Four guys, one bottle:


Bee, Chev, RJ, and 'Jaime'

PreFUNK!




He's not a groomsman, he's a groom, MAN!


Chev and Bee checking fantasy scouting reports...



It's the new couple!!!


PostFUNK! (or PreFunk part 2, depending on how you look at it)

When I got laid off in April, I must admit there was a slight feeling of panic on my part. Just that sense of financial uncertainty, especially here in America where you pretty much have to fend for yourself, it was daunting to say the least. Of course I eventually got to a place where I felt somewhat at ease and trusted that the universe would have my back. Of course, that government check was a big help as well.

In this country, where being overworked and underpaid is the standard, I had no problem at all with getting that check. Not only did it help me pay bills, but the time off allowed me to recover, reflect, and refresh. If that meant being a lazy bum and sleeping on on a weekday, so be it. I have reached a point today where I am energized and ready to get back to work.

And so here I am, fresh off a job offer from an amazing community-based organization, San Francisco's SOMCAN (South of Market Community Action Network), trying to process my life to this point and to look forward as I re-enter the working world. As the Community Convener for the SoMa Youth Task Force, I will be working closely with leaders and staff from several dope organizations, helping plan events and coordinate campaigns to improve the lives of young folks in the neighborhood.

I'm nervous, too. It's an enormous task. The youth in SoMa have many needs. Violence, drugs, housing, and a sense of hope. Extremely complex issues made even more challenging because the community is being torn apart by gentrification and poverty. Where to begin...

Oh, did I mention I'm trying to go back to school? And there's the whole music thing too.

Well, here I go (deep breath).

I wonder if my mother thought it could ever happen. After all, the common notion (especially back then) was that the chances of a woman bearing children at the age of 39 were slim. But Nicolasa was determined, I know she was. It was that same determination that got her to America with borrowed money and a dream. It took her a few years of getting settled in Los Angeles to finally tell herself that it was time to start a family.

Of course, it takes more than one person to do this, and this is where Emerito came in. He was handsome, confident, and... undocumented. They dug each other enough where Nicolasa found herself pregnant, and they eventually took a trip to Vegas one day and got hitched. Fast forward a few months later, to the early morning hours when I was finally born, at the old Queen of Angels Hospital in Echo Park Los Angeles.

2008. Well, I guess a lot has happened since then. I grew up never even knowing Emerito. My mom went from single mother to married (my stepdad was an asshole) back to single mother again. I went from b-boy to baseball player to skater to graf writer to gang banger to high school dropout to DJ to emcee. From L.A to the Bay. Somewhere along that journey, Kiwi emerged. Studio sessions, stages rocked, and good times in between. And the story continues.

Another year. They say that birthdays are times of reflection. I say I've been reflecting my whole life, and this latest birthday simply marked another rebirth. There's all kinds of transition happening for me, from possibly moving back to L.A to most likely taking the plunge and going back to school. Getting laid off from my job was a blessing; it challenged me to not simply accept the confines of the non-profit cubicle anymore. To look even beyond my music. And finally it looks like I'm moving forward.

You know what's been a blessing? Biking. It's like life, a journey. From one point to another, sometimes smooth, some falls, some hills. Never ending. It's not just some new obsession, but a gift that has allowed me to be healthy physically and mentally.

I am especially thankful for my friends, family, and kasamas. From my old L.A homies to the folks in the Bay. From Seattle, NYC, Canada, and the Philippines. And I'll even admit it: ALL the folks on Facebook who wished me a Happy Birthday. I can't say enough about how your support has kept me moving forward. And kept me alive.

The future is uncertain. Who knows if I'll make another album. Or another one after that. The formalities of hustling music are so routine that It's almost void of spirit. Put out a single, make a video, photo shoot, hot shot producers, big name cameos, record reviews, etc. This is why I believe in a system other than capitalism. Where things like music aren't consumed, but shared. Where an artist like myself—who creates art for the people—doesn't have to deal with the anxiety of having to succeed moneywise because, I don't have to worry about being homeless or jobless or without health care or education. Where corporations don't control politics and monopolize resources. Where the desperation of poverty wouldn't exist, so that the need to do crime would be less, and maybe, most certainly, my little homie G-One would still be alive.

I shall look at my next year with gratitude, determination, hope, and integrity. I shall greet each day with affirmation, be impeccable with whatever comes out of my mouth, and act with purpose. I shall carry the spirits of Bill Sorro, Arnold Moreno, Russelo Dimapilis, George Hurtado, and my lola Maria DeJesus everywhere the wind takes me. I shall be well-intended with my deeds, and trust that the universe will have my back because of them. I shall treat the earth with care, honor the ancestors, and serve the people.

Forward.

hope y'all can come through!!!

The year was 1990. Multicolor rayon button-ups and jeans rolled up at the bottom. Unsnapped apple caps turned backwards. Cassette tapes! I had started 'going around' with my first girlfriend (or wait, was that '92?). The original 1580 KDAY was still around, and every chance I could get I'd record the "DJ Curtis Harmon Quickmix" or the "Mixmaster Show", taking mental notes on everything from mixing techiques (I wanted to be a DJ) to who they were playing. Coincidentally, one of the Mixmasters, DJ Ralph M (who also ended up forming Funkdoobiest), happened to be a classmate of mine. And me? Well, I was just a quiet little kid in the corner ear-hustling as he told tall tales of his hip hop escapades. He also spun at our Pep Rallies, which turned lunchtime into our version of a park jam. These were the days.

As far as music went, this was truly a special year. Looking back, I'm not even sure if there was any other year that quite matched the kinds of classic songs that came out in 1990. An for me personally, the types of songs that came out not only shaped my consciousness, but also kept me grounded in the reality that existed right in my own backyard, and provided my confused ass with plenty of joy, pain, enlightenment, and comedy.

Kiwi's 1990 Hip Hop Album Playlist (in no particular order):

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Brand Nubian - One for All
Ah yes. "Step to the rear, Grand Pu is on arrival / Raised in the ghetto singin' songs called survival / Runnin' round town givin' all the girls Puba snacks / I wouldn't try to scale my style, you just might catch a cardiac..." This album weaved between the worlds of 'scoopin up the honeys,' spitkickin, and black/african consciousness, and introduced many to five percenter lingo ("Peace to the Gods..."). Some of it made no sense to me at the time, but for some reason I was able to relate to it. And the beats were filthy!

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Paris - The Devil Made Me Do It
I got this record on wax, and I remember the inside sleeve, instead of the usual liner notes, had a list and description of historic black revolutionaries, and introduced me to the likes of Huey P. Newton, Malcolm X, Bobby Seale, Marcus Garvey, Assata Shakur, and so on. Paris himself sounded like a Black Panther reincarnation of Rakim: fierce, unapologetic, and powerful. And the production was probably years ahead of its time. I remember spinning at house parties and insisting on throwing on at least one Paris song during the night, just to throw people off a little. Content-wise, this album was huge in sparking my political awareness.

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Ice Cube - Amerikkka's Most Wanted
Though O'Shea definitely did his thang on those early NWA and Easy E albums, as Kat Willams would say... "This sh*t right heeerre, ni**a...!" From the album cover to the very first skit to the last song, "Amerikkka's Most" was just straight up dangerous. And the fact that he had The Bomb Squad (Public Enemy) on production made it even that much more crucial of an album. Post-NWA Cube made a statement by not even mentioning his old crew's name, but you definitely knew who he was talking about when he started of with, "I heard payback's a muthaf*ckin' ni**a / that's why I'm sick of gettin treated like a goddamn stepchild / Fuck a punk cause I ain't him / You get treated to the nine-double-mm..." The album definitely went in the tape player when we got ready to roll up on someone (or more like, after got rolled up on!). And Cube didn't stop there...

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Ice Cube - Kill At Will
If I remember correctly, this one came out around the same time "Boyz in the Hood" came out (which he starred in). Though this was more of an EP and felt a little incomplete, I would argue to say that "Jackin for Beats" was the first version of the mixtapes that artists put out now. And he also gave the first song to roll to the funeral with, "Dead Homiez." Now mind you, though he wasn't your prototypical 'mainstream' artist at the time, as far as entertainment, I think Cube probably set a precedent for rappers to follow for years to come.

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Eric B. and Rakim - Let the Rhythm Hit 'Em
Now I know alot of heads reference "Eric B for President" as the more memorable of Eric B & Rakim's classics, but "Let the Rhythm Hit Em" was actually the first of their projects I was introduced to. And frankly, the GOD Rakim goes off. "I'm the arsenal, I got artillery, lyrics of ammo / Rounds of rhythm / Then I'm 'a give 'em / piano..." Back then, I didn't even understand Rakim's relevance, all I knew was that this man could SPIT.

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Low Profile - We're in This Thing Together
Awww yeah. Man I miss this duo, W.C and DJ Alladin. He actually rhymed different then how he did with Westide Connection, not so much of the multi-syllabic stuff twangy stuff. Payin' Dues was my cut too, and is actually a value (in relation to hip hop) that I live by today. Oh yeah, and DJ Alladin was a BEAST on the turntables (I think he was a DMC champ back in the day).

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Public Enemy - Fear of a Black Planet
I think I jumped on the "It Takes a Nation of Millions to Hold Us Back" bandwagon a little too late, so my more vivid Public Enemy memories were from this album right here. Imagine all the dance crews at my school doing routines to "Welcome to the Terrordome" and "Can't Do Nothing for you Man." It was off the hook. This album, this group, was incredibly influential in the development of my social consciousness as well. PE was to me back then what Native Guns or Immortal Technique is to kids today. The craziest thing was when Public Enemy, S1W's and all, were on this late-night show hosted by Rick Dees. I thought the revolution was gonna happen the next day! Er, not quite.

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Above the Law - Livin' Like Hustlers
I don't know if I listened to ATL as much as others, BUT along with Ice Cube, Low Profile, and King Tee (didn't put out his best work, but had a couple cool songs), this was part of our L.A soundtrack. This sound just exemplified the atmosphere of the city back then. Sun up, top down, locs, lowriders...

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LL Cool J - Mama Said Knock You Out
Man, I think with everything that came out, folks were kind of over LL. After a couple flops, he was literally forgotten. With the rise of black consciousness, people were hating. But then.... "Don't call it a comeback, I've been here for years!" Uncle L literally exploded back on the scene. From trunk rattlers ("Boomin' System") to battle raps ("Mama Said Knock You Out") to songs about girls ("Around the Way Girl") to songs about the police ("Illegal Search") to what is still one of my favorite joints ever: "Milky Cereal." Who remembers "Milky Cereal????" This song was filthy. A well-executed concept song utilizing the names of our favorite morning treats. The timing and metaphors were priceless. Overall, I think this album saved LL's career. And made me a fan, despite what people think.

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X-Clan - To the East, Blackwards
Again, another incredibly influential album as far as my social consciousness. AND, the beats were BANGIN. Old P-funk samples, but more uptempo. And the imagery, the african garb, the walking sticks, the pink caddy, and of course, the "Red, the black, and the green! You sissseeeeeeeees!" (Rest in Peace Professor X!!!) I remember seeing the impact it had on all the Black kids at my school. I remember feeling a deep connection but not yet having that knowledge of my own people to be able to draw the parallels. I felt free, but not completely. But this album definitely helped me begin to get there.

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A Tribe Called Quest - People's Instinctive Travels and the Paths of Rhythm
Okay, this is why I LOVED this year. You had the gangsta shit, you had the conscious shit, then you had Tribe. I remember trying to transcribe the lyrics to "Can I Kick It," and having trouble cause there were some parts that didn't make sense. "Rock and Roll to the beat of the funk fuzz?" Did I get that right? "A light filled with (trumpet sound), that's what I love?" Umm, okay. I love it! It wasn't serious, but it was. It was fun and happy. This was hip hop's golden age.

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Well, there it is. AND, that wasn't all that came out. Stay tuned for tomorrow's list:

"1990 (Part 2 - R&B)"

You won't wanna miss that!!!!

Took a trip with Glenn down to Santa Cruz this weekend to catch the premieres of Eric and Tad's final projects for UCSC's Social Documentary Master's Program. I was was mad excited to see both of these films (in full-length) for the first time. The work of both these brothers (and some of the other students in the program, respectively) is founded on a perspective of community-based social change. They both had been doing it since their days in undergrad, but this new program at Santa Cruz gave them a special opportunity and challenge to step up their game and create something even more intensive.

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Tad Nakamura

I first met Tad when he was an undergrad student attending UCLA. What was more trivial was that, at the time, he was the roommate of one Roscoe Umali, who was also going to school there. I think I remember Tad doing videos and such but little did I know of the magnitude of his work. I think both his and Roscoe's individual efforts were overshadowed by the fact that they threw the LIVEST house parties on the westside back then. Dang, we were hella young!


Tad's Project, A Song for Ourselves, is a documentary on legendary musician, educator, and community organizer Chris Iijima. The film was incredibly moving and emotional, and captured the essence of a man who exemplified what it meant to be a cultural activist. I felt like there were many parallels of his experience that I could relate to myself, in terms of reclaiming our culture, finding identity and purpose through music, and standing by the idea of art for the people (as opposed to art for art's sake). For Chris, it was a choice between making music a profession (which he could have easily done), or using it instead as a tool to influence change, unfiltered and pure, not to be bought or marketed by some A&R or a record company CEO. But this film did more than just portray Chris the musician. It represented him as a whole: the organizer, teacher, husband, and father.

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Eric Tandoc

Eric was one of the kids from Long Beach that I'd see in the crowd during those early shows at SIPA back in the day. Those were some classic and historic events, where alot of today's L.A-based Fil-Am performers first got a space to express themselves. I can't imagine what it must have been like for younger folks who were coming through. As years passed, I remember coming to SoCal for shows and I'd see Eric (aka DJ ET) in a corner with a boombox slanging mix CD's. Little did I know that he was also paying his dues, not just as a dope DJ, but as a brilliant videographer as well. I'm glad to know he'll be doing his thing up here in the Bay now.


Eric's project, Sounds of the New Hope, originally started off as a film on the role of the youth in the National Democratic movement in the Philippines. As part of a separate project, I collaborated with him to do a little documentary on my trip back home last summer. What ended up happening was that, there was so much good footage from that trip that, Eric decided to just make his final project with me as the focal point, with the broader theme being the role of hip hop in Filipino youth organizing (both in the U.S and the P.I). And though I'm certainly no Chris Iijima, I though it was really dope to see this right after Tad's film, as almost a "fast-forward to today" version of cultural activism. It was also a way for me to reflect on my trip almost one year later, how it's impacted me, almost like a measuring stick for my progress since then. The results? Well, I need to get off my ass do more work! Thanks Eric!

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Overall, seeing both these films in particular gave me a sense of hope and purpose as we continue along with trying to make not just our own communities, but the world, a better place for all. As technology advances and becomes more and more accessible, it's good to know there are folks like these brothers that will be leading the way. I can't wait to see what Tad and Eric come up with next! Congrats fellas!!!!

Steven A. Smith vs Skip Bayless on ESPN First Take is excellent television. Go Steven A!!!

So I'm headed to NYC this weekend. Looking forward to seeing folks, taking the subway, maybe copping a new pair of kicks or something. But most of all, I'm looking forward to... FOOD!

I'm only going to be there for a like, 3.5 days, so I must plan accordingly. On my list of places to eat:


Casa Havana (Chelsea): Last time I went to New York, KJ took us to this joint, and it was so good that we came back the next day! The steak dishes were on point, but the sandwiches are supposed to be good too.


Red Bamboo (Brooklyn): Veggie Carribean/Soul food. Detox food doesn't have to be boring! The buffalo wings are on hit!


Luzzo's Restaurant (East Village): This must be what Italy feels like... coal oven Napoletana pizza to die for.


The Chip Shop (Brooklyn): British-style Fish & Chips.

But more importantly, DEEP-FRIED TWINKIES for dessert!!!

(They also have deep-fried mac & cheese, deep-fried pizza, and more goodies!)


Pop Burger (Chelsea): Gourmet White Castle. Plus, KJ spins there!!!

Am I missing any place? Holla!

(originally posted on Kiwi's Official Blog. Subscribe!)

(Originally published on Kiwi's Official Blog)

There's something to be said about music that can be played "unplugged." You know, that sh*t where you can just bust out a guitar, some congo drums, a hand trumpet, and a cowbell, and just jam. It's like having your very own party in a box!

Unfortunately, rap music just don't work that way. A dude with a boombox and no mic may be cute, but it just doesn't cut it. Actually, my dream is to one day roll around in a van or ice cream truck that can convert into a mini-stage complete with a DJ booth and boomin' sound system, where I can literally stop anywhere and do a live, fully amplified show! Imagine that! But I digress.

I can honestly say that, at nearly half the shows I do, the sound is suspect. Whether it's uneven monitoring, or the speakers are too small, or the soundperson just smoked a fat bowl before your set, bad sound at a rap show is a recipe for disaster. I mean, how many of y'all have gone to a show where you can hardly hear the vocals? Or the beat is so low that it almost sounds like an acapella? Or the sound altogether just drops out? Not only is this frustrating for the artist, but it ruins the experience for the audience. There were even a couple shows where the sound was so bad that I refused to perform. Now how does that look? I used to think that I could protect myself by bringing my own mics and accessories to shows. But even that isn't enough.

Being that I can't control what the setup is going to be like when I get there, I've had to find ways to assure that the sound will be satisfactory at these shows. The first place to start: the contract. Include a provision in there that states that you reserve the right to not perform (and still get paid) if the sound and tech requirements in your tech rider are not met. Which leads us to your tech rider: be detailed and specific. I don't even think my own rider is specific enough:

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KIWI TECH RIDER REQUIREMENTS

• Quality, professional audio system suitable for a live hip hop show and pre-recorded reinforcement

Note: Conference room or ballroom PA systems usually do NOT work. A separate sound system with a power amplifier and multi-channel mixer, along with the right-sized loudspeakers are ideal. Kiwi reserves the right to NOT perform if the sound system isn’t appropriate

• An elevated stage large enough for 2 persons + the DJ setup


• Inputs for CD or iPod playback (as backup)


• 2 Shure SM 58 mics, or equivalent (if it says "radio shack," it's not the right mic)


• 1 boom mic stand for the DJ

DJ setup:

• 2 turntables (Technics 1200’s preferred; PDX 2000 Vestax; or NuMark TTX.)


• DJ Mixer (Rane TTM series, Vestax 07 Pro or equivalent)


• Any necessary cables (RCA, 1/4”, XLR. etc.)


• Serato box interface (not required, but preferred)


• A sturdy table 4-6 feet in length


• An iron (for the DJ's wrinkled clothes)

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Anyways, you get the idea. The rider further goes on to include the actual stage (elevated, big enough for 2-3 people), security, a merch table, etc.

Now... my plea to event organizers, promoters, etc: Please, PLEASE take a little time to make sure the sound is gonna be on point for your events. Not only will it be a big help to performers like myself, BUT it will also make the event crackin and hopefully keep folks coming back for more!!!!

Livejournal has been great. Can you believe how much we've learned about each other's lives from a simple little blog post? Random people coming up to me like, "Hey, how was your trip to Hawaii?" or, "Sorry to hear about your unemployment situation bro..." For quiet-types like myself, it allows folks to get a glimpse of my world in a way that suits my personality. And it also challenged me to actually share more of myself both in print and in person. And the community we've built on this thing? I think that's had the most value to me. It's like APIA Spoken Word Summit all year long!

I think Jojo was the first to introduce me to LJ. My first entry went something like:

whuttup folks

so, i'm an LJ user, finally. now all my buddies from sea-town, chi-town, and tim starfish can holla!!! isn't the internet great?

in a minute.

I'm gonna miss all the threaded comments I got on LJ: the colonization of hip hop - 12/3/03

Or if I'll feel the same kind of love from my own personal reflections: art for art's sake - 10/15/04

MAN... just looking at my old posts got me hella thinking back to all the shit I been through these last 5 years!!! Whew!

Anyways, the reason for this post is that I got a NEW BLOG!!! I'ma still post on LJ, but this will be more of a public blog:

http://kiwizzo.wordpress.com/

Enjoy!!!