Sarah Stabile is the creator of Soxxy, a footwear company that creates performance-fashion socks. Unhappy by the sock options she saw offered in stores, Stabile designed her own stylish, unisex line of compression socks that aim to increase circulation, reduce swelling and keep your feet comfortable and relaxed. They are also rather soft to the touch, and allow your feet to breath in nearly any situation. One surprising thing about these socks is that they look, and feel, a little dressy. Yet, they can still be worn in most athletic situations. They’re great to wear when stretching and help a lot in post-workout recovery. That’s key. Overall, Soxxy “Compression Socks” can compete with nearly any compression socks in the market and excel at keeping your feet comfortable and healthy. Definitely check these out.
Polish artist Jakub ‘Mr. Werewolf’ Rozalski will have his worked displayed at The Good Life bar in Boston from now through the end of November. 22 different oversized canvases will be hung on the walls of the bar, each showing off the artist’s incredibly unique style. Make sure to stop by The Good Life on 28 Kingston Street in Boston before the end of next month, and check out this amazing art while it’s still up!
To purchase any of Mr. Werewolf’s prints or for more information, please visit http://www.houseofroulx.com/collections/mr-werewolf. All images courtesy of Mr. Werewolf, House of Roulx and The Good Life.
London eyewear company “SunGod” are switching things up a bit. Often known for their unique sunglasses, the company recently turned their focus over to ski and snowboard goggles. SunGod announced the new goggles by putting out a KickStarter campaign, and so far things are going well. They’ve already raised more than their original goal, but still are offering exclusive deals for those who still want to pledge. Anyone who buys a pair now through the Kickstarter will get hooked up by SunGod, with lower prices being offered to those who pre-order.
Now, let’s get to the goggles themselves. I gotta give it to SunGod on this one. They did a great job on the “Revolts” series. The goggles come complete with a full frame and anti-fog vents, and excel when it comes to visibility. The extra padding on the inside deserves praise as well, and makes for a comfortable wear. The interchangeable lens and strap are pretty dope too, and I love the high-level of customization on these things. The biggest pro about this pair of goggles has to be the 4KO®snow lenses, though. They do a great job at providing you with a clear plane of vision, and enhance contrast quite nicely. The start-up campaign ends next week, so definitely head to the Kickstarter page and get a deal on these while you still can!
On Wednesday, Oct. 14th, Soldier Mountain Ski Area, Inc. in Fairfield, Idaho announced that it was selling Soldier Mountain for the cheap price of $149,000. Soon enough, the mountain received inquiries from all across the country from potential buyers and people couldn’t believe that a ski resort could be purchased for such a low price. In fact, the organization received over 2,000 e-mails in just three days regarding the sale, and has since stopped taking offers because of the vast response that they have received.
Before we dig into the details of the sale, let’s look at the events that led to this decision. For three years now, Soldier Mountain has been owned and operated by non-profit “Soldier Mountain Ski Area, Inc.” The mountain was previously owned by actor Bruce Willis in the 90s, and was donated to the non-profit in the spring of 2012. The non-profit continued to run the business until just last week, when the board of directors decided that it was time to sell. The mountain currently owes the bank $149,000, and is selling itself at this value in order to be completely paid off and ready to open. Another important thing to understand is that Soldier Mountain Ski Area, Inc. doesn’t actually own the land themself. They are instead permitted to use the land, and have been for over 50 years, by the U.S. Forest Service. The new owners of Soldier Mountain will also have to apply for this permit, which usually costs somewhere between 3% – 5% of total gross income for the year. Mainly, the current owners of Soldier Mountain are in debt $149,000, and are selling the mountain for this value to first clear their debts, and second, to allow it to open up for this upcoming season.
Let’s get back to the details of the sale. It’s clear that this a big deal, mainly due to the huge response that their announcement has received. More than 2,000 people have reached out to buy the mountain, and it’ll take some time for the company to sift through all their responses. Running a ski resort is a ton of work too, and a huge investment besides the initial purchasing cost. Some people might think that once the $149,000 is paid off, everything will be good to go. But, this is not the case. We spoke a representative from Soldier Mountain and they filled us in on the whole deal. The $149,000 gains you ownership of the lodge, rental shop, kitchen, bar & liquor license, lift building, outdoor restrooms, storage buildings, ski patrol building, pump house and all other buildings. In addition to this, the new owner also gains access to the 10,000 gallon water system, 2 working lifts, 2 pickup trucks, multiple snowmobiles, a full computer system, their web page, a weather station and a few other smaller items. Although this initial pricing does cover most of mountain’s assets, there still are a few other costs that come into play. First, Soldier Mountain needs 2 more snowcats, and those will need to be rented. That can cost around $50,000 – $60,000 to do so. The same goes with the mountain’s magic carpet lift. That will also have to be purchased, and costs approximately $65,000. In addition to these two pieces of equipment, the previously mentioned U.S. Forest Permit is necessary, along with yearly insurance costs. In total, running the mountain for an entire winter season can cost up to $280,000, and daily costs can also range from $2,200 – $2,500, said a representative from the mountain. When combining all these costs together, it may take around $475,000 to fully purchase and open up the mountain, the representative added, rather than just the initial $150K.
In recent years, a lot of old, smaller ski resorts have turned over to non-profits. These resorts are struggling, and big resorts are mainly running things nowadays. Mid-sized resorts can even spend $30,000 to $40,000 a day in the early season just making snow, and smaller mountains just can’t keep up with costs like that. Whaleback Mountain in New Hampshire is another smaller mountain that turned into a non-profit in recent years, and we spoke to them about what it takes to run a smaller-sized ski resort. Todd McIntire, the mountain’s business manager, had this to say about the challenges of running a small mountain:
“Well, a major difficulty is the age of the equipment that we’re working with. A lot of it is old and there’s a lot of maintenance, a lot of upkeep. The building is old, the lift is old and there a lot of repairs that need to be done. A good working groomer is a $100,000 investment. It’s ongoing. That would be the biggest challenge. The second would be financial and staffing, because it’s a seasonal business. It doesn’t offer any year round work other than one or two people, so you’re faced with that. Having to find people every year – that’s a challenge.”
We also talked to McIntire about other costs that mountains have to pay on a regular basis. Things like electricity, fuel and yearly insurance rates.
“I would estimate in the $50,000 range for liability and worker’s comp,” he said. “At the end of the day you’re running a business and the service you provide is skiing (or snowboarding). You still have to maintain your equipment, maintain the property, staff your business and, you know, keep everything in order. You have insurance, you have utilities to pay like any business, it’s just that the service you provide is different,” he also added.
Perhaps the most important question we asked McIntire focused on what it takes to maintain a successful ski resort. His answer proved once again that there is always more than meets the eye when running a small mountain.
“Having the cash to operate it, or having some source of funding or idea to create revenue. For example, here we’re trying to make it a year-round recreational facility. We rent the building out for weddings, for functions, we’re trying different things. We had an antique car show a few weeks ago. You know, just to get people here. It has to be really focused on the community around it,” said McIntire. “Having a very set plan, or goal. Do things in phases.” he added.
So, there you have it. It’s not that easy to just purchase and run a small ski resort. There are lots of added costs and fees to pay, as well as land, equipment and machinery to maintain. Money has to come in consistently, even in the summer. Events, trail hiking and even mountain biking are great ways that small resorts can stay open in the warm months, and new ideas and fundraisers will have to be thought of on the daily. Regardless, we wish the best of luck to the next owner of Soldier Mountain Ski Area. It’s been a great small mountain on the west coast for a while now, and hopefully they can keep things running for years to come. It’ll take a lot of work and capital, but if one thing is certain in this industry, it is this: anything is possible when you’re up on the mountain.
Just in time for winter, Smith released a new pair of goggles called the “I/O 7.” The I/O 7 might be their best goggles yet, and are just as sleek as they are impressive. The lens is quite large, giving you a ton of visibility when you’re out on the mountain. That’s a big plus. Another clutch thing about this pair of goggles is the quick-release lens change system. I/O 7 allows you to easily change lenses using a single pivot switch, which is also pretty dope. And did I mention that Smith collabed with Woolrich on the strap and goggle bag? Both are made with high-quality wool and will keep your gear safe and scratch-free. Shouts to that.
Besides the goggles and bag, the full package also comes along with another lens just in case you go too hard with the first one. I really appreciated that, too. Overall, I’d say that I was pretty impressed by the I/O 7s. Not only do they provide full visibility and eye protection, but they also are rather stylish. The extra lens and wool goggle bag are great too, and these are top-notch goggles as a whole. Right now they’ll set you back $260.00, which is a little expensive. But, you certainly get what you pay for. These are some of the best goggles I’ve seen all season, and if you’re down to spend the money, definitely go out and cop these. You won’t be disappointed.
Nowadays, it seems like a new star in the hip hop world is discovered every week. The Internet has given rappers from all corners of the nation a platform to broadcast their music, and anyone has the chance to be discovered, at any time. Just look at guys like Kendrick Lamar, Joey Bada$$, Chance the Rapper, A$AP Rocky, Big K.R.I.T., Action Bronson or Danny Brown. Five years ago, no one really knew who any of those MCs were. Now, they’re all stars in the rap game and have been universally respected by newcomers and old heads alike. They grace the covers of magazines, have won multiple awards and even have their own cooking shows. In hip hop, you can never truly know where the next big thing will show up.
This brings us to K.A.A.N. Like most of the MCs I just mentioned, K.A.A.N. has gotten his start online. For the past year and a half, he’s been steady uploading tracks to his SoundCloud page, gaining more and more views as the weeks push on. But, K.A.A.N. isn’t like most rappers in the game. He’s not chainsmoking blunts on a stoop somewhere, waiting for his break. He’s not spamming blogs on Twitter, pleading for them to post his music. Instead, K.A.A.N. works masonry six days a week as a way of funding his dream of being a full-time rapper. For K.A.A.N, isn’t about the fame, glory, women or money. It’s just about the music.
You were born and raised in Maryland? What was that like?
Growing up in Maryland was kinda like everywhere else, I guess. I was born and raised here. When I was younger we all lived in this trailer park.
During your childhood, what were your first memories of hip hop?
Tupac. Lots and lots of Tupac. When I was ten or so I bought every Tupac CD. I bought all his music. My parents played him, Nas and Biggie in the car and stuff. I listened to other guys, like Eminem, Jay-Z, Big Pun, O.C., Big L, a lot when I was younger too.
Tell me about the first time you recorded.
First recording session I did was at this studio in Baltimore called Manaray Records. I paid for two hours and bought a beat off one of their engineers. He used a Wu-Tang sample in the beat. It took about an hour to record the song, and I didn’t have anything else prepared, so I just watched the engineer mix down the track. I actually ended up using that first beat I ever bought on my first mixtape. I rewrote the whole song, and called it “Monk from Xiaolin.”
Where did your flow come from? Did you have to work at it for years to spit as this level? Were there any rappers’ flows that you studied?
I honestly don’t even know to tell you the truth. I guess it was just organic. I never really would practice rapping that much. I’d spit some of my favorite rapper’s verses and shit but it was never really the focal point. I always tended to focus more on the words, the stuff I was actually saying. I would kinda listen to Big L’s flow here and there but I wasn’t studying intricate guys like Bone Thugs or anything.
K.A.A.N. stands for “Knowledge Above All Non-sense.” What inspired the name?
Well, I just really wanted something that was natural and genuine. I wanted something that represented me. It came to me when I first started rapping and I’ve just had it ever since.
When did you start to put out complete tracks and upload them to the Internet?
I really started to put my songs online about a year, year and a half ago. So not that long ago at all. I’m learning a lot. I didn’t really start rapping until like three and a half, four years ago so I’m still pretty new at this.
When did you start to gain some traction online?
Right around the time I dropped my first video, “KAANCEPTS.” I think it was about a year ago. That’s when people started to give my stuff a listen.
How did you and your management link up?
I got in contact with my manager through a dope young producer I did a song with named Sgull. He’s from Connecticut, I did a song with him on my project Abstract Art, and we just stayed in contact with each other. Still to this day. I’m going to release a song I did to one of his beats in a week or two. He DM’d me on Twitter one day, and said he knew someone that wanted to help out. I told him yeah, that’s cool, and that I always am looking for people that want to work hard, and build. A few days after that I got in contact with my manager Fola. At the time I was working with someone else as my manager, but we were not seeing eye to eye on how things should go. Nothing was getting done except for music being put out on my end, but really nothing on her end honestly. She would go missing for long periods of time, and then hit me up like “hey what’s going on.” After a while I was just tired of the same bullshit over and over again, so I just started working with Fola solely, and we been just been working ever since trying to make things happen.
Have you done any live shows yet? Do you plan on touring?
I’ve done some small stuff here and there but nothing major for live shows yet. I’d really love to tour but at the same time there’s honestly too much going on right now for me to be on the road for a while.
Have you reached out to anyone to collab? Anybody from the D.C./Maryland/Virginia area?
A couple people have reached out to me. Termanology and Archetype hit me up a while back. I just don’t really want to go around asking other rappers to work with me, you know? It’s mad corny to me. I want to make it on my own terms. I wouldn’t want to get big just because someone else dropped my name a bunch of times or put me on.
Your first mixtape Abstract Art has been well-received all across the Internet. Congrats on releasing a high-quality project. How pumped were you to finally put that out? How would you describe it to someone who hasn’t heard it?
When we put it out it was like the second draft of that project, the second take of the entire thing. And honestly, I was kind of just over it for real. Just wanted to throw it out, and start working on the next project. I would describe it as introspective, honest, realistic hip hop.
What’s your writing process like? How do you put a song together?
I honestly write all the time. I write everyday. I have a full time job, so any other time I have is dedicated to writing and putting together new songs. When I’m not working, I pretty much spend all of my free time writing and recording.
Do you really work for a contracting company?
Yeah, I actually really do work for a contracting and masonry company. Monday to Saturday, six days a week. My days are usually from 6 am to 3 pm, or even sometimes 4 pm. I’ll wake up at 5 am and get home at like 4 in the afternoon usually. And once I get home, it’s back to the music. After work, I always either record or write.
What motivates you to spit with so much intensity even after working a full-time job? What keeps you going?
The fact that I fuckin’ hate what I do every day (laughs). I stay motivated so I can get out of this job and become a rapper full-time. It’s not that hard to keep going either. Rapping is honestly what I love to do the most. It’s not really a struggle to do something you love, you know? Hip hop is always fun to me, so it doesn’t feel like a job at all.
You spit over everything from Craig Mack to Fetty Wap to Adele. What do you look for when selecting beats? Are there any dream producers that you’d want to work with?
Whatever I can rap over to be honest. When I was younger I use to spit over lots of 90s instrumentals, even stuff like old Rakim instrumentals. When you focus so much on the words you can kind of spit on anything. For dream producers, I think it would be great to work with guys like 9th Wonder or Just Blaze. I’ve always liked the stuff they put out.
This year has seen a slew of spectacular hip hop releases. What projects have you been steady playing, if any?
Kendrick Lamar’s To Pimp a Butterfly is something I play a lot. That’s one of the best albums to come out in a long time. Earl Sweatshirt’s I Don’t Like Shit, I Don’t Go Outside too. I’ve been steady playing Logic’s debut album from last year. I don’t always listen to a lot of modern stuff. I still play lots of Eazy-E and N.W.A., and Illmatic by Nas quite a bit.
You mentioned before that you listen to everyone from EPMD to Earth, Wind and Fire. Are there any other artists that people might be surprised that you listen to?
I mean I just like music. Period. I’ll listen to anything. I am a huge fan of everything Kurt Cobain did. Ever since I read his book a few years back, I’ve been big into him. HBO put out a great documentary about him called Montage of Heck earlier this year and that was really dope too.
Are you working on a new project or are you taking a break after Abstract Art?
I don’t take any breaks. I’m always trying to put out new songs and material, even with my job now. I’m going to keep dropping new tracks and EPs as the year goes on and I plan on dropping a completely new mixtape next year as well.
Rappers often are role models to their young fans. Do you think there’s a moral obligation to be a positive representation to them? This can often be a major quandary in the hip hop world; what are your thoughts on it?
I think it is definitely important to be cognizant of how you portray yourself through your music. You have to be true to your self, and your character, but you have to be aware that there are people who follow you, and want to be like you whether you want them to or not. You just gotta be careful of what you put out cause it can affect people, positively, or negatively.
Hip hop has power not only in America but globally as well. It can bring focus to important issues. Right now in our country, tensions between blacks and the justice system/police are at dangerously high levels. Guys like ?uestlove and Talib Kweli have been out in the streets fighting for black equality and are trying to spread awareness. Do you think more rappers should be doing this? What is your opinion on the subject?
I definitely think more rappers should take on that responsibility. It’s like these are the people that support you, and your career. These are the people that pay for your music, shows, and anything else you sell to them. You owe them more than just a few lines in a song. You have to be out there with them to make them understand that you get their struggle. The same kids out here getting shot are the same one who buy your CDs.
Do you think you deserve more exposure? You have a lot of talent but haven’t been mentioned on a lot major sites and blogs. Why do you think that? Why not sell out to get big?
I think the exposure, and all that, will come when its time. It’s all about patience, consistency, and timing. This Internet stuff is all smoke, and mirrors. You’ll have guys with investors, and be signed to labels low key, and will have the machine behind them, but not say anything to make they’re come up look organic when its was strategic. The funny thing is people really believe the shit they see. They really think these guys can get millions of views, and start popping up out of nowhere, and do shows all over the place just off the strength of throwing out songs online, and the reality of it is it doesn’t work that way. It’s called the music business for a reason. These labels want to make money, and the best way into fooling people into thinking something average, or just new in general is great is by using perception. Give it the bells, and whistles, shove it down peoples’ throats until it becomes relevant, and watch it blow. Me personally I have far too much pride for all that. I’ll do masonry work for the rest of my life before I become apart of some fake ass shit. To me, that shit is just plain embarrassing.
How important is it to you to put out genuine content and stay original to the core foundations of hip hop?
In my opinion it’s everything. I personally liked artists that had real stories to tell, the ones that kept their artistic integrity. You have to be one hundred percent honest in your music, because today’s average listener doesn’t think for themselves. They believe what ever they are told, or shown. The flip side to that is the culture vultures that only see dollar signs with the art, and prey on the ignorance of listener knowing they can say literally anything on a song. Long as its got a catchy hook, and melody, it’s a hit. To me, content is forever and will always be the most important thing. Not that other shit.
Hip hop right now highly emphasizes production, and often songs are carried by the beat. That Drake and Future mixtape is a good example of this. Why do you think fans and the overall game in general focus so much on “how” songs sound these days rather than “what” they’re saying?
I think guys adapted to the landscape. They cater to what the people want, and they want that dumb, watered down shit. They don’t want to think. They want to zone out to a beat, and feel like they relate to what the niggas saying when he’s not saying anything that you should want to relate to. To each his own, but me personally I’m not bout to play a niggas record, and be like damn that was deep. I felt that, and it was just some misogynistic, materialistic bullshit. It’s funny as fuck – people will hear a song where a nigga will be talking about the most shallow shit, and be like “yo I really relate to that.” Really? You relate to this nigga talking about the thirty strippers he fucked, or how he grinded, and is getting his money, and all the other cliché bullshit you hear in rap music? The reality is you don’t relate, and odds are you’ll never live that life. People just want to be entertained, and sex, drugs, and ignorance is usually a main form of entertainment for a lot of people. But there is real shit out here getting love. Mick Jenkins, Logic, Los, Khelani, Michael Christmas, Chance, Childish Gambino, Earl Sweatshirt, Vince Staples, etc. There is real relatable hip hop and artists out here. You just gotta find them.
Hip hop started off as a way to progress and celebrate black culture in America, and escape oppression/racism. It aimed to break down stereotypes and show to everyone that black culture was so much more creative, influential and powerful than the country had made it out to be. Now, it seems like rappers are instead glamourizing negative stereotypes of black culture just to gain publicity. How does that make you feel as an artist?
It’s crazy when you think about the whole spectrum of the situation. So you have Melle Mel put out the song “White Lines” in 1983, and it’s about the negative effects of cocaine, and other drugs have had on the black community. Specifically the inner city black families. Fast forward to now, and you have guys making records where they boast about selling drugs, and are cool with that image. It started becoming more popular in the 90s, and just grew as the genre grew. I think it has to do with the low quality of life a lot of minorities have with in this country, and have had for years and years. In my opinion, if that’s the life you lived then you have to speak on it. That was apart of your life. What I can’t vouch for is a lot of these guys that claim all this stuff that they didn’t even ever do. “I killed somebody, I caught a body, I moved bricks”- but they never actually touched drugs in they’re life, or killed any body. A lot of it is fake or for a look. It’s like people will see a bunch of tattoos, and hear a bunch of curse words, and think “wow he’s really about that life”, when in reality that artist they thought was real, or authentic, isn’t.
Where is K.A.A.N. going to be a year from now?
In a perfect world a year from now I’ll be waking up everyday, and doing music for a living with the people that work hard with me. My cameraman Faiz, my manager Fola, and my engineer Orbt. My goal isn’t to get rich off making music. I just want to wake up and focus on my craft. If I can get to a point where I’m paying my bills, and employing my team of people around me then I’m straight. I don’t need recognition, fame or none of that stuff. It’s just all about the music.
Refrigiwear makes insulated work wear – everything from jackets to vests to gloves to boots. Their “Horizontal Puffer Jacket” is one of the top jackets that they offer, and does a great job at keeping you warm in cold environments. What I really love about it is how thick and durable it is. It’s heavily insulated and traps in all the heat, which is just what I look for in a jacket. Warmth is the most important thing, and this jacket definitely does its job in that department. Major points for that.
Another great attribute about this jacket is how light it feels. For a warm jacket, it still breathes quite a bit. You can move around without it restricting you, and it still keeps you plenty warm. That’s definitely something to be proud about. Each side of the jacket also contains a rather deep pocket, which I also liked. You can easily fit your entire hand into the pocket, and they are fleece-lined and soft. Those are great as well. My only gripe with the jacket is that it runs a little short. It does a fantastic job at keeping you warm, but a few more inches lower would make a world of difference. Heat can get lost out of the bottom, but this is only a small inconvenience. The Horizontal Puffer Jacket will keep you warm when the weather starts to worsen, and will still allow you to stay as active as you’d like. And at $90 a pop, it doesn’t really break your bank either. Check it out at: https://www.refrigiwear.com/product/mens-jackets/5450r-black-regular-large-5450rblklar.
Newry, ME — As of today (October 14, 2015), Sunday River Ski Resort in Maine intends to open for the 2015/16 winter season this coming Monday October 19th, at 9:00AM EST. The resort expects to open on the upper T2 trail, accessible via the Locke Mountain Triple lift in Barker Basin. All plans depend on weather and snow conditions; keep an eye on sundayriver.com and check the resort’s social media channels for the most up-to-date information.
The current forecast for western Maine shows temperatures dipping into the 20s and even the teens heading into the weekend, allowing for an extended snowmaking window on Sunday River’s Locke Mountain peak. Lift tickets are expected to be $29 for all ages and available to purchase at the Barker Lodge. All 2015/16 New England Passes will be available to purchase or pick up at the South Ridge Lodge.
“We can’t make any promises, but this forecast looks very favorable,” Dana Bullen, resort president and general manager, says. “Our snowmakers are dedicated to opening as early as possible and this year is no different. But, we wanted to let our passholders and guests know so they can make their plans.”
Sunday River is known for its snowmaking, typically opening on or around Halloween. The resort expects to open for Monday then begin its early season schedule, open weekends only until mid-November. In keeping with tradition, skiing and snowboarding will be free on Halloween, which falls on a Saturday this year, for anyone in costume.
Last season, the resort opened on November 3rd and, in 2013, lifts started spinning on October 26. Other than opening on October 14th in 2009, this is the earliest Sunday River will have opened in almost 20 years. For more information, please visit the Sunday River’s Mountain Report. For media inquiries, contact Sarah Devlin at firstname.lastname@example.org or call 207-824-5243.
About Sunday River Resort — A four-season destination, Sunday River Resort is home to eight interconnected mountain peaks of world-class skiing and snowboarding. The resort includes 135 trails and 6 terrain parks on 870 skiable acres. Sunday River is a member of the Boyne Resorts family of resorts and attractions and is located in Newry, Maine, amidst the scenic Mahoosuc Range.
RHYMESAYERS ENTERTAINMENT TO HOST 20TH ANNIVERSARY CONCERT
Minneapolis, MN – On Friday December 4, hip hop label Rhymesayers will bring together twenty years of music and artists for a one-night only performance at the Target Center in downtown Minneapolis.
The evening will include special performances by (in alphabetical order): Abstract Rude, Aesop Rock, Atmosphere, Battlecats, BK One, Blueprint, Boom Bap Project, Brother Ali, deM atlaS, Dilated Peoples, DJ Abilities, Evidence, Felt, Freeway, Grayskul, Grieves, Hail Mary Mallon, I Self Devine, Jake One, K-Salaam, Los Nativos, Micranots, Mr. Dibbs, Musab, P.O.S, Prof, Soul Position,The Uncluded, and Toki Wright.
Arena seats and the entire general admission floor are just $20.00 (plus venue facility fees, ticketing fees and taxes) to celebrate twenty years of Rhymesayers.
Limited VIP packages available (with all the goodies) for $100.00 (plus venue facility fees, ticketing fees and taxes). VIP includes: premium VIP seating, exclusive Rhymesayers 20 Shirt, VIP bag, Rhymesayers 20 Sticker, limited edition VIP laminate with lanyard, exclusive VIP entrance and special VIP only bars. VIP packages are available online only.
Rhymesayers special subscribers fan pre-sale begins Wednesday, October 14 at 10:00am CST while supplies last.
Tickets go on sale to the general public this Friday, October 16 at 10:00am CST.
All ages are welcome. Doors open at 5:00PM sharp. Party until midnight.
ACTIVE RIDE TO RAISE $30,000 FOR BREAST CANCER THROUGH SALES OF LIMITED EDITIONS SHIRTS, DECKS AND SOCKS
In an effort to stomp out breast cancer, Active presents its 2015 collaboration with Boarding for Breast Cancer (B4BC) in support of Breast Cancer Awareness Month. Available today in all Active Ride Shop retail stores and its online store, the collection of graphic tees, socks and decks will feature the iconic pink color in support of B4BC, a foundation committed to early detection and a healthy, active lifestyle as the best means for breast cancer prevention.
As part of the partnership, Active will also be sponsoring and participating in B4BC’s “Skate the Coast”, an 18 mile skate-a-thon from Santa Monica to Redondo Beach along the boardwalk, to raise funds for B4BC’s education and prevention programs and promote active living. More info can be found here: www.classy.org/skatethecoast2015
KELVIN HOEFLER & LETICIA BUFONI MAKE HISTORY AT THE 2015 SLS NIKE SB SUPER CROWN WORLD CHAMPIONSHIP
CHICAGO, IL — The 2015 SLS Nike SB Super Crown World Championship took place this past weekend as the top eight finalists came together to compete for the ultimate title of world champion. It all came down to the last trick once again, where Brazilian newcomer Kelvin Hoefler took the big win just ahead of 2014 Champion Nyjah Huston and winner of two 2015 World Tour events Luan Oliveira. Included in the competition for the first time in league history was the women’s division contest in which Nike SB Pro Leticia Bufoni broke through with her last best trick to roll away in first place just ahead of Vanessa Torres and Alana Smith.
Leading up to the event was an action-packed season of skatepark, skate plaza and arena events around the world at which the 25 SLS Pros and Rookies earned vital championship points to make the cut for just eight championship spots. In descending order of season standings, the shortlist going into the Super Crown World Championship was Luan Oliveira, Nyjah Huston, Kelvin Hoefler, Chaz Ortiz, Paul Rodriguez, Shane O’Neill, Cody McEntire and Chris Cole.
The eight contestants battling it out in the women’s division were Leticia Bufoni, Lacey Baker, Pamela Rosa, Samarria Brevard, Alexis Sablone, Vanessa Torres, Marisa Dal Santo, and Alana Smith. Leticia Bufoni’s 360 Boardflip over the wedge gap sealed the deal for first place against Vanessa Torres and crowned her as the first-ever female SLS Nike SB Super Crown World Champion.
Congratulations once again to the 2015 SLS Nike SB Super Crown World Championship winners Kelvin Hoefler and Leticia Bufoni. For full highlights and re-airs of the exclusive championship webcast visit StreetLeague.com. In partnership with FS1, the Women’s Division will have it’s own dedicated one-hour telecast on FS1 and FOX Sports GO on October 18 at 4:00pm ET.
“Thank you skateboard, you led me down the path that brought me to snowboarding which introduced me to the camera, which opened up the planet for my eye to focus in and photograph amazing times, places and gatherings with family, friends and colleagues. I wouldn’t change a thing in the past; I will evolve and follow my heart into the future.” – Blotto
Blotto is an American photographer. For over 250 days each year, for the past 14 years, he has been documenting the snowboarding life. In doing so, he has become one of the most inexhaustible photographers the young sport has yet seen. For more information on Blotto you can visit his website.
THIRTYTWO KICKS OFF “2032” WORLD TOUR WITH SOCAL PREMIERE
Snowboarding company ThirtyTwo recently celebrated their 20th anniversary with the premiere of their first team movie titled “2032.” The movie premiered in Orange County last week and over 500 snowboarders, 20 brands and many of the industry’s leaders stopped by the ThirtyTwo HQ for the event.
The “2032” movie will be sold at finer snowboard shops, iTunes and ThirtyTwo.com on October 13. There will be a limited-edition book, DVD and Blu-Ray available for $40 and a standard DVD for $20.
Established in 1995, ThirtyTwo was created by snowboarders for snowboarders. Rider-owned and privately held since day one, ThirtyTwo has been a major player in the snowboard market with new and never before seen innovations in technology, performance, comfort and eco-friendly initiatives.
The World Premiere kicked off the “2032” World Tour that’ll be hitting major cities and mountain towns all over the world over the next two months.
“2032” Premiere World Tour Dates and Locations:
10/1 – ThirtyTwo HQ, Lake Forest, CA
10/2 – Salt Lake City, UT
10/3 – Satellite, Boulder, CO
10/3 – PITCREW, Frederick, MD
10/7 – Youth Shelter, St. Cloud, MN
10/8 – Whiteroom – Torquay, Australia
10/8 – Damage, Duluth, MN
10/9 – Location T.B.D., Melbourne – Australia
10/9 – Location T.B.D., Minneapolis, MN
10/10 – Zellers, Green Bay, WI
10/10 – Ski Barn, Paramus, NJ
10/10 – Location T.B.D., Sydney – Australia
10/12 – Les Moise, Milwaukee, WI
10/12 – Adrenalin Boardstore – Canberra, Australia
10/13 – Shred Shop, Chicago, IL
10/14 – People Skate & Snowboard/Boyne, Detroit, MI
10/15 – Grenoble Garden Festival – France
10/16 – Lantern Club – Beijing, China
10/16 – Phatman, Buffalo, NY
10/17 – Stubai – Austria
10/17 – Always Board Shop, Pittsburgh, PA
10/18 – Location T.B.D., Portland, OR
10/19 – Location T.B.D., Innsbruck – Austria
10/21 – Location T.B.D., Munich – Germany
10/23 – Milo, Auburn, CA
10/23 – Location T.B.D., London – United Kingdom
10/24 – Recess Skate & Snow, Boone, NC
10/26 – Location T.B.D., Plymouth State, NH
10/27 – Theory, Holyoke, MA
10/28 – Civil, East Greenwich, RI
10/29 – The Ski Monster, Boston, MA
10/29 – Shred Foundation, Beacon, NY
11/7 – Boreal Resort, CA
12/4 – Mountain Creek Resort, Vernon, NJ
Follow @ThirtyTwo and check out thirtytwo.com for more details.