built, with each slither of wood perfectly butting up with almost laser precision. How long does it take you to make one? It really varies from board to board, it all depends on the complexity of the deck

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layout, board size and shape. On average it will take 2 to 3 months to complete a board, if I work on the board everyday. With every board I make I find better ways of doing things so the time required is decreasing. That said, I’m never in a hurry to finish a board, I find making boards and working with wood is a kind of meditation, I can really lose myself in wood grain and saw dust. You are based in Taiwan now. Do you have a big clientele there or do you have clients all over the world? I started building boards just for myself, purely as a hobby. Over the years a dream began to take shape, to have a wooden barn converted workshop a stones throw from a left hand point break, clients all over the world. About a year ago I began actively working towards that dream. So far my house has been converted into a workshop, I have regular holidays at a point break and I’ve managed a few customers scattered across the globe. This year my aim is to enter the local market here in Taiwan and Japan. Perhaps in 2015 I’ll be looking out of a wooden barn over a beach to the perfect wave.

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G A R A G I S T E : W H AT ’ S HE B U I L D I NG I N T HE R E ?

WOODEN BOARDS ARE 100% DIFFERENT, THEY ARE HEAVY AND NOT AS FLEXIBLE, BUT THE RIDE IS PURE LUXURY.

What if any, is the difference in riding experience compared to a modern foam and resin board? It’s the difference between a big luxury sedan, like a Mercedes Benz and a sports car like a Ferrari. A modern foam board is ultra lightweight and flexible, perfect for tight turns, responsiveness and airs, but they can be twitchy and bouncy if the waves aren’t perfect. Wooden boards are 100% different, they are heavy and not as flexible, but the ride is pure luxury. Wood is suited to board shapes that emphasize down the line speed and longer, drawn out turns. The extra weight will iron out the surface of the wave and give you the equivalent of a magic carpet ride. Wood is perfect for funboards, longboards and old school shapes where style and glide are the focus. Wood is also an excellent choice for big wave guns where weight and strength is an advantage. I would choose my wooden gun any day of the week to paddle out into really big surf, the kind of stability and ease of setting a line cannot be matched by foam. CLICK HERE TO GET HOLD OF ZEPPELIN WOOD

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DR I V E I N: D O C UME N TA R Y

REBELS WITHOUT A CAUSE

12 O’CLOCK BOYS THE 12 O’CLOCK BOYS are a notorious urban dirt bike pack in Baltimore — popping wheelies and weaving at excessive speeds through traffic, the group impressively evades the hamstrung police. In Lotfy Nathan’s wild, dynamic documentary (three years in the making), their stunning antics are envisioned through the eyes of young adolescent Pug – a bright kid from the Westside obsessed with the riders and willing to do anything to join their ranks. Premiering to critical acclaim at the SXSW and Hot Docs Film Festivals (where Nathan won the HBO Emerging Artist Award), 12 O’CLOCK BOYS provides a compelling and intimate personal story of a young boy and his dangerous, thrilling dream.

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DR I V E I N: D O C UME N TA R Y

GHOST IN THE MACHINE

WHY WE RIDE AN inspiring celebration of the motorcycling community, this documentary film shares the passion of motorcycle riding and shows the camaraderie of the friends and families who ride together. As told by the many racers, riders, pioneers, and parents in the sport, the story weaves its way through generations of motorcyclists who live each day to the fullest on their two-wheeled machines. The refreshing message about the joys of motorcycling, coupled with state of the art photography, capture the imagination and set the soul in motion. - www.imdb.com

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DR I V E I N: A N I M AT I ON

GHOST IN THE MACHINE

THE WIND RISES

CLICK HERE TO VIEW THE TRAILER

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JIRO dreams of flying and designing beautiful airplanes, inspired by the famous Italian aeronautical designer Caproni. Nearsighted from a young age and unable to be a pilot, Jiro joins a major Japanese engineering company in 1927 and becomes one of the worldâ&#x20AC;&#x2122;s most innovative and accomplished airplane designers. The film chronicles much of his life, depicting key historical events, including the Great Kanto Earthquake of 1923, the Great Depression, the tuberculosis epidemic and Japanâ&#x20AC;&#x2122;s plunge into war. Jiro meets and falls in love with Nahoko, and grows and cherishes his friendship with his colleague Honjo. Writer and director Hayao Miyazaki pays tribute to engineer Jiro Horikoshi and author Tatsuo Hori in this epic tale of love, perseverance, and the challenges of living and making choices in a turbulent world.

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T HE R O A D T O HE L L

W R I T T E N B Y R I C K DE L A R AY

A M U S IC COLUMN DE DI C AT E D TO T HE SOUNDTRACK OF THE DAILY COM M UTE.

Cameron: “The 1961 Ferrari 250GT California. Less than a hundred were made. My father spent three years restoring this car. It is his love, it is his passion, and he loves this car more than life itself.” Ferris: “It is his fault he didn’t lock the garage.” Cameron: “Ferris, he never drives it! He just rubs it with a diaper!”

we begin I would like point out that this article of “Road to hell” also pays homage to the late director John Hughes and his 1986 film “Ferris Bueller’s Day Off” staring Matthew Broderick (Ferris Bueller), Alan Ruck (Cameron Frye) and the absolutely ravishing Mia Sara as (Sloane Peterson).

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1961 FERRARI 250 GT SPYDER CALIFORNIA S U M M E R

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T HE R O A D T O HE L L

THE FLOWERPOT MEN The Janice Long Session – “Beat City” (1987)

Ferris: “Not that I condone fascism, or any -ism for that matter. - Isms in my opinion are not good. A person should not believe in an -ism, he should believe in himself. I quote John Lennon, “I don’t believe in Beatles, I just believe in me.” Good point there. After all, he was the walrus. I could be the walrus. I’d still have to bum rides off people.” Now in 1986 I was 10. I did however have the pleasure of viewing this film five years later when I was 15. In fact it was the only film that my friends and I watched repeatedly for about 2 years after that. Day in and day out until we were actually capable of reciting almost the entire script by heart. One of my friends even went as far as translating almost the entire film into “Afrikaans” at regular intervals. By this time I do recall us trying to pause the video remote at the exact moment where Mia Sara flashes half a nipple in here underwear at the pool scene. I don’t recall us ever getting that pause right or even if that nipple ever existed… Then of course there was the red convertible, which Ferris decides to “loan” for the

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The Flowerpot Men were a British electronic music group that surfaced in the 1980’s with “Beat city” being their most successful no. They consisted of Ben Watkins and Adam Peters. The latter of which did later end up playing the cello and piano on the Echo and the Bunnymen’s timeless classic “The Killing Moon” while ben went on to form the band Juno Reactor and still currently writing major Hollywood film scores.

SIGUE SIGUE SPUTNIK Flaunt it – “Love Missile f1-11” (1986)

Ferris: “I do have a test today, that wasn’t bullshit. It’s on European socialism. I mean, really, what’s the point? I’m not European. I don’t plan on being European. So who gives a crap if they’re socialists? They could be fascist anarchist; it still doesn’t change the fact that I don’t own a car.”

This is probably the best cross over electronic punk song that has ever been manufactured and probably set the trend for most of sampling culture that followed after it. But it was their only one and as far as I’m concerned the rest of their music was rubbish. This song is fucking good though and still makes you want to bounce off the walls when you hear it. Besides selling a shit load of records at the time with this particular album at the time nothing much happened to them after this… Except for the founder Tony James who played in Generation X with Billy Idol prior to the Sputniks and later joined the Sisters of Mercy well into the 90’s.

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THE BEAT 7” Single Jeanette – “March of the Swivel Heads” (1982)

Ferris: “The key to faking out the parents is the clammy hands. It’s a good non-specific symptom; I’m a big believer in it. A lot of people will tell you that a good phony fever is a dead lock, but, uh... you get a nervous mother, you could wind up in a doctor’s office. That’s worse than school. You fake a stomach cramp, and when you’re bent over, moaning and wailing, you lick your palms. It’s a little childish and stupid, but then, so is high school.” day out of Cameron’s father arsenal of vintage automobiles. The Ferrari 250 is a sports car built by Ferrari from 1953 to 1964. The company’s most successful early line, the 250 series included several variants. It was later replaced by the 275 and the 330. It is extremely rare and has an estimated value between €4,300,000 – €5,500,000. Whish means that most of us don’t even have the money to sniff the seats let alone sit in them. Designed for export to North America, the 1957 250 GT California Spyder was legendary Ferrari designer Sergio Scaglietti’s interpretation of an open-top 250 GT. Aluminium was used in the hood, doors, and trunk lid, with steel

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The Beat (also known as The English Beat or The British Beat) are a 2 Tone ska revival band founded in Birmingham, England in 1978. Their songs fuse ska, pop, soul, reggae and punk rock, and their lyrics deal with themes of love, unity and socio-political topics. They released a string of classic singles including “Mirror in the bathroom” and “Hands of she’s mine”. The Beat disbanded in 1983 and two of its members Andy Cox and David Steele went on and formed Fine Young Cannibals.

YELLO Stella – “Oh Yeah” (1985)

Ferris: The question isn’t “what are we going to do,” the question is “what aren’t we going to do?”

Yello is a highly entertaining Swiss electronic band consisting of the millionaire industrialist and gambler Dieter Meier and keyboardist Boris Blank. They have Cameron: Please don’t say were not going to take the car been instrumental in spreading and developing the use home. Please don’t say were not going to take the car home. of sampling, along with Art of Noise, Paul Hardcastle and Please don’t say were not going to take the car home. Depeche Mode, especially in the construction of rhythm Ferris: If you had access to a car like this, would you take tracks, such as one of their signature tunes The Race from 1988 which peaked at #7 on the UK Singles Chart. it back right away? Neither would I.

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THE DREAM ACADEMY 7” Please Please Please – “Please Please Please” (1985)

Ferris: “Cameron has never been in love - at least, nobody’s ever been in love with him. If things don’t change for him, he’s gonna marry the first girl he lays, and she’s gonna treat him like shit, because she will have given him what he has built up in his mind as the end-all, be-all of human existence. She won’t respect him, ‘cause you can’t respect somebody who kisses your ass. It just doesn’t work.”

specified elsewhere for most models, though a few aluminium-bodied racing versions were also built. The engine was the same as in the 250 Tour de France racing car with up to 240 PS (177 kW; 237 hp). All used the long 2,600 mm (102.4 in) chassis. In 1959 Ferrari gave the 250 GT Berlinetta sharper handling, reducing its wheelbase from 2,600 mm to 2,400 mm. In 1960 Scaglietti revealed the 250 GT Spyder California SWB at Geneva, its body pulled more tautly over this updated chassis. Like the 250 GT Berlinetta SWB on which it was based, the revised Spyder also received disc brakes and a 280 PS

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The Dream Academy was an English folk rock band, comprising singer/guitarist Nick Laird-Clowes; multiinstrumentalist (chiefly oboe, English horn player) Kate St John; plus keyboardist Gilbert Gabriel. Besides their hit single “Life in a Northern Town” they chose to do an instrumental of the Smiths “ Please please please let me get what I want this time…” which features in one of the most prominent scenes of the film.

THE BEATLES Twist & Shout – “Twist & Shout” (1963)

Ferris: “Pardon my French, but Cameron is so tight that if you stuck a lump of coal up his ass, in two weeks you’d have a diamond.” Cameron: “He’ll keep calling me, he’ll keep calling me until I come over. He’ll make me feel guilty. This is uh... This is ridiculous, ok I’ll go, I’ll go, I’ll go, I’ll go, I’ll go. What - I’LL GO. Shit!”

“Twist and Shout” is a 1961 song written by Phil Medley and Bert Berns and was originally titled “Shake It Up, Baby” and recorded by the Top Notes. It was subsequently covered by the Beatles and released on their first album “Please Please Me.” After the film the song’s seven-week run in the U.S. Top 40 in 1986, combined with its original 16-week run in 1964, makes Twist And Shout the longestrunning Top 40 hit for the Beatles, at 23 weeks.

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WAYNE NEWTON Danke Schoen – “Danke Schoen” (1963)

Ferris: “Ladies and gentlemen, you are such a wonderful crowd, we’d like to play a little tune for you. It’s one of my personal favorites and I’d like to dedicate it to a young man who doesn’t think he’s seen anything good today Cameron Frye, this one’s for you.”

(206 kW; 276 hp) version of the three-litre V12. About 55 were built. A fiberglass-bodied replica of a 1961 250 GT Spyder California, based on an MG, was featured in the 1986 film Ferris Bueller’s Day Off.[8] Besides “Sloane’s” pool side wondering nipple the film had one fantastic sound track filled with a bouquet of timeless obscurities. The songs have randomly popped in and out of my head for about 20 years now. I finally confronted them and decided to present this eclectic batch of hits from the film accompanied by some of the most classic quotes from the script.

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Wayne Newton is an American singer and entertainer. One of the best-known entertainers in Las Vegas, Nevada, he is known by the nicknames The Midnight Idol, Mr. Las Vegas and Mr. Entertainment. “Danke Schoen” proved to be his signature song and reached # 13 Billboard pop, #3 easy listening. Bert Kaempfert composed the music, with the German lyrics written by Kurt Schwabach and the English lyrics by Milt Gabler. The melody was originally released without lyrics under the title “Candlelight Cafe”

HUGO MONTENEGRO Jeannie – “I Dream Of Jeannie” (1965)

Ferris: “Nothing - wha - what do you mean nothing good? We’ve seen everything good. We’ve seen the whole city! We went to a museum, we saw priceless works of art! We ate pancreas!”

Hugo Montenegro was an American orchestra leader and composer of film soundtracks. His best known work is derived from interpretations of the music from Spaghetti westerns, especially his cover version of the main theme from the 1966 film The Good, the Bad and the Ugly. “I Dream Of Jeannie” was originally written for the 1965 comedy sitcom by the same name with a fantasy premise. The show starred Barbara Eden as a 2,000-year-old genie, and Larry Hagman as an astronaut who becomes her master, with whom she falls in love and eventually marries.

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F O OD T R UC K

WE SCREAM

ICE CREAM VANS ITâ&#x20AC;&#x2122;S the sound of Summer nostalgia. Of swimming pools and warm afternoons, the smell of chlorine in our hair and the aroma of freshly mowed lawn wafting on the breeze: that nursery rhyme tune belted out of old speakers, a scratchy record or stretched out tape, playing the same tune over and over (how does the driver stand it?). The old air cooled VW engine puttering along suburban streets. The best ice cream we ever had.

Photo: Gareth Pon. Follow him on Instagram @garethpon or see his other work at www.garethpon.com T R A F F I C

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Contributors Summer 2014 Issue 2

DEVIN PAISLEY

ROSS GARRETT

Excited by all things mechanical, after school Devin decided to study mechanical engineering. Unfortunately there was mathematics involved and he lasted 3 months. With that out of the way he travelled the world for a few years, during which he picked up photography, before settling back in Cape Town and filling his time building motorbikes and rebuilding his pride and joy Suzuki Jeep. His next project is creating the ultimate Man Cave.

Ross is a portrait and fashion photographer who frequently commmutes between Jozi and Cape Town. Humble and a consummate pro, his work is seen all over the world. Currently a brand ambassador for Nikon, Ross is also likely to be found riding to a cricket match at Wanderers on his Vespa. In the rain.

DEVIN HEADED OUT TO THE NORTHERN SUBURBS OF CAPE TOWN TO FIND OUT MORE ABOUT A FATHER AND SON TEAM WHO BUILD BIKES AND PLANES.

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ROSS BRAVED A CAPE TOWN TYPHOON AND A RAGING HIGHVELD HURRICANE FOR OUR COVER SHOOT - A HOMAGE TO MARIANNE FAITHFULL.

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Contributors Summer 2014 Issue 2

LLOYD GEDYE

CANDICE LEE MOORE

Lloyd Gedye is one of the founding editors of The Con. Otherwise he writes for a living. He writes regularly for the City Press and Mail & Guardian Newspapers, broadly covering the beats of business and music.

“My first car cost 100 pounds. It was a rusty Renault Clio. We lived in London and I had to stick my head out of the window in the freezing cold winter when the windscreen misted up, because my demister never worked. I sold it for 300 pounds. I was stoked!”

LLOYD DUG THROUGH THE DUSTY BACK ROOMS OF VIDEO STORES AND WADED THROUGH STACKS OF VINYLS TO GIVE US A PERSPECTIVE ON THE MOVIE THAT MADE MARIANNE FAITHFULL (AND THE MOTORCYCLE) A SEX SYMBOL.

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FASHION STYLIST CANDICE CHANNELLED THE SWINGING SIXTIES TO RECREATE THE GRITTY AESTHETICS OF THAT REBELLIOUS ERA FOR OUR COVER SHOOT.

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R I T E S

PA S S A GE

Managing Editor Jason Bronkhorst Creative Director Charl Malherbe

Subscription Enquiries subscribe@trafficmagazine.co.za

Writers Sean Oâ&#x20AC;&#x2122;Toole, Lloyd Gedye, Devin Paisley, Roger Young, Rick de la Ray, Des Brown.

Magazine Website www.trafficmagazine.co.za

Photographers Ross Garrett, Warren van Rensburg, Devin Paisley, Roger Young, Rui Esteves, Neil Roe, Gareth Pon, Laurent Nivalle, Hayden Phipps, Fashion Candice Lee Moore, Kayla Dawn Kuyler, Natasha George, Lesley Whitby, Karen Van Wyngaard Advertising Enquiries advertise@trafficmagazine.co.za

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Write to us hello@trafficmagazine.co.za Head Office 3rd Floor, 72 Voortrekker Road, Edenvale, 1609 P.O. Box 3604, Edenvale, 1610 Available Platforms Traffic Magazine is available as an iPad App from the iTunes App Store and on Issuu for Android devices and Mac or PC computers.

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The views expressed are those of the author and are not necessarily those of the publisher. All rights reserved. No unauthorised reproduction permitted. Submissions are accepted by email only. While we make every effort to ensure Taffic Magazine is factually accurate, Infiltrate Media cannot be held responsible if factual errors occur. Content is copyright Infiltrate Media, 2013, unless otherwise indicated.

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CONTENTS