Showing posts with label kiwi. Show all posts
Showing posts with label kiwi. Show all posts

Wednesday, December 14, 2011

Bay2LA Beatrock Music Dec. 17th



An evening of music and art; with live performances from the Beatrock Music family and a photo portrait series of Beatrock Music artists by Leo Docuyanan

Saturday, December 17, 2011

@ 2150 Folsom Street, San Francisco, CA 94110

ages 18 and up. Please bring photo id.
$12 door
8pm-12am
*cash-only bar*

PERFORMING LIVE:

Prometheus Brown & Bambu are The Bar
Otayo Dubb
Rocky Rivera
Power Struggle
Kiwi
Bwan
DJ Phatrick on the turntables

Visit:
http://beatrockmusic.com
http://www.leodocuyanan.com/
Video by Tony Rain (http://www.strivefilms.com)

Wednesday, August 31, 2011

DJ E-Man honored at 20th Anniversary of FPAC

DJ E-Man of Power 106 talks about being honored at the 20th Anniversary of the Festival of Philippine Arts and Culture



Long Beach, CA native DJ E-Man will be honored with the FilAm ARTS Media Award at the 20th Anniversary of the Festival of Philippine Arts and Culture (FPAC) on Sunday, September 11.  The weekend-long festival will begin on Saturday, September 10thDJ E-Man, a veteran in the hip hop game who developed his skills in the Southern California party promotion scene and eventually rose-up as one of those Fil Am luminaries in the top-ranks of the media industry, will share the award stage with multi-award winning singer and actress Lea Solanga

We are proud of E-Man as he receives this prestigious award and reflect on the impact he has made for many Fil Ams and beyond!  Learn more about E-Man at BakitWhy.

In other FPAC news, Bambu and Kiwi reunite (again) this year as Native Guns on Sunday of the festival.  Also, Joe Bataan will be returning to the festival on Saturday! Yes, its time to boogaloo to the King of Latin Soul in Point Fermin Park! Great programming work by the good folks at FilAm ARTS!
   


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Monday, April 11, 2011

Activist Spotlight: Learn your lessons from Nate Nevado

Visionary educator and organizer Nate Nevado chimes in on hip hop pedagogy

Hip hop over homework? How about both? Reflecting on the success of another great Rock the School Bells conference, visionary RTSB organizer Nate Nevado breaks down how hip hop can work as an educational resource. In Mr. Nevado's world, the choice between hip hop and academics is not one of contradiction as naysayers in the hip hop over homework debate would have it. RTSB provides evidence of Filipino Americans are merging their passions of hip hop, social justice, and education, thus transforming a "hip hop as pathology" to one of "hip hop as pedagogy."

After all, why deny Fil Am youth the language that they speak? Why not talk with them instead of down to them? We talk with Nate to figure it out.

Why do you feel the need for an event such as RTSB at this moment in time?


We feel that RTSB is crucial in today's education for several reasons:

1) Because of the many misconceptions that are associated with hip-hop, we felt the need to educate and empower our youth and communities what hip-hop is all about. Hip-hop has grown into a global phenomenon where it is recognized universally around the world. We felt it was important to teach the youth and community about the history and origins of hip-hop. In any culture, misconceptions and stereotypes exists through the passage of experiences, opinions, and biases of other people. In order to alleviate these misconceptions, one must learn about the culture - language, customs, etc. We treat hip-hop the same way. It is a culture so instead of having to defend hip-hop, we challenge others to learn about the culture of hip-hop; to be educated and empowered by those who practice and experienced hip-hop firsthand.


Nate Nevado being interviewed by Pacific Rim Video in anticipation of RTSB 4.


2) To illustrate that hip-hop can be used as a tool to teach life skills, such as reading and writing, to think critically about issues that impact their communities, and to be health conscious. Hip-hop should be a part of the educational curriculum across all campuses from middle schools to universities. We've got today's youth attention locked into hip-hop. Since we've got them listening, why not use hip-hop to empower and educate?

3) Having this event allows us to continue to preserve the culture and history of hip-hop. Hip-hop was created for communities who were experiencing poor social and economic conditions in their communities. It gave them a voice. Because we live in a society where we receive information at such a rapid rate due to the usage of digital technology, we sometimes forget to educate ourselves about the history and culture of hip-hop. For example, we have seen significant increase of dance crews within the last 5-7 years even though dance crews have been existing longer than that. With Youtube and other websites, the youth want to be the next JabbaWockeez or the next Super Cr3w, that they focus primarily focus on dance moves rather than why the dance moves even exist in the first place. Because of the advent of digital technology, sometimes the history gets lost. RTSB provides the linkage between the youth and hip-hop practitioners to maintain and preserve the integrity of the hip-hop culture.


How do you make hip hop a medium for education and social justice?

As mentioned before, hip-hop is a global phenomenon, a recognizable universal language that many people around the world can relate to. In the same way we have poetry classes or literature classes or sociology classes, students engage in discussions that provoke critical thought in the books that they read and the lectures/presentations that they have listened to. Hip-hop, being that it is universally recognized, can be used to analyze the current issues in education and social justice.

One of the workshops that we have constantly is the Hip-Hop and Social Justice workshop. Our first year, DJ Sake-One was our facilitator followed by Kiwi/Nomi/Pele of FCC/ALAY for RTSB2. Gabe Delrokz Delacruz has been our facilitator for the past two events. The workshop is designed to discuss many issues that occur in our communities such as immigrant rights, human right violations, teen pregnancy, drugs, etc. Students, then, will write verses on any topic that they feel connected to. After which, they perform in a bigger group. The exchange of thoughts and experiences between youth and students is always amazing to watch. They are able to walk out of that workshop educated and empowered to become solution-seekers.


What makes Skyline College, host to RTSB, such a unique campus?


Skyline College is recognized as the most diverse community college in California in that Filipinos represents ~25% of the total student population, followed by Caucasians at ~20%, Asians at ~20%, and Latino/as at ~20%. The rest of the campus is divided among many other ethnicities. As a result, we have several learning communities which include the Kababayan Program, Puente Program, ASTEP (African-American Success through Empowerment and Persistence), Hermanos and Hermanas Program, TRIO, and many others. Each learning community is designed to provide students with a specific cultural theme that is integrated in their core courses such as English, Math, Sociology, etc. In these communities, students learn about different cultures, leadership skills, mentoring opportunities, and career exploration.

In conceiving of the event, how did you connect with people in order to plan and prepare RTSB?

We've been connected to many hip-hop circles as well as educational circles and where both circles converge, we were able to identify those who would be down to present and/or plan for RTSB. It's no coincidence that we are seeing more and more of these types of events being produced because when many educators alike were growing in our generation, hip-hop was considered at its purest. Because of this shared love and passion for hip-hop, to maintain the history and richness of the culture of hip-hop, we have many people interested in being a part of RTSB. Through RTSB, we have been able to meet fellow educators who would then recommend other educators and hip-hop practitioners to present and/or plan RTSB.

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Friday, February 25, 2011

The world watched, then forgot: Reflections on People Power

This week marked the anniversary of the 1986 People Power Revolution in the Philippines. The mass demonstrations, which included people from all strata of society (the middle class was central) and the Catholic institution, flooded EDSA Blvd. in Metro Manila and eventually forced out the dictator Ferdinand Marcos. Marcos, who declared Martial Law (which meant suspension of the democratic process) in 1973 was supported by the United States militarily and financially.

People Power provided a model of peaceful protest for other nations (especially in Eastern Europe) to follow. Today, in North Africa and the Middle East, it seems that People Power has not translated as the appropriate analog. Why?

The question as to why People Power has not popped up on the lips of CNN, MSNBC, Huffpost, etc. pundits is a mystery considering that its parallels to current unrest are obvious: dictator (U.S.-supported in the case of Egypt, Western-supported in the casse of Libya), cross-class peaceful urban protest, and demands for a democratic process.

Enter Al Jazeera.

Al Jazeera seems to be the only news network that has taken time to analyze the People Power model's relevancy to the mass uprisings in North Africa and the Middle East.



Instead of dwelling on the shaky comparisons of today's revolts to the Tiananmen Square massacre (this was a loss for the protestors) and the Iranian Revolution (this was largely religious-based) so favored by the major U.S. news outlets, the clip above directly engages the Philippines to the what is occurring today.

As you've seen in the video, one interviewee gets the urgency spot on:

"What these people in Tunisia and Egypt have to watch out for, the same thing that happened to us. If they don't write it into their textbooks and educate the next generation of children that what happened was a bleak and black people in their history then they will see Mubarak's descendants and Ben Ali's descendants come back in ten or twenty years."

Clearly, the revolution in the Philippines was a limited one
. It was actually more a reform than a complete overthrow of the system (i.e. it had a middle-class dominated agenda). Many things still need to be done, as you know. After the celebrations (Tunisia and Egypt especially, we have yet to see what will happen in Libya, Bahrain, etc.), the sobering reality of neoliberal trappings in the post-revolution era will have to be examined by the opposition.

(Valerie Francisco provides a rich narrative of the People Power moment, the lack of people's governance, and the infrastructural/developmental urban facade in post-Marcos Philippines).



Kiwi has it right in "Imagine." Let us imagine how a peaceful and just world can be. Then, let us act:

"Imagine if we got people to start thinkin.
Got people to stop talkin
And start doin
And come together to start
This next movement.
Imagine.

What if we stood up and fought for peace?
Took the cities and blocked the streets?
With a voice that would rock the beast?
Imagine what this world would be like."

The Philippines teaches us that the revolution is never complete: the "revolution" is an ongoing process. In Tunisia and Egypt, the people imagined what their world could be like. Then they took the cities and blocked the streets. Now, it is up to them to make sure the revolution does not end.

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Wednesday, November 18, 2009

Legend lives on (in San Francisco)!

Just informing yall that my short doc Legend will be screening at the 16th Annual Filipino American Cinefest in San Francisco this Friday. It will be showing alongside the films of fellow comrades Eric Tandoc and Florante Ibanez. If ya in the errrya, reprezentzzz.

FACINE16: The 16th Annual Filipino American Cinefest

The FACINE festival is the longest-running festival of its kind in North America that features films by and/or about Filipino/a and Filipino/a Americans. Now on its 16th year, the festival runs for two days, November 20-21, 2009 at the San Francisco Main Library.

PROGRAM 1
Friday, November 20, 2009
1-2pm

Our stories from the ‘hood

Legend (Mark Villegas, dir & prod; 5 min, 2009)- Legend highlights the DJ career of Isaiah Dacio (aka DJ Icy Ice). Navigating through cultural history of Filipino youth in Los Angeles during the 1980s and 90s, Ice narrates the vibrancy of Filipino talent in the mobile DJ scene. Starting as a young DJ in Carson, reaching fame as a member of the DJ crew the World Famous Beat Junkies, and succeeding as the owner of his DJ business Stacks Records, Ice tells the story of his immersion in a rich Filipino youth expression that continues its legacy.

Got Book? Auntie Helen’s Gift of Books (Florante Pete Ibanez, dir; UCLA Department of World Arts & Culture/Center for EthnoCommunications, prod; 8:45 min, 2005) - short documentary on Helen Brown, the founder of Pilipino American Reading Room & Library.

Sounds of a New Hope (Eric Tandoc, dir; Mass Movement & Sine Patriotiko, prods; 41 min, 2009) - Tandoc follows Filipino American rap artist, Kiwi, through his work with youth both in the US and the Philippines where he uses music to raise political consciousness.

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Coincidentally, I'll be showing Legend in the Fil Am Experience class at UC Irvine on Thursday, November 19. Icy Ice will speak as an honored guest. He will talk about his experience as a Filipino in the hip hop industry. Thanks to him for blessing us.

Also, tonight I'll be screening my earlier doc Hip Hop Mestizaje in Florante Ibanez's Fil Am Experience class at Loyola Marymount University, near LAX.

This condensed Fil Am hip hop-edness week is purely coincidental. But glad its happening. Bring it.

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Thursday, September 24, 2009

Hip Hop Mestizaje in San Francisco! Yee!

Hip Hop Mestizaje will be showing in San Francisco on Sunday, October 4th, along with other great films. Thanks Kularts!! I'll try to make it to the Q&A, but no promises...


PeliKULa! Pin@y Film Series
First Sundays of the Month

Dim the lights, silence your cell phones, butter your popcorn, sit back and relax as Kularts presents its first Pin@y Film series featuring works by today's leaders in cutting-edge Pin@y cinema.

5pm, Sun OCT 4

Art for Social Change (Documentaries) Admission: $7
Tickets: www.brownpapertickets.com/event/79743

Featuring:

Hip Hip Mestizaje: Racialization,
Resonance, and Filipino American
Knowledge of Self

Director: Mark Villegas
Why Filipinos, why hip hop? A coast-to-coast exploration of Filipinos immersion into the hip hop movement, highlighting the cultural and racial impact of colonization on Filipino artists.

Sounds of a New Hope
Director: Eric Tandoc
Co-presented by ALAY
Growing up around LAs neighborhood gangs in the 90s, a young Filipino-American named Kiwi (Jack DeJesus) became an MC and community organizer, using hip-hop to raise consciousness
for genuine democracy. Through sharing life experiences, beats, and rhymes, youth from San Mateo to Metro Manila make connections across oceans that inspire the next generation to continue the ongoing struggle for freedom.

Showman Shaman
Director: Egay Navarro
Free-thinking independent artists catapulted Baguio into a vital art center of the Philippines in the late 80s such as Roberto Villanueva's art installation of his own cremation - outdoors, in the middle of Baguio City, mourners circled his funeral pyre, chanting and dancing to the beat of gangsa gongs.

Huna Huna
Director: Wilfred Galila
A haunting art film calling for environmental awareness and action in response to the largest oil spill in Philippine history.


Q&A Panel: Eric Tandoc, Suzanne Llamado (Baguio Arts Guild), and Wilfred Galila

...Stay Tuned for The Dark Side: Pin@y Horror and More! (NOV 1)

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Tuesday, September 8, 2009

Hip Hop at 18th Annual FPAC + Francis M. Tribute

Geologic of the Blue Scholars headlining on the Main Stage @ 2pm on Saturday


It's that time of year again! The 18th Annual Festival of Philippine Arts and Culture (FPAC) is happening this weekend, September 12-13, in San Pedro, CA. And yes, amigos, there will be lotsa hip hop.

Below, check out details on the Francis M. Tribute, crews in street dance showcase, a list of hip hop performers, and a description of the FPAC Tinikling Battle:



Francis M. Tribute
18th Annual Festival of Philippine Arts and Culture
Sunday, Sept. 13, 1:00pm on Main Stage
Featuring performances by: MastaPlann and The Kasamas


Earlier this year we lost an icon in Philippine popular culture. Francis Magalona, also known as Francis M. “The Master Rapper” or the “King of Philippine Rap” left this world as the most prolific hip hop artist in the Philippines. Although iconic, Francis Magalona was still very human. On March 6, 2009, he passed away at age 44 after a seven-month bout with leukemia. At the 18th Annual Festival of Philippine Arts and Culture, MastaPlann (photo at left) and The Kasamas will honor “The Master Rapper” by performing a few of his songs and by paying tribute to a true Philippine hero. MastaPlann is a legendary hip hop group that excelled in the ranks of Philippine hip hop in 1991 and continue to perform today. They were not only friends with Francis M., but also collaborated with him musically. The Kasamas are a hip hop group from San Francisco who carry on Francis M.’s tradition of Tagalog rap and honor the late rapper with his music.

Francis M. will be remembered for his lasting impact on hip hop in the Philippines. His first album Yo! (1990) proved hip hop’s promising potential in the Philippines. Throughout his career, his lyrics embraced Philippine nationalism and addressed urgent issues relevant to Filipino people, such as government corruption, drug abuse, and Filipino colonial mentality.

Francis M. stood at the pinnacle of a handful of Philippine hip hop artists who have come to the forefront of Philippine popular consciousness. He was an exceptional talent, making Tagalog rap acceptable when many rappers struggled due rap’s negative stigma.

Francis M. has been a role model for Philippine hip hop artists. He legitimized Pinoy rap for many rising artists in the hip hop game. In addition to his Philippine-based inspiration, he was influential among Filipino American hip hop performers who turned to Magalona for artistic guidance.

Not only was Francis M. a luminous rapper, his creativity also stretched to Pinoy rock (blending rap and rock with his group Hardware Syndrome), photography, and film. Also, many will remember him as a co-host for the popular variety show Eat Bulaga! In addition, many young Filipinos know Francis M. as a fashion designer for his stylish clothing brand 3 Stars & a Sun.

Come join us at FPAC on Sunday as we honor Francis M. and celebrate his legacy through his music!


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Street dance showcase
Saturday, Sept. 12 @ 3:00pm
Main Stage

Featuring:

PAC Modern + Sheroes + Kaba Modern + Supreme Soul

Yes, this is a perfect space to celebrate the success Filipinos have been having in street dance fame. It's like an ABDC reunion! Tell ya gramama to wipe her drool...panis laway.

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Clockwise: Power Struggle, The Counterparts, All In Motion, and FlowEthics

List of FPAC Hip Hop Performers throughout weekend
(may be incomplete, please let me know if I left you off)

Saturday

Rhythm Natives (2:00 Main Stage)
Geologic (2:00 Main)
The Counterparts (1:00 Gen Stage)
Power Struggle (1:00 Gen)
FlowEthics (2:00 Gen)
Street dance showcase (3:00 Main)
Kasamas (3:00 Gen)
Ethnic Descent (3:00 Gen)

Sunday

Francis M. Tribute feat. MastaPlann and The Kasamas (1:00 Main)
Deep Foundation (1:00 Main)
Kiwi (2:00 Main)
Heart Beat Dance Crew (12:00 Gen)
All In Motion Dance Crew (12:00 Gen)
N2RK8 (1:00 Gen)
Hydroponikz (1:00 Gen)
Carson Street Dance (4:00 Gen)


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FPAC 2nd Annual Tinikling Battle

Sunday, Sept. 13 @ 12:00pm

Main Stage


Tinikling dancers at Jacksonville's Filipino Pride Day. Photo credits: Jeff Enriquez


The FPAC Tinikling Battle is back for a second year! Last year, to the grumbling of some unhappy audience members, only one college tinikling troupe (UC Riverside Katipunan) was able to perform. This year, we have more! This is gonna be carazay!


Come cheer on Cal State University Northridge FASA, Cal State University Fullerton PASA Kaibigan, Cal Poly Pomona Barkada, and the defending champions UC Riverside Katipunan as they battle it out and see who will rock the sticks for 2009!


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Thursday, March 19, 2009

Epic from East to West: Deep Foundation lays it down


This is an epic and visionary video for our Filipino brothas in hip hop. The homey CJ the DJ from Deep Foundation got me hip to the original "Children of the Sun" song during the summer. Shit was coo. But this remix video below is pure fire. Has a classic Wu Tang, tag-team emcee feel (and is a strong 7.5 half minutes long!). Finally, the East Coast (Deep Foundation hails from NY) and the West (Kiwi, Nomi, etc.) connect. And they even take it to the Philippines... Yankees fitted, Mike Dream murals, puffy jackets, Beatrock tees, fighting cocks, tricycles...the beautiful regional images abound. From coast to coast, shore to shore, can't wait to see what else these folks got in store.

With our powers combined...




Read more about it:
The Deconstruction of Kiwi Illafonte: "Video: Children of the Sun Remix" (with Kiwi's lyrics)

Bambu's Rants: "...all good.." (with shocking news!)

Friday, March 6, 2009

Rest in Power Francis M.



I have to admit I don't know much about hip hop in the Philippines. I seem to focus exclusively on hip hop and Filipinos in the States. And, much like Kiwi suggests in his blog below, as a U.S. Filipino I have misconceptions about the "quality" of hip hop in the Philippines. I have much to learn and appreciate about hip hop there, and Francis M. looks like the dude I should (all Fil Ams should) get to know.

So it is very sad that he passed away today after a battle with Leukemia. I know its some dumb cliche shit to appreciate a rapper more when he's gone, but I think Francis M. is the one rapper in the Philippines to study hard, especially because his career has lasted so long, for more than two decades.

Many people in the States might not know, but there is a vibrant hip hop culture in the Philippines. The folks at SoulSonic can testify to that. So check em out and show love.

For now, here are some articles, including Kiwi's, to give you a little more background on Francis M.--his rich contributions to hip hop, to the people of the Philippines, and to life.

Francis M. and Kiwi in the Philippines, 2007

"...After that night, I remember going back and borrowing (okay, stealing) all of my homie’s Francis M songs. It took me a minute to figure out the tagalog, but I understood. These songs were about the people. The kababayan. Our struggle. And not just on one or two songs neither. And the youth I work with, who grew up to your music, when they speak of you with reverence and respect, I understand why. I would probably speak of Chuck D or KRS ONE in the same way. I would probably speak of some of our local elder activists in the same way..." CONTINUE READING

From SoulSonic:

"Francis Magalona passed away today at around 12 noon after battling Leukemia for almost 7 months. The whole hip-hop community is now mourning for the death of an icon. Condolence to his family and loved ones - SoulSonic" CONTINUE READING



From Allhiphop.com:

"Francis M, a trailblazer of music and fashion in the Philippines, has passed away after an arduous struggle with leukemia. Known in his native homeland by the title of Master Rapper, Francis M (Francis Magalona) inspired strong patriotism among his country’s youth throughout a celebrated career spanning Hip-Hop, movies, fashion, and photography." CONTINUE READING


*New from Prometheus Brown (with music):

"Rest in Power, Francis M (1964-2009). A lo-fi tribute to The Man From Manila, the King of Filipino Rap. Ang lahat ng aking musika, dahil sa likhang impluensya ka. Isulong mo, isulong ko!" CONTINUE READING

*New new from Doorknockers:

"...Crowned as the godfather of Filipino hip hop, Francis M doesn't just get props cause he was the first to push hip hip into the mainstream. He gets props cause unlike everybody else he was on some truly 'for us, by us' shit." CONTINUE READING

Saturday, February 21, 2009

Filipino vets bill passed: Now or Never?

"You would think he'd get love when he got to the States
Realized that all the promises they offered were fake

Denied benefits for Filipino veterans

Thousand miles away from home

Experiencing hell again."

-Kiwi, "Home"


"He left in late September

Said he'll be back in July
Now the child is askin,
'Mommy, why did Daddy have to die?'
She said, 'he fought for freedom'
But she knows its just a lie
Cuz her father was a veteran with benefits denied."
-Blue Scholars, "Back Home"

Lou Dobbs: "It's quite a shame that it's taken so long for our country to meet this obligation."

References:
BakitWhy: "Pilipino Veterans Benefits Passes with Criticism"
VB2DC: "U.S. Congress Passes Filipino WWII Veterans Legislation"
FOBBDEEP: "Justice for Fil-Am Veteranos?"
LA Times: "Filipino Veterans to get long-overdue payment under stimulus bill"
Lou Dobbs: "Stimulus for Filipino veterans?" (video)
*New: Kuwento Kuwento: "The Filipino Veteran's Lonely Struggle"
*New New! BakitWhy: "JFAV and SAVE Respond to Veteran's Benefits"

We've heard Filipino emcees, poets, and visual artists using this issue as a staple when commenting on Filipino political issues. Perhaps many of us became "politicized" for the first time because of this very heated issue. But now that the bill addressing Filipino WWII Veterans service has passed (with the Stimulus Package last week), what's next? This all seems kind of anti-climactic, right?

Anyways, I'm sure many of you have been following the debate on the newly passed Filipino WWII Veterans bill that addresses the 1946 Recession Act that stripped the veteran status of Filipinos who fought alongside the U.S. as commissioned by the U.S. government. Filipinos were uniquely targeted in the Recession Act, as other countries also fought during the war alongside the U.S. but were still given U.S. veteran status and all its benefits. This occurrence is informed by the fact that the Philippines at the time just after the war was still under formal U.S. colonial rule.

Anyways, there is lively debate on whether the Stimulus Package passed by Congress and signed by President Obama sufficiently redresses the injustice done by the 1946 Recession Act. In an LA Times article, the provision in the Stimulus Package regarding the Filipino veterans is as follows:

"The bill authorizes a $198-million payout. Each Filipino veteran who became a U.S. citizen is eligible for $15,000; each noncitizen, $9,000."

BakitWhy.com has some good analysis, especially in the "comments" section of the entry.

And VB2DC gives some very astute points regarding the debate. Here is a little snippet:

"Dissidents of the bill argue the following:
  • While the stimulus legislation recognizes FilVets for their service, some feel that it is not enough to rectify the 1946 Rescission Act which originally stripped them of veterans status, and that the lump sum payment is merely “crumbs” considering it only equals a little over a year’s worth of pension...
...Proponents of the measure express:
  • Timeliness of providing assistance to the veteranos as they are in their 80s & 90s. ...[A]t the congressional hearing in 2007, approximately 10-12 veteranos were in attendance. However, at the September 2008 markup hearing for the lump-sum bill, only 2 veteranos attended, sadly one of whom passed in December."
So these are the essential questions:

Is the recently passed Filipino Veterans legislation enough to redress the injustice inflicted by the 1946 Recession Act? And, if not, will there ever be a more sufficient bill that will pass?

Regardless if this bill fully recognizes and redresses the 1946 Recession Act, the Recession Act itself and the subsequent political movement of Filipino Veterans, community organizations, academics, students, and political groups stands as a testament and provides a teaching moment about the complex and dynamic nature of not only Filipino political issues, but the broader U.S. legislative process.

Where there is injustice, there is always resistance. So expect this topic--regardless of the new legislation--to still be expressed in the milieu of Filipino resistance art. In "Back Home," Geo may say, "I don't wanna keep singin this song," but it looks like artists will still keep singin this song, now with bittersweet tones.

Thursday, February 12, 2009

ARTIST SPOTLIGHT: It's Butta, baby

KJ Butta flexin at Yuko Entertainment, home of the Cerritos Allstars Live Mix Show

Been lookin for good music? DJ KJ Butta always delivers the hot mixes. He is on steady rotation on my shuffle. Download his joints here.

As a native of Cerritos, CA (and now a transplant in NY), Butta was a major player in the Fil Am mobile DJ/turntablism scene in the 90s. His DJ crew Grand Groove was a dominant force in the area. He eventually united rival DJ crews to create the now internationally famous Cerritos All Stars. His 90s hip hop background is evident in his mixes. I think his music sensibilities stays true to a "boom-bap" 90s hip hop aesthetic, but he also interweaves it with a neo-soul theme. He plays John Legend, Platinum Pied Pipers, and Erykah Badu alongside Lootpack, Dialated Peoples, and Dilla. Honestly, half the artists he lays down on these mixes I have no clue who they are. That's why I'm spotlighting him because I think he has an ear for quality joints.

Pulling from the Cerritos All Stars website, here is a little snippet of his role in the creation of CAS, which produces probably the best, longest running online hip hop mix show:

"By the time the mid to early 90s materialized, the Cerritos D.J. scene was dominated by three groups: Audio FX, Grand Groove, Icon Events. The competition between the three groups was intense, and claimed more than a few lives. The future of Hip Hop looked grim, until D.J. Butta of Grand Groove decided to put an end to the silliness, and unite the three powerhouses. The troika put away their differences and united, behind the Funky President, becoming the Cerritos All Stars."

Butta was also the Director of Sales for the popular Mixwell fashion clothing and helped it become an international brand. So the next time you're at a hip hop event and see a fool wearin a Mixwell shirt, yup, Butta is the marketing mind behind that fashion line.






Butta is also compelling because he seems to bridge the deep-rooted Filipino mobile DJ scene with the newer radical, protest soundscape of current hip hop created by Fil Ams. He became exposed to the latter after he linked up with members of the poetry group Balagtasan Collective, a Pinay/oy troupe in LA which many of today's Angeleno artists grew (Kiwi, Bambu, Kat Carrido, Alfie Numeric, Johneric) out of. He evokes a variety of genres in the Fil Am hip hop tradition. Cleverly (almost subversively), he inserts a lesson-giving Native Guns, Bambu, Kiwi, and/or Blue Scholars track into his mixes. Oftentimes, especially with Bambu, Butta drops an unheard of, non-album track that I guess is only available on his mixtapes. I love, love, love the Bambu/Lauren Santiago on Butta's "Transitions Mix."

Bambu and Butta at Pop Burger in Manhattan

DJ KJ Butta spins at Pop Burger in Manhattan. Me, Boogie Brown from the Get Down, and Kristia from Doorknockers stopped by to say hi to him over the summer. Hooked us up with some burgers and drank. Roll through and see him every Thursday and Saturday night.

Saturday, February 7, 2009

[Re]Presentation of the Filipin@ American



The KabaCon is coming! If you're near Orange County, CA on Saturday, February 28th then swing by the 10th Annual Kababayan Conference at UC Irvine. The venue is at the Student Center and registration begins at 9:00am. Pre-registration is $3, day-or registration is $5.

The conference is titled "The [Re]Presentation of the Filipino American." Kinda sounds intriguing, no?

The conference's featured presentations:

"Hip Hop: The Filipino American Impact on Hip Hop culture, and Hip Hop's Influence on Filipino American Culture" with Bambu & Krishtine De Leon (EyeASage)

"The Historical Experiences of Filipin@ Immigrants in the 1920s-1930s" with Linda Maram (professor at Long Beach State and author of Creating Masculinity in Los Angeles's Little Manila)

"Pinoy Pop: Aesthetics and Style in Contemporary Filipino Culture" with Christine Balance (musician, member of The Jack Lords, writer for OH! Industry webzine, and professor at UC Irvine)

"The Current and Historical Portrayal of Filipin@ Americans in American Media"
with Patricio Ginelsa & AJ Calomay (Xylophone Films & Kid Heroes Production)

"Filipino American and Chicano American Migrant Workers Experience"
with Gilbert Gonzales (professor at UC Irvine)

"PCN: The Filipino American Cultural Phenomena Its Origins, the Subculture Created, and How It Has Become an Outlet for Original Expression" with Xavier Hernandez (SF State Graduate Student)

(Those are some long ass titles)

Conference Performances:

Rhythm Natives

Kuttin Kandi

Son of Ran

The line-up looks nice. And the keynote speaker? It's none other than yo boy talking about some mess: "Yes! The Rhythm, The Rebel! Filipino Funky Hybridity and the Magic Trick of U.S. Empire" (and that's not a long ass title?)

And, later on the very same day, you need to check out my man Tad Nakamura's new film, "A Song for Ourselves" in Little Tokyo. Tad chronicles the art, activism, and passion of the late, great Chris Iijima, who sang the songs of revolution during the Asian American movement in the 1960s. I like how Tad ties in the art of the pioneers like Chris with the hip hop of Filipinos today. By the way, Bambu, Kiwi, and Blue Scholars will be performing after the screening (what!).

Friday, January 9, 2009

Beats, Rhymes, and Resistance: A decade later


Before I get to "Beats, Rhymes, and Resistance," I'd first like to address the relationships between culture and politics. In the shadow of a historical transition to power with Barack Obama's presidency (what could be going through Jesse Jackson's mind right now?), there lingers many violent and disturbing acts of injustices. From the killing of Oscar Grant and shooting of Robert Tolan to Israel's grossly disproportionate military aggresion toward Palestinian people (and here), these examples are just a few of the innumerable power struggles that poor, disenfranchised, hungry, and marginalized women, men, and children live through everyday.

Obama, Grant, and Tolan

We will not go through a laundry list of oppression here. But as hip hop "heads" we know well the role culture plays in spaces of oppression and inequality. Where there is injustice there seems to always be a cultural response/expression that challenges injustice: music, dance, storytelling, language, paintings, etc. Hip hop is one mode of expression here in the States and is arguably employed with more political intensity among heads in Cuba, Germany, the Philippines, Kenya, etc.

However, the homey M.dot argues in the "Model Minority" blog: "Hip Hop isn't political. A Hip Hop show isn't political. An album isn't political." Please read her entry.

How important does cultural production (art, language, music, poetry, theater, etc.) play in radical/progressive political mobilization?



It's been more than a decade since the making of the documentary film "Beats, Rhymes, and Resistance: Pilipinos and Hip Hop in Los Angeles," which features some influential Fil Am hip hop artists (in their "younger" years!) such as Kiwi, Babu, Faith Santilla, DJ Symphany, and Icy Ice, and many others. It highlights the "cultural liberation" (as Faith Santilla says in the film) that hip hop brings to Fil Ams...the radical expressions that hip hop cultivates. "Hip hop," as DJ Dwenz says in the film, "is the voice of inner city youth." In this sense, hip hop is seen as a motivating "force" in political struggle...hip hop is political.

"Beats, Rhymes, and Resistance" is probably the first work that seriously tackles the topic of Filipinos in hip hop.
Lakandiwa de Leon's "Filipinotown and the DJ Scene" (here) resonates with the film (as Lakan is a co-director) and goes into more depth with gang culture and colonization. For those who have watched "Hip Hop Mestizaje," you can see how much the film influences my own work. It has paved the way for many young folks who are seriously interrogating this subject.

But, how relevant is this film today?
Given the state of hip hop in 2009, is the film's focus on hip hop's political role still applicable?

Or is M.dot right, hip hop is really less political than people may think?

Peep the film here (thanks to Lakandiwa de Leon):


For Palestine, for the family of Oscar Grant, for all people looking for justice, in whatever mode we strive for a better society (whether it be hip hop culture or not), may we always move forward to love and justice.

Monday, December 29, 2008

Go Numb? Understanding Palestine, Israel, and Slingshots

It is the holiday season, and big baby Jesus is on our collective minds. What is also on our minds (and in the news) is the war currently happening in Israel and Gaza (Palestine). The peace associated with the season and the simultaneous violence happening in the birthplace of Jesus could not be more ironic.

I just downloaded a great album called "Free the P" by the LA-based hip hop group The Philistines (Palestinian and Filipino rap duo). You can download it for free here. The homey Cookie Jar, the Filipino emcee, is a down brutha who is also an extremely talented instrumentalist and singer. He volunteered for an interview a few years back (maybe I'll dig it up and post it). Cookie Jar and Ragtop connect the plight of folks in Palestine and the Philippines--which can basically be seen through the framework of European imperialism/land grab.

On the rills, the message of The Philistines could not be more appropriate right now. Their album came out in order to raise funds for a documentary on hip hop culture in Palestine. Did you know that there was hip hop in Palestine? Well, now you do. Where there is oppression, there is hip hop, I guess. Peep the trailer to "Slingshot Hip Hop" below:



Watching the news, it may be very hard to digest what is going on in Israel and Gaza, so much that we may feel numb to the story. Like you, I'm learning a lot myself. Let's try to break down the most fundamental aspects of the story by "placing into context" the violence occurring right now so that perhaps we can think more critically instead of "going numb" and detaching ourselves from this global crisis.

Context #1: Nation-building
It is important to understand that the nation of Israel is NOT an ancient country that has been existing for centuries. I mean, all nations are essentially "created" and "imagined," but what makes Israel so compelling here is that it is new, born in 1948 (here and here) after violent aggression by Israel nationalists against the existing people of Palestine (and British colonizers, which is another part of the bigger story of European imperialism). When Jewish settlers (anyone in the world claiming Jewish heritage can become a citizen of Israel) started to occupy Palestine, it resulted in at least three occurrences: 1) mass exodus of Palestinians, 2) the killing of Palestinians, 3) the segregation/apartheid of Palestinians into small portions of the newly created Israeli state.

The situation can be compared to the segregated American South after Reconstruction--the lawful separation of people, the state-sponsored terrorism (lynching) in order to keep people in their place, and programs of "attrition" inflicted on Blacks through the allocation of inferior resources.

Better yet, the genocide of Native people in the U.S. is a more cogent example: separation (Indian reservations), killing (Trail of Tears, etc.), and programs of "attrition" (reservations, alcohol, inferior schools, healthcare).

Context #2: Violence begets Violence
To be fair, it is up to you to research the issue and understand the other side of the story-- that of the Zionists. True, Jewish people have been persecuted throughout history, thus one of the main arguments for settling in Palestine is a space for Jewish freedom and fulfilling a narrative of "returning to Zion" as written in the Jewish holy book. So read up on that. But what can't be ignored is the wholesale, uneven violence against Palestinian people. Its truly David vs. Goliath--a nuclear-armed nation against slingshots and rockets (although in the hands of the elite few). Like Talib Kweli says, "Palestinians got rocks, Israelis got tanks." Israel's failed attempt to "tame" Lebanese Hezbollah in 2006 is an example of the extreme force Israel can wield. Today's war is seen as round 2. Remember, the war that Israel wages against Palestine is not only a war against Palestinian militants (who are not without blood on their hands), but also a war against women and children. This is the greatest tragedy...and Kiwi puts it best (in an early song on the "Stray Bullets" mixtape):

"I place my words on an altar and offer it to my ancestors
To all my family, every brother and sister
To every inch of the land, to every drop of the sea
To every ounce of oxygen that we breathe

Cause I feel the impact of them bombing the earth
Cause every bomb that they drop leaves a scar in the dirt
From the woman that it hit as she was walking to work
And a couple oil barrels was all it was worth..."

read more or Kiwi's ("For Palestine" post)

Context #3: Collective Punishment
I think one of the scariest part of the violence in Israel and Gaza is the "collateral damage" of war, in other words, the non-combatant residents such as the women and the children. Like any nation, Palestine is controlled politically by one elite party--Hamas. Hamas does not represent all Palestinians, but Israel's attack on Hamas has been deployed as an attack on the whole of Palestine. Jack Stephens (worth clicking to learn more) puts it best here:

"This line of attack is no different then the line of attack the apartheid South African government used against the ANC, no different than the southern states speaking of reacting against radical Blacks within the NAACP and the SCLC, and no different then dictator Marcos justifying his suspension of democracy and imposition of martial law because of the First Quarter Storm.
"

As mentioned above, the attack on Gaza by the Israeli army is likened to southern Whites punishing ALL southern Blacks because of the actions of the NAACP. How can an army collectively punish a people, when a small group is the one firing the rockets on Southern Israel? In this war, both sides are losing: the non-combatant residents in Gaza and in Israel. Not a safe place to be. No wonder there are so many Palestinian refugees. (But ironically, Jewish settlement still continues). To add to that, it can be argued that continued violence helps the power agenda of both leading groups in Palestine and Israel, meaning that violence might be welcomed in order to consolidate power/incite hatred on either side.

The next time you watch "You Don't Mess With the Zohan," understand that Zohan is not just some random soldier. His character comes out of a very specific moment in history: a super soldier built to fight Palestinian/Arab resistance against Zionist occupation. Zohan is the protector of an Israeli occupation. Israel, the "only Democracy in the Middle East" surely has a lot to protect...Can Democracy exist on the prerequisite of violence? Sure, ask the United States.

Read up! Understand the issues, make informed decisions, and get a sense of your position(s). Will the new U.S. administration hold the same politics as the old? Or will our policies on the Middle East remain the same? Will the policies intensify the situation?

At the risk of "going numb," we must always be aware of the world around us. Like The Philistines say in "Free the P":

"We race for truth
Now we spit it face to face
From Palestine, Syria, Philippines, to America
Culturally open minds
Keep the strength in character..."

-------

Note: I write this not to insult yall's knowledge, but to help others become familiar with the issue. I've been having too many conversations about it with my folks, that I'm saddened that not many people are informed about it.