BUREAU OF ARTS AND CULTURE MAGAZINE SAN DIEGO: SURFING SKATING BIKING
The SAN CLEMENTE PHOTOGRAPHIC SURFING ESSAY
BY JOSHUA TRILIEGI / COPYRIGHT IMAGES 2015
While visiting San Clemente, the first thing one notices is that surfing is not a sport, it's a way of life. There are more shapers, boardmakers and individually owned surf shops in a one block radius than just about anywhere in the entire world, besides maybe Hawaii. There are beach breaks along cliff lines, jetty's, straight aways and rocky points that vary in shape, size and style with a consistency & rhythm that make for an all day experience. It is a small community with cool thrift shops, places to rent, variable landscape and a local vibe that is welcoming to tourism, surfers and outsiders.
The folks at Greg Noll's Classic Surf Shop, T. Patterson's, Used Surf Shop , Basham's Surf Shapers Supply, Dewey Weber, Terry Senate, Drew Brophy & a host of other shops were surprisingly open and helpful as well as humble. Many are complete classic original Surf companies that have retained their ownership in a world of Surf companies that have either sold out or gone corporate. San Clemente's Surf scene is owned and operated by real people, living the lifestyle true to form, surfing, shaping and breathing the waves day in and day out.
This is a place one might surf all morning, go to work, surf again during your lunch break and then go for the big trifecta after work. The lifestyle is still affordable with a working class vibe, restaurants and an easy going atmosphere. What else can we say ? We love the place. Definitely a must visit for just about anyone who has an appreciation for beach living, is looking for a new board customed shaped or simply looking for a quick get away. A Coastal Location just South of Dana Point & North of San Diego.
BUREAU OF ARTS AND CULTURE MAGAZINE THE SURF INTERVIEW: WAYNE RICH: SHAPER
Wayne Rich Lives, Surfs and Shapes Boards in Santa Barbara, California USA. He has been Through hell and high water more than once in his life. Mr Rich is a master surfboard shaper, an artist, a humanist and he's cool. He found the time to discuss surfing, the art & craft of creating surfboards, growing up in the California surfing community and the technical as well as creative decisions in making a specialized board for any individual surfer. Wayne is a dedicated surfer who lives the life, he knows the lore, he abides by the surfers code and has a great sense of what it is to be a surfer today. He is also an award winning board shaper with an incredible shaping style. Take Notes Surf students, this Man is a true veteran of the early days.This isn't an Interview, this is Surfing History 101 & Mr Rich is your Professor.
BUREAU Editor Joshua Triliegi: You Have Been Shaping For Quite A While, How Did You Originally Get A Chance To Shape Boards ?
Wayne Rich: It really all started for me when my mother took to me in her arms under the lip of a breaking wave through the shore break at 2nd Street in Hermosa at 3 years old, followed by swim class's for the next 7 years at the historical "Swim Gym" on Pier Avenue. Owned by the Legendary lifeguard Iron Man Champion Mr. Paul Matthies and his wife Aneta, the Swim Gym taught almost everyone in the South Bay how to swim well enough to always be safe transitioning into the ocean with respect and confidence. My swim instructor at 3 years of age was Mrs. Rudi Bendiksen who was married to Danny Bendiksen - one of the Great Shapers at Bing Surfboards. We became family friends and I was in awe of Dan and Rudi's beach and ocean lifestyle as well as my sister Zona, who was their babysitter and I mowed their lawn once a week for 2.00, and the honor of hanging in the garage handling all of the bitchin' boards in Dan's insane quiver that included: Hawaiian Guns, Nuuhiwa lightweights and Nose Riders, with a few experimental transitional short boards that were for Rolf Aurness. Dan was sort of a second father to me and a few of my friends at times through early childhood. He shaped me my very first actual custom board when I was 12, after I had to earn the right of a custom by riding anything possible on the beach or around the neighborhood garages or yards up to that point. My sister Zona and my mother Bertie were cool enough to always take me surfing and were avid water women themselves back then, that was key in keeping the dream alive in my early years.
VISIT THE BUREAU MAGAZINE SURF PAGE FOR AUDIO INTERVIEWS AT MAIN WEBSITE
INCLUDING AN EXTENSIVE INTERVIEW WITH BIRD OF BIRDS SURF SHACK SAN DIEGO
INCLUDING AN EXTENSIVE INTERVIEW WITH BIRD OF BIRDS SURF SHACK SAN DIEGO
Wayne Rich: In the 70's some of my friends and I would strip the glass off old longboards and try to shape them into something different for fun, but it wasn't like starting from a real blank, so I guess that doesn't really count as actual shaping, although we really had fun and it pissed off our parents as it made a hell of a mess. My mentor was Danny Bendiksen, who shaped at Bing surfboards during the 60's and early 70's and I would go in after school occasionally to watch him shape and to this day I use many of the techniques that Danny used then. I feel honored to have been so lucky to grow up in Hermosa Beach and two blocks from the Bay Cities factories of the famed Pollard Valley, the only industrial two block square area zoned for manufacturing in the HB. There is so much history in that tiny mecca of the surfing world from the past 50 to 60 years that much of the world has probably not heard about. The original surfer/board builders - Greg Noll, Bing, Rick, Jacobs, Dewey Weber, Velzy, Becker, Donald Takayama, Lance Carson, Eddie Talbot, Pat Ryan aka Gumby, Mobley, Vardeman, Dave Boyce, Petrillo, Reef, Unity, and Wayne Miyata, Sam Harwood aka Skipper Fats, Dave Higley, Pat Reardon, Don Kadowaki, Steve and Chris Schlickenmeyer, Dennis Jarvis - Spyder, Tom Stanton, John Lessing, Mike Eaton, Bendiksen, Mike Geib, Jeff Widener, Redman, Ray Lucke, Zen Del Rio, Steve "Berdie" Burdette, Steve Mangagli, Bobby Jensen, Henry Ford, Kenny Tilton, Mike Collins and sons Timmy and Tom of Shoreline Glassing, and Two of the greatest airbrush artists in the world - Steve Carranza, and for a few short years - The late Jack Meyer, and in later years Tyler Hatzikian, and Matt Calvani, Mark Broeg, Jeff Biggs and that's just off the top of my head to name a few. All of the Kick Ass take no prisoners - South Bay Lifeguards, and of course Bill and Bob Miestrell and their kids (Body Glove Wetsuits), have had a profound influence on the surfing world in many ways branching out all over the entire planet today.
Wayne Rich: By '79, I started getting more serious about wanting to learn the true art of shaping and design but was afraid to get off of my Bendiksen's that worked so insane. Dan called bullshit on that and encouraged me to ride both and stop making excuses - he was like a god to us! I just shut up, did what he said and he was always there through the process and saved me when I got in over my head. I also had the good fortune to work with a master woodworker and boat builder named Dave Harris who was my craftsmanship mentor with the traditional tools of the old world wizards. So that is my foundation and what a blessing it was to grow up on 7th Street in Hermosa, two blocks from all the factories and 5 blocks from the beach around such a diverse town with sometimes over 40 Hells Angels bikes lined up in front of Pier 52, or some other local bar keeping order in the downtown area near Hermosa pier. Every one of these people and more not listed have been the foundation of influence in the Water, and in the vast elements of the Craft throughout my entire life.
Wayne Rich: As a matter of fact, the knowledge I learned over the years from these people was so deep, that I could go anywhere in the world to build boards and be at the highest level of technique and cratsmanship in any shop, anywhere. This really opened the right doors with the right people as I migrated North, to Ventura, Port Hueneme and Hollywood by The Sea, (Serious Hard Core Localism) and once again, my foundation got me through it and I fit right in with them. I lived at Hollywood by The Sea for nearly 10 years before moving to Carpinteria and eventually Goleta, but have been shaping Santa Barbara for the past 20 years. Once I got hooked on the beach breaks of Oxnard, and Rincon, not to mention the lower end of the Central Coast, I just ended up staying up here. Working for 13 years in Reynolds Yaters original Santa Barbara Surf Shop with Clyde Beatty and a great crew of craftsman has been one of the greatest honors of my life. Working around Renny during this time was like going to Graduate School in all ways of board building, what an Honor !
BUREAU Editor Joshua Triliegi: Besides Functionality & Form, Color & Pattern Are Also A Big Part Of Your Work, Discuss How Your Designs Have Evolved Through The Years .
Wayne Rich: As Frank Lloyd Wright always said - "Form Follows Function," The color designs and particular uses of them in simple flowing ways will accent the lines of a surfboard. I've been really learning more and more about this very thing in the past decade. I think breaking certain rules with color and design is most interesting and learning how far we stretch those limitations is the real art of the whole thing. I have always loved abstract resin swirl techniques and try to put a different twist on than conventional production abstracts and have worked with Chris Fallon at Studio 609 since the '90's to push some of these ideas and limitations with color designs on my boards. He's an amazing artist and helps me get the effects that are mind boggling in recent years. The evolution of the designs really come from a lifetime of riding waves with my friends up and down the coast and around the world. The era's of wave riding mindset inspire us as Designers and Builders to ride the circle where ever we want to depending on how we surf, and where we surf.
Wayne Rich: Many of us that are serious about surfing, have quite a diverse quiver of boards and depending on the person, can range from 4 or 5 and some up to 20 or more boards that are highly specialized and tuned for specific breaks and conditions. I guess to answer this question thoroughly: my designs have become more versatile in every way around the entire circle of design theory and application through the experience of "feeling the cause and effect" of incremented shape and contour changes as well as fin designs and placements relating to specific types of boards. This is only achieved though the trial and error real time testing - Incredibly humbling at times, but truly the most insanely fun parts of what we do. Then we document all of this as best we can in a creative and evolving way in the shaping room while always maintaining the human element of free flowing - Hands - Eyes - & Dreamlike Mind, tuning the progression and change in only the essential areas of any given design. There is really No End to this process of dynamic experimentation and I'll do it till I Die!
BUREAU Editor Joshua Triliegi: Your Use Of Concave Shapes Is Really Progressive. Share With Our Readers Your Decision To Really Push The Inverted Arch In Your Designs.
Wayne Rich: The concave's that I shape into the vast variety of my models will vary in many ways depending on the desired "cause and effect" of feel and performance that we are striving for in a purpose built board. If it's not purpose built, I won't build it! This can get pretty deep, and it's really why many of us chase this Dragon for a lifetime! For example, If you are shooting for a high level authentic traditional single fin Nose Rider and you want the lift of a concave, there are many things to take into consideration. First off here, Who is riding the board and what are they looking for in feel? How much do they weigh? What is their level? Are you sure you want or need the lift of a concave? Where are they surfing the board primarily, what type of wave? If so, then we can adjust the rocker accordingly and start by deciding on how deep and where do we want it deep and why, followed by do we want to blend it into the middle of the bottom so we can control the push point, or do we want the defined tear drop Nuuhiwa Nose Rider type of concave with the push point on your back foot or if you're not right on the tip. They all have great dynamics and it's really all about how to balance them with each riders style.
Wayne Rich: Keep in mind that the rail foil of the deck and bottom have a huge effect on the speed of the board and work hand in hand with the concave and where it transitions into the bottom of the board. So we don't want release on the rail with a nose rider and we can retard the effect of the concave by how we foil the rail into it. The weight of the board is also a factor as well as the fin area, design, and placement, wood stringers, and if you design "flex" into a specific area of the nose or tail. In a nutshell, this type of concave is more of a lifting device and a speed brake in some areas of the wave to keep us perched on the tip. Nothing is for free in the design world folks, there are always side effects to every design feature and this extra lift can sometimes pull you up out of the slot in certain conditions and you need to adjust in a fluid manor with good footwork to keep them in the constantly changing hook of the curl while driving on the tip. With a Short Board for 3-5 foot conditions, concave's will be used in a different way with a different purpose in mind. We want speed! We want maximum lift! We want release off the rails and the tail! With these things balanced with the proper rocker and fin set up, We get maneuverability and speed working together! One example is light entry concave under the front 1/3 to center of the board that increases in depth out through the tail of the board. Sometimes you can sand in light double barrel concave's inside the big single concave only through the back 1/3 of the tail as another variation of this example. This really creates great lift and less wetted surface under the rider through each maneuver, offering the quick powerful movement we want out of a good short board design. These examples are tip of the iceberg as for the whole concept, I've been as brief as possible.
Wayne Rich: The Asymmetric design is the brainchild of Carl Ekstrom. Carl is the Godfather of the Asymm movement in the world today! Asymm's are a heel and toe thing, designed with the longer rail line on the frontside or backside depending on the style and power in your stance. Most are built with the longer rail line on the riders frontside and the shorter rail line on the backside, but some people want it the other way around.The templates are completely different from one side to the other and the boards are really interesting, the best thing is that when you ride them they don't feel weird or asymmetrical in any way. That part is Mind - Blowing! the bottom contours are totally different too, as well as rail volume, overall foil, and thickness distribution.
Wayne Rich: They are very intriguing and have created quite an underground movement with many of us that build them since Carl Ekstom was honored in the Icons of Foam Boardroom Show (formerly, Sacred Craft - Tribute to the Masters). 6 shapers were chosen by Carl to create any type of asymm they wanted and need to submit a mini thesis on the design to be judged in the end by Rusty, Stan Pleskunas & Carl in a very subjective format. Every board was unique and awesome in their own way and we all had a great time that elevated our minds in every way. Somehow mine was picked as the winner, but it could have gone to anyone and I'm sure it was heart wrenching for the guys to pick any one board, when they were all the winner! The coolest part is that I have been still shaping and riding the design that I came up with for the show and it has changed my life in the water and that's what it's all about.
BUREAU Editor Joshua Triliegi: Share With Our Readers The Different Challenges Regarding Size Starting With A. Longboards B. Guns C. Tri Fins And Shaping Specifically For A Very Particular Rider.
You have to surf what you shape to earn the high degree of respect and understanding needed to have confidence through humility with any type of surfboard design and the conditions that it will be surfed in. That becomes serious business when it comes to big wave guns, so you go as far as you can without drowning, and then you need the help of your brothers that can take it a step further. We forge intimate relationships with our riders to mind meld what we can together about the dynamics to call the shots on the key design elements. This is pretty much the same in everything we make from 70's retro single fins, to classic fish designs and alternative boards to the modern short board. My friends that are my riders, have helped me throughout my life with this endless learning experience, I owe it all to them.
Wayne Rich: Two weeks ago the MSA Malibu Classic Invitational had the best surf in the 50 year history of the event. Joel Tudor, Vince Felix, and myself, all won our respective age divisions on old school classic designs that we have been working on together and that was a highlight in the life. It's so cool when things come full circle through the Brotherhood of Soul in the ultimate Dojo, we are all good "dirty white belts" in training, and we will never stop learning! To wrap it up, in one of my heats, my old bro Allen Sarlo and I were sitting deep up the point waiting for a set and I said hey brother - "Do it for Jay!" And he said, "YEAH - Do it for Jay!" as he looked up in the sky. I wanted him to win it for Jay so bad to help him heal as he and everyone in the whole Surf / Skate community has been in shock the past couple weeks with the passing of Jay Adams. A few moments later, I said, "If you don't, for any reason, I will do my best to pull it off." At the awards ceremony it was an honor of a lifetime to tell the story and raise up the win in honor of Jay Boy. The Underground Lives !
Five Questions with Matt Schwartz
BUREAU Magazine finally caught up with Matt Schwartz recently after his busy schedule documenting several interesting projects in connection with both Surfing and Music. Matt is a photographer living in Brooklyn, New York. We admire his visual aesthetic and rapped out recently about his no nonsense approach to the Art and Craft of Fine Art Photography.
Bureau: What inspires you to create images ?
MS: I kind of have to. I come up with an idea or see someone or something beautiful and for some reason, I need to own that image forever. It is not enough for me to see something beautiful and just look at it without a camera. Everything is more vivid and alive through the lens. I am there with the person or object and become one with it. I used to lose myself by playing music, though for the past 10 years it's been photography. I once wrote in my journal "she hit pause" about a girl I met who stopped time in my life. This is what photography is to me, and where the name to my studio : She Hit Pause Studios, came from.
Bureau: You keep up an interesting catalog, but still find time to make them available and affordable. How important is it for you to be collected ?
MS: That is a great question. I have been asking myself that almost daily. I have been selling my work full time for about 10 years. I typically have been doing the selling myself, either in Brooklyn or on my site. I have never had an ego about my work, which I attribute to why it has worked. I like selling pics to people my age and younger. I like when people say " This is the first piece of real art I am buying " or telling me how happy the work makes them. I think this keeps me going more than the $ aspect. I have recently started selling more expensive limited editions to collectors. It feels a little weird selling an image for more than my car cost. I think selling affordable pics to people in their 20's and the limited editions is a good balance for me. It keeps me humble. A few weeks ago,
I was selling my work and someone came up to me and said he was a big fan of my work and he wanted to meet me. I thanked him and asked him what he does. He said he played in a band. His name was Ben from Mumford and Sons. That was really rewarding.
Bureau: You have a keen ability to create another time & place with some of your process: The surfing images and the transfer prints. How much does nostalgia play into our work ? And tell us a little about that process.
MS: I definitely have a Fondness and attraction to life before computers and cell phones. Film over digital. The faster this world moves, the more I am yearning for its opposite. Lately, I've been buying vintage video games and musical instruments. There is a certain romance to a typewriter or even a notebook than writing on a computer. There is a weight to film over digital, where you cherish each image and make them count. I like rawness and messiness over polished and megapixels. Most of my work is done on polaroids and film. I use large format polaroids, pull apart the film and then rub the negatives onto watercolor paper. With all of the above said I have used digital on a few shoots for clients and see where it can be useful if a quick turnaround is needed.
Bureau: Did you go to school for Art and how important is education for Photographers.
MS: I did not go to school for art. I took one photograph class my last year. Before shooting professionally, I was setting up fashion shoots with girlfriends and just taking pics for the love of it. That is why it worked for me. I never pressed the shutter on the camera thinking that this will lead to money. It is all images that I want to exist. I am not into expensive cameras or the idea of education for photography. Everything can be learned from a book or by experimenting. The rawness and the "mistakes" are what make photography unique, not rules about composition and lighting. To me, photography is looking through the lens, finding something beautiful and pressing the button. There is no inner dialog or rules, just passion.
Bureau: What are you working on now ?
MS: I just photographed the band "Vacationer" last week, which was a lot of fun. I really like their music and the creative direction the label gave was "We don't want to give you any creative direction. We want you to do what you do" That was awesome to hear and led to a great shoot. I was hired to shoot The Wanderlust Festival in Hawaii 3 or 4 weeks ago. It was perfect for me. Surfing, yoga and music. I have three shoots from Puerto Rico that I am trying to release and then tackle the Hawaii photos. After the festival, I hung around for a week and shot some of my favorite surfing images ever taken. Today, my work was being sold at a market in the city and I met with my first photo rep and an architectural/design firm about doing the decor for a new boutique hotel they are opening. Lots of hustling. I am trying to differentiate between good stress and bad stress. I am told I am experiencing good stress right now. I am ready to jump some levels in my career. I have sold a lot of work and still have hundreds of unreleased images. I just want to concentrate on shooting and sleeping.
VISIT THE MAIN WEBSITE BUREAU SURFING PAGE:
" FICTION : GO GO'S DROPPING IN"
Excerpt from Story Series by Joshua A. TRILIEGI
My older brother Chaz is talking Mom into letting me take a day away from school to watch the surf contest at Hermosa Beach Break Wall. I wonder what that means, were going to break a wall ? We do break it when Mom reluctantly agrees, due to my old man seconding the motion. 'The kid needs to learn how to surf, we don't want him hanging around these streets & fields for ever.' Somehow, they agree. I'm told we will be getting up at five AM. The surf journey starts early when you live inland. We pile into someones van & are on the sand lot walking to the reef & break by sunrise. If I don't look up, its legs and feet and crotches : I'm nine, ten or eleven, the only kid in attendance. Were about to to see one of our neighbor- hood jesters steal an entire season from a bunch of internationally known pros.
People are gathered in groups & huddles. A calm intelligence, mixed with a wild sense of un expectancy from the surf, which is cold and grey, is in the air. Bigsets flow in, getting larger & slanting into even more powerful faces that broaden slowly, without notice, becoming the big waves that cats from all over came hereto be a part of. These are Winter swells. Different than the smooth, silver, glassy, summer afternoons we knew so well. This is the mean, cold, sharp, kind of grey, jagged, hurtful side of mother nature. An old woman of an ocean ready to take the boys into manhood. Several little stands & tables with umbrellas & banners are blown over completely. The more concerned sponsors embarrassingly back up their entire camps. It's an outsiders nightmare & a locals home favorite kind of condition.
It doesn't take long before Go-Go, short for Geronimo, starts scheming to pull the kind of prank that makes names and legends and stories such as this one here. He's chewing on two pink chocolate sprinkled cakes, shaped like breasts. Chasing them down with several gulps of Mad Dog Twenty-twenty & a quaalude or codeine 'cause his wetsuit has a giant rip in it and he messed up his ankle the night before at Oktoberfest. Sleeping in his car in front of Millers Market until pre dawn hours. He's looking like a coyote running in the back field, while all these pros look like a bunch of rabbits, sitting, quiet. Even though they have been in the water for several heats or sessions of elimination and judgements on style, distance, etc... Go-Go's not even entered in the competition. He's simply going to jump out there and join the ranks with a wild sense of piracy that comes with years of life on the water. Like a renegade native, getting high on the water. He can't help it. Go Go's dropping in.
I have heard guys talking about my brother's either bravery or just plain crazinessin dropping in on the biggies at the break wall. But those were warm Summer swells. This was after he had dropped out to master Swami's, County Line and Horseshoe. Years before the storms took away half the beach from us forever. Back then, there were the Hawaiian transplants and Filipino's , the blonde Malibu types and then there was Bill. He was my older brothers, best friend's older brother. The first day I met him, he was shaping a board in the family garage. He was the conscious of our neighborhood. A mentor and ex football hero. Now the word is getting and Bill is saying that Go-Go is a kook. But everyone else is goading him into it. The b level players like, Gozer, Richie and the others. " Yeah Go - Go do it." So, we're all aware that something is going to happen and all the guys that look like newscasters at the table are about to be surprised by the " Attack of the Boys from The East End " like a film at the Roadio drive-in. We had our own daredevil-jokester-madman-hero and we'd have sent him into anything, just to watch him burn, although it was his matchbook, that was always clear, so it didn't seem like anyone even thought twice about his safety, except maybe Bill.
Of course , it was about the girls too. A guy like Go-Go who wasn't a pretty boy or particularly smart or wealthy could crank up his position on the charisma level. He'dbe King - for - a Day. Could maybe even shack up with a babe for a week or so aftera performance like this. A guy would build up his story, it circulated, and he'd ride it like the wave that Go-Go was hoping to catch. There are boats at bay, in case of any emergency and the girls are all in their bikini's and cut off jeans. They must have come up from Mexico the way they look, glowing with that peach, amber glow that white girls get after a season or two on the road with surfers. The tips of their hair, the tan toes, the bright colored clothes and all the wind blown edges of their attitude. Go - Go slips away long enough for us to forget about his plan when someone at the surf officials table becomes extremely animated and upset, waiving erratically at some thing no one else can see. Another official breaks out the bull horn and starts directing the man on the break wall to , " Get away from the water. "
Go - Go continues down the wall toward the rocky point where locals, who knew the terrain, could jump off by counting the right three second interval between the breaking set and the next rising crest. But today, this was just plain fucking insane and everybody knew it. I started to get concerned. Not like Bill did, by calling him a knuckle head, but fearfulthat a bad thing could happen. And of course a bad thing could happen, that's thepoint of these manhood rituals with the sea and earth and wind and ourselves. ButGo-Go was built to do this, just like he was built to steal a police car because the cops busted up a party where he was about to get laid and it really pissed him off. Somewere not impressed, whereas we were ecstatic, I mean I was anyway. The place wasbeing robbed of it's boundaries, that was the thing. So Go-Go does a run and a jump,off the end of the concrete, over the first set of rocks and launches a toes - out - cat -like - flight over the six feet of rocks on the outer side of the break wall and into the sacred sea. Breaking several rules, disrupting the contest and banishing himself from any future competition position according to the Official California Surfing Federation handbook of 1970 - something.
But Go-Go wasn't saving for retirement, he was building up a different account of sorts and was about to hit the long shot on a late bet at roulette. Now he's out there and has to drop in on this next big set and do this thing or it'll flop and he'll have lost a chance & completely ruined an otherwise decent Winter competition. He works quick, paddling into a larger break point which can completely slam you into the rocks if your to close at drop in. By now everyone knows what's going on, all eyes are on Go - Go. People in our circle start shouting, " Go - Go you f*cker ." Others join in like fans at a Rams game or Stones concert, " Go - Gooooooooo, do it man." Finally, the war cryisheard,"G-e-r-o-n-i-m-o !" IlookupandevenBillisbeaming.Asthey all shouted into the cold, grey sea, Go - Go dropped in and it was then that I started to understand what surfing was really all about.
- ALWAYS WATCH FOR THE FLAGS AT YOUR LIFEGUARD STATION
- NEVER DISRESPECT THE LOCALS
- NEVER RUN OVER SWIMMER (S)
- COUNT SWELLS PRIOR TO ENTRY
- KNOW WHERE THE RIP TIDES ARE
- ALWAYS RESPECT MOTHER OCEAN
- SHARE THE WAVES WITH OTHERS
AD SPACE AND INTERVIEWS,PHOTOGRAPHS AND HOTSPOTS REVEALED.
http://UsedSurf.com
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An Electronic Interactive Version of BUREAU of Arts and Culture Magazine. 'Electronic' meaning you are reading it with a device, 'Interactive' meaning you can actually tap the featured interview or image & listen to extended Audio Interviews & Links. BUREAU Magazine can be read without being on-line, though it is much more useful and interesting if you are actually on-line or you may visit our website and enjoy a compendium of Interviews, Articles, Reviews and Essays. We suggest you view the pdf in the Two Page and Full Screen Mode options which are provided at the top of your menu bar under the VIEW section, simply choose Two Page Layout & Full Screen to enjoy. This format allows for The Magazine to be read as a Paper Edition. The BUREAU of ARTS and CULTURE has been a respected ART Institute since the early Nineteen Nineties. Many of the original BUREAU members have gone on to have stellar careers in The ARTS. 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Our coverage of the MIAMI Art Fairs with in depth audio & slide presentations allow us to create a lasting relationship with the ' National Big Tent ' art events that allow for fundraising activity. We recently interviewed the Grammy Museum and are creating a lasting relationship. The same pattern applies for THEATER: Edgemar, LATC, Circle Theater, Cygnet, Robey. MUSIC : The Echo, The Redwood, The Roxy, Grammy Museum, Origami, Vacation, Record Collector, LA Philharmonic & The San Francisco Philharmonic. BUREAU has created relationships with Film, Music and Art festivals, National & Local Radio Stations, continuing the tradition created with BUREAU Film projects and the utilization of Print, Radio and Web to facilitate publicity, fundraising & awareness. Triliegi Film programs were discussed on KCRW 89.9, KPFK 90.7 and Indie 103 FM within the non profit umbrella in the past and we plan to sustain & develop those ties. We were invited to Cumulus Radio's Commercial Rock Formatted KLOS 95.5 FM [ Bureau mentioned on air] to consider an affiliation. We recently interviewed Miles Perlich of KJAZZ 88.1 FM and we were given tickets to Classical Music concerts by K-MOZART Radio & we invited a guest reviewer to attend. The BUREAU of Arts and Culture Magazine will continue to create a lasting relationship with the Art Institutes, Media & Schools that drive the Arts in America. We distributed Paper Editions to OTIS Art School & The Campus at USC to support alignments with faculty, staff & students who will become future entrepreneurs & participants in the Arts. Our upcoming interview with Barbara Morrison and her connection with UCLA Jazz music department with Herbie Hancock & The Thelonius Monk Institute is solid.We delivered the first edition of the magazines to: Beverly Hills, Pacific Palisades, Palos Verdes, West Hollywood, Los Feliz, Malibu and The beach communities: Hermosa, Redondo & Manhattan beaches. We received financial support from the arts & culture communities by creating a dialog about the arts, reviewing their art exhibitions, theater plays & films. Art Galleries from Culver City to Bergamot Station to Glendale approved of and supported Edition One. Now we have an online READERSHIP that grows exponentially. BUREAU sites in cities such as Los Angeles, San Francisco, San Diego, Santa Barbara, New York City and very soon Seattle, allow for anyone, anywhere, to see what is going on in the arts in that particular city. Which we feel will allow for us to apply for support, distribution and grants within those particular cities and for local businesses to buy ads. We add new cities quite often and create a lasting relationship with the established Arts Foundations in ART, MUSIC, THEATER. Which usually includes Classical music, Art Galleries, live Theater and Film. We added Surfing , Skateboarding and Biking to get the interest of a younger readership and indeed it worked. We have also celebrated those subjects with our fundraisers, selling artworks in relation to Biking & Skatng. We partnered with local & national businesses that assisted & we provided logo affiliation & coverage on the web: Chrome Bags, Jarrittos, LA Skate, DTLA Bikes and The Los Angeles Bikers coalition, to name a few. Older Established Artists from diverse cultures also participate in the BUREAU of Arts and Culture Exhibitions and Interviews. We brought together Native American, African American, Chinese American, Armenian American and Mexican American elder artists in a single exhibition: a financial as well as critical success with "Gathering The Tribes: Part One". We hand delivered the first paper Edition throughout Southern California and select neighborhoods in San Francisco. We introduced the magazine & created Popular Cultural Sites. We are an official media Sponsor for L A Art Fair & PHOTO LA Photo Fair. We extensively cover and or interview galleries at Art Fairs such as, Platform LA, Pulse LA, Untitled Art, Basel Miami, Art Miami, Miami Project, LA Art Book Fair. We provide an extensive overview, Audio walk throughs, visual presentations with 100+ images per on-line feature. If that doesn't convince you, nothing ever will.
BUREAU OF ARTS AND CULTURE : ON LINE
ADVERTISE : E VERSION BUREAU OF ARTS AND CULTURE MAGAZINE
NEW BUREAU OF ARTS AND CULTURE E MAGAZINE
NEW BUREAU OF ARTS AND CULTURE E MAGAZINE
NEW INTERACTIVE ELECTRONIC EDITION OF BUREAU OF ARTS AND CULTURE MAGAZINE IS EXTREMELY POPULAR WITH A READERSHIP THAT IS LOYAL, HIP, EDUCATED AND BUYS PRODUCT REGULARLY: ART / MUSIC / SPORTS / ETC... THIS NEW EDITION IS MAILED DIRECTLY TO THOUSANDS AND DOWNLOADED AND SHARED BY THOUSANDS MORE VIA SOCIAL MEDIA ... OVER A MILLION READERS AT ALL GOOGLE SITES AND THE BUREAU OF ARTS AND CULTURE NETWORK SITES 5000 + IMMEDIATE DIRECT MAIL and 3500 + THROUGH OUR GOOGLE FOLLOWERS.INTERVIEWS . PHOTOGRAPHIC ESSAYS . LITERATURE . FICTION . FILM REVIEWS . ARCHITECTURE . DESIGN . SURFING . CUISINE . BIKING . TRAVEL . CULTURE THE BUREAU MAGAZINE REGULAR ICON ESSAY . THE GUEST ARTIST INTERVIEWS WITH WELL OVER A MILLION READERS ON ALL SITES COMBINED INCLUDING : L. A. SAN FRANCISCO . NEW YORK . SEATTLE . MIDWEST . SAN DIEGO . SANTA BARBARAAND THE BUREAU OF ARTS AND CULTURE INTERNATIONAL LITERARY SITE AS WELL AS SOCIAL MEDIA AND A HIGH PROFILE MAILING LIST THAT INCLUDES AN UPSCALE AND CULTURALLY ASTUTE GROUP OF ARTISTS . FILMMAKERS . HOME OWNERS AND SOCIALLY CONSCIOUS READERS WHO GET THE E MAG DIRECTLY IN THEIR MAILBOXES IN PDF FORMAT WITH E - LINKS TO ALL OUR ADVERTISERS.EXCLUSIVE INTERVIEWS WITH TOP OF THE LINE ARTISTS, WRITERS, FILM MAKERS AND PHOTOGRAPHERS. THE PHOTO ESSAYS BY WORLD CLASS PHOTOGRAPHERSWE PROVIDE EXTENSIVE AND ORIGINAL CONTENT THAT GETS YOUR PRODUCTS SEEN BY THOUSANDS OF READERS AND BUYERS AND ASSOCIATIONS WITH SOME OF THE MOST INTERESTING ARTISTS AND WRITERS IN THE WORLD TODAY PLUS WE PROVIDE HIP STREET TEAM GIVE AWAYS OF MUSIC . FILM . POSTERS IN AN ABUNDANCE OF LOCATIONS INCLUDING BEVERLY HILLS . SANTA BARBARA . THE BAY AREA . NEW YORK CITY . THE MID WEST: MILWAUKEE . CHICAGO . DETROIT. SAN DIEGO . SEATTLE + WE MAIL DIRECT TO BOOKSTORES THROUGHOUT WORLD.THE FUTURE OF PUBLISHING IS THROUGH ELECTRONIC MEDIA AND WITH OUR PDF EDITION WE HAVE TWICE AS MANY PAGES AS OUR SO CALLED COMPETITION. WE COVER SURFING . ART . FASHION . FILM LIKE NO OTHER SPECIALTY MAGAZINEINTELLECTUALLY HIP CONTENT WITH AN EDGY AND STREET SMART SENSIBILITY.WE EVEN TRANSLATED SPECIAL EDITIONS INTO GERMAN AND SPANISH AND HADAN ABUNDANCE OF READERS THROUGHOUT THE WORLD TRANSLATE THIS SITE !WE ARE OFFICIAL MEDIA SPONSORS AT ART FAIRS . PHOTO FAIRS and FILM FESTS.WE DISTRIBUTE POSTERS . CARDS AND FLYERS DOOR TO DOOR EVERY EDITION.
CONTACT US DIRECT WITH YOUR BUDGET / EVENT DATES / QUESTIONS NOW : The Editor JOSHUA TRILIEGI 323 734 2877 / JOHNNYMILWAUKEE@earthlink.net
LINKS TO DOWNLOAD FREE BUREAU OF ARTS AND CULTURE MAGAZINES:
TAP HERE TO GET A FREE MAGAZINE: MARLEY
TAP HERE TO GET A FREE MAGAZINE: BRANDO
TAP HERE TO GET A FREE MAGAZINE: COLTRANE
TAP HERE TO GET A FREE MAGAZINE: BOWIE
TAP HERE TO GET A FREE MAGAZINE: PHOTO EDITION
TAP HERE TO GET A FREE MAGAZINE: ORSON WELLES
TAP HERE TO GET A FREE MAGAZINE: KEROUAC
ABOUT THE BUREAU OF ARTS AND CULTURE MAGAZINE
WE PRINTED OVER 10,000 PAPER EDITIONS and ARE NOW CREATING ON LINE E-EDITIONS
WELL OVER A MILLION VIEWS ON LINE. OVER 10,000 PAPER EDITIONS WENT DOOR TO DOOR TO INTRODUCE THE PUBLICATION TO WEST COAST READERS WITH EXTENSIVE DOOR TO DOOR : MALIBU . PACIFIC PALISADES . HERMOSA BEACH . MANHATTAN BEACH . BEVERLY HILLS . EAST L A . SOUTH L A . MELROSE . ROBERTSON . FAIRFAX . BEVERLY BOULEVARD . PALOS VERDES . + MORE … SAN FRANCISCO : ARTS COMMUNITIES . BOOKSTORES . RECORD STORES . BARS . CAFES . POTRERO HILL . MARKET ST . TWIN PEAKS . NORTH BEACH . CHINATOWN . PLUS E MAG FOLLOW UPS AT MUSEUMS AND CULTURAL CENTERS ...
THE ELECTRONIC COMMUNITY SITES INCLUDE: THE NEW YORK SITE : + 200,000 VIEWS / 350 FOLLOWERS / SAN FRANCISCO BAY AREA SITE : WITH 300,000+ VIEWS / 500 + FOLLOWERS LOS ANGELES & HOLLYWOOD : 300,000+ VIEWS / 975 + FOLLOWERS / SAN DIEGO COUNTY : 90,000 + VIEWS / 300 + FOLLOWERS / SANTA BARBARA: 60,000 + VIEWS / 250 + FOLLOWERS / INTERNATIONAL LITERARY BUREAU : 90,000 + VIEWS / 600+ FOLLOWERS / SEATTLE : 15,000 VIEWS / 400+ FOLLOWERS / THE MIDWEST SITE : 2000+ VIEWS / 60+ FOLLOWERS
THE ELECTRONIC MAGAZINE IN PDF FORMAT MAILED DIRECT TO 5000+ E MAILS AND A VERY RAPIDLY GROWING READERSHIP THROUGH ART SCHOOLS, LITERARY CLUBS, ART FAIRS, SURF ASSOCIATIONS, CULTURAL INSTITUTES OFALL SORTS … WE HAVE CREATED APPROX 10 COMPLETE BUREAU ELECTRONIC EDITIONS AND SPECIAL EDITIONS INCLUDING GERMAN / SPANISH / ASIAN / LITERARY EDITIONS / ETC … RECENT AD TRADES PHOTO LA & LA ART SHOW WE ARE ALWAYS PRINTING POSTERS / FLYERS / CARDS AND PAPER EPHEMERA THAT IS DISTRIBUTED COMMERCIALLY.
CONTACT: JOHNNYMILWAUKEE@earthlink.net to SUBMIT or SUGGEST EDITORIAL SUBJECTS
The BUREAU of Arts and Culture Magazine Is An Occasional Paper Arts Publication With Free Electronic Monthly And Bi-Monthly Editions Mailed Directly To Thousands Of Subscribers & Thousands More Through Social Media Sites In Six Different Cities And Worldwide Through Translation. INTERVIEWS: ART THEATER FILM MUSIC SURFING ARCHITECTURE PHOTOGRAPHY DESIGN FASHION CUISINE and More. This correspondence is privileged information for the selected addressee and no one else. Regarding an Electronic Interactive Version of BUREAU of Arts and Culture Magazine. 'Electronic' meaning it is read with a device, 'Interactive' meaning one can actually tap the featured interview or image & listen to extended Audio Interviews & Links to The Source itself: Website, Gallery, Musical event or the purchase point for advertisers.
BUREAU Magazine Clients, Affiliates and Advertisers Include: MAGNUM Photo Agency, Museum of Contemporary Art in Chicago, Fahey/Klein, Tobey C. Moss, Craig Krull, Western Project, George Billis, Kopeiken, Ace Gallery, Soap Plant, Known Gallery, Morrison Hotel Gallery, Couturier Gallery, Robert Berman Gallery, Martin-Gropius-Bau in Berlin, San Jose Museum of Art, First Run Features, Downtown Records, Susanne Veilmetter, Koplin Del Rio. Contributing BUREAU Magazine Photographers : Guillermo Cervera, Dina Litovsky, Susan Wright, Rene Burri, Dennis Stock, Moises Saman. Van Agtmael, Cathleen Naundorf, Terry Richardson, Phil Stern, Dennis Morris, Henry Diltz, Steve Schapiro, Yousuf Karsh, Ellen Von Unwerth, William Claxton, Robin Holland, Andrew Moore, James Gabbard, Mary Ellen Mark, John Robert Rowlands, Brian Duffy, Jon Lewis, Sven Hans, David Levinthal, Joshua White, Brian Forrest, Ai Rich, Lorna Stovall, Elliott Erwitt
Contributing BUREAU Magazine Artists: Kahn & Selesnick, Jules Engel, Patrick Lee, David Palumbo, Tom Gregg, Tony Fitzpatrick, Gary Lang, Fabrizio Casetta, DJ Hall, David FeBland, Eric Zenner. The Editor, Joshua Triliegi is a Writer, Photographer, Filmmaker & Third Generation Fine Artist. Simply Tap the Titles & Links attached to this correspondence and download FREE past Magazines and Join us at BUREAU Magazine Cities and Sites. BUREAU Magazine has been a respected ART Institute since the early Nineteen Nineties. Many of the original BUREAU members have gone on to have stellar careers in The ARTS. Artists, Filmmakers, Musicians such as: Lucas Reiner, Spike Jonze, Alex McDowell, James Intveld, Christina Habberstock, Lorna Stovall, Joan Schulze all had very early collaborations with The BUREAU Projects.
Interviewed or Reviewed By The BUREAU : T.C. Boyle, Sam Shepard, Luis Valdez, Gagosian Gallery, Robert Redford, Martin Scorsese, David Bowie, Marlon Brando, Orson Welles, Susanne Vielmetter, Tobey C. Moss, Shoshana Wayne Gallery, Known Gallery, Sabina Lee, The Bowers Museum, The Geffen Contemporary, Hammer Museum, Red Cat, Skirball Cultural Center, Museum of Contemporary Art in L A, San Diego and in Santa Barbara help to create well earned future partnerships, distribution as well as a 'word of mouth' that is priceless. Collectively, they have been in the business for hundreds of years. Not to mention the tens of thousands of public readers that have received the magazine on their door steps. Our coverage of International Art Fairs with in depth audio & slide presentations allow us to create a lasting relationship with the ' National Big Tent ' art events that allow for fundraising activity. We recently interviewed the Grammy Museum and are creating a lasting relationship. The same pattern applies for THEATER: Edgemar, LATC, Circle Theater, Cygnet, Robey. MUSIC : The Echo, The Redwood, The Roxy, Grammy Museum, Origami, Vacation, Record Collector, LA Philharmonic & The San Francisco Philharmonic. BUREAU Magazine has created relationships with: Film, Music and Art Festivals, National & Local Radio Stations, continuing the tradition created with BUREAU Film projects and the utilization of Print.
BUREAU MAGAZINE and RADIO Publicity: Triliegi Film programs were discussed on KCRW 89.9, KPFK 90.7 and Indie 103 FM within the non profit umbrella in the past and we plan to sustain & develop those ties. We were invited to Cumulus Radio's Commercial Rock Formatted KLOS 95.5 FM [ Bureau mentioned on air] to consider an affiliation. We recently interviewed Miles Perlich of KJAZZ 88.1 FM and we were given tickets to Classical Music concerts by K-MOZART Radio & we invited a guest reviewer to attend. The BUREAU of Arts and Culture Magazine will continue to create a lasting relationship with the Art Institutes, Media & Schools that drive the Arts in America. We distributed Paper Editions to OTIS Art School & The Campus at USC to support alignments with faculty, staff & students who will become future entrepreneurs & participants in the Arts. Our interview with Barbara Morrison and her connection with UCLA Jazz music department with Herbie Hancock & The Thelonius Monk Institute is solid. We delivered the first edition of the magazines to: Beverly Hills, Pacific Palisades, Palos Verdes, West Hollywood, Los Feliz, Malibu and The beach communities: Hermosa, Redondo & Manhattan beaches. We received financial support from the arts & culture communities by creating a dialog about the arts, reviewing their art exhibitions, theater plays & films. Art Galleries from Culver City to Bergamot Station to Glendale approved of and supported Edition One. Now we have an online READERSHIP that grows exponentially.
BUREAU Community & City Sites: Los Angeles, San Francisco, San Diego, Santa Barbara, New York City, Seattle, The Mid-West and now The SOUTH : TEXAS, ARIZONA, NEW MEXICO and LOUISIANA allow for anyone, anywhere, to see what is going on in the arts in that particular city. Which we feel will allow for us to apply for support, distribution and grants within those particular cities and for local businesses to buy ads. We add new cities quite often and create a lasting relationship with the established Arts Foundations in ART, MUSIC, THEATER. Which usually includes Classical music, Art Galleries, live Theater and Film. We added Surfing , Skateboarding and Biking to get the interest of a younger readership and indeed it worked. We have also celebrated those subjects with our fundraisers, selling artworks in relation to Biking & Skating. We partnered with local & national businesses that assisted & we provided logo affiliation & coverage on the web: Chrome Bags, Jarrittos, LA Skate, DTLA Bikes and The Los Angeles Bikers coalition, to name a few. Established Artists from diverse cultures also participate in the BUREAU of Arts and Culture Exhibitions and Interviews. We brought together Native American, African American, Chinese American, Armenian American and Mexican American elder artists in a single exhibition: a financial as well as critical success with "Gathering The Tribes: Part One". We hand delivered the first paper Edition throughout Southern California and select neighborhoods in San Francisco. We introduced the magazine & created Popular Cultural Sites. We are an official media Sponsor for L A Art Fair, ASIA ART FAIR, PHOTO LA Photo Fair. We extensively cover and or interview galleries at Art Fairs such as, Platform LA, Pulse LA, Untitled Art, Basel Miami, Art Miami, Miami Project, LA Art Book Fair. We provide an extensive overview, Audio walk throughs, visual presentations with up to 100+ images per on-line feature.
