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Pursue your thrill. We are for the explorers. For those that embrace the journey. The Clark features our patented ChromaPop™ polarized lens technology which enhances clarity and natural color to let you live every moment in more detail wherever your next adventure takes you.
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Check out "Life Beyond Walls: Galapagos" featuring the adventures of Dillon Perillo, Brett Barley & Mike Gleason. www.smithoptics.com/lifebeyondwalls
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randoms • 22 product • 26 tokyo olympics? • 28 ian strange • 30 dan lam • 32 courtney mattison • 34 jamie adams • 36 super taste • 38 jack freestone • 40 holy stokes! • 46 the art of du kun • 52
barron mamiya • 60 chris ortiz photo feature • 66 drink water • 72 vans pool party • 76 cosmic creek • 78 adidas away days la premiere • 80 sheckler foundation 7th annual skate for a cause • 82 fletcher c johnson • 84 music reviews • 85 groms • 88
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Editor-in-Chief nick kalionzes nick@blisssmag.com
Editor
joey marshall joey@blisssmag.com
Creative DirectoR mark paul deren : madsteez madsteez@madsteez.com
assistant editor delon isaacs delon@blisssmag.com
EDITOR AT LARGE liz rice mcCray liz@blisssmag.com
SNOW EDITOR jon francis jon@blisssmag.com
MUSI C EDITOR max ritter max@blisssmag.com
advertising ads@blisssmag.com
contributing Photographers
Jason Kenworthy, Dominic Petruzzi, Daniel Russo, Toby Ogden, Tom Carey, Brian Beilmann, Jack Coleman, Andrew Mapstone, Adam Moran, Dave Nelson, Pat Eichstaedt, Julien Lecorps, Ryan Boyes, Zach Hooper, Tim Peare, Michael Lallande, Bob Plumb, Peter Morning, Bryce Kanights, Arto Sarri, Anthony Acosta, Cameron Strand, Brian Fick, Deville Nunns, Gage Thompson, Derek Bahn, Tom Cozad, Bruce Beach, Robbie Crawford, Ryan Donahue, Joe Foster, Sean Sullivan, Delon Isaacs
contributors
Willie Marshall, Daniel Russo, Jason Arnold, Greg Escalante, Nathan Spoor, Tom Carey, Travis Millard, David Choe, Kai Garcia, Mickey Neilsen, Peter Townend, Hamilton Endo, Tawnya Schultz, Mike Murciano, Geoff Shively, Casey Holland, Steve Stratton, Robbie Sell, Andrew Miller, Pat Towersey, Raul Montoya, Ian Dodge, Richie Olivares, Eric Meyers, Kelly Shannon, JP Olson, Bruce Beach
JUNE 2016 BL!SSS Magazine 413 31st Street Newport Beach, CA 92663 www.blisssmag.com Disclaimer: Although all best efforts are made to avoid the same, we reserve the right to publish unintentional mistakes and/or factual errors which may occur on a monthly basis. No responsibility is assumed by the publishers for unsolicited materials/articles/letters/ advertising and all submissions will be treated as unconditionally assigned for publication and copyright and/or appropriate licensing purposes subject to Blisss’ right to edit and comment editorially. The views and opinions expressed in this magazine reflect the opinions of their respective authors and are not necessarily those of the publisher or the editorial team. Blisss Magazine reserves the right to accept or reject any advertising matter which may reflect negatively on the integrity of the magazine. No part of this magazine may be reproduced in any form [print or electronic] without prior written consent from the publisher.
ARTIST • DU KUN
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@805BEER SEE THE ANYA VIOLET STORY AND MORE AT 805BEER.COM
RVCA X MELISSA GRISANCHICH COLLECTION
RVCA is proud to introduce a new special edition collection featuring art by Melbourne-based artist and sweetheart Melissa Grisancich. Melissa’s style has been described as “Pop meets Frida Kahlo” and yeah, indeed like Kahlo, her work is very personal and sometimes autobiographical. The artist reflects a lot of her interest in street art, iconography, symbolism, vintage ephemera and comics, which really comes alive in this collection of tees, trunks, and a towel. Look for Melissa’s cute little Grim Reaper cruising in paradise found on all the pieces at www.rvca.com.
VOLCOM CLUB DESTROY
Here for a good time, not a long time, Volcom Club Destroy Collection has just been released pre-coordinating all your summer necessities in a concise, well thought, summer-hits collection intended to satisfy any customer who doesn’t know what he wants but needs it all. If you’re a last minute, indecisive and unprepared person who owns next to no garments suitable for warm, fun, beachy weather then the Club Destroy has got your back. The widely diverse collection offers stylish tees, tanks, walkshorts, boardshorts, dinner shirts, blankets and the whole shabam! All super cool and all on trend. Check out this line on the shop Volcom website at www.volcom.com.
DVS PREMIER 2.0
The boys and girls at DVS Shoe Company have done it again, releasing the Premier 2.0 just in time for summer. This is by far the lightest shoe we’ve come across, and it’s so comfy with its ultra-cushy EVA footbed that you won’t even know they are on. Our favorite colorway is the Navy Weave (featured here). This shoe is completely breathable, comfy beyond belief and stylish enough to turn the head of the most jaded sneaker pimp. With more than a handful of other color options to choose from, there’s one to match any kit you come up with, so head over to your local retailer or log onto www.dvsshoes.com and get yours today.
PROLITE ULTRA-LITE TRAVEL BAG
The Prolite, Ultra-Lite, hella tight surfboard travel bag is literally the biggest blessing for your surf traveling needs. Finally, you’ll be able to stick it to the hell-spawned airline ticket agents with an all-new board bag that is designed to maximize the amount of surfboards you’re able to smuggle at a small fraction of the weight. The ProLite bag weighs 50-75 percent less then a standard coffin, and it is lined with super-durable Tyvek internal lining that allows you could carry up to four boards and is offered in sizes 6’6 and 6’10. Honestly, surf-traveling is a nightmare, especially if you’re going about countries with a quiver, so save yourself some hassle and buy this bag at your local surf shop or online at www.prolite.com
COWBOY SUEDE WIDE BRIM
Well, the sun is out and summer is officially just a couple weeks away. To celebrate, Legendary MFG Co. has released another must-have hat in their ever-growing collection, once again keeping you shaded and looking good. The LMCO Cowboy Suede Wide Brim is the first from this new series and comes in three colorways: black, brown and candy apple red. Vintage-inspired and oh-so-good, these new suede hats are perfect for any situation. Get yourself covered, and check them all out at www.legendarymfgco.com.
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VISSLA | DREAM STEEPLE
Coming out this very month, Vissla is presenting its second full-length surf flick Dream Steeple - a surf doggy thriller documenting the adventures of the brand’s Creators & Innovators and their wonderful journeys surrounding the winter seasons of 2015/2016. A close friend, Eddie Obrand directs this film. The guy has got a good imaginative vision and a strong cast of stylish and aerial-flippy surfers for this project, which is the prefect combination for a sick, tight movie. Premiering June 9th, come see surfers Brendon Gibbens, Eric Geiselman, Bryce Young, Derrick Disney, Cam Richards and more light up the big screen in Huntington Beach. But if you can’t make it don’t fret because this film is showing at 15+ locations worldwide. Head over to www.vissla.com for more info, yew!
SKETCHY TANK PINZ
Disturbing the comfortable, comforting the disturbed. That’s Sketchy Tank! A new brand on the lookout, Sketchy Tank is coming in hot offering all sorts of new stylish goods, from hoodies to tees to patches, and what we’re all jazzed up about PINS. Who doesn’t love a good pin? You literally could take one of your most boring articles of clothing or head piece, put a pin on it and mothin’ fuckin’ boom! You’ve created a conversation piece. To tell you the truth, all Sketchy Tank merchandise is a conversation piece, and if you’re down to get down, their doors are open. D Street alleyway. Kegs tapped and music’s always on. Party on!
LUXURY WIG BY RAEN
Alex Knost and Raen Optics go together like two peas in a pod. So it only made sense that the Raen team looked to Alex for inspiration for their new Luxury Wig Collection. Featured in finer retailers like American RAG and Thalia Surf Shop, Luxury Wig by Raen features the Flatscreen, Ashtray and Figurative frames all designed by Alex himself. All imagery for this new campaign is shot by our dear friend and longtime BL!SSS contributor Nolan Hall. Besides his fine photography, you might remember Nolan as Al’s former band mate from the Japanese Motors. Just goes to show ya that true friendships will last a lifetime.
PAUL HART ON ASPHALT YACHT CLUB
Paul Hart is a Florida native but nowadays he spends the majority of his time right here in good old Orange County, CA. He’s the newest member of the Asphalt Yacht Club skate roster and joins the likes of Stevie Williams, Aaron Homoki, Riley Hawk, Al Davis and a handful of others who are considered elite amongst their peers. We’re stoked to see another Florida transplant doing big thangs on the West Coast. Check out his welcome video at www.asphaltyachtclub.com and see why we expect so much more of Paul Hart in the near future.
BUILD IT AND THEY WILL COME
We’ve all heard the mantra but very few of us make it a reality. Well, Kelly Slater has done just that, and while we we’re just about to put this issue to bed we heard that the WSL has purchase a majority stake in the Kelly Slater Wave Company. Shortly following the news was a follow-up phone interview on Surfline with Jimmy Slade himself, who confirmed the transaction. What does this mean for professional surfing? Only time will tell, but with WSL owning the world’s most famous wave pool, we’re betting it’s only a matter of time before the first event.
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Tatiana Weston-Webb
#GoTati
left to right • Billabong, Tribong Mescy Dreams Lo Tides - $59.95, billabong.com • Body Glove, Vapor Lotus - $47, bodyglove.com Captain Fin Company, Halftone - $64, captainfin.com • Eidon, Nomad Barranco - $34, eidonsurf.com • Globe, Shangri LA - $74.95, globe.tv Hurley, Phantom (USA) - $80, hurley.com • Imperial Motion, Carbon Premier - $119.95, imperialmotion.com • Lira, Angler - $56, liraclothing.com ourCaste, Patty Floral - $62, ourCaste.com • Quiksilver, Acid Print 17” Volley - $49.50, quiksilver.com • Roark, The Savage - $78, roark.com RVCA, Birdwell X RVCA - $120, rvca.com • SUPERbrand, Backyard - $62, superbranded.com • Vans, Mixed Scallop - $54.50, vans.com Vissla, Aloha Amigo - $59.95, vissla.com • Volcom, Club Destroy Jammer - $55, volcom.com
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words • jp olson l photos • dbahn
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These boards were shaped by Pyzel then painted by Craig Stecyk and JP for the United States Olympic Committee to hype up the inclusion of surfing into the Olympics. They were presented to the USOC at the MOMA and are on display there until they make their way to Brazil to for the Summer Olympics.
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As it stands today, coed target shooting on crosscountry skis is an Olympic event. Many sports still included in the Olympics are merely relics from a time long past, a time when pigeon racing may have been relevant to the public. Such athletic competitions simply do not have the level of interest to captivate the millennial generation. There is a lot of buzz around surfing’s inclusion in the Tokyo’s 2020 games. Fernando Aguirre, who leads the charge on the Olympic surfing initiative, comments: “Surfing has incredible and growing global appeal, particularly amongst young people. It embodies a cool, playful lifestyle that would add a
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completely new element to the program, helping the Games reach new fans through live action and stunning broadcast opportunities.” There is nothing more interesting than watching surfers duke it out in good conditions at a world-class break. It’s not even a man-on-man sport – it’s man against nature. Although Japan is home to rich surf culture it can be fickle finding good waves in the summertime. Didn’t Japan have a practical wave pool in 1966 and aren’t they famous for their indoor mountain climbing and snowboard parks? At this point one can only speculate if the format will be in the ocean or otherwise, but with the WSL’s acquisition of
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Kelly’s proprietary wave pool the possibilities are endless. It’s highly plausible that the competition will be held in a wave pool but it takes the epic variable out of the contest. The ocean giveth, and the ocean taketh away. How many times can you recall 30-minute lulls lending unfair advantages to participants, or watch the swell climax for legendary heats like John vs. Kelly at Teahupoo last year? One possibility is to hold the comp in Indo a short plane flight away, or even closer at one of Japan’s lesser-known outer islands. Imagine watching the Americans take on the Brazis in the Mentawais.
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Live | Travel | Surf
interview • liz rice mccray
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I thought that maybe you could describe where you are right now, in this moment, so everyone reading along can imagine us and feel like they are right here too. I’m in the stairwell leading up to the gallery space [Standard Practice Gallery] that we are setting up. It’s in the Bowery, on the corner of Bowery and Broome in New York. It’s a big showroom space and we’re setting up for the exhibition at one, so I’ve got people running past me on the stairs with my pictures and huge things getting ready to be stuck in the gallery. Very cool. So what show is this for? This is for “Suburban,” it’s a project that took about two years to make and was originally shown at the National Gallery of Victoria in Australia. This is the first time we’ll actually be showing it in the U.S., which will be nine big photographic works and a three-channel film. You’ve spent a great deal of time creating these amazing site-specific interventions and have dedicated yourself to studying and investigating the home as a social and psychological construction. Can you tell us how you started creating these large-scale house intervention artworks? It started when I moved back to Australia in 2011 and I was invited to Australia for some work, which was rebuilding my own childhood home. That really got me kinda thinking about the power of the image of the home and I kinda wanted to broaden out that investigation. From there, I started this project in the States and I started looking at the home overall, as a broader icon. And that’s where that started. Logistically it was myself and my producer Jebo. We started reaching out to people and looking at houses. I had been selling my paintings in New York so started by self-funding the first ones and I guess the only reason it took two years is because
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when it got going it was a learning process and I didn’t know what it was going to be when I started it. I didn’t know if it was just going to be one house and I definitely didn’t know what it was going to turn into – these nine photographs and this film work. The shoots led onto at least five or six more projects that I’ve been doing since and am currently working on. It blows me away. The project looks massive to me; the manpower you must need... Are you doing all the work yourself or do you have a team to create these massive undertakings? Look, all these projects are massively collaborative. I work with community groups and volunteers and I work with film crews to document these things. It makes a big difference. I still have a strong drawing practice and all the ideas start on paper and I do concept work in my studio, but as soon as you go out to try and make it a reality it really is about great partnerships and collaborations with different people – community, vendors, volunteers, technicians, engineers. In the case of pulling entire walls off of houses without them collapsing, those are things that I’m definitely not trained to do. How does it feel when it’s done, when it’s destroyed? I imagine everything would be so hard for “Suburban” and for the “Final Act”? It’s really interesting. Some of the houses don’t get demolished; some of the houses have actually been renovated. And in other cases they do get demolished afterwards. Obviously in Christchurch they were getting demolished. Also, I’m not there when they do get demolished. It’s pretty interesting. It’s almost a way of archiving the homes as well in a strange way – it’s a way of them living on beyond their existence. In particular, in
the “Final Act” works, we made a large part of that to kind of emotively archive these homes that were all getting torn down after the earthquake. Whether a museum showed the work or commissioned the work, and then purchased the whole collection as well, it’s kind of a way of archiving these homes. It’s sometimes not necessarily a negative act. It’s kind of almost romantic in a way, paying homage to the home. Which brings me to my next question: What does home mean to you? I’ve got a really interesting relationship with it because the last six years where I’ve been making these projects I actually haven’t had a permanent home. I mean, I lived in New York but I’ve kind gone from short lease to short lease, studio to studio and have traveled so much for projects. So for me, the interesting thing is that I’ve been quite transient in my life. At times it’s sort of really ongoing, but for me it’s not so much as a personal destination, and looking at it overall I’ve seen so many people in different communities and attraction to homes in different ways… For me personally, I’m trying to pick it apart and trying to understand it. Yeah, it’s kind of an ongoing thing for me trying to understand it and trying to work it out. I mean the wonderful thing about it is that it is such a universal symbol and that everyone has their own relationship to it. And as an artist it’s sort of a really great shortcut to this emotional place, a trigger where we can kinda play with this familiar understanding of something. I’m mesmerized by your work right now and I’m such a supporter and can’t tell you enough how very powerful these pieces are. I really wanted to just say thanks for taking the time to do this interview, and I hope to interview you again in the future, as I have a million more questions I’d like to ask.
interview • liz rice mccray
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This month we were excited to discover Dan Lam’s beautiful drippy sculptures via the world wide web at www.booooooom. com. Thanks boooooom and thank you Dan Lam for taking the time to answer our questions. If you get a chance, be sure to check out all of Dan Lam’s Instagram feed @sopopomo. Will you please introduce yourself to our reader? My name is Dan Lam and I’m an artist! I went to the University of North Texas for my undergrad and Arizona State University for my masters. I grew up in Texas. You were born in the Philippines? Will you tell us a little about your childhood? My mom had me in Manila, Philippines, where we were living for a short while as we waited for sponsorship to the U.S. from Vietnam. We came to Houston, Texas, where my dad already had some family. My mom and dad separated when I was 6 and my mom and I moved to the Dallas/Ft. Worth area. As an only child to a working mother I spent a lot of time by myself making stuff, building the foundation for where I’m at now! When did you begin working with resin, polyurethane foam, and acrylic? How did these amazing pieces manifest? Tell us about your most recent body of work? I’d been working with acrylic and resin for a while in undergrad. A lot of what drives my work is process and material, I have an idea of what I want to happen in my mind and I’ll seek out a material for that purpose. Lots of trial and error. I came upon polyurethane the same way - I was using plaster, hot glue, and
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acrylic mediums. I wanted a material that would give me that suspended softness and those other materials had issues, so I did some research, made the purchase, and started experimenting. I was really interested in pushing this idea of beautiful, decorative objects into a new realm, one where beauty becomes too much and investigating what happens after that. I’ve started exploring different avenues and visuals to express those ideas. With the drippy sculptures, I look to the body (flesh, skin, foods) and nature (aposematism) for cues. I’m interested in creating these bright, attractive things that begged to be held, but either can’t be touched because of the setting, or you can actually touch them but they’re hard and spiky making them not so inviting. You had a show titled “Can I Touch,” and I’m curious, can we touch? Those pieces were pre-spikes, so yes! At my opening I let people touch the work. I let people touch the work in my studio as well. But now with the introduction of the spikes they’ve become a little more fragile, and with the number of people they’re exposed to I’m not sure how they would hold up. However, I have thought about doing a show where I have a few pieces that are meant to be touched and seeing what happens to them after hundreds of hands have affected them. Will you share with us your processes when creating one
of your pieces? I work at night in the studio. I work on multiple pieces at a time. Some nights I go in without a plan and other times I have works that are ready to be painted/spiked. Because I have multiple pieces going at a time, I like to jump in and out of the steps. For example, I’ll “warm up” by building a few shapes and then get to spiking a few pieces, etc. How would you describe your studio atmosphere? It’s comfortable and laid back. My studio is essentially the back half of my house so it’s very integrated with my living space. What are some of your consistent influences? Just a constant studio practice generates new ideas. But when I need a breath of fresh air, I like to go on a hike or a road trip. Going to the museum or gallery openings can also be a great source of influence. Do you have any upcoming projects you can share with us? I have a collaborative show May 13, 2016 at The Platform in Dallas, TX, with the collective Wheron and I have a solo exhibition August 5, 2016 at Fort Works Art in Ft. Worth, TX. Where can people check out your art? On Instagram @sopopomo and at www.bydanlam.com, but I update my IG more than my website.
interview • susan rockefeller
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You’ve studied marine biology, ceramic sculpture and environmental studies, was this the career path you planned all along or has it been more of an organic development? I was born and raised in San Francisco and spent as much time as I could outside, often at the beach and at museums. It was an incredible place to grow up because San Francisco is a fairly dense city that does a great job of incorporating the natural environment among arts venues and other cultural centers. I’ve always felt that the sea is full of secrets, and I have vivid memories of first discovering some of them as a young child, peeking inside crab traps strung along the piers of San Francisco Bay with my mom. My mom was also a docent at the SFMOMA at the time, and would practice her modern art talks for me projecting slides on the wall at home. Because art and the natural environment fascinated me from such an early age, it felt natural for me to start studying marine biology and ceramics as a student at San Francisco University High School. That first marine biology class sparked my passion for marine science, and where I learned the basics of field research and dissection. That’s also when I first felt the urge to sculpt sea creatures out of clay because I found that it was easier for me to understand the anatomy of organisms I was studying if I recreated them in three dimensions. After high school I earned my advanced scuba certification and began exploring the coral reef ecosystems that I had already fallen in love with from textbooks. Experiencing the diverse and alien world of corals, anemones, sponges, tunicates and other reef-dwelling invertebrates captivates me to this day. It felt only natural for me to start sculpting them while studying them in college and graduate school, and to continue on in a career using my skills as an artist to advocate for their conservation. What was the genesis of the ceramic coral reefs? At first, ceramic sculpture provided a way for me to visualize the creatures that I was studying in three-dimensional space. I am a visual learner, and could better understand the anatomy and behavior of coral reef organisms by sculpting them. My work began to evolve from anatomical studies into more large-
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scale, representative pieces after I visited the Great Barrier Reef for nine months as a study abroad student at James Cook University from Skidmore College. While there, I went scuba diving among some of the most beautiful and pristine reefs in the world, and simultaneously took a series of marine biology classes that emphasized the threats to coral reefs – namely from climate change, ocean acidification, overfishing and pollution. The understanding that something as exquisite and otherworldly as coral reefs could be deteriorating so rapidly because of human activities was heartbreaking, and it motivated me to use my sculptural work for more than my personal interests in reef ecology. I realized that art has a unique power to influence how we understand our lives and our planet and can make us connect emotionally to concepts or environments that we would otherwise ignore. We protect what we care about, and we care about what we know and understand. Art can bring the plight of coral reefs above the surface and into view, making us appreciate their fragile beauty and empathize with the threats they face in ways that drive us to change our behavior. When I had the opportunity to study ceramic sculpture at the Rhode Island School of Design as a Master of Arts candidate in environmental studies at Brown University, I knew that was my chance to create a work of art that could make a real impact. I created Our Changing Seas I: A coral reef story as the culmination of my thesis work. The piece, a five-meter tall by three-meter wide hand-built ceramic coral reef wall installation, debuted at the headquarters of the National Oceanic and Atmospheric Administration within the Department of Commerce in downtown Washington, D.C. in an effort to inspire policy change for coral reef conservation. It now resides at the headquarters of the American Association for the Advancement of Science, which publishes Science Magazine, and is visible to the public. With my continuing Our Changing Seas series and other coral reef sculptural work, I want viewers to feel the way I do when I slowly hover over a coral reef while scuba diving, discovering tiny details in every crevice and feeling as though they’re among precious, and very delicate, life forms. I want people to
feel inspired and curious, and then I want them to understand how tragic it would be to lose these ecosystems and feel empowered to help. Can you explain the process of making them and what’s next for you? My work is a labor of love! I hand-build everything very methodically in my “Inland Sea Studio” in Denver, Colorado, and texture the work using simple tools like chopsticks and paintbrushes. I sculpt delicate components like anemone tentacles and protruding coral polyps from porcelain, and roll out coils of gritty stoneware sculpture clay and pinch them together layer by layer to build the more massive pieces, which are all hollow. Once a piece is finished I let it dry for a few days (or weeks depending on size) before firing it along with others in one of my two electric kilns. For sustainability reasons I always try to load my kilns as full as possible to cut down on energy consumption. Once a piece is fired it’s ready to be glazed and fired a second time. For my larger installations, like in my Our Changing Seas series, many components install like puzzle pieces and must be built to fit together. For works like Our Changing Seas III, I build each part in relation to one another on a grid marked out on the floor of my studio. For more fluid installations comprised of many tiny pieces, like my latest work Aqueduct, it’s more important for there to be a good variety of pieces of different sizes, forms and colors that I can figure out how to install together on-site in the exhibition space. That latter type of installation allows me to improvise and adapt the installation to be more site-specific, and I can add more pieces to it over time. Aqueduct, for example, will look different wherever I install it next… and it will likely grow in size. Ultimately, I’d love to fill entire galleries and public places with corals and other reef critters creeping in from every corner of the room and spilling down from the ceiling, invading viewers’ space and consciousness. Thank you to Susan Rockefeller for the interview, and special thanks to Protect What is Precious (www. protectwhatisprecious.com).
interview • liz rice mccray
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This month we had the pleasure of interviewing American artist Jamie Adams. Make sure to check out more of his paintings online at www. jamieadamsart.com. I thought maybe you could describe where you are so everyone reading along can imagine they are there with you while they read the interview. I am sitting here outside on our back porch, which is adjacent to my studio in a suburb west of St. Louis. It’s the end game of my morning ritual – first to make the coffee, walk the Bruiser (dog) and consider the day’s work ahead. Later today will be about getting to some packing. In a few days I travel to Florence, Italy, to meet with Washington University students to begin a summer drawing course. I wish I was going with you to Florence… you live in St. Louis, what’s the art scene like there? St. Louis has a thriving art community. It’s been great to see how the artistic community here has shown real dedication with addressing some of the cultural and community issues with art projects, support grants, free classes, and at Wash – courses about social engagement, etcetera. The St. Louis Art Museum, Contemporary Art Museum and the Pulitzer are all significant venues in town, along with the Kemper Art Museum, located on WashU’s campus. There are a number of commercial galleries in town, including Philip Slein Gallery where I exhibit, as well as many notable and active non-profit and alternative spaces: RAC, the Luminary, White Flags and Fort Gondo, to name a few. Will you tell us a little bit about your childhood and your original attraction to art? I grew up in the suburbs of Pittsburgh. I have been drawing since I was two or three. My mother used to tell me that I was so hyperactive she would encourage me to draw as a way to settle me down. I think she called it the grand inoculator. For me it was always a tremendously satisfying experience. And from the beginning I was enthralled with drawing bodies more than anything else – mostly male characters, football players or soldiers were the main attraction. Through grade school my drawings were inspired by picture books, illustrations or family photos, and later the Jeno Barcsay’s own drawings from his book, Anatomy for
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the Artist. During the middle school years I can almost say I grew up in the Carnegie Museum. Along with hundreds of other Pittsburgh students, attending the museum’s Tam O’Shanter art classes and galleries was a weekly part of my life. I still recall my own excursions to Tintoretto’s massive figures in “Allegory of Winter and Autumn,” or Bouguereau’s woman with subtle, radiant skin in “Souvenir.” Scrutinizing these and other paintings week after week was an incredibly transforming experience. (I plan to do the same with my own students in Florence soon: Bargello, Uffizi, La Specola…). I was recently reading somewhere (I’m not sure where) “behind every artist is a muse.” What are your thoughts? Who would you say yours is? With the Jeannie series (2006-2012), the persona of Jean Seberg, the Iowan actress featured in Jean Luc Godard’s French New Wave film, Breathless, was clearly a focus of interest for a number of reasons. Initially I was struck by her family resemblance to my wife, my mother, even myself when I was young. Your paintings are thought provoking – the more we view them the more we want to know. Blending cinematic culture, historical references, and contemporary aesthetics… Will you give us some insight to some of your consistent influences? I want my paintings to capture something of the filmic experience – its scale, visual allure, and ability to transport the viewer into some other-worldly experience. I am generally drawn to vintage films such as American melodramas and self-reflexive Euro-American auteur films of the ’50 and ‘60s, the camp American classics of the ‘70s as well as digital animation films my kids have grown up with. I am interested in the interrelationship between painting, photography, and cinema – but increasingly paintings pre-lens era, and its pre-filmic urge to animate, extend, or transport the body through time and space. One can see this in Hopper’s “Western Motel”(1957), and earlier as cinema emerges in Eakins’ “The Swimming Hole”(1884), but also earlier with Caravaggio’s “The Taking of Christ”(1602) or even before with Masaccio’s “The Tribute Money”(1425). Even Picasso’s cubist imperative
of promoting the communal view seems prefigured with innumerable versions of “The Three Graces” (dating back as far as the wall frieze in the Villa of the Mysteries at Pompeii, circa 60 AD), where the viewer sees the female form simultaneously front, back, and side. In our lifetime, technology has exploded; it’s overwhelming with the Internet, social networks, tween sexting… Thank goodness I didn’t have all of that as a kid. What are your thoughts on the influences of technology - the positives and the negatives? We all love the latest and greatest new technology. The problems arise when the management of information becomes overbearing. I think it was Diderot who stated that, “as the centuries continue to unfold, the number of books will grow continually, and one can predict that a time will come when it will be almost as difficult to learn anything from books as from the direct study of the whole universe.” I think the term is infobesity. In the case of simple electronic communication, too many platforms inhibit efficiency – using email, Skype, FaceTime, texts, instant messaging, cell phone, or FB, etcetera. Seems like time for a change. New technologies are like the cultural overlay, they come and they go. The good ones change and adapt and learn how to survive. You take what you need and leave the rest. Ironically, painting, one of the oldest technologies dating as far back as 38,000 BCE in Paleolithic caves, remains one of the most versatile, widely applicable, and expansive forms of expression. And even in today’s contemporary culture replete with high-speed surface finishing and slick virtual spaces, the solitary processes of drawing and painting exhibiting the trace of the hand are still some of the most beautiful and compelling objects in the world. This is why I still want to make paintings. Going back to the woman in your paintings, they exude sensuality, enticing the beholder with alluring expressions. They are almost voyeuristic. Will you tell us about some of the subjects in your paintings? In the Jeannie series the Jean Seberg character began
as a type of Pygmalion character, but much more than that, a character in the state of becoming. Occasionally I included a diminutive character who appeared to play the role of the artist or documenter. But I found myself identifying with both at times. So the Jeannie character would take on more hair, broader shoulders, thinner hips. Ultimately I think the film’s Iowan starlet (Seberg) embodies for me a continuum of mother, lover, and self. As if by cultural or historic inscription, her figural form is mobile, adapting to changing roles of modelmother (jeanniefornarina), furtive lover (jeannieframn), or ephebic male (jeanniesongie). In the Niagara paintings (2012-present), a series loosely based on Henry Hathaway’s film Niagara, the characters in my paintings open up. The characters and spaces are no longer fixed. In fact, I want them to increasingly play more complicated roles, to exist in liminal spaces, and insinuate some type of disturbance through cinematic mediation or affectation. Is there an on going narrative? Well, the work continues to be largely autobiographical, functioning as personal memoir. It’s about living with a woman; more broadly it’s about bearing witness to my experiences and what I see around me. What’s the dynamic between you and your wife regarding art? Is she also an artist? My wife is not a visual artist, although we met through music. She has a beautiful soprano voice – and incredibly powerful for such a small frame. I hear wonderful singing from all four of our daughters when they wish to show it, but our oldest daughter is the one who has pursued singing professionally. Of course now I want to hear about your daughters but I will leave that for our next interview. I’m curious, what’s the biggest challenge you’ve faced as an artist? What have you learned from it? Letting the painting paint itself… Stop trying to make art; just be real. Where can people check out your art? My work can be viewed at the following galleries: Jonathan LeVine Gallery in New York City, Zolla Lieberman Gallery in Chicago, David Klein Gallery in Detroit, Philip Slein Gallery in St. Louis. It was a real pleasure to interview you. Thank you for taking the time to answer our questions.
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photography • dominic petruzzi • @dominicpetruzzi model • @pricessgems_ • elite la hair & makeup • bethcartermua
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words & photos • tom carey
Jack Feestone is the Australian man that everyone wants to be. He has got the hot surfer girlfriend, the good looks, the flare for surfing… He’s the guy that you want your daughter to marry. But that’s not what makes him cool, he’s just one of the most down to earth, happy-go-lucky people you’ll ever be around. He’s the type of person you wanna surround yourself with and is just an all-around good guy, and that is hard to come by these days. Jack is one of the most gifted surfers you’ll ever meet. He’s one of those guys that just can’t get out of the water, he just loves surfing, and it’s really contagious, which all add up to whom he is. You wanna surround yourself with people like that and constantly be around that. He’s so talented; when you watch him surf he just doesn’t fall… And he goes for broke; he does some of the hugest, craziest airs I’ve ever seen. Last year I was able to go on a trip with him
and Mitch Coleborn to Kandui and was just watching him go absolutely berserk in these crazy, chunky, eightfoot waves at Bank Vault. I saw some surfing that I had never seen before. Jack was doing some of the most inverted, craziest corkscrewed-out airs that I had ever scene. I honestly don’t even know what you’d call some of these things. And these were on big waves too, and his percentage of landing airs was just absurd and I’ve never seen surfing like that, to be honest. The height he was getting on some of these airs, and on the biggest waves, was just remarkable. It just shows you how progressive surfing has gotten, where guys are doing these things on big waves now, and on really difficult and dangerous sections. Jack was just pushing the limits of free-surfing, aerial and high-performance surfing to what I think is the brink of what could be done.
He works hard and you can tell it pays off. He’s still pretty young, already on the CT and with some luck I think he’ll be on there for a really long time. He has the potential to be that new breed of Australian surfer that stays on the world tour for fifteen plus years and becomes a household name. I don’t think it could happen to a better person; Jack is just really that good of a dude. I think a lot of people really want to hear about Jack’s girlfriend Alana but I believe the real star here is Jack. He’s a pretty lucky guy, he gets to travel the world surfing, and he brings his lady along and she surfs too… I’ve been lucky enough to meet her briefly while hanging out with Jack in Australia and she’s a really down to earth person too. They just seem like they’re the perfect match, two really nice people and I believe they’re really blessed. I think good people deserve one another and this is a perfect example.
Jack has been working on a new website and a new series called “Something Is Calling,” if you go to that website you can check it out or whatever. It’s some crazy, futuristic surfing, no bullshit, and you can see some of that footage from the Kandui trip featured in this article. It’ll just show you how progressive his surfing is, some of these airs he’s stomping and the percentages of airs he’s landing is just unbelievable. He’s just such a good guy to shoot photos of and he makes the photographer’s life so easy. I was able to go on a trip to the Telos four years ago with Jack, where I first got to see him surf, and my god he was just destroying himself over the reef, going for the biggest airs… I think he destroyed all of his boards and had to get more shipped out as he was jumping on a trip with Kai Neville and those guys to do “Dear Suburbia.” He basically did back-to-back trips after the Telos and I think it was right then that really jumpstarted his career. Being able to go with those guys catapulted his career and I don’t think he’s quit moving up in the ranks ever since. I honestly think the skies the limit for Jack, once he gets his first year of experience I think he’ll do really good on the CT. He’s the start to that new crop of young guys that are gonna take over, and Jack is one of the best of them.
SUPER COMFY
THE WORLD IS SUPER IN THE TOY BOARDSHORTS.
SURFBOARDS & APPAREL superbranded.com @super_brand facebook.com/SUPERbrand
photos • remy stratton
Holy Stokes! A Real Life Happening is finally fucking out, two years in the making, 40,000 different countries, 25+ of some of the globe’s best skaters, 4K video (I don’t even know what that means)… and it’s finally fucking out. We’ve always backed Volcom and Veeco Productions since the dawn of time, no matter how large and global the brand has become. They have always set aside tremendous budgets to give back to skateboarding, and this new full-length skate video is the best gift we’ve been given all year.
collin provost • f.s smith
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Holy Stokes! is the perfect combination of raw, innovative skateboarding mixed with amazing visual eye-candy delivered through the Volcom lens by director/skate-film auteur Russell Houghten, whose response for taking on the responsibility of this film was, “It has been an awesome nightmare and my most ambitious project yet.”
milton martinez • f.s kickflip
jhan carlos • b.s nose blunt
axel cruysberghs • switch 180
akira shiroma • bank to grind jam olllie out
In celebration for the release of the movie, which hits iTunes June 7th, we were fortunate enough to catch up with Volcom global team rider David Gonzales to ask him a couple of questions. Hi David, how are you? What are you up to? Hey, what’s up! I’m doing good. Just about to skate some flat ground at my new backyard. Saw you at the Holy Stokes! premiere, what happened to your arm? You okay? Was that incident from when you were in Brazil? I’m feeling much better now. I was trying to back 50-50 to this electrical box
grant taylor • f.s air
alec majerus • f.s feeble shuvit
david gonzalez • kick flip
and I didn’t ollie right and just went straight down from like a second floor to my arm, shoulder and leg, broke my wrist, my arm and exploded the muscle in the leg… hurt pretty bad. Fuck, that’s a bummer. I imagine you wanted to have a longer part at Holy Stokes! How does it feel to be a part of this video? Yeah, def was a bummer but shit happens. I’m really stoked to be a part of this project. How is this one different than any other project you’ve done with Volcom before? All the new riders are pretty sick, and I went to new places that we’ve never been before. Now that Holy Stokes! is over, are there any other big projects lined up for this 2016? I’m just trying to get healthier and I’m putting in a new park in my backyard. So stoked!
daan van der linden • indy n. bone
pedro barros • alley oop b.s air
EVAN HERNANDEZ AKA E BLOCK KICKFLIP / TEAM PU BLACK SNAPBACK COMING SOON E.H. X YM COLLECTION FALL 2016 WWW.LEGENDARYMFGCO.COM @LEGENDARYMFGCO #LMCO #BELEGENDARY
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interview • zhou yun
Dear Reader, This month we are featuring the lovely Du Kun, a Beijing-based painter, as our cover artist interviewed by Zhou Yun. Du Kun paints massive oil paintings 2-meters (6.5 ft) high that are portraits of rock musicians embedded in traditional mountaintop temples that appear carved out of mountains, trees, cliffs and waterfalls. A musician himself, Du Kun is awed by aspects of fame, the intangible romantic notions of being a rock star and the creation of music – something he embodies in these temple-like rocks of famous Chinese artists, titled “Revels of the Rock Gods.” Note, this interview was originally conducted in Chinese by Zhou Yun and then transcribed into Chinese and finally translated into English. If anything was lost in translation, we apologize. We thank everyone who helped translate this piece. Special thanks to Lee Michaels for the time you took to explain translations and the Chinese language.
Why did you start painting “Revels of the Rock Gods” series? Why paint these people as “gods”? I’m good at painting the temples and I love rock and roll, so they both were going to come together sooner or later. This idea first appeared back in 2012 on a train home for New Year’s. I drew the first drafts in a sketchbook with a ballpoint pen, but at that time I was working on another series of works. The draft was shelved till the 2013 Chinese New Year, where in detail I painted another draft with a pen, which later became “Punk Temple.” After finishing a museum exhibition in Tianjin in 2014, I finally embarked on the creation of these works. There is no exaggeration to say that the love of music, especially rock music, is a similar to faith. Saving all your money so you can buy an album, see a live show, or to buy musical equipment to play… You end up living in the basement, eating bread, with rock music as your “chef,” creating your spiritual food, making delicious spiritual feasts. These “chefs” are naturally like “God” in a general existence. Moreover, I paint all these musicians I really appreciate.
How did you think to combine traditional Chinese architecture with rock artists? If you use one word to sum it up, it is “idol.” The word has two different identities. First, used traditionally as religious Hindu gods statues in the temple, the deep traditional symbols are all idols. Second, in the eyes of youth, an avant-garde modern symbol of an “idol” is a celebrity. This is the ideology of the two; I put the “positive and negative” to produce some interesting reactions. The chemical reaction is called “contradiction” and the wonderful story was contradictory. I put together these two sides, according to the rules of the game, and this “contradiction” was my artistic approach “to settle” the idols. China’s rapid economic development period resulted in a huge new energy contribution to the world. This period is mainly from the experience we gained from the West, combined with our own changing situation China. The development was fast and amazing. But China’s 5,000 years of culture, unique and ingrained in each and every individual soul, is something we attach great importance to through the unity of Taoism. Taoist emphasizes attention on past lives, the afterlife retribution of the Buddhist teachings, Confucian teachings, all this in waves of reform in Chinese society slowly changed. We are living in a contradiction. How does Chinese traditional culture and modern civilization coexist? It is the government’s job but I can only start with art, to portray this contradiction and interesting complex. So I borrowed from the “rock band” and “traditional religions,” two very different cultural symbols to form a contradiction, but there is a common word in their system, “idol.” Rock and roll music was introduced into China in the mid-‘80s, after three generations of young people’s efforts. Nowadays in China, the young minds are greatly influenced. It’s the difference between pop music and social critics, which is a group of rebellious people who love rock ‘n’ roll – it’s the pursuit of a new and exciting lifestyle. The rock star is a symbol of modern avant-garde; it’s the young people’s “idols.” What is the source of materials you use for these pavilions? With each artist’s character, how do they correspond? For each musician you
collage trees, glaciers, statues and/or temples in a complementary way to achieve the images you want to express. The material for most of the pavilions were taken from when I travel, like the Sichuan hometown view of Guangde Temple, Ling Chuan Temple, Peak Hill Road, such as Emei Mountain giant Buddha Temple, the Imperial Palace in Beijing, Tibet’s Jokhang Temple, and of course a lot of material on the Internet. Despite having a lot of material, it still leaves probably one-fifth to the imagination and creative characteristic of traditional architecture and principal of building the structure and understanding how to improvise, to build a logical human palace. Yes, I pay close attention to the different characteristics of each musician, including personal temperament, musical style, instruments played… information such as the name of the band and other information are scattered in the detail throughout the works. For example, the identity of each musician in the bands are represented by the statue on the nose: Heaven’s Smile [River Sight Pagoda] is a diamond playing electric guitar, he never hit the green powder Fanta [Fender]; such Oujia Source [Jia Yuan Mountain] is a bomb with the Gibson protecting deities; Karen [Karen Island] is Guanyin holding a gold microphone; Li [Palatial Temple At The Mountain’s North Face] is playing the Martin D18. Also at Samantabhadra Temple, every seat has its own large and small plaque masterpiece song, and even his own tattoo symbols and so on. In order to achieve my perfect idea in my manuscript before selecting the material, it is necessary to do an all-around analysis of the “models” because I know them. I want to emphasize their personal characteristics through each individual, in order to design their landscape and architecture in detail – to set the tone of the whole work. For example, Karen [Karen Island] is a pop diva, compared with her song melody it is more obvious, more clear. So I’ll give her sunny, warm colors and very bright plants of all colors. Xie Tianxiao belongs to a grunge rock band, writes songs with irregular chords and always screams when singing. His music gives you the feeling that he is tough guy, so I make his landscapes very dark. I use a very gloomy landscape of fog, bare cliffs and a row of cedar with a small amount of snow to create a cold atmosphere.
Do you have a favorite artist or rock star? And why? Dali, Beksiński, Magyar Posse, Radiohead, Nick Cave... They hit that spot that love and they all are very different. The bands make me feel great inside, they’re cool to love. How long does it take to create each painting? Tell us about the creative process. What are your steps? I paint slowly; each painting is about three-square meters, which takes two months for me to paint. First, I find photos of the model, I look for photos that best reflect his/her characteristics, the facial expressions with all types of lighting. Then, according to these pictures, I look for a creative landscape. These images of rock and ancient landscape require massive research, especially for the body, which is made of rock material. This is most difficult to find. On average I browse thousands of images to find the perfect one. This one image then needs to be made again, adjusted according to the body and contours of the model in order to achieve my consistent point, the face. My general process is where I reserve space; the first step is blocking out the dark; the second step is using a large brush to first add color and strokes. This is very general without any detail; the third step is with medium-size strokes and for a second time I add more color gradually and find some local variations. Fourth step, which is the longest, with the minimum number of strokes from the
body I begin to draw the details in. In one day I’ll draw a palm-sized area, this is repeated until all the details of painting is finished and the effect will come out. The final step in the overall adjustment is covering it with a stain/dye method to adjust and create a sense of light, tones, space, color and so on. Of course, ultimately, in the whole process of his/her music accompanies the process. Now in your life you mainly paint, but do you also still play music? What is the relationship between music and your current work? I’m mainly painting, but I play musical instruments everyday. Music motives me. I record it using a mobile phone or I save a certain amount of time to focus on my music and organize it into sets. Live music is an addiction, and then I return immediately back to my drawing. No relationship between my music and these works. This time my paintings are of someone else and their performance data makes up the exhibition. However, there are many interesting combinations between painting and rock ‘n’ roll. There are a lot of interesting ways to combine them and this may be my next endeavor. What is your next plan? A longitudinal on dug wells, horizontal water. I will continue between painting and rock exploration and find more possibilities. My expression will be open to expand, not limited to easel painting.
BUILT BY SKATEBOARDING SCOUT YB IT JUST LOOKS NICE, LIKE A SWEATER ON A TREE
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@etniesskateboarding
photo • domenic masqueria
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Barron is one of the heaviest groms demolishing the game that is surfing. It really isn’t even cool calling him a grom either seeing how the kid surfs 20-plus years beyond his level or anyone else in that age group. The North Shore native, at just 16 years old, isn’t anything like your typical, nerdy, hormonal-tweaked tween you know; Barron is a respectful, well-mannered, old soul with a good attitude who can construct an intellectual conversation. Here’s what he had to say when we were able to finally catch up with him. How old were you when you first started to surf, and at what age did you first start surfing the Banzai Pipe? My dad would take me surfing around like the age of four. I might not have even been in school at the time, or I don’t know, probably was. And first time I surfed Pipe I was nine years old. How has being a surfer shaped you? What has surfing done for you? Um, I guess it’s done a lot. Pretty much where I come from, you really only have a few choices: there’s only surfing or the other options are bad. A lot of the kids I know don’t graduate and slip down wrong paths; some of them sell drugs and other bad stuff. I’m lucky to have surfing.
photo • domenic masqueria
photo • clayton burns
The North Shore is without a doubt a very different place than what a bunch of people expect. What’s it like truly growing up there? Haha yeah, the North Shore is definitely different from growing up anywhere else. Like in California, you go out and surf and there’s a few guys out, and you’re not usually ever battling with them. There’s a lot more kooks and you can catch whatever waves. Like, there’s still respect out there but it’s not like here where you’re afraid of getting beaten up for not saying hi to someone. On the North Shore being a grom you don’t catch as many waves and you really have to show respect to the older guys, but once you do prove yourself it gets a lot easier. I like that about growing up on the North Shore. What do you want people to think of you? I dunno, I want people to know that I worked hard for what I got, like I want people to know that you can come from anywhere in the world and just be able to make it. Take people like Manny Pacquiao – he came from the streets, like from absolutely nothing and he became one of the best boxers. He became what he wanted to be, and I kind of want to try to be like that, but in surfing.
photo • clayton burns
photo • clayton burns
photo • domenic masqueria
photo • clayton burns
Who are your biggest influences? What other surfers inspire you? My dad was the biggest influence. He has always been there pushing and pushing me, especially when it came to surfing bigger waves when all I wanted to do was airs. I would be like, “Come on dad, let me just do airs.” Then slowly, I just kind of decided that getting barreled was way better and kind of where it was at. Then, seeing all the older guys like Mason Ho get sick big barrels made me want to go and get bigger and more nuts-size waves.
photo • clayton burns
What are you thinking about usually when you’re paddling for waves and trying to get the sick ones out at Pipe? Most of the time when I’m paddling out there I’m just thinking about all the hot chicks on the beach watching and it’s like, “Oh! I gotta go on this one,” haha. And the other times when there’s no one out and I’m by myself I’m just trying to pull into late ones to prove to myself that I got this. And the rest of the time I’m just thinking to myself, “Please don’t die! Please don’t fall!” because it’s not a joke and you can get hurt. So last question, what’s next for your surfing? What do you want to focus on? I really want to work on my small-wave game. I want to practice surfing smaller waves so that I can prove to people that just surfing big waves isn’t all I can do. So yeah, that’s what I want to focus on.
Chris Ortiz has been a fixture in my household for over 25-plus years now. Skateboarding is how we met originally, but music and art were always on the burner as we sat around and bullshitted over dinner and watched videotapes of us skating in the old days at his old pad in Montclair – the site of many nights of debauchery and craziness during the last three to four years of the fabled Pipeline Skatepark. While his skating skills were decent, it was a broken arm that I remember leading him to get behind the lens. And from that moment on he blossomed into one of the foremost sought after skate photogs ever. I always thought the best skate photographers who skated took the best pics because they knew the angles and views that were important to capture the magic that skaters create. But at the same time it’s the photographer who captures that specific moment in time that gets presented to the viewer via the photographer’s eye. It is the ying and yang of the symbiotic nature of the skater and photographer; one cannot exist without the other. And with this being said, Chris has really captured the pictorial history of skateboarding for over 25 years now. And to this very day he is still one of my favorites to go shoot with. His understanding of the history, the roots, the genres, the players and the industry make him a go-to guy who can get it done. Action shots, studio shots, magazine spreads and the likes, Chris Ortiz is the go-to guy for everything. I have always enjoyed shooting with him and we have had many sessions over the years, and he has captured some of my finest moments for sure. Much Love Salba, 2016
mike vallely • f.s wallride dana point • 1999
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salba • double carve grind phoenix • 1989
jason lee
danny way • japan to fakie back to the city, san francisco • 1991
rob gonzales • 5-0 grind huntington beach • 2000
erik koston curitiba, brazil • 1999
wade speyer • b.s flip san francisco • 1992
rune glifberg • madonna santa ana • 1996
omar hassan • straight leg f.s air newport beach • 1997
gator • f.s air temecula • 1989
rick mccrank • f.s lein curitiba, brazil • 1999
Chris Ortiz has been shooting photos ever since I can remember. As a kid skating he documented some of the earliest sessions I can remember. He started shooting photos when skateboarding was mostly in the streets and in backyards, and he has pioneered photography since with some of the most memorable photos to date! He’s been a major influence on capturing the progression of the best skateboarders of all time for many years! He’s got a great sense of humor and always brings fun energy to the sessions. It’s always good times when Ortiz is in the house! – Omar Hassan
danny montoya • n. h-flip nose slide long beach • 1999
steve & micke alba upland • 1988
words & photos • bob plumb Bryan Fox and Austin Smith suck. They don’t answer emails, they rarely answer phone calls and only sometimes will they answer a text message. Their typical excuse is that they are out of cell service. Traveling to exotic locations to snowboard, surf, skate… whatever. Anyone out there that works a 9-5 probably thinks they suck too. It’s hard to relate to a couple of guys that have this much freedom. They do whatever they want, when they want. But truth be told, they don’t suck at all. They are the best. They fucking rule. They are so much fun to hang out with at all times. There is never a plan, and if there is it lasts for a fleeting moment. Their spontaneity is contagious. It inspires many a human to go out and live life to the fullest. I know that is such a cliché thing to say but it’s true. They always have fun and I’m always stoked when I’m along for the ride. So to say they suck is harsh – I’m just a bit jealous. This past spring they organized… yes, an organized trip; a trip where people had to be in certain places at certain times for a few weeks. They rented a giant white van, threw the Ginch boys in there and headed out. They even organized semi-famous snowboard filmers to document the whole thing. They named
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it Mediocre Madness. It’s a fitting name because the whole trip was half-assed and mediocre at best! For example, they couldn’t afford to pay a photographer, so luckily for myself and Mark Welsh, we got to go. How they pulled it off I have no idea. Somehow everyone showed up and everyone survived. We went swimming, surfing, played soccer, snowboarding, mountain biked and skated. We
stayed in some crazy tree house with a mini skate park in the yard, slept in the indoor skate park at Windell’s and rode Mt. Hood and Mt. Bachelor for free. They had to organize all this, Mr. and Mrs. Spontaneous pulled it off. I will have to say the highlight of the trip for me was torturing Bryan and Austin daily about our schedule and where we had to be. The easiest way
to do this was to ask everyone in the van who wanted to make a coffee stop. Bryan would glare at me with a look of disgust, as everyone wanted to stop. When you have 12 people in a van, getting out to get coffee you’re bound to lose a couple hours here and there. Not to mention, now you have the Ginch boys hopped up on caffeine, working on their Snapchat stories, filming the dumbest shit and
thinking they are hilarious. I loved every minute of it! In fact, it was one of the best times I’ve had in a long time. Thank you to everyone that allowed me to tease you for 10 days straight. And I also learned that being spontaneous is great, but teasing a spontaneous person about their set schedule is even better.
It trips us out how one of the world’s best skateboard contests is literally held within a 15-minute drive from us, down a highway, held at a place we really never visit, which is the Block at Orange (now called the Outlets at Orange, I guess). The Vans Pool Party trumps all other bowl contests… and every other type of skateboarding contest, to tell you the truth. It’s the only contest to really integrate everything progressive and new-age along with everything we’ve learned from the past, such as Lance mountain, handplants, style and even our beloved and unofficial skate commissioner Jeff Grosso. This year’s 2016 Pool Party didn’t let anyone down – the energy, the skating… everything, was on point. Watching Pedro Barros in the practice rounds you could already tell he wasn’t going to be beat. Our Brazilian friend was absolutely unstoppable, blasting huge, uncomfortably high airs and lightning fast runs en route to securing his third Vans Pool Party championship title to date – and he’s only 22! The real story of the night, however, was watching the Legends Division when the clock struck 7 p.m. on the last day of the contest. It was an unforgettable performance as we watched Bones Brigade legend Lance Mountain earn his first Legends Championship at the 12th annual Vans Pool Party. Lance edged out some big names, like his fellow veteran skate-mate Steve Caballero, who placed second, and stealing the crown away from the nine-time Pool Party Legends holder Chris Miller, who ended up finishing third.
events
It’s a pretty a cool scene to be able to attend this contest in the flesh, watching an event where the terrain always stays the same year after year and the skating becomes more progressive. Tradition is such an important value that gets overlooked all too often in skateboarding. If you haven’t had the chance to watch the Pool Party contest make a note of it for next year, and check in at vans.com for details on how you can RSVP a spot for the 2017 Vans Pool Party. RESULTS Pros 1st • Pedro Barros 2nd • Cory Juneau 3rd • Bucky Lasek Legends 1st • Lance Mountain 2nd • Steve Caballero 3rd • Chris Miller Masters 1st • Darren Navarette 2nd • Bruno Passos 3rd • Jed Fuller
Photos: Chris Ortiz • clockwise from top left • Pedro Barros • Lance Mountain • Bucky Lasek • Darren Navarette • Chris Miller • Masters Awards • Legends Awards • Pro Awards • Christian Hosoi • Steve Caballero • Corey Juneau
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ACTIVERIDESHOP.COM
@TEPPEITERANISHI
TEPPEI TERINISHI
WE ARE SHOP BUILT
For the 15th year, the Cosmic Creek Surf Festival went down in all its glory at the famed Salt Creek the weekend of May 21st-22nd. The weekend affair was filled to the brim with good vibes, rocking music, great surfing, retro surfboards and stoked out beach-goers… all the while paying homage and honoring surf culture of the ‘70s and ‘80s. Those of you who haven’t figured it out by now, this is the one weekend in spring that you definitely don’t wanna miss out on. Upon arrival it’s easy to see that this event isn’t just all about the surfing, as Vissla hand creates a mini wooden village on the sand, adorned with custom Vissla designs each housing a different activity. From The Shwack Beach Grill and Stumpton Coffee Roasters, test surfboard shack, DaFiN Made and custom Danny Hess handplanes and Reverberation Radio’s psychedelic jams, there was a little something for everyone. And best of it all, it was absolutely free for anyone who happens to be on the beach that weekend.
events
While event Founder Eric Diamond kept the crowd entertained with his nonstop jokes, the competition in the water was nothing short of incredible. Surfers drew cards before their heats to decide who chose which craft to ride from the infamous “surfboard booth,” which holds all the retro gold from yesteryear. This isn’t your typical Orange County contest, but more a beach gathering reminiscent of the free spirit and experimentation era for which the surfing world of the ‘70s and ‘80s is now famous. We’ll save you from all the play-by-play, blow-by-blow heat action (check out www.vissla.com for a full recap), because all you really need to know is that everyone left with huge smiles as this event continues to grow bigger and bigger. Music, surf, great company, good food and good vibes – this is really what it’s all about. We’ll see you next year, as I’m sure wind of this awesome event is only gonna make things better and better.
Photos: Jeremiah Klein, Kenny Hurtado, Steve Neiley & Paul Naude • clockwise from top left • Dylan Graves showing the world he can still get high on an MR twinny • Some of the many vintage beauties the competitors were lucky enough to choose from • Pro division champ Nate Yeomans • Vissla founder Paul Naude taking his pick • Eric Geiselman with a backside bank • The 2016 Cosmic Creek in all its glory • Niko Ripley showing the little guys he’s got old-school style too • The Allah Las just before the crowd rushed the stage • Creators & Innovators division champ, Tyler Warren • Kalani Robb has become a staple fixture at the Cosmic Creek • Simon Hetrick getting stylie with a railgrab cheater 5 • Sir Josh Sleigh on his sleigh • Cosmic Creek founder, Eric Diamond, was cracking jokes on the mic all weekend long
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events
On the night of Thursday, May 12th, the Orpheum Theatre in Los Angeles saw an electric crowd descend upon its doors like none before, as thousands of skate-thirsty fans showed up hours before the premiere of Adidas’ new full-length skate flick, Away Days. The line outside the theatre stretched around the block, as the back parking lot played host to the pre-party shenanigans as pro athletes and industry heavyweights anxiously awaited the premiere. Over capacity, the wound-up crowd went absolutely nuts when Snoop Dogg took to the stage to introduce the men of the hour before pulling onstage his favorite skater of all time, Mark Gonzales. The next hour induced all types of crowd-pleasing “oohs and aahs” as the Adidas skate team did what they do best – went completely nuts on anything and everything the world had to offer. Highlights of the new film included Lucas Puig’s opener, Nakel Smith being Nakel, the two-song ender for Dennis Busenitz, the introduction to Adidas’ newest team members and legends of the sport Daewong Song and Marc Johnson and closed out with a live performance from House of Pain’s Jump Around – which happened to be the opening track. Many stuck around after the movie ended and we’re sure there were quite a few bars that had their busiest Thursday nights ever! Kudos to all the athletes and the phenomenal skating, and by the time you’re reading this you can click your way over to iTunes and download this flick in its entirety – you won’t be disappointed. Photos • courtesy of Adidas • clockwise from top left • BTS – Adidas skate team moments before taking the stage • The line literally stretched around the block • Lots of selfies going down when Snoop took to the stage to hype up the premiere • Internationally stacked Adidas skate team • Crews showed up deep • Adidas teammates love Blondey McCoy • It was a stripped affair • Orpheum seats 2,000 • All smiles form all in attendance • DJ Premier • White on white on white with Polaroids • Away Days – available on iTunes now • The DogFather – doing what he do
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words • ashton maxfield
There’s got to be a reason the top pros and up-andcoming ams choose to spend the first Saturday in May with Ryan Sheckler every year, raising cash to help kids and injured action sports athletes. The reason? The Sheckler Foundation is making a real difference by empowering people to be the change, and the authenticity is contagious. The annual SKATE FOR A CAUSE event is so important to Kurtis Colomonico that he came straight from his grandma’s funeral. Legends like Christian Hosoi joined today’s top pros including Chris Cole, Chris Joslin and too many other heavy hitters to name at the etnies Skatepark for this year’s event. With record attendance and sold-out raffle tickets, proceeds raised from the event will help fund the Sheckler Foundation’s “Be the Change” initiatives. “I’m so blessed to be a part of this event,” Sheckler said. “Every year I’m blown away by the support we receive at SKATE FOR A CAUSE. I want to thank everyone from the riders and supporters to the sponsors who came out to support our cause.”
events
Event highlights included industry legend Christian Hosoi winning the Transworld “Legends Bowl Contest” and donating 100% of his winnings to the Sheckler Foundation. The Lume Cube SkaterCross title went to none other than Daniel Vargas, who has been a staple figure at the etnies Skatepark since it opened back in 2003. Greg Lutzka took top honors in the Red Bull Tech Center Best Trick Contest, and Charlie Blair destroyed Oakley’s Tranny Best Trick Contest for the second year in a row. David Reyes dominated Tilly’s Stairs, Hubbas, Rails Best Trick contest with an etnies Skatepark “never been done” 360-flip noseblunt slide down the 11-stair. And of course the biggest highlight of the day included a live demo by Adaptive Action Sports and the WCMX crew. Andrew Hale was this year’s honoree at SKATE FOR A CAUSE and the Sheckler Foundation’s latest “Be the Change” recipient whose impact and expertise is greatly valued by the action sports community. Andrew became an Adaptive Action Sports athlete after he was involved in a car accident and lost his leg. Throughout the years, Andrew has made progress towards making the Paralympic Snowboarding Team for United States of America, but in January 2016, Andrew suffered a snowboarding accident that left him with brain and spinal cord injuries. Andrew received recognition and a grant for $10,000 on behalf of Ryan Sheckler and the Sheckler Foundation that will go toward the cost of his medical treatments. A big thanks are in order for the supporters, generous sponsors, skateboarders and individuals who attended and showed their support at the 7th Annual SKATE FOR A CAUSE – these are the people that make this event so unique!
Photos • Chris Ortiz • clockwise from top left • Charlie Blair – melon fakie • Doubles with Andy Macdonald & Christian Hosoi • Daniel Vargas – bs air • Dave Bachinsky – variel flip • Greg Lutzka – bs noseblunt • Alex Midler • Chris Joslin • Bill Weiss – fastplant • Chris Joslin & Shane Sheckler • Dave Duncan • Chris Pierre • Kane Sheckler – fs noseblunt • Christian Hosoi – judo air • Big checks with Charlie Blaire & Ryan Sheckler
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interview • max ritter
music
We asked Fletcher C. Johnson to touch on a few topics for the ESPN Body Issue.
think, “No, that dude is old.” The shot in Chinatown is next to my favorite restaurant NAM SON!
Making the record in this scary place called Orange County. I was living in a practice space in Orange County while recording the record so I could keep working day and night. The practice space was pretty moldy though and, sometimes, this sweet Beatles cover band practiced really early in the morning so I started sleeping in my van instead of inside the space. It was in the middle of all these factories and, every morning, some dude would pull into work and honk this really tight La Cucaracha horn. Every single morning. I was like, “Man, this dude is so proud of his horn! Every day he wants to remind all his boys how sweet it is.” Then one day I pulled back the sheet I had hung in the van window and realized it was actually a breakfast truck with that horn. So after that I started getting breakfast with the factory workers. They could tell I was sleeping in the van but they didn’t care.
Michael Jackson and The Muppets... “Remember The Times” is Michael Jackson at his video-making peak! The dance numbers, the celebrity appearances… Eddie Murphy! A couple years ago I saw someone had done a version where they took out Michael’s music and put in “Walk Like An Egyptian.” The video was still perfect. Then I thought, “Fuck everyone, I’m just going to put my music in there!”
Performing the invisible hula hoop dance all over NY... I’ve been doing the Fletcher Dance for a million years at parties to make people laugh. These hips don’t lie. What I really learned in making that video is that the people that work at Forever 21 don’t give a fuck. It took us about six tries to get that shot of me and the camera crossing each other on different escalators. The security guy didn’t say anything. The people on the floor didn’t say anything. We were super stealth all over the city but no one anywhere cared what we were doing. New Yorkers don’t mind as long as they don’t have to talk to you. In shooting that video, I got to go to all my favorite places in NYC. If I feel old I like to go look at the T-Rex and
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The blue guitar on the album cover, I want that thing. I watched The Strange Boys play an in-store show at some guitar shop in LA. I was pretty lit up. After their set I went into the store and saw that blue Silvertone from across the room and I was in LOVE! I pointed at it and said, “How much for that beauty?” The owner said $300 and I said, “I’ll take it!” He asked me if I wanted to play it first and I was like, “nope.” It is a serious piece of shit, basically unplayable after the seventh fret. Silvertone’s were made by Sears-Roebuck in the same factories as toasters and diapers. They’d be like, “Randy! Quit making those toasters and get over here and pop out a couple of these guitars.” I keep it next to my couch and play it quite a bit. I’ve had it for five years and never broken a string, which I think is incredible. As best as I can tell, the strings just really like me. Fletcher C. Johnson’s new full-length album Lesson in Tenderness is available now from Burger Records.
review • max ritter l photo • monte smith
King Gizzard & The Lizard Wizard Soda Bar, San Diego, CA Wednesday May 18th, 2016 Scene report - man soup and one hell of a weird alien psych band. Two drum sets, check. I would like to see somebody make a guitar tab for one of these guys’ songs. They are so nuts! Be sure to listen to their new album Nonagon Infinity.
reviews • max ritter
Charge It To The Game Urban Hall Of Fame Ghost Ramp If you feeling young… den charge it to the game! Rapper Fat Tony teams with electronic beat wizard Kyle Mabson to channel Silkk The Shocker on the Ghost Ramp label.
Twin Peaks Down In Heaven Grand Jury If you feeling old… rock ‘n’ roll! Trump said there is no global warming, so we good now. Keep burning those fossil fuels, no worries.
Phil Collins No Jacket Required Who Cares Deluxe and re-mastered with some live takes and demos. Think, that just means they made it louder, I don’t know. This is a G right here, though. Sussudio.
Junior Kimbrough & The Soul Blues Boys Do The Rump! Sutro Park Also a G. Some really mind-blowing blues. Learn about it.
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reviews • delon isaacs
Car Seat Headrest Teens of Denial Matador Loser indie rock has never been so good yet depressing since the release of the latest Car Seat Headrest album Teens of Denial. This guitar-driven album is composed very well as its lyrics touch bases on all those terrifying teenage virtues of depression, drinking, and self-defeat. This album and the words sang by frontman Will Toledo seem extremely personal and brilliantly detailed, as it feels like a character study into our singer’s gloomy Seattle world. Give their bandcamp a listen! Marissa Nadler Strangers Sacred Bones I like almost 90 percent of the music on Sacred Bones’ record label, which doesn’t come as a surprise why I like Marissa Nadler’s latest album titled Strangers. Her music is almost a new genre in its own; it’s a bit of folk, it’s a little bit of goth whatever, it’s melodic and fierce. Whatever dark and ominous feelings you’ve had over the last couple of years, she’s had them too (maybe double) and she’ll sing about it in the most beautiful way to prove to you that you’re not alone. Chance the Rapper Coloring Book Self-Released This is the feel good, “throw your hands up in the air, wave them like you just don’t care” album of the year. I don’t normally listen to much hip-hop and rap music. I’m too dorky and gangly to know how to really feel it and dance to it, but I can fucks with the Coloring Book. It’s super uplifting, almost spiritual, and there’s the most stacked list of featured artists on the album ranging from Kanye, Lil Wayne, and even the Biebs! Pull this shit up on iTunes right now!
Radiohead A Moon Shaped Pool XL This is the best album to come out this year. A Moon Shaped Pool is Radiohead’s 9th studio album that is composed by the same five musicians since the beginning, who’ve had a wellaccomplished career spanning over three decades. I really don’t have the credentials to dissect this album to the teat but it definitely deserves a listen!
photo • ricky aponte
groms
Age: 16 Hometown: Farmington, CT Sponsors: Vans, Krooked, Spitfire, Tuff Sheet Grip & Skate Rats Favorite Skater: Michael Pulizzi, Tom Knox, Aaron Goure & Bobby Dekeyzer
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#MARKITZERODUDE
WE WE JUST JUST PRINT PRINT THE THE SH&T! SH&T! // ERIK@AMPERLITHO.COM ERIK@AMPERLITHO.COM // 760.213.4008 760.213.4008 // 910 910 17TH 17TH ST. ST. COSTA COSTA MESA MESA,, CA CA 92627 92627
photo • cacho izquierdo
groms
Age: 13 Hometown: Bali, Indonesia Sponsors: Hurley, Vestal, Carve, Sympl, Wave Tool Surfboards & Padma Boys Favorite Surfer: Felipe Toledo & Chris Ward
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