![]() I think she mentioned something to me once about getting a song in a game, and that was sort of when I was like, “Yeah, I don’t know about that. ![]() I’m almost positive that-who’s the girl in Black Eyed Peas?įergie. People were like, “Oh, I really want a track in that!” I would just sort of pass it off to someone else to say no. Yeah, definitely more mainstream, just sort of pop music stuff. Was there ever a time an artist approached you about being in a game, and you were just like, “eh?” That was frustrating at the time, and knowing how much people expect from it was something that I still hold dear, you know? I don’t discount that at all. We had a finite budget, and we had to allocate it, and some tracks we just couldn’t get because the money wasn’t there. I definitely feel like those discussions were the hardest I’ve had, especially with the later games. I don’t think so! Going forward with games, I would feel an immense pressure to live up to the soundtrack quality that we’ve had. Is there anything else that you wanted to add about the soundtracks that I haven’t asked about? I wasn’t in those discussions directly, but I believe that some bands were hesitant because they just didn’t know what it was going to be like. I think the same probably went for the soundtrack. Like, Eric Koston wasn’t in the first game. No one knew what it was going to be like or how it would represent skating. Because even for the first game, I approached certain skaters, and they were skeptical, and just chose not to do it. But there’s something to be said for that. That was one you wanted for the first game? I think “Wild in the Streets” was on one of them, right? I think I wanted that originally. I feel like there was, but I think we ended up getting it later. Was there ever one artist or one band that you always wanted but, for whatever reason, it never worked out? They just muted “shit,” “dick,” all that stuff. Kind of similar to Ian MacKaye giving the OK to use Minor Threat songs, Jello Biafra isn’t one to say OK to censorship. They censored it, but I just never imagined it could be censored. And when they came back and said, “Oh, yeah, we can use ‘Police Truck.’” I was like, “Did you guys listen to ‘Police Truck?’ Do you know what they’re singing about?” It’s funny, because I threw out Dead Kennedys thinking there’s no way we could ever use a Dead Kennedys song because of the lyrics. Like, Dead Kennedys and Primus, those were top of the heap. Whatever was connected to skating and my history of skating was my first go-to. When you were approached to make this game, what was the first discussion about the music that you were involved in? It was like, we got free reign to do something like this, and we’re not being told by some big marketing agency, like, “No, this is the hot new band,” or “No, this is what the kids are listening to.” No, we’re representing skateboarding, so we can grab skateboarding culture and history, and include it in this.įinally, we have the first soundtrack. ![]() Did that feel daunting?Īctually, it didn’t feel daunting, because to me it was exciting. To capture the community accurately and appropriately, music was obviously a big part of that. Obviously skateboarding was big for the people who did it, but you had to introduce it to the masses and market it to people who otherwise might not care or know about it. We didn’t have to explain any nuances or basics to them. We had already done so much and had so much success that it was like, I knew they knew what they were doing, the same way that I knew Neversoft understood skateboarding, finally. Yeah, but it worked! At this point, I trusted the music department explicitly. So, in a way, he went behind your back and snuck his stuff on there? That would’ve been straight with the music department. How did Chad Muska convince you to put three of his Muskabeatz songs on that one? “TNT” was the breakout track from that one. I think what stepped this one up for me, in terms of the list, was Toy Dolls, Sex Pistols, De La Soul, and “TNT”. ![]()
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