“Nothing that happened was intentional. Nothing. Everything was: trying to make something cool, to play for our friends, that they would like. That was all it ever was. And then, selling enough records to make another one.” -Rick Rubin
Dawn of Def Jam: Rick Rubin Returns to His NYU Dorm Room
So…. @ztrip did an “all skateboard specific” based set for Tony Hawk’s Demolition Radio on Sirius XM a while back. It has songs that are connected to him, or to skateboarding in some way…
There were SO MANY tunes to pick from, I actually ended up putting together a whole second part that I still haven’t played anywhere. I was planning on going back to his show for that one, so stand by… In the meantime, enjoy the commentary and music. Lastly, the picture you see is from a few weeks ago at Tony’s Stand Up For Skateparks benefit. It is also the same event where Tony did a hand plant on my turntables, ha ha. (go to my instagram for 3 angles of that pic). - BTW, thanks to all those who donated this year. For more info on how to help the cause go here: http://standupforskateparks.org/
"Some side effects may include: feeling better, looking fly as f*^k, saving some god^&mn money, and in some cases - increased culinary competence that could lead to becoming a skilled son of a bit¢h in the kitchen."
In November, 1966, eight months before he died of cancer, John Coltrane played a concert at Temple University in Philadelphia. It was not a financial success—only 700 people showed up—and the band’s high-energy music proved too much for some listeners. That concert recording is now officially out for the first time. It got our jazz critic Kevin Whitehead thinking about what Coltrane was up to:
"John Coltrane’s 1966 Philadelphia concert wasn’t quite as legendary as folks now claim, judging by the scant attention his biographers give it. But the double-CD “Offering: Live at Temple University” spotlights an aspect of Coltrane’s late period more heard about than heard—how his generosity of spirit led him to share his stage with lesser-known players. Drop-ins here include a gaggle of local percussionists he’d been jamming with.
Coltrane’s vocal outbursts in Philly lend credence to the idea his saxophone was an extension of his voice, just as soprano sax extended the range of his tenor. But Coltrane was fascinated by the saxophone itself, and ways to animate the mechanism. His breath liberated the saxophone’s life force. He was concerned with getting the instrument to sound, to feel as well as hear the dance of a vibrating air column inside the metal tube. Some fans had given up on Coltrane by 1966, but in a way his priorities hadn’t changed. Playing standards in the ’50s, he had that same love of setting the horn vibrating with a busy line.”
"I can go out there with the materials you got. An easel from Michael’s. Some boutique paint from Etsy. I can go with that and make $15,000 tonight. In two hours. Can you? Can YOU? Go and do likewise. G-P-M-B."