Nothing is Original

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It’s not where you take things from, It’s where you take things to

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Vernon Courtlandt Johnson 's Interview - Art of Skateboarding

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May 19, 2011 by Matt DeAngelis VC Johnson is the genius behind the graphics that propelled Powell·Peralta into the stratosphere. His iconic images have inspired countless others to not only draw, but in some cases, to begin skating in the first place. An enigmatic figure, he disappeared off of the radar for almost 20 years until starting to work with Pocket Pistols a few years ago, and now back in his rightful place, Powell·Peralta.  MD: So how did skateboard graphics fit into a journey of self exploration? VCJ: They answered to the needs of the soul that chose the body. The soul that inherited, that grabbed the baton in my early 30s had a very different mandate and how it affected the life is fascinating. I can see this in other souls who’ve come to profound turning points in their lives and I’ve shared notes with those souls who have experienced a transformation at the core of being.   I come back to the company interested in a different order and what
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Beautiful Losers

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Beautiful Losers film trailer from beautifullosersfilm on Vimeo . The greatest cultural accomplishments in history have never been the result of the brainstorms of marketing men, corporate focus groups, or any homogenized methods; they have always happened organically. More often than not, these manifestations have been the result of a few like-minded people coming together to create something new and original for no other purposethan a common love of doing it. In the 1990s, a loose-knit group of American artists and creators, many just out of their teens, began their careers in just such a way. Influenced by the popular underground youth subcultures of the day, such as skateboarding, graffiti, street fashion and independent music, artists like Shepard Fairey, Mark Gonzales, Spike Jonze, Margaret Kilgallen, Mike Mills, Barry McGee, Phil Frost, Chris Johanson, Harmony Korine, and Ed Templeton began to create art that reflected the lifestyles they led. Many had no formal t
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J Dilla - How humanized a machine

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Back in October I went to see a Q&A with Amp Fiddler at Amsterdam Dance Event. He talked about introducing J Dilla to the MPC, and played some OG files he received from Dilla decades ago: deconstructing Dilla beats for the—shamelessly small—crowd of 30-ish people. And by way of the iconic Slum Village tracks “Players”, “The Look Of Love” & “Fall In Love”, Amp gave a Dilla for dummies crash course on why his beats sound so musical, warm and full of soul. This new video by Vox made me think of that lecture: J Dilla Beats 101. The video is a 10-minute introduction on how J Dilla humanized the MPC3000. It’s a basic yet good watch on how he didn’t quantize his beats, insights on sampling Gap Mangione, Giorgio Moroder & The Escorts, and extending samples, using track examples such as “E=MC2”, “Fall In Love”, “Lazer Gunne Funke” & The Pharcyde’s “Runnin'”. As drum machine pioneer Roger Linn puts it in the original MPC3000 manual: “(…) In this light,
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