Video Credits:
Camera – Aliver Cedillo, Rocky Ko
Additional Footage – Geoff Gonzalez (www.outofscratch.com)

]]> http://www.thebridgefiles.com/2012/04/11/the-platform-show-2012/feed/ 0 http://www.thebridgefiles.com/2012/04/11/honor-roll/ http://www.thebridgefiles.com/2012/04/11/honor-roll/#comments Wed, 11 Apr 2012 07:32:11 +0000 admin http://www.thebridgefiles.com/?p=378 By Rona Marie Cruz

When you are good to the game, the game is good to you.

Consider it a blessing, then, that Hip-Hop duo, Blue Scholars is a decade-deep in the industry. With successful albums, tours and live performances alongside Common, De La Soul and Kanye West under their belt, Prometheus Brown (aka Geologic) and Sabzi aren’t going anywhere soon. The Bridge builds with the twosome to find out how they paint a picture of longevity against the crash-and-burn template of the Hip-Hop canvas.

Back In The Day

Prometheus Brown and Sabzi met each other on campus at the University of Washington. Before the fame, Prometheus Brown worked at the Wing Luke Asian American Museum where he planned and directed exhibits and archived music history for the Asian American community. Sabzi, on the other hand, worked odd jobs such as construction, valet, telemarketing, and DJing.

10 Years Strong

It’s the year 2002. Filipino-American MC Prometheus Brown and Iranian-American DJ and Producer Sabzi form Blue Scholars. The fact that they are really good friends is central to hanging in for the long haul. Prometheus Brown says, “Working with each other has become a learning experience. Our differences never hindered, but instead strengthened our bond.” Sabzi adds, “We make art that is a reflection of a message or idea that we both believe in. Even if we came from different cultural backgrounds, we’re both Americans. We both grew up in a similar area in the US. We listened to the same music, we watched the same movies and shared common experiences.”

Unknockable Hustle

The grind extends past the Blue Scholars fold. Sabzi boasts of a body of work that is laced with production chores for other artists—he most recently blessed underground hip-hop group, Das Racist, with soundscape for two tracks: Who’s That? Brown! and All Tan Everything. His recently-released instrumental mixes on TOWNFOLK site  provide other avenues in showcasing his producing chops.

Prometheus Brown, on the other hand, has recently released an album with another US-based Fil- Am MC, Bambu, entitled “Walk in the Bar”. The album was a long time coming: the two only had the chance to build when they stayed in Hawaii for nine days. What was supposed to be a three-songs-and-done-type-of-deal spilled into a nine-joint-offering plus a bonus track. Another project, Brownouts Vol. 1  recently dropped, consisting of over 20 tracks featuring collaborations with various artists throughout the years.

Motion Picture Sh*t

“Cinemetropolis: A Visual Soundtrack,” Blue Scholars’ latest album, was released mid-2011. Prometheus Brown calls it an “album in reverse”. He explains, “Unlike a traditional movie soundtrack wherein the film gets made first and existing songs will be chosen to match the film, this album works in reverse. We want every song of this album to have a video.”

Why are all the titles of the songs names of people, then? Sabzi says, “The song title is used as a creative canvas. If ‘Cinemetropolis’ were a film, the titles of the songs would be like the cast or the residents of ‘Cinemetropolis.’”

“Cinemetropolis” is nowhere to be found save for a store in Seattle which received about 30 copies. The album can be alternatively downloaded through the Blue Scholars’ bandcamp page.

Scholars Coming To Your Area

For a musical act that traces many a connection to the country, Blue Scholars have yet to perform on Philippine soil. Schedules have been hectic, and while plans to go to the Philippines have been hatched, they just have not materialized thus far.  Bigger US tours are currently on their plate, but Prometheus Brown promises to make it to Manila sometime in the future, with or without Sabzi.

What is far workable and more immediately actionable is their quest to get love on Philippine radio– an idea not so far-fetched if it were up to Prometheus Brown and Sabzi.

Local radio program directors, your homework is thus: http://bluescholars.com.  Class dismissed!

Photo Credits:
1st Photo – Phil Chang
2nd Photo – Canh Solo

by Christel Boncan

While the Tanning Effect has permeated all across America, Steve Stoute’s theory has unknowingly made its way into the Filipino subconscious.

It shouldn’t come as a surprise when the speakers of the local neighborhood bar are blasting a throwback Hip Hop joint, nor should a group of teenagers who never grew up in the United States be judged when they throw up peace signs as they “bounce” and part ways.

This influential cultural shift, The Tanning Effect, is a burgeoning theory explored and further explained by Steve Stoute in his book, The Tanning of America: How Hip-Hop Created A Culture That Rewrote the Rules of the New Economy, that has not only permeated all across America, but has also seeped into the Filipino subconscious. According to Stoute, it is “a mental complexion of the next generation of consumers, the catalytic force of nature that went beyond musical boundaries and into the psyche of young America – blurring cultural and demographic lines so permanently that it laid the foundation for a transformation.”

Filipina supermodel and purveyor of Philippine verge culture, Sarah Meier-Albano dishes out her Take on Tanning here.

On the cusp of dropping their debut, the cats behind the gritty “Crtl+Alt+Del” video making its rounds online and on Urban Myx catch rec as possibly the torchbearers for underground Philippine Hip-Hop moving forward.

Does everyone in the crew rhyme?

Switch: Everyone went through the process of rhyming, but everyone found their own thing they love in with respect to the group. But, like, ask anyone of these (guys) to go on the mic, they’ll rip it. (they start spitting rhymes)

You guys are basically underground champs. How do you plan to get your product out to as many heads as possible?

Switch: Everything about Miscellaneous is pretty much organic. It came naturally, so I guess even the product is going to go out there naturally. We’re not going to pull off any special stunts to get it out there, you know.

Delphi: If they wanna dig, they can find it.

Do any of you have day jobs? How does this change the dynamic of the group, if at all? If this rap thing really blows up, do you see yourselves doing this fulltime (that is, quitting your day job)?

Switch: All our practices, all our jams, it’s just us hanging out. It’s just downtime.

D’Tech: After work, we look forward to practice. We get to drink, hang out, fool around.

Switch works in advertising as a writer; D’Technician helps manage a family business. He also has a studio called Jackhammer Studio; Delphi is a psuedo-professional wake boarder.  His work revolves around being around the water, selling wakeboards; DJ Umph is a cameraman and an editor. “I shoot people, and try to make them look pretty.” Tibbz is a freelance writer, opening up a restaurant in Boracay called Tito’s “it’s dope, it’s got aircon!”

D’Tech: The jobs don’t affect anything. When we get together, it’s music, (it’s) good times. As you can see from this interview, we just fool around, man.

Switch: This is how we are, even in practice. It’s more on the dirty side, but this is how we are everyday.

How did the gig in Singapore come about?

Delphi: (It was) definitely one of the dopest gigs we’ve ever done. It was our first international one. We

have to give a big shout out to Xarin Garuda. He caught us at one of the gigs here, The Malaysia vs. Philippines , Silat Fliptop gig. He saw us there, and right after, he came up to us and said, “I gotta get you guys to Singapore.” We exchanged emails, and we didn’t expect to hear from him, but two weeks later, he was like, “let’s set this up.”

Switch: It was the first time all of us got to travel together to do music, and to share it with the people there.

How does being a member of a hip-hop group in the Philippines differ from being one in the US?

DJ Umph: That’s a tough question. I don’t really know how it is out there. We just do our thing out here. I hope it’s the right thing. (laughs)

Switch: We run with our friends, our circles. Everything we do, we don’t take it too seriously, we’re just having fun. We’re not out there to make money.

DJ Umph: (It has) never been about fame, never been about anything, never been about an album. It has always been about friends.

Delphi: We were doing this before we were getting gigs.

6. What’s next for Misc?

Delphi: The album drops on June 15, it’s called Almost Done. The reason why it’s called Almost Done, is for all the 10 years people have been asking us for an album, and we just don’t have excuses anymore. So, when it is done, it’s a double meaning. Like, yeah sure, the albums almost done, but it’s a next step to what we’re going to do… which we have no idea what it’s going to be. Everything is a work in progress, basically. We go with the flow.

Next? We really can’t say. “Almost done,” to “not quite done,” “not quite just there yet,” and then “whatever comes,” to “this is it.” But we’ll be doing this till we die, for sure.

We just want to tell the people: I know it’s really important for any musical group to have a portfolio and album, and stuff like that, but we just want to encourage the people to come check out as many live gigs as you can. I get to travel to a lot of places, and there’s nothing like the Philippines. End of the day, I just wanna have a circus group go around, tour Southeast Asia, all over the world with these musical guys out here. Don’t be so obsessed with the album, guys and girls. The true test of any musical group is its live element. That’s how it will strike you the most. Nothing will hit you harder than watching somebody live, pouring his heart out in front of you.

Peep Miscellaneous at:

http://themightymiscellaneous.blogspot.com/
http://lockeddownentertainment.blogspot.com/
http://www.youtube.com/user/LockedDownPH

Video Credits:
Capture and Editing - Janb Dayrit

Photo Credits:
1st Photo – Isi Laureno
2nd Photo – CJ Jimenez
3rd Photo – Team Manila x Daily Grind

Video Credits:

Capture and Editing: Janb Dayrit

2012 Java Jazz Festival | “Where Jazz Finds A Home”
Jakarta, Indonesia
by Christel Boncan

I couldn’t help but wonder (and admittedly sulk) as to why I have to fly to another country just to attend a music festival this epic in magnitude, when artistry and musicality is in the lifeblood of our Filipino people. It was then that I realized that talent and ability finds a lifelong partner in vision and in people willing to support and provide a platform for those deserving of the stage and those deserving of a dang good show. So come on, anybody, everybody, let’s make this happen in the Philippines.

Main Entrance
Consider Fete dela Musique and Malasimbo both small steps, yet giant leaps.

 

Exhibitors Area
Mutualism: When music and corporate backing thrive on middle ground.

 

Indonesian Spectators
Jazz and music don’t choose age, race, gender and social status.

 

Erykah Badu
When an audience is ready, the artist shows up. Appreciation leads to demand.

 

Mayer Hawthorne & The County
Soul has no color.

 

Soil & Pimp Sessions
The unparalleled, ultra explosive jazz band from Japan that has yet to blow Filipino minds.

Stevie Wonder
It took ‘em 8 years to take it this far.

Fifteen years removed from the Brooklyn MC’s untimely passing, The Bridge picked the minds of some of Manila’s finest on their favorite line and why Biggie Smalls was—to them—still the illest:

JOLO aka J-Dot
“Lyrically, I’m supposed to represent”
(The) line speaks for itself. (It) keeps me on my toes whenever I write lyrics.

B-Roc (Turbulence Crew)
“Stay far from timid, only make moves if your heart’s in it, and live the phrase ‘Sky’s The Limit’”
He was a great MC, specially his storytelling skills – unheard of during that time. He writes stories more than structured songs. (He) made me look at talents I work with deeper and challenge them to commit to a storyline when making songs

Loonie
“You’re nobody till somebody kills you.”
I’m more of a ‘Pac fan than a Biggie fan, but I think Biggie is more intricate with his lyrics. And he has a real distinct voice too

Mike Swift
“Spread love, It’s the Brooklyn Way”
I grew up in New York City. I glorify my borough, Brooklyn, as Biggie did. I’m a super-duper hip-hop head, so naturally Biggie Smalls fell as a giant inspiration to my life. Just as the part I played in ‘Notorious’ the movie, I am one of his biggest fans.

J-Hoon Balbuena
“Birthdays was the worst days. Now we sip champagne when we thirst-ay “
He influenced me with his honest lyrics and storytelling. His flow is also not contested till today.

 
There’s something about the way Eric Lau carries himself. It’s aptly ironic, how his quiet confidence overlays the volume, depth and weight of his accomplishments. See, Eric Lau is a pretty big deal. This soft-spoken, gentle-mannered producer and DJ has earned the recognition of musical tastemaker, Gilles Peterson, when he nominated Lau’s debut album as one of his Worldwide Top Albums of the Year in 2008. Not only that, he’s worked with and supported some of the industry’s most influential such as Lupe Fiasco, Oddisee, Musinah, Rahzel, Erykah Badu, Robert Glasper and ?uestlove to name a few.

As he reaches down into his deep well of experience and insight, one will find that it is his humility, sincerity and genuineness that takes him far into the game and in life.

Tell us a little bit about yourself.
I’m a British-born Chinese man that makes music with love!

How did you find your beat – What’s your story?
Music found me! I liked listening to music when I was young but never thought I could ever make my own. I went to university to study a business degree in London and I went with a very open mind. My friend lent me some music software and I have never really looked back. I was self-taught in one sense as I just went in the deep end and made loads of mistakes. Thankfully I have met great friends from music along the way that have helped me in my development.

When are you most inspired to make music?
Inspiration comes at different times, music is my life so life inspires my music. Sometimes I hear ideas and sometimes I will have a sample to sculpt with.

You’ve released 3 albums so far. Briefly tell us about each one.
Well there’s only really one full-length LP so far; the others are more EP’s or instrumental projects.

New Territories: I just wanted to make a record with my friends that had songs that could be listened to all the way through. I feel that it represented a time where me and my friends from all different backgrounds came together to make this music; hence, the title. I like the innocence of the record and am glad people felt the energy we all put into it.

Makin’ Sound: Pretty much me making sounds!

Quadrivium:This was a realisation that my music contained a lot of geometry and patterns that I naturally gravitate to. A good friend of mine showed me a book called “Quadrivium,”  which is the study of number, geometry, music, and the cosmos. This instrumental release was a chance for me to express what I was learning without lyrics.

What are the basic elements in producing a track? What do you need to start?
Good ingredients. The better the sounds are when you start, the less work you need to do make it sound the way you want.

Is it about what you’re feeling or thinking?
Feel, there’s no thinking going on at all. I can’t remember how I make half of my music.

What makes you say, “Damn, that’s a good track!”?
I like it when all the instruments and sounds talk to each other in a way that makes you want to listen more to what their conversation is.

There are so many artists, MCs, performers but very few producers, at least in the Philippines. Why do you think this is so when the beat is as equally important as the lyrics? Is it the same in London?
I feel that music production in Asia is less popular because less people know that it can be done with a minimal setup. I feel that people in Asia may have the belief that you need to have a high-budget studio to make good music when this is not the case. Technology has allowed us to make great music with just a laptop. Music production is very popular in London as it already has an infrastructure that provides people with a chance to make music.

Are there a lot of opportunities (in London) for artists like yourself to keep doing what you do full-time?
I would say that hip-hop and soul music is not commercial in London. There isn’t much corporate support but the actual music lovers are very loyal. There are opportunities over here but I would say that it is quite saturated and the market is small.

What piece of advice can you give to the producers here in the Philippines? Especially after you’ve had the chance to work with some heavy hitters in the music industry?
Do you and love what you do. Share your music with the people. If the people feel it then the interest from other artists, labels, etc. will come to you.

What makes a good producer?
Someone who can make a vision become reality.

How do you differentiate yourself from all the other producers?
I just let the music come through me and surrender to it as much as possible. This naturally gives me my own particular sound and feel.

How do you keep learning and improving as an artist? Do you practice?
Every piece of music I make is practice and every time I learn something new. Once you allow yourself to surrender to the music, you will find yourself improving constantly.

What sample changed your life?
The intro on Fantastic Vol. 2 by Slum Village. It’s changed my life because I still haven’t met anyone that knows what the sample is! [Ed.note: It samples “God Made Me Funky” by The Headhunters]

Any chance of a foreign exchange between London and the Philippines?
I’m definitely open to that. I really felt the love in Manila. I would love to have any excuse to go back!

Photo Credits:

Eric Lau in Manila: Keanne Villar
Press Photos: Eric Lau