notoscum.org

 Z: Can you tell me something about Exegesis production? Like when did the production start, how did you start?

Jobs: Exegesis prod? Hmm.. nagstart siya around 3 years ago. Tagal na. bale nagstart siya kasi nakaexperience yung first band ko ng ticketselling sa isang production. Sa Ardz Bar yun. sa katipunan, 20 tickets yung pinabenta sa amin, so kami, syempre mga baguhan, pinatulan namin. ang nangyari, hindi dumating guests namin. Abunado kami 2000 pesos. Tapos ang free beer namin 5 lang. Sobrang talo. So naisip namin gumawa ng sarili naming production na magcacater sa mga baguhang bands. Ticketselling siya pero we call it dati na ticketselling na makatarungan kasi yung ibang productions dati 20 tickets mga pinapabenta, kami 5 lang, dati yun.

Z: Do you still remember the name of that production? Do you think they're still around?

Jobs: Yup. Rock genre production yun. I think tumigil na ata sila, or nagiba lang name. Grabe talaga yun kasi super bulok nung gamit tpos last band pa kami. Nakatugtog kmi mga 2am na.

Z: What kind of music does your production cater?

Jobs: Open genre siya. Pero we see to it na malinis yung tugtugan kaya we usually ask for a demo. O kaya we invite bands na nakasabay namin sa ibang gigs.

Z: "Spotlight the underground movement" that is quite a catchy phrase, do you mind if you explain the meaning behind this? And oh, I got that from your sites.

Jobs: Yah, spotlight the underground movement? Basically kasi yung underground bands, kahit gaano sila kagaling, hindi sila nabibigyan ng venue para tumugtog. Ang narerecognize lang, yung mga nasa mainstream. And, aim talaga namin na ishowcase yung talents ng underground bands. Kung icheck mo lineup namin, walang sikat na bands, kasi mga mainstream bands, madami na silang exposure, so bakit ko pa sila bibigyan ng gigs. Priority talaga yung indie at underground bands.

Z: Oh I see, so you mean you plan to bring the bands from the underground scene onto the spotlight?

Jobs: Yup.

Z: Is that the main reason why you are producing shows?

Jobs: Yup, medyo. Pero may isa pa kasi talagang reason.

Z: And that is?

Jobs: to educate.

Z: Can you expound on that please?

Jobs: Sure. As we all know, sobrang daming bands ang nagsusulputan ngayon. Ang hindi alam ng mga bands, malaki ang papel nila para sa pagmumulat ng kamalayan ng mga tao regarding sa situation natin ngayon dito sa Pilipinas. Alam naman natin yung mga nangyayari, patuloy na tayong niloloko ng mga manloloko sa gobyerno, patuloy na ninanakaw yung pondo natin pero hanggang ngayon wala pa ring nangyayari sa mga kumag na yun. We encourage the bands to create original songs, pero hindi yung typical na love songs, pero songs na nagmumulat, nageencourage na kumilos at lumaban para sa karapatan. Basically ganun. Syempre isa na rin dito yung pagsugpo sa mga ticketselling prods, kasi naeexploit yung talents ng mga musicians. Ang nangyayari din, dahil sa ticketselling prods, nakakatugtog yung mga bands na hindi pa ready tumugtog, ang nangyayari, bumababa yung quality ng music natin dito.

Z: But as to what you mentioned earlier, you had bands remit as well right?

Jobs: Well, remit? dati. Dati kasi pre ticketselling kami. We give out the tickets to the bands 3 weeks before the gig, and ireremit nila kung ilan yung nabenta nila. pero it doesnt mean na aabunuhan ng bands yung tickets paghindi naubos. At definitely makakatugtog pa rin sila kahit hindi naubos yung tickets. Kaso eventually, nung nagsulputan yung mga bagong prods, naiba yung ibig sabihin ng ticketselling. ang nangyari, naging synonimous na siya sa pay to play. That means, walang remit, walang tugtog. As I’ve said, dati yun. Iniba namin kasi ayaw namin maassociate sa pay to play productions eh.

Z: Can you tell us something about this picture

What do you mean about, “1. If the band intends to back out, please do it 2 weeks before. Or else, if the tickets are with the band already, the band is required to pay half of the required remittance, or the band will be banned from the production” how many tickets do you normally give the bands to sell just to play?

Jobs: Sure. Puwede ba ko mag explain? Nakuha nyo yun sa myspace tama ba?

Z: Yes.

Jobs: if you check our myspace, tagal na namin hindi naoopen yun. Hehe

Ticketselling, as I’ve said, literally, is ibibigay namin yung tickets sa bands before the gig. We usually give around 10 tickets. Quota namin ata dati is 5 tickets. Pero to clear things out, yung quota ay hindi kelangan abonohan nung bands. Kung hindi maubos, isauli yung tickets para maibenta sa gate. Ang nangyayari kasi, since nagsulputan na rin yung mga pay to play prods during that time, iniisip nung ibang bands na kelangan nilang abunuhan.

Z: But I have to quote you on this one "pero it doesnt mean na aabunuhan ng bands yung tickets paghindi naubos. At definitely makakatugtog pa rin sila kahit hindi naubos yung tickets". Its quite contradicting.

Jobs: Basically, ang point lang nito ay isauli yung tickets. Kasi may experience kami na nadistribute na yung tickets, pero nagbackout yung bands. Ang nangyari, naibenta na nung band yung tickets, so nagpuntahan yung guests nila. Nakapasok sa gig, at naclaim yung free beer na kasama sa tickets. In the end, chineck namin yung ticket number, yun yung tickets na nabigay dun sa band na yun. So ang nangyari abonado kami.

Z: But the way the rule was constructed, it's quite negative for the band, don’t you agree?

Jobs: Yup. Medyo utak kapitalista pa kasi kami noon and honest mistake talaga yun.

Z: Haven't you just simply told them that if the tickets were sold, they have to simply give the payment back to you in case they back out? That is in case they did sell the tickets. Or at least check on the ticket number and make it null?

Jobs: Yup. Pero As I have said, matagal na iyon.

Z: Exegesis was running for 3 years, within that 3 years, how long have you been having bands remit?

Jobs: Hmmm... Mas matagal kaming nagstay as a ticketselling prod, pero mas madami kaming events na hindi ticketselling. Maybe around 60 percent nung 3 years, nasa linya kami ng ticketselling, pero since ticketselling nga kami dati, mas mahaba preparation namin dahil sa predistribution ng tickets and posters. So ang nangyayari, within 2 months, 1 gig lang naproproduce namin. On the other hand, the remaining 40 percent nung 3 years, basically, non-ticket selling na yun. And since madali iorganize yung ganun, plus syempre may contacts na kami, mas madali yung pagorganize, so ang nangyayari, nakaka 3 gigs kami in a month.

Z: When did you stop ticket selling?

Jobs: When? Last year pa. Around February yata or March of last year. Basta nung nilaunch namin yung spotlight the underground movement.

Z: So that is February and March 2008?

Jobs: Yup, I believe. Honestly, hindi ko talaga maalala.

Z: Last login of your myspace account was December 18, 2008. Can you explain to me why it was never updated from March to December?

Jobs: I think during that time, nagstop yung prod. As in totally stop. Walang events, walang activities. Nag alisan yung mga members ng prod dahil ayaw nga nila baguhin yung system, so eventually, ang natira lang ay ako, girlfriend ko, at at yung bago kong band. So yung person in charge sa myspace account ay wala na rin. Honestly, ako, hindi ako knowledgaeble kung paano yung pagaayos ng myspace kaya nga tinigil na namin yung myspace account.

Z: Haven't you tried contacting the old member to at least help you out in closing or editing the account so it wouldn't ruin your productions reputation?

Jobs: Yup, tinry ko. Nakalimutan na dw niya yung password. By the way, yung isa sa mga members namin nagtayo ng sariling prod, yung ember productions ticketselling yun.

Z: Nakalimutan Password? What a lame excuse. Madali lang naman mag retrieve.

Jobs: exegesis.production@gmail ata yun, gamit namin ngayon ay exegesis_production@yahoo.com.ph.

Z: How do you do it, you mean, no more ticket selling right?

Jobs: No more ticket selling.

Z: You just have them play? no remit, no ticketselling?

Jobs: Yup, but we have rules. Reward basis siya. Ganito, we usually ask the bands na maghatak ng guests. If they reach more than 5 guests, entitled sila sa 20 percent gateshare. So let’s say naka 5 guests sila, tickets namin at the gate is usually at 150, so 150 x 0.2, is 30php per guest mapupunta sa kanila. That means, pag 5 guests’ nadala nila, may 150pesos na sila, at least may pangtaxi sila pauwi. Pero if hindi umabot ng 5 guests, walang problema. Kung baga parang bonus lang yun sa effort nila.

Z: This next question is not intended to break your balls or anything but when you were still practicing ticket pre-sell, do you ever feel guilty for the bands after the show? Yes or no. Explain.

Jobs: Actually, yeah. Why? kasi banda din ako, I know how they feel. Pero isa kasi talagang naging eye opener sa akin ay yung naging kasali ako sa isang cultural organization. Yung karatula, (kabataang artista para sa tunay na kalayaan), kasi doon ko naisip na mali yung ginagawa ko. kasi naeexploit yung mga musicians natin. Dapat pa nga musicians yun binabayaran when they perform.

Z: What’s the link of that org again?

Jobs: May inorganize kaming organization basically to organize bands and musicians, ito yung NaSa MUSIKO. Check mo lang. nasamusiko.multiply.com. On Friendster it is email address nasa_musiko@yahoo.com.

Well, dahil rin talaga sa mga discussions na nakuha ko from karatula. Syempre, as a musician, nagprepreach kmi ng tunay na pagbabago, pero ako mismo ineexploit ko yung musicians, ang nangyayari, hypocrite na ako nun. So tinigil ko talaga. Which is sobrang struggle tlaga lalo na sa ibang members ng prod kasi hindi naman ganun kamulat yung social awareness nila regarding sa state ng culture and arts natin ngayon. ang nangyari nga, nagalisan yung ibang members.

Z: Any comments about http://filipinometal.com/fuckyou/?

Jobs: Well very informative. Sobrang in your face, andami na pala.

Z: What were your initial reactions when you found out that your production were on the list?

Jobs: Offended pero hindi naman kasi kami ganun talaga. Good thing nga nalinaw agad eh and hindi ko talaga alam kung sino pasasalamatan sa pagexplain sa inyo ng side naming. FYI lang, malaki yung effect ng ginagawa ninyong campaign, kasi sa akin, may mga bands na nagboycott. Kala nila ipaparemit ko sila. Kami din, boycott lahat ng members ng org sa ticketselling.

Z: I am sure that you have read the interview I had with Leeds, (he was the guy who helped you out in having your production off the list). What can you say about his comment? How did you feel when you found out that you were off the hook?

Jobs: Ah onga noh, siya pala yun. Nagulat ako sakanya kasi nagmessage siya sakin regarding sa scumlist, kala ko taga filmet din siya. Inexplain ko sa kanya yung situation ng production. In fact last year in email ko siya for sponsorships eh. Astig! bait naman nun.

Z: Since our goal is to raise awareness about this issue, would you advice other productions to start setting things right?

Jobs: Yup. Actually ever since talaga ganun na yung ginagawa ko kaya nga lumabas yung Fatjack ni Sir Richie. (Fatjack prod, yung non ticket selling prod sa Philmusic).

Z: Why didn't the members of your production agree to go non pay to play?

Jobs: Well, syempre, money is the root of all evil.

Z: Now that your production is on No to pay to play, what are your future plans for the production? Any plans of helping us out on the cause we are trying to push? If yes, how can you help us?

Jobs: Walang problema dun, I can give you contacts and all. And I can help personally sa events nyo. I would suggest na gumawa talaga kyo ng event na nakafocus sa pageeducate talaga ng musicians.

Z: Are there still concerns on profit and expenses?

Jobs: Profits? expenses? well, risk talaga siya. May mga gigs na breakeven and masaya na kami dun. Pero mostly talaga abonado yung production pero okay lang kasi nagtratrabaho naman ako so kikitain din naman yun, hobby lang tlaga and syempre para sa movment na rin.

Z: What are your thoughts or comments about the people behind the cause and the infamous Scumlist?

I’m giving you the floor to say anything you want to all members of Filipinometal and the ones behind the cause.

Jobs: Well! Great job! Sorry sa mga nakasagutan ko. For me, malaking bagay to para sa tunay na pagbabago and I commend filmet for the initiative. Since yung ibang tao/musicians kasi, hindi pa aware na inaapakan na pala yung karapatan nila, I would suggest nga na ieducate natin sila. Maging pasensyoso tayo kasi nga halos lahat naman sa kanila ay baguhan sa eksena, so sabik talaga sila sa gig. If hindi natin maeliminate yung mga scums na to, at least yung mga bands na bago, makakatulong sa pageliminate sa kanila. Walang taong manloloko kung walang taong magpapaloko.