TRISTAN PRETTYMAN

Tristan Prettyman-Surfing into Stardom

Interview by Jack Spilberg

Pick up twenty-three year old Tristan Prettyman’s debut major-label album in stores now, so you can claim that you’ve been a fan since before she got huge, which she no-doubt will become. Tristan, a natural beauty, skilled musician with an incredible voice, former Roxy Girl, and kick ass surfer, is the kind of girl you’d love to hate but just cant due to the fact that she’s so damn funny, nice, down to earth, and just all around an amazing all around natural talent. Here we get a chance to let Tristan break it on down for us and her fanatical Japanese fans.

Do you come from a family of surfers?

My dad surfed and when my older brother went away to college, he learned to surf and my mom was like, ‘I want to learn too, I don’t want to be the only one left out.’ So she started learning, and when she started getting good, and confident enough to go on her own, she would call me out of school and we’d go surf when the waves were good.

Did you pick up surfing pretty fast?
Me and a bunch of girls joined our school’s surf team at the same time. We were all just learning and stuck in the whitewash at first, but by the end of the year we were totally competing and out in the lineup catching waves and everything. The Carlsbad team always kicked our ass though.

Who were some of the surfers that you looked up growing up?

I was into Lisa Anderson, and lot of the girls. My brother was a big fan of Curren when I growing up, I thought my brother was really cool so whatever he liked, I liked too. I’ve always admired guys like Curren, Donovan, and Machado because they’re all very smooth.

What is it about surfing that you love the most?

I’ve always enjoyed doing stuff where you can kind of do your own thing. I think surfing and playing music are both a lot like that.

What was frustrating to you about competitive surfing that made you decide to stop competing?

It’s not like soccer where you can score a goal and there are clear winners. It’s frustrating because you wonder, ‘how the contests are really judged?’ Every wave can be different and everyone has their own style.

Were you into playing music when you were younger?

It was something that was always around, over the years my interest grew and I found myself wanting to learn more as I got older.

Do you see a trend going on with surf companies getting involved with things outside the surf world, like supporting relevant musicians like yourself?

I think a lot of surf companies are looking to branch out and not be so pigeon-holed into catering strictly to the surf market. Companies like Volcom and Nixon seem to really branching out with more lifestyle oriented stuff.

Volcom and Nixon have both been big supporters of yours, are things working out well with your relationships with them?

I love being able to have these surf companies be involved with what I’m doing. I respect the fact that they wanted to join in and support me, even before things even started happening with the record deal and everything.

Were you surprised by the support that Volcom’s shown for you?

When I talked to them and they were super-down, it was kind of crazy because I had been such a big (Volcom) fan. I would’ve been wearing their clothes anyways. I think it’s cool for them, definitely good for me, and I think we have a really good relationship which is really important.

When did you start noticing that things were taking off for you and your music career?

I’d say it was probably after I did a song for the soundtrack of the surf movie Shelter.

Do you think this type of acoustic, folk-influenced rock that musicians like yourself, Jack Johnson, Jason Mraz, and others specialize in is going to seep more into the mainstream over the next few years?

It’s hard to tell but it seems like music always goes through cycles. You’ve got 80’s that have a more techno kind of thing, then you have the 90’s stuff with bands like Nirvana, but right now you’ve got people like Jack, Jason, Howie Day, Gavin McGraw, Missy Higgins, all these musicians, especially what people may call ‘Jack Johnson-surf music’. Sometimes I wonder if this is what it felt like to people like Joni Mitchell, Crosby Stills and Nash, Bob Dylan, and all the singer songwriters of the 60’s—it kind of seems like the same sort of music movement happening now.

Your rep from the label tell me you’re huge in Japan, what’s up with that?

I don’t know! I think it’s because I learned how to say (in Japanese) ‘Hi, my name is Tristan, thanks for coming to my show (laughs).’

Honestly, I think its because the surf thing is so huge over there. They love Jack Johnson and Donovan but there aren’t any girls that are a part of that clan right now, it’s definitely been like very ‘boys-club’. A lot of the deal over there was that I was a part of this group and a girl and everything.

Any other collaborations in the works?

Me and Howie B played a couple of times. I’m going on the road with Jon Butler Trio in about a month so hopefully I’ll get a chance to learn a thing or two (laughs). I went on tour with them about a month ago and I would ask him, ‘Jon, will you teach me to play the guitar (laughs)?’ They’re awesome, they’re from Australia. I went down there about two years ago and noticed how people there have a really different outlook on life. They worry about things that we should be worried about, not stupid shit.

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INCUBUS

(left) surf filmer Josh Landan and Mike Einzinger, lead guitarist of Incubus (right)

The Incubus Surf Project
Interview by Jack Spilberg

After a long ass drive up through Malibu and past Zuma, I finally spot the tiny seafood joint where I'm supposed to meet up with surf filmer Josh Landan and Incubus guitarist Mike Einzinger. I spot a scruffy haired character wearing an old sweatshirt, chucks, and some beat up looking corduroy pants talking on his cell phone. This turns out to be Incubus' lead guitarist Mike Einzinger. We exchange pleasantries, munch on the fish tacos and catch up on Incubus' latest side-project, a rare collaboration with Josh Landan's upcoming epic surfing documentary telling the story of Channel Islands and Al Merrick:

How did you first meet up with Josh (Landan)?
I met him through a mutual friend who has ridden for Al (Merrick) for years. Josh told me about how his plans were to make a documentary style film about Al Merrick's life and story. As soon as we first started talking about it, I got really excited about working on this project with him because I've been riding Al's boards for years-- they've always been my favorite even before I could afford to buy them.

Do you know of any surf films your music's been in?
We've been in a few over the years. I remember there was a World Jungle video where they used some of our music in a long time ago. There've been a few since but this one is going to be different because it's not going to just be Incubus songs placed into a movie. I am writing instrumental music specifically for scenes in the various segments of the film. The narrator of the film is going to be our lead singer Brandon Boyd.

How do you guys keep in touch with what's going on in surfing while you're touring?
Surf mags mostly, you know, when you're in Indiana that's about the closest you're going to get to surfing is by picking up some surf mags. Another reason why we're stoked to be working on this movie is that not only are we big fans of Al but we're also fans of a lot of his riders. It's cool for me to be able to write music and watch Tom Curren, Machado, the Malloys, Kelly Slater, or any of those guys surf to it. That's a big thing for me. I have so much respect for what those guys do.

Have you ever done a project like this before? Creating a score for any kind of film?
Not really! I've worked on little things but this is really the first film I've worked on. This is really the first time that my schedule's opened up enough for me to be able to do something like this. I did a couple of little things for A Broke Down Melody, a film that just came out that Chris Malloy made.

How did you get involved with Chris Malloy for A Broke Down Melody?
I've been friends with those guys so when opportunities like that come up I think it's just cool to be able to do something with your friends. I'm used to making music with a band so it's nice to be able to do something in just a casual way.

When did you first start surfing?
I started surfing when I was about ten. When I got a little older a lot more of my friends were surfing. That's actually how we started our band. Me, Jose, our drummer, and Brandon, our singer-we used to surf together pretty much everyday down near Malibu. When there were no waves there was nothing else to do so we started playing music. We were surfers and skateboarders first. I've been playing music since I was a little kid but I was never in a band. The band just sort of started at a time when we were doing a lot of surfing and skateboarding.

Do you remember any particular surf videos you used to be into growing up?
Yeah, Wave Warriors was the best. There were so many growing up that we watched. Probably my favorite movie in the whole world is Endless Summer. That's like my favorite surf, or even non-surf, film ever.

Do you think the quality of a surf film has a lot to do with the soundtrack?
Yeah, definitely, the great thing about Endless Summer is the music. I don't think the music that we're going to do with the film we're working on is necessarily going to sound like that but goal is to be able to watch the movie thirty years from now and not to have the music sound dated. A lot of surf movies have some great surfing in them but they're mostly cut to really pedestrian sounding music.

What are some more recent surf films you feel have done a good job with their soundtracks?
I love the movies that the Malloys have done. I love Shelter and September Sessions. The kind of music that's in those films is really tastefully placed. Those movies will still sound great in twenty years. Shelter is definitely one of my favorite surf films ever.

Check out www.flowthemovie.com for more info on the upcoming Al Merrick documentary due out this fall; stay tuned to www.enjoyincubus.com for the latest from Incubus. To check out more photos from the interview, click here

DONOVAN FRANKENREITER

(February 25, 2005)

How would you describe how you balance your passion for surfing and music in your life?
It's really crazy but my wife and my baby boy are the first things in my life that bring the most enjoyment and throughout that I just weave in the surfing and the music. I've been playing music for seventeen years and I turned pro surfing when I was sixteen and I'm thirty-two now so it has been seventeen years on both of those levels. I'm having more fun and success in surfing then I did when I first started. It's a crazy thing but I've worked really hard and it has been a long road but I feel good about where it's all going. With surfing, my sponsors have been really great, they have really embraced the musical side of what I do. They didn't just say, "Hey look, we're going to sponsor you for surfing, don't ask us for any favors." It's been the complete opposite which has been something I really respect about those guys.

So how do you feel about things in general?
I feel like right now in my life I couldn't be any happier-- being able to travel and surf and play music and have my wife and baby on the road with us. I'm just kind of living a dream....

full interview coming soon, stay tuned! Check out the photos from his headlining show in San Diego, click here

G LOVE AND SPECIAL SAUCE

full interview coming soon, stay tuned!

THE LINKIN PARK/ JAY-Z COLLISION

Combining rap with metal or rock may seem like a recipe for disaster. Many ambitious musicians have learned this the hard way. Where many have failed in the past, Jay-Z and Linkin Park succeed. You can add these cats to the small handful of artists that have successfully bridged the genre gap to create a fresh and intriguing collaboration that actually works.

Collision Course features a short playlist of six Jay-Z/Linkin Park mashed-up tracks. A bonus DVD features behind-the-scenes footage from the recording sessions.

In the DVD, Linkin Park rapper and producer of Collision Course, Mike Shinoda, comments on the selected tracks: "We wanted to pick the ones that are similar enough that they sound good together--for example, "Big Pimpin" we put with "Papercut" because it's literally almost exactly the same tempo and the choruses are almost the same pattern."

Jay-Z flew to meet Shinoda and the rest of the band in L.A. to rerecord segments of their hits in order to create the skillfully crafted tracks found in Collision Course.
Also featured in the DVD is a live performance of the Collision Course tracks. The concert took place last summer in a small club on the sunset strip in Hollywood.

In the DVD, Linkin Park guitarist Mike Delson explains to Jay-Z that they hand-picked the audience for this exclusive, once in a lifetime performance: "We actually polled our fan club and we gave out passes based on their answers."

Mike Shinoda adds, "If somebody's going to put down that my other favorite artist is Jay-Z, then [we knew] they've got to come."

It's apparent in the DVD what a hot concert this was and how the crowd was fully blown away by the performance. Mike Shinoda discusses the Collision Course project:

Was the main goal of Collision Course to bridge the genre gap or was it more to reach out to new audiences?
Our goals included those things but were not the main focus. This was an amazing project to be involved in because it was a first--two multi-platinum artists getting together, using original masters mixed with new performances and production. And on top of it, we got to do it live, for a small group of hardcore fans at a legendary rock club.

There have been a lot of failed attempts at blending hip-hop and rock. Do you think there has been any other past successful collaborations?
My favorite points of reference are Run-DMC with Aerosmith, Rage Against the Machine's first album, the Judgement Night soundtrack, and Korn's cover of "Wicked" with Chino from Deftones.

Jay-Z seems incredibly laid-back and easy to work with on the DVD. Was he this together and professional in person?
When we first started working that day, he seemed really professional and pleasant. I have to say that when he got into the vocal booth, his demeanor changed a little; he is really comfortable in front of the mic--as soon as we got to that point, we were just having a good time.

Did you think that Jay-Z found it challenging to rap over some of the Linkin Park instrumentation?
There was one point where Jay seemed he had to really push himself--you can see it on the Collision Course DVD. He's doing his second "Jigga What" verse over "Faint," and realizes that I sped the tempo up about ten to fifteen BPM faster. He goes, "Wow, I might have to bring out the young Jay-Z!"

Did you find it challenging to rework some of the Linkin Park vocals and music to fit Jay-Z's rhymes?
The hardest part for me was figuring out how to get the transitions to sound clean. I wanted the songs to sound like they fit together. I think people who produce music like this will understand what a challenge it was, but the average listener might just listen to it and not hear the little things that make these songs--which are so different--sound like they belong together.

You mention in the DVD that the tracks used on Collision Course were ones that people knew and sound good together with similar tempos. Do you think there's any particular track where the songs fit together exceptionally well?
I like the dynamic between "Numb" and "Encore" a lot. It's not what either of us originally intended with our songs, but there's a cool vibe about it. You could call it melancholy, I guess. Whatever you call it, I think it's different from either of the originals.

Will there be any more live Jay-Z/Linkin Park performances?
I don't know. When we played New York earlier this year, Jay came out to do two songs at one of our shows. People lost their damn minds. It was amazing. Big-ass football player guys in the crowd had both hands up high-fiving each other. They were so excited.

What have you been listening to lately?
Talib Kweli's Beautiful Struggle, Green Day's American Idiot, The Cars Greatest Hits, Ice Cube's AmeriKKKa's Most Wanted, and a lot of late 80s to early 90s rap like Kool G. Rap and Big Daddy Kane's early stuff.

Are you guys planning to collaborate with any other musicians for your next album or on another special project like Collision Course?
Usually, when we do proper Linkin Park albums, we don't involve other artists. We won't be doing another mash-up anytime soon, though. This would be hard for us to top!

Will you be producing any other albums coming up?
We're on a little break from touring with LP, so I have been trying to do some projects that are more hip-hop based. I just took some meetings with Black Thought from The Roots, and Common. I want to try and do a song with each of those guys. Other than that, I just work in the studio all the time and try and come up with something I want to listen to.

Interview by Jack Spilberg, photos courtesy of DC Shoes and Warner Music Group

HANDSOME BOY MODELING SCHOOL

The Handsome Boy Modeling School is back in session with a brand spanking new album entitled White People. This is the Modeling School’s sophomore effort featuring collaborations with a wide assortment of musicians including Pharrell, Jack Johnson, Del the Funky Homosapien, and Franz Ferdinand lead singer Alex Kapranos. For those who’ve never heard of the group, you must be thinking that it’d take some insanely talented producers to pull off an album featuring such a varied mix of musicians. You’d be thinking right-- Handsome Boy Modeling School consists of two of the world’s best producers-- Dan (“The Automator”) Nakamura and Prince Paul. Paul and Dan are widely known for their brilliant work with artists ranging from De La Soul to the Jon Spencer Blues Explosion and Gorrilaz. Click here to check out my full interview with these two ultra stylish lady-killers.
(photos by Terry Richardson)

GREYBOY BREAKS IT DOWN

Now that the demand for his 2003 limited edition, "DC Shoes Mixtape" has gone well beyond the skate shops, producer/DJ Greyboy has finally released his own readily available mix cd. The end product is a fresh blend of obscure rarities and definable Greyboy classics, culminating into one imposing turntable statement. Click here to check out the full exclusive interview recently published on glidemagazine.com.
(photos courtesy of Ubiquity Records)