NINJATUNE

FilAm ARTS traces its roots to the annual Festival of Philippine Arts and Culture (FPAC) – an annual series of multidisciplinary arts events that takes place in the County of Los Angeles that includes art exhibits, literary readings, performances, and film screenings, that all culminate in a two-day festival weekend. The first Festival was held in 1992 at Los Angeles City College, as a project developed by the City of Los Angeles, in efforts to heal the city through cultural gatherings, in light of the LA Riots which occurred in April of 1992. FPAC has since moved to Cabrillo Beach, and then to Point Fermin Park (its current location) and welcomes over 25,000 attendees, 1200 artists and 400 volunteers.

Notting Hill Carnival had a hole blown in it by Diplo and Switch’s Major Lazer party, thrown in association with the Red Bull Music Academy. Featuring Joker, Drop the Lime, Lee ‘Scratch’ Perry, David Rodigan and more, it was – as you’d expect – one of the Bank Holiday festival’s highlights, and all week we’ll be running an exclusive stream of Major Lazer’s headline set. What are you waiting for?

Thanks to FACTMAG!

David Rodigan

Lee “Scratch” Perry

Skerrit Boy

What is your name and what do you do?
Tricia Jamanila and my resume reads like this: USC educated, co-founder and creative director of Chicharon Adventures (CA), manager of the Rhythm Natives (RN), contributing editor for the online division of Backside Records, and a consultant for several existing and developing companies.

What other creative outlets are you currently involved in?
Thankfully, everything I’m involved in right now allows me to be creative already. With CA, I am writing, photographing, and conceptualizing every day. With RN, I am constantly strategizing. And as a contributor and consultant, I am always thinking outside the box.

How long have you been in Artist Management?
Just for a year, which is how long I’ve been managing the Rhythm Natives. I started as their publicist and soon after, moved to bigger things. Prior to working with them, I was assisting other artists, but not on the management level. I was producing gigs and doing PR for them.

What are some of the nightmares of being an Artist Manager?
I try to not think like that, but as a manager of an emerging band, I’d have the nightmare of one day people only listening to what society/pop culture told them to listen to. That wouldn’t be good.

How do you balance personal life with your professional life (lives)?
Time management is something that I’m still trying to perfect. I’m always on a schedule, and that can affect my personal relations. But I’m blessed to be around people who lift me up and who understand what I’m doing. There are times when I have to make sacrifices, and that’s okay, because no matter how many things I’m involved in, I still have to enjoy the fruits of my labor.

Is Los Angeles a tough market to handle when it comes to music?
Los Angeles can be a cold city. The talent pool is huge here. But that can either motivate you or discourage you. At the same time, Los Angeles can be a great city to launch in because of the many surrounding inspirations. Successful artists have come out of LA, and successful artists are still coming out of LA. It’s what you make of it.

Any crazy industry stories?
So far, none. But my boys are dropping their album in October, and who knows what can happen!

There are promoters out there that are shady, any run-ins with any?
No comment.

What do you think of the resurgence of the independent movement?
I wouldn’t call it resurgence; I think it’s always been around. But I do think that people are paying more attention to it. Mainstream music has become redundant – in airplay, in lyrics, and even in sound. So people are forced to seek out more music, which is a beautiful thing. Without it, people wouldn’t stay creative. And that goes both for the listener and the artist.

What advice can you give to people who may be interested in an Artist Management career?
There are only two qualifications for the job: believe in your artist, and act on that faith.

I know you are always running around everywhere, what is in your essential kit before leaving the house?
Blackberry, sunglasses, notebook and fine point pen, camera, and Parliament Menthol Lights.

What music are you currently listening to?
Rhythm Natives advanced tracks, Anthony Hamilton, Drake, The XX, and Quadron.

Any last words?
To the top!

twitter.com/triciaCA
www.chicharonadventures.com

LIFESWELL

This will be our first time rocking at the Burgandy House. The Rhythm Natives will be doing our thing and then DJ JayP and our very own Bojo will perform together and get down with their dj x drummer set for an hour! We are celebrating Asi’s birthday and yours truly so come down and chill with the Virgos. As some of my homies from the Coozie Patrol would say, “It’s going to be a wild time”. Do not miss this event!

Fat Beats’ longest running and most famed location is at 406 Avenue of the Americas in Manhattan. Since the 1994 opening of Fat Beats’ flagship retail location, hip-hop fans have traveled far and wide to visit the iconic store. With locations soon following in Los Angeles (7600 Melrose Ave.), Atlanta, Amsterdam, and Tokyo, the record stores were a place to experience hip-hop culture and its legacy, which became a global phenomenon. “The closing of Fat Beats is just like one of my friends passing away. They promoted vinyl at its highest degree for the culture of good music and that makes it more difficult to say goodbye,” says DJ Premier.

The announcement of the closings is a reflection of the woes that have been plaguing the industry for years. Global chain HMV closed their last US location in 2004. Tower Records shuttered in 2006. Last year saw the close of the last Virgin Megastore, and the story is no different in 2010. For Fat Beats, maintaining two stores well into 2010 is a testament to the stores’ importance to the music and to fans and consumers continuing to support independent hip-hop.

While news of the stores’ closing marks the end of an era, the future is not doom and gloom. Digital sales continue to increase industry-wide; for Fat Beats, currently operating a profitable and growing online retail store, this has provided a boon to business as fans continue to order mp3s, vinyl, and CDs from FatBeats.com. Although digital sales continue to grow, executives at Fat Beats understand the importance of independent retail stores and are planning to re-open a brick and mortar hip-hop lifestyle location sometime in the near future.

The future looks just as bright for Fat Beats Distribution and the label. Fat Beats Distribution, which has been renamed FB Distribution, continues to strike noteworthy distribution deals with independent and major labels worldwide and is now working with different genres of alternative music. Fat Beats Records will continue to release notable albums from their own impressive roster of artists including ILL BILL, TruMaster/KRS-One, Black Milk, Trinity, Sha Stimuli, Q-Unique, and more. Fat Beats owner and President Joe Abajian says, “This is the start of a new era for Fat Beats. We’re adapting to meet the needs of our demographic by revamping and improving our existing systems. While our website, which stocks everything available in our retail stores, continues to do very well, we’re still exploring our options for alternate retail locations in the future. We’re proud of our legacy and will continue to re-invent ourselves. For now, we’ll see you online at FatBeats.com”

What is your name and what do you do?

My name is Asaf Friedman, but everyone calls me Asi. Along with the other things I do to survive, I play, write, and produce music.

What other producers, songwriters and/or artists do you see as your primary inspirations?

My musical inspiration began with the pop music of the 80’s; Michael Jackson, Prince, and just about anything else my older brother and sister were into at the time. I consider Quincy Jones my main influence as a producer. At age 7 or so, my Uncle Yossi, the one person who is primarily responsible for my fascination with sound, began to introduce me to a wider variety of music, and I was hooked. Some artists I draw inspiration from are Pink Floyd, Portishead, Bjork, Massive Attack, Nine Inch Nails, Rick Rubin, Lee Perry, and even an underground trance duo called Schpongle.. The list could go on forever.

You have a catalog of credits with Bambu, Kronic Plague, Rhythm Natives can you describe how those collaborations manifested and what it was like to work with them?

I met Bambu through my friend Kris who saw him perform at a local poetry night called Nommo. We recorded Boomshot for a
compilation which featured artists that performed there. Bambu and I worked well together and he didn’t have a steady place to record so we started work on “self untitled…”, and made Boomshot it’s first single. We went on to record both the Native Guns “Barrel Men” and Bambu’s “…I scream bars for the children…” together.

When I met Kronic Plague, he was in a group I was recording called the Boom Squad. Another member, Fhaize Roc, introduced us. KP’s flow is unique and works well with my production style. KP and I have released both “Legal Dope” and “The Legal Dope Mixtape” together and still record on a weekly basis.

While working on Bambu’s “…I scream bars for the children..” I met Kreative Thought of the Rhythm Natives, who had produced 2 songs for that album. He told me about his band and, after a while of saying I should, I finally made it to one of their rehearsals to check them out. I immediately felt that they had the potential to go far, and they committed themselves to working hard toward the goal of releasing an album. I really enjoy working with these guys, and appreciate that they put this album in my hands.

Is there an artist you want to work with that you have not yet had the opportunity to work with?
So many.. That list would rival the one from my first answer.. The ones that stand above the rest would be Tom Morello, Bjork, Esthero and Sade.

How important is it for a producer to listen to what’s being played on the radio?

I feel that it’s important for a producer to be well rounded, listening to and absorbing music of all styles. I’m often disappointed with the lack of variety I usually find when I turn on the radio, but I do believe it’s important to be aware of what is happening in popular music if you’re trying to make a living as a producer.

How did you learn how to work studio equipment and ultimately do what you do?

My first full-time job was at Guitar Center. In my interview, I was asked about my long-term goals. At the time I was intent on becoming a film composer. I started in the accessories department selling strings, guitar picks and microphones and became one of the top salesmen. When a spot opened up in the Keyboard/Recording department, my Manager wanted me to transfer. I was a bit intimidated since I knew NOTHING about the equipment I was going to be selling, but my manager convinced me when he said “You’re gonna need to know this stuff if you want to become a film composer”. I jumped in head first and six months later I was the assistant manager of the department and was designing studios for some of our most famous clientele… and the employee discount was great!

What is your typical studio work schedule?

I almost always find a way to get in twice a week. Having a family and a day job (or two) usually only allows me to get to the lab after 7 on weekdays and maybe a couple of weekend days per moth. I adjust my schedule according to the project I happen to be working on at the time, and what stage of completion it’s in.

What are you excited about now in music?

I like that technology has allowed more people to create and record music of good quality with less equipment. This does muddy the waters with more people trying to be a producer these days, but there are also more jewels to find if you do a little digging.

So how do you help guide a band/artist to a great record?

In my experience, every album comes together in it’s own way and each has it’s own speed bumps. It helps to communicate openly and often with the artist to keep things on track. My time management has also gotten better over the years, and now it often keeps me from having to stay up all night to make a deadline. I have sayings that help me stay focused on what’s important in making good music. I have a bunch of them, “Now is no time to settle” is my newest one.

What do you like to do for fun outside of working on music?

Playing with my 11 month old son is the best! I also enjoy working on and riding my motorcycle, playing pool, chess and backgammon.

When you get in your car, do you listen to the radio or listen to CD’s?

Most of the time I have whatever songs I’m working on in my CD player, on repeat. I easily listen to songs that I’m mixing more than 500 times before they’re released.

You play multiple instruments, what are they and what are you most comfortable with?

I’ve been playing guitar the longest, followed by bass, with which I obtained most of my formal training. Those are the two I’m most comfortable with. Later I picked up drums and keyboard, each one being my favorite instrument to play at different times in my life. Over time, I’ve also become familiar with other string, wind, brass, and percussion instruments.

Studio essentials, what do you have to have while working on music?

Because I prefer using live instruments, I find a good variety of microphones important. At least one large diaphragm condenser, and a stereo pair of small diaphragm condensers are a must. A prepackaged set of drum microphones is a nice addition.

Do you have advice for young people who want to become music producers?

Experiment and you will learn to get the most out of your equipment and your creativity.

@awe_see
anime project studio

photos by: Archi Prudencio