Fast forward to last weekend, when Eyeone allowed CA a tour of his studio. He was prepping for his newly curated show Rendition2 at Hold Up Art in Little Tokyo, which had its opening reception on Friday, June 25.

You came to LA when you were 6 years old from Mexico City. Why did your family choose Los Angeles as a new home?

My mom's brother lived in L.A. and he motivated my parents to bring us out here.

You explained to us that LA encapsulates your interests, which in turn becomes subjects of your work. I’ve seen your mixed media pieces with bicyclists or helicopters as the focus. What about this city inspires you?

The city represents infinity of experiences which constantly feed my work. It inspires me because it is vastly chaotic and alienating and paradoxically warm and full of life. 

How, then, did you come up with the Zapatista character?

The Zapatista characters I designed were created for use by La Otra Campaña, a Zapatista initiative for grass roots organizing and exchange across Mexico and the world. In Los Angeles, I participated with La Otra en el Otro Lado ("The Other Campaign On The Other Side" more or less) and contributed some graphic design work for them.

How are you still tied to movements in your home country? For example the Zapatistas, or your latest trip to the Distrito Federal with fellow LA artist, Cache to paint a mural?

I don't really get hung up on the notion of a "home country." I've always thought there was something fishy about the artificial lines drawn on the world that separate people. The Zapatistas fight for universal human rights that are as relevant in Chiapas as in occupied Palestine, the state of Arizona, or our neighborhoods here in LA.

Recently, Cache and I were invited to paint a collaborative mural in Mexico City for a symposium titled "Revolution and Migration" organized by the National Institute of Anthropology and History. The director of the project had been doing research in L.A. and our work caught his attention.

Travelling has made it clear to me that graffiti can be a unifying language which transcends artificial geopolitical lines and can function at the street level. The Zapatistas would call that "desde abajo." The graffiti community, for better or worse, has truly created an international movement. 

We get the impression, since we urged you to create a Zapatista vinyl toy and you declined for ethical reasons, that you are truly creating art for art's sake. What keeps you grounded?

I have a day job as a graphic designer. 

In regards to art and commerce, I always cite Fugazi as role models. In my opinion, they demonstrated that creative expression (in their case, music) can be a sustainable and ethical way to make a living.

You’re part of the LA crew Seeking Heaven.  Can you give us a little background on SH? Did your involvement in the crew serve as a launch pad for your career?

Seeking Heaven was founded in Northeast L.A. by Precise in 1989.  I am one of the more recent additions to the crew.

I don't see my involvement in the crew as a "launch pad" to my career. "Launch pad" implies departing and leaving something behind. The work of my fellow SH'ers is always a source of inspiration and motivates me to try to keep up.

Prior to Seeking Heaven, how were you honing your craft? And did you always know you'd be an artist?

My earliest memories are of making visual things. I have always liked to draw and make images as far back as I can remember.

Which one of your works are you most proud of?

That's a tough question. My collaborations with my Grandma would be at the top of that list. 

Overall though, I don't really get too proud or comfortable with what I've done. I get critical and that makes me anxious to get the next thing done.

When you were setting up the gallery for Rendition2, I saw your grandma holding a spray can to a wall. What kind of artwork do you do with her?

Mostly installations where she handles the lettering.

Where does the name "Eyeone" come from?

When I was a kid, I nearly poked one of my eyes out with a model boat my parents had lying around. I saw a blinding light and my eye immediately shut. I had to wear an eyepatch for what seemed like an eternity and was way scared, thinking I was only going to have one eye. When the patch came off, my eye worked! It sounds funny but I had to do eye exercises for a while after to get my vision back to normal. Hence, Eyeone.

You have published “Lost” – a book capturing ten years of documenting visual culture on and off the streets of Los Angeles. Juxtapoz, Giant Robot, and Beautiful/Decay gave you accolades. Why did you create the publication?

I'd been involved in the hardcore/ straightedge/ punk scene in L.A. in the early 90s and collected 'zines. I dug the way the participants in that culture documented their own movement and felt the same DIY approach would work for graffiti in L.A.

Were you the one that collected the photos over 10 years?

I take most of the photos in "Lost". I also receive submissions, especially archival material and rarely-seen images from the featured artists themselves.

Who are your favorite artists?

Wow, this question always leads to a long-ass laundry list, but I'll drop some names anyway: Swank, Leon Chavez Teixeiro, Patrick Martinez, Skypager, LeHumanBeing, Tempt, Kathe Kollwitz, Rini Templeton, Leopoldo Mendez, Paula Reynoso, Luna One, Kozem, Precise, Panic, Sizer, Haeler, Gorgs, Ashley Wood, J.Shea, Kofie, Cache, Ozamu Tezuka, Gail Swanlund, Walt Kelly, Bill Watterson, Twist, Der, El Lissitzky, Ian Lynam, Go Nagai, Katsuya Terada, Fucte, Bonks, Michael Alvarez, Slay, David Jien, Ekundayo, Andrew Hem, Lisa Alisa, Herakut, Bates, Joker, Dare, Ragnar, Josh Middleton, Posada, Neo, Krenz, Axis, Hajime Sorayama, Albrecht Dürer, Taller de Gráfica Popular, Kcho, Rene Mederos, Glen Barr, Syd Mead, Ray Harryhausen... I'll stop there for the sake of your readers.

I'm not going to lie, I know like 5 people from your list of favorite artists. So let me rephrase this - what elements make up your favorite art pieces? Theme? Color? Imagery?

I like too many things to pinpoint a favorite, and I couldn't objectively itemize what themes/colors/imagery they have in common that draws me to then. If I tried, the list would be longer than the artist list!

Fair enough. I do know that some of those artists are featured in Rendition2. How did you choose the artists?

The artists in Rendition2 are people whose work I admire. Some were involved in the first one, but I consciously wanted to add new names to the Rendition concept.

You hadn’t curated a show in a while. Why did you decide to come off of your hiatus for Rendition2?

I think Hold Up is a rad project and was stoked when they asked me to curate a show. If I had allowed myself to stay on hiatus, I could easily see that having gone on for a very long time. I forced myself to break that inertia.

Rendition1 was part of the Scion project. How is Rendition2 different from the first one?

Rendition2 presents new work, new artists, is not corporate-backed, and is taking place in the center of our city, Downtown L.A. 

Is there a theme to Rendition2 besides all artists being from LA?

The overarching theme of the exhibit is Los Angeles visual culture.

What do you love most about LA? 

Most everyone I love is here, and I can get to those who aren't with relative ease. 

In your curator quote for Rendition2, you say "Informed by graffiti, printmaking, photography, and punk, I aim to present a vision of the city that is subjective and paradoxically documentary in nature. Inhabiting this vast urban chaos leads me to explore and find humanity amongst the wire, cement, and smog." What is YOUR vision of LA?

Currently it is smog, concrete, helicopters, and lights, but oftentimes it is the river, birds, and people. And bicycles.

What kind of mark would you like to leave on Los Angeles? What kind of mark would you like Rendition2 to leave on its visitors?

I'm not really trying to make a personal mark on Los Angeles. I hope people enjoy Rendition2 and get a glimpse of some of the amazing contemporary art being made in L.A.


Rendition2 runs at Hold Up Art until July 12. We were at the show on Friday and felt very connected to our hometown through the art pieces on the wall. Eyeone did a fantastic job on this one. While at the studio, he gave us copies of "Lost". It's probably one of the best representations of Los Angeles graffiti. I have coffee table books at my home that aren't as real as this one. And that's the kind of impression we got from Eyeone. He's someone genuinely real, doing things for the sake of passion and expression. We can always get hip to that.

If you'd like to keep up with Eyeone and his art, check out his blog, www.eyelost.com, or follow him on Twitter, @eyeonesh.

by triciaCA

Where does "conscious hip hop" or "raptivism" fit in today's music world? Do you feel that it has a place in mainstream hip hop?

Hip-Hop originally began as a political statement against the racial and political inequalities in the brown and black ghettos of NYC. It’s only been in the past 5-10 years that the genre has been hijacked by commercial/mainstream interests that have been successful in steering the culture further and further away from its roots. It seems like we are forgetting that hip-hop was (and is) a platform for poor youth of color to voice their issues. "Consciousness" will always have a place in hip-hop... the real question is, will hip-hop always have a place in mainstream culture. We live in a culture-vulture society that likes to steal and copy other cultures without giving the proper credit to its creator. At some point the mainstream or major labels will realize that they have no further use of the culture and they'll drop it for the next new genre.

So with that, what are the challenges you face (as a ‘raptivist’) in order to stay in the game? In the song “Sunshine”, you yourself say “political rap is like a trap sometimes”.

We're often regarded as not making party music that people just want to get loose to. A lot of "conscious" rappers do become one dimensional with their style, content and presentation. And to some listeners the music becomes redundant. The challenge to getting more appeal from the listeners is to make it funky and versatile. I think Blue Scholars are a good example of political rap breaking out of the "trap". Deep lyrics, fun beats. The other difficult thing about being a 'raptivist' is that we are competing against an extremely powerful music industry that promotes and propagates superficial things like wealth and luxury, while also encouraging murder in poor communities. When you turn on MTV or listen to the top 40 radio stations, all you hear is one big advertisement for products that the average working-class person can’t afford. At least in the 1990's, when gangsta rappers talked about murder in the streets, they gave a better analysis as to why gangs and violence existed. Nowadays all you hear is kill, kill, kill - with little explanation of the conditions that create violence in the hood.

You were born in Nigeria, raised in St. Paul, Minnesota, and then made your way to San Francisco by way of Brooklyn and the Philippines. Why all the traveling? And how has your nomadic past made you into the artist you are today?

I'm an immigrant whose family moved around in pursuit of better opportunities and better living conditions. I'm a Sagittarius, so by cosmic design I didn't have a choice. The number one thing that traveling has taught me is that humans are guided by two things, love and money. The road has also shown me that no matter where you are, there are the exploited and the exploiters, working class folks are pretty much the same no matter what part of the globe you're in.  

Did your traveling inspire songs such as "Traveling Man" and "Mr. Sagittarius"?

Yes of course. Those songs were also inspired by my admiration of American folk music. I'm a huge fan of artists like Woody Guthrie, Bob Dylan, Billy Brag, Roma de Luna, Iron and Wine. A lot of hip-hop artists might think that folk is boring, but folk music has a hypnotic way of telling stories. It’s usually calm and relaxing. I guess that's what we were trying to accomplish with "Traveling Man" and "Mr. Sagittarius".

We as in you, Mister REY and Fatgums. How did the three of you come together?

Like most things in my life, the formation of Power Struggle was unintentional. I met Mister REY through local San Francisco community work; he made beats and opened up his studio to me on Saturday mornings while the rest of the rap world was getting over their Patron and Henny hangovers. He's a very soulful dude, like the full Filipino version of Joe Bataan. Gums and I just had a real natural musical connection. I haven't known him for very long but I consider him a very good homey. I get a lot of beat CDs from producers that are trying to get their name out. Most of it is garbage, but when Gums gave me the Counterparts sampler, I was truly impressed. In the current electronic era, Gums brings back soul.

Prior to you teaming up with Mister REY and Fatgums as Power Struggle, you were in Kill the Vultures and Oddjobs. What were the musical differences between the three groups?

Oddjobs was the first group that I was in. We were your basic backpacker hip-hop group, we had a lot of white fans - so I guess you could say we made it. Kill the Vultures became what was left after Oddjobs split. Kill the Vultures was like atmosphere on heroin (musically). Power Struggle was a cultural/racial/political awaking...I’ll leave it at that.

Your first record as Power Struggle was “Hearts and Minds” (released in 2008). Explain your evolution to “Remittances”.

The more I got involved in social justice work, the sharper my political analysis became. You can hear the difference in the two records. When I made "Hearts and Minds", my views on economy, government, immigration, war, the Illuminati (just kidding) were really broad. I didn't have a proper framework to apply to the things I felt were problematic in our world. Musically, "Hearts and Minds" was made with producers east of the Mississippi river. Detalx is from NY and Ben Zilla from Minneapolis. I think it was difficult to come up with something organic when you're thousands of miles away from each other. "Remittances" was much more natural since I lived with Mister REY and since and Gums and I were in constant communication. Also, "Hearts and Minds" didn't have an executive producer to make sure everything was really sounding good. Fatgums really stepped up, and tightened all the loose ends, to make this a great record.   

Has there been a defining moment in your career that made you truly focus on the people and their struggle?

In 2007, I had the opportunity to go on a second European tour with Kill the Vultures, or go on an exposure trip to the Philippines. The exposure trip was put together by a Filipino youth org called ALAY. The purpose was to educate folks on the concrete social-political conditions in the Philippines, and to learn about how people were organizing to address different issues like poverty, corruption, human rights violations, militarization, U.S. semi colonialism, etc. After my exposure trip I realized that I wanted to commit my artistic talent to exposing the contradictions that kept the Philippines on a third world status.   

What kind of community work do you do in San Francisco?

At the Filipino Community Center (FCC), I work on issues related to employment and workers rights. FCC is located in the Excelsior District that has the highest concentration on Pinoys in SF. Most of the people are working class folks, a lot of them are recent immigrants. A lot of the themes and stories from "Remittances" come directly from the lives of the people in our hood. 

In "Inspired by a Dream", you explain the character of a revolutionary saying "Revolutionaries fight out of love for the people that they know and trust..." What is your favorite revolutionary story? Who is your favorite revolutionary?

I am inspired by all people who liberate themselves from colonialism, slavery, occupation...Mike "Dream" was an Oakland graffiti artist who got murdered in the streets in the late 90's. He was an amazing and talented artist that not only had crazy style and skill, but also connected his work to the race and class struggles of the people in Oakland. I was in high school when he was at the top of his game, I saw his pieces in a graffiti magazine and I was truly inspired - especially since he was Filipino. St. Paul, Minnesota didn't have too many role models for Filipino kids.

What are some of America's problems that you are particularly interested in changing? How about in the Philippines?

This could be a really long answer, but I'll keep it short and simple. I guess for now there are two things that I would like to bring to people’s attention. 1) The struggles of Filipino migrants all cross the world. I think people really need to understand what is happening inside the Philippines that force thousands of workers to leave the country daily. It's important to discuss the conditions that Filipino migrants face as domestic workers, caregivers, sex workers, etc. 2) I hope that Filipinos abroad will keep a closer key to what happening in regards to poverty, human rights, corruption, and militarization in the Philippines. I think Manny Pacquiao made it cool again to be Pinoy, now we have to take it a step further to not just be patriotic or nationalistic, but to also deepen our understanding to why we are a third world nation.

Your album drops today. What is next for Power Struggle?

Do as much as I can to support other Beatrock artists like Bambu, Counterparts, Otayo Dubb, and Bwan without selling my soul. I want Beatrock Music to become so successful that we get flooded with people’s demos.

What do you hope listeners will get from your music?

For Filipino Americans - a better sense of self, a better understanding of the situation in homeland, to reconnect to their roots beyond patriotic fashions and Manny Pacquiao knockouts. For the non-Filipino - 10 bucks for each record they buy [laughs].

Why have you called your album "Remittances"?

Globally, Filipinos send millions of dollars every year back to their families in the Philippines. Without these remittances the Philippine economy would crash. I chose the title "Remittances" to pay respect to all our proletarian kababayan (family) that sacrifice so much to provide for their families.  

You mentioned you are into folk music. What other music are you listening to? Who are some of your favorite artists?

Iron and Wine, Billy Brag and Wilco, Shining Suns, Pet Shop Boyz, Woody Guthry, Blu. I'll tell you what I'm not listening to, oh wait, you'll have to wait for the next interview. 

Maybe some of you can empathize, but listening to socially conscious music was always very difficult for me. Perhaps it was the execution; it needed to be funky and versatile as Nomi said. "Remittances" is an easy listen, all while being told stories of struggle and passion. The album drops today. Pick it up directly from Beatrock Music HERE. Break the mold, upset the setup, shift the paradigm, and listen to Nomi. Mixed with the production of Fatgums and Mister REY, you'll deifnitely be taken on a journey.

by triciaCA

Before you started Piddle Productions (PP), you worked in the entertainment industry as a writer. How is your art different from that of “Hollywood”?

Piddle Productions brings about culture and gender awareness through eclectic events, film and music. I believe in using media to manipulate common stereotypes that come with identity. It not only provides entertainment, but also community building and social change.

How did you come up with that name?

This is a funny story. When people upset me, I used ramble off a lot of baby talk and at the end I called them a Piddle. I have no idea where I got it from. I still get teased about it today from my family. Perhaps I am coming full circle with what it means for me today. I want to be heard, and it may not be pretty, because life is not always pretty. I guess you can say I piddle in the arts to relay my thoughts and feelings to the masses. 

Is Indigo Lounge the main focus for PP?

Indigo Lounge is my main cultural event. However, I continue to work on short films and plays.

Tell us more about Indigo Lounge. When did it start, and how has the response been so far?

I started Indigo Lounge in 2009. My intentions were to create a space for artists from all walks of life to express awareness, activism and education through self expression and music. It has grown into something really powerful and inspirational. I believe people really "get it" when they step into the experience. It is an artsy diverse crowd of young and old unified by one common thread - art.

How do you scout talent for your events?

I usually go to as many poetry spots as possible. I do a lot of research and reading about local artists, as well. I am always exploring new venues and I don't just simply get the most popular poet to perform at Indigo Lounge. It is more about the personal experience I get when I watch them perform. I'm usually the mysterious person in the front observing. Although I am an artist, the event is not about me. I am just a person who created a space for artists who understand and live my vision.  Some people call me the female Russell Simmons which is funny, but makes sense because I am not in it to be the star and people say I have a humble disposition.

So in your observations, can you safely say that the poetry scene thrives in Los Angeles? How would you compare it to the other places you’ve been?

The poetry scene in LA is definitely thriving. It always has been. I think other places look to us as setting an example. Whenever people from out of town stop by the Indigo Lounge they are so amazed at the colorful talent and the uniqueness of jamming on stage with a live band. I remember a group of people from Missouri stating that they thought this type of stuff only happens in movies. 

Are there any local poets we should look out for?

I am working with a poet /author/ playwright by the name of Evy Trezvant. She has supported Indigo Lounge since the beginning. She wrote a play called "Womban."  I read the script and was asked to be part of the play. Not only am I performing, but I am also the Stage Manager. It is a powerful play that takes place in Los Angeles and deals with the female psyche and the importance of working through personal issues in order to heal. This won't be the last time you hear from Ms. Evy. I have a good feeling about this. Micheaux Fortson also known as "Urban Voodoo" is someone to look out for as well. He is a drug and alcohol counselor, public speaker, and organizer of the Young Poet Society.

When and where is "Womban" playing?

It will run June 10th-13th at the Complex in Hollywood. You can buy discounted tickets here: www.huemanitee.org

You’ve got this play and you also mentioned to me in the past that you’re doing a documentary on Los Angeles. Can you tell us more about the film?

I don't want to say too much. However, I know it has never been documented before. It is about a movement that started in East Los Angeles in the 1960's. It is part of Los Angeles history and culture that has somehow been overlooked.

So that’s the entertainment side of you. I want people to know about what you do for the community. 

I’m a mental health therapist in the inner city, where I also tutor and mentor the youth. I am part of an organization called “Young Poet Society" out of Long Beach Community College, in which I write and direct spoken word plays.  Right now we are working on another performance for their Extended Opportunity Programs and Services (EOPS) banquet. It is a story about staying motivated, overcoming obstacles, and striving towards your goal even with little resources. I also help coordinate fundraisers for outreach organizations dealing with literacy in my spare time. I’m currently working on getting funding for a program that combines art therapy and inner city kids.

In your opinion, what are some major issues facing inner city kids?

They do not have many spaces to call their own, especially after budget cuts. They need to be heard and it is important that we give them an opportunity to express themselves in a safe environment. In my experience, I realize children suffer from post traumatic stress symptoms more than we like to accept and we do not have enough creative outlets for them to begin to heal so that they can lead happy, healthy, successful lives.

You’re also an advocate for women. In March, you were a guest speaker for the LA Union Workers’ “Women’s Month” program. How did that go?

I was very honored to have the opportunity to speak at the LA Union Women's Empowerment program. I was asked to talk about domestic violence. Instead of giving a lecture on domestic violence, I gave statistics and read a poem that I wrote called, "Dear Diary" which is about self empowerment. It is about a woman who writes in her diary for her own sanity, and within writing about her experience becomes empowered and has the strength to leave her situation. I have experienced verbal abuse and witnessed friends and family members go through physical abuse. However, we can give the victim as many resources and information as possible, but if they lack self esteem and they are not ready to think as a survivor in order take responsibility on their own, they will continue to go back to the same situation. After the program several women thanked me because they could relate. It is such a great feeling to know that I connected with at least one person.

Amazing. You’ve truly become a positive force in our city. The focus of the e-zine is to survey an artists’ relationship with LA. Let’s wrap with a few questions about “home”. What do you hope for the LA art scene as a whole?

I hope that more artists and artists seekers open their mind and step out of their comfort zone and take advantage of all the hidden treasures of LA.

Who is an LA native hero of yours?

I would say the everyday people who stay focused and continue to strive against all odds. Those are the people I look up to. 

What is your favorite spot in LA?

Wow. That's a hard question. I have so many. The spots I like the most are Little Tokyo, Silverlake, and Echo Park. I like to give events in those areas and I love the fact that on any given night you can find something interesting, fun and unique. 

I met Zoe during the music video shoot for Bambu's "The Queen is Dead". She makes a cameo joining the roster of other significant women in the arts. You can see why I wanted her to be represented. Next month, Catch Zoe starring in "Womban" at the Complex Theater. And if you're interested in getting involved in the programs or organizations she works with, please visit her website: www.piddleproductions.blogspot.com. She posts updates with information and links for anyone that wants to get involved or has questions.

by triciaCA

How does your gallery compare to other galleries in Los Angeles?

Hold Up Art is a re-evaluation of the contemporary LA gallery.  After having seen the upswing of the downtown art scene on Gallery Row, we got fed up with the number of poor quality galleries that were in LA, and the fact that they began convincing the public that this is how a gallery is supposed to be.  People just rent out a space, clip on home depot lamps to the sprinkler system and call it a gallery.  And in some sense, they’re right - they’ve create a place to display art. That said, we don’t like how that’s been the driver for people's expectations about what a gallery should be.  We want to create a paradigm that allows for the public to get familiar with specific artists as well as enjoy the experience of being in the gallery. Our ambiance is set by music, seating, free-wifi, and a work area.

So in your dreams, what would be the best feedback about your gallery?

Eli Broad comes in and faints because it blows his mind.  Then he asks if he can fund us from now until eternity.

How do you decide what art you display? Must it appeal to both your tastes or are you generally open to any type of art?

Luckily both of our tastes are pretty similar so we rarely disagree about specific artists to bring into Hold Up. We stick with Pop Urban artists generally speaking, but we never really know what direction we’ll begin to push towards; we started out thinking exclusively 2/d art, however we just added an amazing sculptor we met a few days ago.  If we love it, we’ll find a way to show it.  Something that also plays a significant role is that we like the artist, and what he or she is trying to achieve. It's always best to promote people and ideas that resonate personally.

When you're going through that process, do you feel like you're participating in making someone's career when you decide to select an artist? Or not selecting another one? How does that feel?

You would be surprised how many people come in the gallery and immediately ask about how to get their work shown.  Because of that there is a bit of "God-factor" in the decision making.  But really, artists are the ones who make or break their own career.  We are able to help those who are really helping themselves.  It's all about taking initiative and following through.

How did you foster relationships with the artists you are currently featuring?

Brian used to work for Bua as an assistant. He’s a great guy and so much fun to work with.  He stops by every once in a while and is a huge supporter of Hold Up.  Often though, we just hit up artists through their websites and after hearing what we’re doing, many have been amazingly open to working together.  Now with the space it’s a lot easier to invite artists to check out H.UP.A and talk about the possibilities of working together. We’ve grown so much respect for the graffiti community and their ability to collaborate - egos aside.  They all feel as though they are contributing to something greater, with every tag they throw down; it’s very inspiring.

Music plays a big role in the art that you're representing - Justin Bua and hip hop, David flores with ODB, Jeff Jordan and Mars Volta. Is this a common integration in pop urban art?

Most definitely. The thing about pop urban art is that its fueled by Lowbrow culture, the word of the people, the masses, however you want to think about it.  Ultimately a lot of that dialogue, especially in Los Angeles, is driven by the music and movies of Hollywood. It's not exclusive to that by any means, but you'd be naive to disregard the power and interplay between those artistic mediums.

Are you limiting your artists to the CA area or do you plan to broaden your artist pool?

We decided to stick exclusively with CA/LA based artists because we want to show LA what our art is really about.  Los Angeles is slowly becoming the new center of American Art production with people like Brainwash, Fairey, and BUA getting major notoriety in the public space.  We want to slowly expand our artist pool because if we do it too fast, we won’t give our audience the chance to truly evaluate and form an opinion on every artist we have.

Ahh, Brainwash. My favorite art show in '08 was his Life is Beautiful exhibit at the old CBS Studios. Where are your favorite spots in LA to see art?

Downtown LA is full of gems hidden from most people’s everyday life.  In the arts district off of Traction Ave, there are countless decked out walls that have been living and breathing for the past decades.  Every month or so, we love driving down sunset or Santa Monica to see the new walls that sprout up or get covered over.  Once you begin to train your eye to pick out graffiti and wheat pastes, you end up seeing things you never have noticed before.

With that said, would you say that street art is well represented here?

Street art and styles are beginning to be represented more fully in LA as well as around the world. We are getting far enough away from the birth of graffiti to objectively look at it as an art movement, and put aside the rebellion and gang associations. It is now a living, breathing art style that reaches into the farthest depths of our popular culture, and you see this with the existence of Mid City Arts, Crewest Gallery, and 33 Thirds, just to name of few.

I'm not sure if this is something along the lines of the 'gang associations' that you mentioned, but I have a book called Graffiti LA that focuses a lot on crew names and less about graphics. Do you know why that is?

The crew names were big, and still are because when you start out tagging, you either do your name or your crew. The crews were a place where similar styled artists would work and collaborate together, share ideas and techniques, and ultimately they would take a lot of pride in their crews. In NY, where graff began, it started out as repping your street, which eventually evolved into crews. So you see guys like Take 183, and the 183 comes from his home - 183rd street. Crews began to take over that role as something to rep, as well as a social community that each writer was a part of. Even today most writers that are in crews try to incorporate their crew name in their tag somewhere. These days in LA, you'll see crews like Seeking Heaven (SH), MSK, or AWR include the simple two or three letter acronym in every tag they throw up. Some writers are more about the crew scene than others, but most writers are in crews, especially when they are coming up.

How would you compare LA street art to that of other cities?

We are firm believers that the graff world these days is working on a global level - specifically due to the ease of communication.  Within LA we see hundreds of styles, techniques, and subject matters that stretch beyond the origins of graff in LA. If we had to say there was an LA style, I’d say it is very hero based.  graff writers create a hero character that they try to perfect and reutilize in many different situations like Cache, Eyeone, Ewsoe, and even Mac.  It’s like the brand mascot of the artist.  And all of the supergraphics and public advertising just helps to validate the artists creating public art, whether its graff or wheatpaste.  You can’t argue that the side of a building isn’t one of the best places to communicate or display a message when companies like Nike and Pepsi are willing to pay $50k a month for a supergraphic.

Let's learn a bit more about you guys. Are either of you artistically talented?

I don't know about talented, but we definitely dabble in visual arts, especially with stencils and collage.  I guess that says all you need to know about our painting skills, or lack thereof.  Musically, we've got a bit more talent and experience, but it's something that has hit the back burner since H.UP.A took over our lives.

What kind of prints would you purchase for your own home?

That all comes down to the budget.  We've started a collection that includes a few limiteds - helped a lot by some gifts from a few of the artists were working with.  It's a great perk of the job.  But as a general rule of thumb we'd only buy something that we can live with waking up to every morning.

What do you do outside of all this?

We wouldn't be lying if we said almost nothing.  We have a couple dogs, Moose is just a puppy, so we spend a lot of time at the dog park.  Recently we've been spending nights at Red Lion Tavern, enjoying sausages, kraut and beer.  But our serious endeavors would be HBO programming mixed with a few shots of American Idol or Top Chef...yeah, we lead a fascinating life.

We've been doing this thing on our blog called the "Top 5 Series", since we often find ourselves debating over certain topics. I'd like to bring you guys in for the fun of it. First one, name the top 5 people you'd like to have dinner with. Dead or alive.

Ben (BK): Hunter S. Thompson, Machiavelli, Bansky, Barack, and my grandfather, Bud Popham who I never really got a chance to know.

Brian (BL): a Pharoah of Egypt (really any of them), El Greco, Edgar Allan Poe, James Gandolfini, and Omar Rodriguez Lopez.

Top 5 childhood movies.

BK: Willow, Princess Bride, Sleeping Beauty, Lion King, and Star Wars.

BL: Hook, Star Wars, Terminator 2 (maybe not a children's movie but my favorite as a child), A League of their Own, and Fievel Goes West.

Top 5 daily essentials.

BK: coffee, walk with Mooseboy, checking things off the list, food, and it feels a bit alcoholic to say this, but a shot of Jameson never hurts a day.

BL: phone, keys, wallet, driving my car, listening to music in my car.

And finally, top 5 musicians you'd pick for your dream concert. Dead or alive.

BK: Mos Def, Neil Young, John Lennon, Omar Rodriguez Lopez, and John Coltrane.

BL: I'm answering this more as a top musicians to make my super band.  Bill Withers or Maynard James Keenan on vocals, Paul McCartney on bass, Omar Rodriguez for song writing and guitar, Dave Grohl on Drums, and Lupe Fiasco backing everything up.

So Hold Up Art has its grand opening this Friday, March 12. How did you develop the initial idea of "This Hit's Official"? Think in terms of the artwork on the walls, the artists selected, the music, etc...

Well initially the event was going to be more of a house warming party, but as we got closer to the event and began planning all the details it evolved into an exhibition.  Mostly things fell into place naturally - we just added Codak to our roster of artists. He agreed to paint a mural on our store columns. And a close friend and up and coming DJ, Eron Surdam agreed to provide music.

What does hold up art hope to do for Little Tokyo? How about for Los Angeles?

We want to make the artists we work with household names.  We want to get people to formulate opinions about artists, and pick styles and subject matter that appeals to them.  We want art in LA to be at the same level as movies and music.  We hope to increase the relevancy of art in the everyday life of a Los Angeleno.


After our initial meeting with Brian and Ben, we described them as refreshing. It's as if we met new friends. But more importantly, we referred to Hold Up Art as that because we finally had a spot in LA that was unpretentious, a spot the truly catered to a new generation, a spot that didn't forget about the little people. We can't wait to see what the gallery becomes; it's only a matter of time. For now, please visit the space and please be there for their grand opening on Friday, March 12, 2010. Believe me, you won't regret it.

Hold Up Art is located on 358 East Second Street in Little Tokyo, Los Angeles.

by triciaCA

How would you compare the music scene in LA vs. SF?

Hmmm. My heart (in terms of music) will always be in The Bay. That is where I fell in love with Hip Hop and where the folks I grew up with in Hip Hop still live. So, this response will be very biased. I feel that independent music in general, particularly independent Hip Hop, is better received in The Bay than in Los Angeles. I don't know why this is the case - maybe the hippie communal temperament still bleeds in our generation of Bay Area hip hoppers. You know, supporting a community or a movement over making stars or icons of a few. I feel like if you make quality music in The Bay you will be heard, appreciated, and followed. If you make quality music in LA you might be overlooked. LA is the mecca of entertainment and the population is ridiculous. So you not only have a larger sample size of people who might make Hip Hop music, you also have a higher concentration of people who are really trying to make it as musicians. So, when comparing things like the ease of finding venues or the likelihood of getting your CD on the end cap at a record store, you have a much better chance to succeed as an independent musician in The Bay Area. But, at the same time, if you DO make it in LA, I believe that the likelihood of getting national and international recognition is probably greater than in any other city in the US.

With that said, do you believe there is a place for independent artists in LA considering the amount of talent in the city?

There is always a place for independent artists and independent art in general. Wherever you are. Independent art is art that isn't dictated by an entity disconnected from the artist's community. One good thing about LA is that the communities here are big enough to support their artists, or at least make their artists feel appreciated enough to keep creating.

So how does Beatrock Music compare to other music labels?

I'm still figuring this one out. All I know is that I want Beatrock Music to be a platform from which community-oriented, socially-aware, and forward-thinking artists can have their voices heard. I want it to be a label that is guided by the artists and the community the artists speak to. I want the label to put out music that influences, motivates, and moves people to take action against the ills of society. (That sounds so cheesy!) But it's true though - this isn't a label that was created to make music for music's sake alone. At the same time, however, I want the label to push creativity and help nurture artists' growth.

Are you going to stay within the Hip Hop genre or branch out to other types of music?

I've been a Hip Hop knucklehead all my life. I think the only reason I'm able to make beats is because I know how Hip Hop should sound. I don't know how to play any instruments. I just basically take other types of music and make it sound like Hip Hop. So, even if I tried to make music of other genres, it'd probably just end up sounding like Hip Hop. I'd love the label to branch out, though.

Who are your musical influences?

I listen to certain producers for inspiration. Nowadays it's Exile, DJ Khalil, and Jake One mainly. In the past it's been all types of producers: Pete Rock, DJ Premier, Alchemist, Dilla, Da Beatminerz, No I.D., J-Swift, Kanye, Madlib, Just Blaze, Eclipse 427, JT The Bigga Figga, Khayree, Organized Noize, 9th Wonder, Prince Paul, Large Professor, Rza.... the list goes on and on. The producers on ...Paper Cuts... and ...Exact Change... have all hella influenced and inspired me. I got to work a lot with Mister REY on the new Power Struggle record. He hella inspired me. Gammaray has been an influence and inspiration from day one.

Is there anyone in particular that you'd like to work with?

I've been blessed to be able to work with some of my favorite emcees/Hip Hop heroes already: T-Know of the CounterParts, Bambu (I remember being jealous of DJ Phatrick [Bambu's DJ] for being an East Asian DJ down with him. I recently told Phatrick that hella drunk one night. It was pretty embarassing.), and Geologic of the Blue Scholars (you can also add him to my list of who I'd like to work with; it would be an honor to have him to a Prometheus Brown project on Beatrock Music).

The one specific emcee I want to work with is BWAN. We actually plan to release his first full-length album on Beatrock Music. BWAN is a ridiculously talented rapper. I first heard him on an EP Mister Rey gave me back when Rey, Nomi, and I started to record Remittances. You can hear BWAN on "3 Basic Problems" (on Remittances). I think people are really going to fall in love with BWAN's delivery when they hear that song. Dude is vicious!

There are also quite a few producers I'd like to team up with. DJ Phatrick and I have been talking about doing a record together. I personally want to call it "The Phfats" but we haven't really talked about a name or even what the record will be like at all. 6Fingers just moved down to LA. I'd love to collaborate with that dude. I feel like just being in the same studio with him would probably make me a better producer.

What can we expect from you and the label in 2010?

Well, first was ...paper cuts... by Bambu, then we'll release Remittances by Power Struggle in the Spring, then we're releasing a free mixtape from Otayo Dubb called So Opinionated to get people ready for his solo album, which will hopefully be released in the Summer/Fall. We also have a Mass Movement mixtape in the making that will feature a whole bunch of talented local artists like Aidge 34 of the Aesthetics crew, Broken Halos, The Committee, Shining Sons, Digital Martyrs, Rhythm Natives (hopefully), and many others. There are a few more projects slated for 2010/early 2011, but I can't give it all away yet though! What I can tell you is that we have some really big things on the horizon.

What do you do outside of working on music?

I am a medical student at UCLA. I basically have to study all the time.

When Beatrock Music started, you were on your second leave from med school. You went back? Why?

Well, that was probably one of the toughest decisions I've ever had to make. Remember how I was talking about how I want Beatrock Music to be a label that pushes social awareness, action and change, etc? Well, my initial goal when I decided to pursue a career in medicine was somewhat along the same lines. My goal was to become a doctor in order to help serve the under-served. I wanted to open a free clinic in some city and serve folks who can't afford heathcare. To me, being a doctor is one of those professions that enables you to have a direct, hands-on impact on the community you serve. But, at the same time, I feel music and cultural activism can create an impact just as invaluable. So I feel both pathways will allow me to do the type of things I'd like to accomplish in life. So, why go back? Well, music will always be there, no doubt. Med school will not. If I didn't go back now, I would have missed this opportunity forever. Also, I feel like the groundwork has now been laid for Beatrock Music. I feel very comfortable taking a step back and having the artists take the lead. Like I said before, I want the label to be spearheaded by the artists and directed by the communities they are a part of. Also, if I ever do become a licensed physician it sure will be nice to have a disposable income to help fund some of these projects. In the meantime, please send investors our way! Haha.

Though the focus of our e-zine is surveying one's relationship with Los Angeles, I felt that I diverted from that with Fatgums. It's not because of his loyalty for his hometown, or his rationalization of independent music succeeding better there than here, but because I was so engaged in the thought of 'living what you love'. I got that from him. Through his answers, and through his analogy of medicine and music. I never thought those two could go together. But it has, and I'll be proud to say that it's all starting here in LA.

by triciaCA

Has LA been able to inspire you as much as NY has?

NOT AT ALL. That’s why my subject matter will always be NY. So much of what my own art is based off of are my own experiences growing up as a kid in NYC. Moving to LA as an adult I had a strong sense of perspective instilled from my NYC childhood, so I experiennced LA in terms of NY. NYC will always be more of an interesting city to me.

How are characters in Los Angeles different from those in NYC?

There are characters everywhere in the world, in NYC and in LA. The difference is that in NYC, because of how populated the city is, you have homeless people next to barbers, next to aristocrats. In LA you don't see classes mingling like that, so it's a world very stratified. It's a city full of characters but they are all spread out. Its harder to study someone from a car window than it is when sitting next to them on the subway.

You derive a lot of your roots from hip hop. I fell in love with music because of hip hop, but I can’t ever give it a solid definition. How would you define it?

Hip hop was a movement that really defined itself as we grew up through it. It is traditionally defined through the four pillars: break dancing, dj’ing, MC’ing, and graf writing. But these were all just four art forms we embraced as kids and used to get us through the days. We never called it hip hop, we just danced. This was a time before definitions. Real hip hop is a creative expression for the rhythm of the streets. That’s why its so compelling because it is so REAL. Hip hop is a reflection of history - about the social and political climate of this generation. Good or bad, real hip hop tells the truth.

With that, is hip hop dead?

Hip hop was less about the music than it was our culture. It was our youth growing up, and as any other movement like Rock and Roll, it fades and dies as the group that embraced it grows older. The popularization/exploitation of hip hop is really what produced the gangster rap that most people consider “hip hop” music. (Although groups like NWA and Ice T in my opinion were as real as it gets…) However, that era is dead. The hits on the radio today vaguely resemble the movement I grew up in. But that doesn’t mean there aren’t amazing artists today capable of producing hip hop. It’s just not the popular focus anymore. “Blame it on the Ahh ahhh ahh ahh ahh alcohol, blame it on the Ahh ahhh ahh ahh ahh alcohol!!!!”

Like you mentioned, hip hop was defined by images of breakers, graffiti artists, and the like. What images define hip hop today?

Obama. Though he isn’t necessarily a hip hop artist, his vision and idea of one-ness puts a nice little cap on the end of the hip hop era. I think a lot of people today define hip hop as a Kanye West or Akon type of music, mainly because they don’t have anything better to call it. They are just pop, and hip hop, was never about pop. Hip hop was visceral.

Several years ago, you did a sneaker collaboration with PF Flyers. Those flew off the shelves. Are you planning to do something like that again? Are there any collaborations coming up that we should look out for? (Justin Bua has worked with Lyricist Lounge, Slum Village, EA, etc)

I’m always open to doing collaborations with other companies and or groups. It’s a fun way to see your art and to grab new fans. Recently we just did a line of cell phone and iPod covers with Gelaskins. I thought those turned out pretty great. We’re also are releasing a skateboard line with Tribal of my "Trumpet Man" painting slapped across the deck of the board. Slickbottom BUA.

You recently did a painting of Laker, Kareem Abdul Jabbar. I have to ask - are the Lakers better than the Knicks? Explain.

C’mon. A) that’s a loaded question and B) Although I am a New Yorker at heart the Lakers have the best team in the NBA and the best player in the world—KOBE… The Lakers will win this year and that will answer this question. Now if the Knicks got Lebron then that might shift the paradigm…

Best LA gallery. Why?

Gallery 319 in Santa Monica because they have my art - that’s why.

Where in LA would you like to see your art?

I’d love to see my art hanging on the walls of the LACMA or Norton Simon, or any large institution for that matter. It has been a long goal of mine to be displayed in a museum setting. I consider my art for the people, by the people, and of the people. That’s why it’s important to be able to see my work in museums so that people have access to my work… The average person in the last few generations can’t relate to Monet or Titian because of the subject matter BUT people can relate to art that is about inner city life, DJs, Jazz musicians, people that this generation grew up around.

Your book, The Beat of Urban Art, is heavily focused on your growth in New York. Do you envision yourself releasing another book on LA experiences as an adult?

Maybe, much further down the line. My first book The Beat of Urban Art was a necessary step in getting people to understand where I was coming from, and what contributes to my style. Now that that step has been taken, I’m looking to really explore my style and techniques.

What are you currently working on?

I just finalized a new deal with Harper Collins to release a new illustrated book, much like my first The Beat of Urban Art. However, this one will be focusing on the legends of hip hop, and my personal heroes of the movement.

Can you tag up “Chicharon Adventures” for a t-shirt?

Ha ha talk to my people and if I say no then, “Blame it on the Ahh ahhh ahh ahh ahh alcohol, blame it on the Ahh ahhh ahh ahh ahh alcohol!!!!”

I'm definitely going to work on talking to Justin's people about that, because as much as this Q and A was an honor, the integration of his vision with this brand would be icing on the cake. Though I wish that Los Angeles could be more influential to him, I understand where he's coming from. You never forget where you came from. Kim and I adhere to that principle as much as Justin does.

I could've published this article with images of Justin's work, but instead I chose the raw photos of his studio. More than anything, his work gives off that raw and real feel. He represents everyday people, whether they are rich or poor, hero or underdog. As Angeleno as I am, I will concede and give New York it's props for shaping the mind of one of the most significant artists of my generation.

On June 20th, Justin will feature his work at the 4th Wall Gallery in Dallas, Texas. Both new and classic paintings will be on display. If you can make it there, you should. If not, visit Gallery 319 or start a petition to get his art on the walls of LACMA or Norton Simon.

by triciaCA

Now in their 11th year in the business, The Big Pill is challenged with producing their third studio album, while radiating the same cohesiveness despite two band members being miles away. But the odds are in their favor. They have hooked up with Chicharon Adventures for a merchandise run, creativity is alive with new tracks conceived every day, and with the exception of Joey K and Derryk, the guys reside in a city that complements their hybridity. Note: Derryk was not available for interview.

Why did founding members Joey K and Nick Lewis agree on a large band? Why not be conventional and go with a smaller number?

Nick Lewis (NL): We didnt start as a large band. The first incarnation of The Big Pill was only a four piece. I think the more we started to understand what our musical vision was, the more we grew. Also, many of us come from a jazz background so the horns came naturally to us. With a seven piece band you have the ability to play whatever you want.

Joey K (JK): It was just the way it was supposed to be. The sounds we had in our head were a combo of all our favorite bands.  Artists like: Earth Wind and Fire, James Brown, Blood, Sweat and Tears, Stevie Wonder, Chicago, Oingo Boingo, not to forget all the jazz greats.

Do you think you have a better place in the music industry as more and more genres begin to integrate? Or do you feel that your sound is still unique?

Chase Bland (CB): Yes and no. The integration of different styles definitely opens the door a little further for a band like ours. But I feel that we are still doing something completely different. The music industry still looks for that "cookie cutter" thing where they know for sure that they are going to make money, and I don’t blame them for that, as times are tough right now. For a band like ours to get launched into the mainstream would take a label to step out onto a ledge and try something completely different. Our uniqueness has been kind of a double edged sword as far getting signed because what we are doing is so different. It is a hard sell to labels because there is no proven market. They would have to change the way they do things to make it happen. The plus side to uniqueness is that we are doing something new and different; we can carve our own niche and personally, I love that about our band.

NL: I feel like the industry always repeats musical eras. Right now pop music has rediscovered the groovy part of the 70's. Next year it will be the 80's. Ever so often, an artist or band comes along and creates a new sound. I feel like we have created our own thing and have forged our own niche. It’s an uphill battle but I think in the end it is worth it. I feel like now is a good time to make a new album. The industry might be open to a band that plays funk with a singing drummer. We will see.

Chankla Funk (CF): I don't think there is a place in the "Industry" for us yet. The "Industry" isn't ready for a band like us. We're a musicians’ band; we get off on musicianship. The "Industry” doesn't care about that. They want something they can put on a lunch box. I really don't think there are any bands out there trying to be innovative with their sound. It's either written for them or it's a carbon copy of something somebody else has done before them. I don't think there is anything that even comes close to our sound.

What about Los Angeles inspires your music?

Jake Wilson (JW): The funky grind of the freeway.

C-Money (CM): All the bullshit. It's fun to write and make fun of the lifestyle people live in LA. We also all grew up here so we are naturally inspired by our surroundings.

JK: The true diversity of the city.

NL: Los Angeles is so diverse in the arts. Because of The Big Pill's large size, we are able to mix all of the diverse sounds of LA into one sound. We are a sonic image of LA. Diverse.

CB: A lot about LA inspires the music - where we live, the people that live here, and the things that we do. LA is such a diverse place, we have it all here.

CF: Everything from the skyline to the freeways.

You have a song that tribute a Los Angeles swap meet. How did that song come to fruition?

CM: Chankla had the idea. We all shopped, and still do shop at the indo so it was only natural to write a song about it.

CF: I actually take responsibility for that one. It started as a joke. I am - to put it gently - fat. I have a hard time finding comfortable undershirts to wear. So I've been going to the "Indo" for years. C-Money was living just down the street from the one I would frequent. One day after a trip I stopped by C's and started singing the hook "Down at the Indo!" The rest is history.

Why was the song "Floss Angeles" written? Do you believe it has an important message for Angelenos?

NL: Most of our songs have some sort of comedic value to them. "Floss Angeles" is about people who are faking the funk. It seems that LA has a higher per capita of flossers than most states. It’s just a commentary on all the people who are not comfortable being themselves and not living within their means.

CM: I think "Floss" is one of our best tunes from the old days. Living in LA we are surrounded by the behaviors described in the song. It gets annoying, so why not write a song about it? I do think it's a message. Or even a lesson like you don't want to be that guy that drives a benzo on 22's but still lives with his mom.

CB: I think it has a great message for Angelenos and for society as a whole. Be true to yourself and don’t let what society and the media dictate the way you live your life. By writing a song like this, it brings up the question of why we do things that we do.

Why have you decided to collaborate with CA? Do you feel that street culture influences lyrics or even the band’s identity?

CF: C-money and I met you at a gig we were playing in Hollywood. We went home and looked at the site and saw that there was some really good representation happening with your designs. Then through our conversation we felt like the company was also sending a good message. It has been a great working and personal relationship ever since that moment. I feel like street culture is our biggest influence, at least in terms of lyrics. It's a very big part of who we are as a band.

CM: Street culture definitely influences us. I personally listen to a lot of "urban" music.  We are collaborating with CA because we are down for their cause. And they make some dope gear.

How has the band evolved between 1998 and 2009?

JW: That question needs a book and a movie.

CF: We have all grown up so much both personally and musically. The two have to go hand and hand right? So many life experiences. If you think about it we were all in our early 20's when this band started. Some of us even younger perhaps. That's fucking wild.

NL: The band has evolved tremendously. A lot of life has happened in the last eleven years. Personal tragedies, drug addiction, breakups, and some really good times that make for better song writing. I was 18 when Joey and I conceived The Big Pill. I’m going to be 30 in April....Shit. Our point of view is different.

CB: A lot...I don’t think there is time for this one...the main thing is that we all have come together and have taken ownership of the goal of the band.

What can we expect from your next album?

JK: I just want to make art and make no apologies.

NL: I imagine the new album to have more focused song lyrics than in the past. The core of The Big Pill is to make people happy and release them from their day to day lives for a couple of hours. Like I said previously, a lot of things have happened in the last five years that have dictated our lives as a band and individually. These experiences may bring about some heavier song content. We will still have a good time though.

Are there any differences or similarities between playing at House of Blues (LA), Old Towne Pub (LA), and The Warped Tour (Various cities)? What is your favorite environment?

CF: We play just as hard in front of 2 people as we do in front of 2,000. All that's different is the stage size. You may be a little more charged up at the HOB or Warped Tour, but as soon as you hit it that goes away. At least for me it does. You still have to remember to play your instrument. My favorite kinds of shows are the small joints. When it gets hot and sweaty from people dancing all night and people are pushed up on you like you're their prom date. Good times.

JK: They are all great in their own way.  HOB makes you feel like a rock star, OTP is my second home (I’ve been playing there since was 17 years old), WT...Let’s say it’s like boot camp for musicians. It’s sweaty, dirty, grimy, with really long days; it makes you feel like a survivor.

CB: They are all awesome for their own reason. My favorite stage is the HOB but I love the intimacy of the OTB; the crowd is right there in the mix. The WT was a lot fun because we were on the road together. We were in an environment where we proved that our sound could work. One of the things I still remember was this punk rock guy in plaid shorts, black suspenders, docs, and a big mohawk who was watching us. He’d be the last person I would ever think would listen to The Big Pill. He walks by and I look at him and he is bobbing his along with our music. It tripped me out!!!

Joey K - what do you miss most about Los Angeles?

JK: Friends and THE FOOD.

Last year I visited Manila. I noticed that their nightlife hardly revolves around clubs, but rather around local talent. Do you think that Los Angeles could be more sympathetic to the local band scene? Or do you think that it does a solid job at spreading the word? Why?

JK: Sad to say, but LA is about who you know and the latest trend.  Period. I don’t think LA will ever look past the end of their blackberries.

JW: Right now, LA is all about the clubs. We have to bring the live music back.

CF: I love Los Angeles. But it IS still Los Angeles where people want a certain look or vibe. It doesn't always have to do with being good at your craft. I said in an earlier question that industry people want to able to sell your image on the side of a lunch box. That is MOST true in L.A. Sometimes you have break people down and convince them that you are worth their time, get them excited. Then maybe they will bring a friend out to the next gig. That's what we aim to do every time we hit the stage.

NL: I think that LA could do a lot more for the local scene. We live in the entertainment capital of the world. Everything is about money and fame. We have people that are famous because their mom or dad is famous. Who gives a fuck? I think as soon as we start focusing on music and not marketing ploys, we will be better off. The Music industry is full of entertainers and not musicians. It should be the other way around.

CM: I think the LA scene is whack. Too many pay-to-plays, too many bands with no talent but lots of their parents’ money to spend. That makes it hard to break into the LA scene.

For the guys, LA is truly the city you love to hate. It can offer a world of possibility—from the freeways to the food, from its people to its establishments—but it can also offer unsympathetic ears. At the end of the day, however, Los Angeles is influential. Through its diversity, bands are formed and songs are written. And through its neglect for independent talent, musicians and writers are constantly hustling.

The Big Pill just completed two shows at The Old Towne Pub to crowds that were numbered by the hundreds. They kept their same fanbase and gained new ones. I'm telling you, this band is the best band you’re not listening to. Get at me for their CD. You won't regret it.

by triciaCA

“It’s always been my passion to write,” says Chicharon Adventures co-owner Tricia Jamanila. “That’s why the dot com is a blog in addition to being an online shop. Only now I want to focus and write about specific things other than random experiences. LA is an amazing melting pot of music, art, and other cultures; I can’t help but gravitate towards this thriving scene.”

The magazine exists separately from the daily blog. While the blog features more of the CA lifestyle, the magazine takes people from various industries and surveys their relationship with the city. Readers will understand LA through Q&As with artists, musicians, photographers, poets, dancers, brand owners, and designers - those who live in and impact the LA community.

“The Chicharon Adventures brand has made it possible to network with diverse talent,” explains Jamanila. “And there’s just so much to talk about and share with my readers. Old and new bands pushing the boundaries of music, spoken word poets whose views are wrought into stanzas, small business owners who pursue their ambitions because of an undying belief in their passions. 

“It often feels like cultural roulette,” she continues. “I track down awesome talent, whip out a pen, and boom – I have a story. With all these interesting people I meet and the things they do, it was inevitable that we start an online mag.”

 Expected interviews include The Big Pill, RIF.LA, Eden Espinosa, Justin Bua, Bambu, Rhythm Natives, Ela Barton, and Manila Ryce.