Garth Trinidad wears more than just those crisp Kangol newsboy caps… Family Guy, Man’s Man, Music Man and Underground Entertainment Mogul, this cat wears a whole lot of (well-fitted) hats!
This [??] year-old native Californian is probably best known for his ground-breaking Chocolate City radio show on what may be the world’s most powerful little radio station, KCRW, where he’s been on air since 1996. Mr. Trinidad (or Uncle Garth, as he’s half-jokingly and quite affectionately ‘also known’) is also Father AND Husband (forgive the emphasis, but I love him for this) with three kids, a wife, a radio show and a cornucopia of business to handle. He’s also the man behind a lot of the most memorable, bands, concerts, parties, jams and intimate gatherings in recent Los Angeles history. His often described eclectic taste(s) are more than ‘progressive’ they’re downright ‘Forward’!
With his work for international fashion brands and new-model music companies as well as his music supervision work on both screen sizes (big and small / film and television… erm… ever check some of the music on Entourage, anyone?) as well as the recent soft opening of MojaMoja, his own creative minds mixer in the exclusive Foundation Room of the House Of Blues on Sunset Blvd, Garth continues to push the envelope on what we would consider and ‘Event’. All the while, as the tastemaker that helped to break acts as far flung as Jill Scott and Macy Gray to TV on The Radio and The BLK JKS… Garth, his show and his work continues to stretch the boundries of ‘Alternative Urban’ themes.
PopUpFresh caught Garth on the quick to ask him about his take on the Brand x Music collaborations he’s working on, what sort of events he sees taking over the nearly bone dry ‘Club’ scene, the confluence of Music, Film and Fashion and a great deal more…
What are some of the more unorthodox collab and crossover projects you’ve been involved in?
Deep Fried Live at The Getty in ‘02. That’s still talked about these days. Atlantiquity. I curated a remix collection of classic Atlantic catalog in ‘05, unfortunately it came out when everybody got fired at Rhino Records so the album didn’t get supported. Season 4 of Entourage. That was my best experience as a music supervisor so far…maybe the first time a Dilla track was heard in a TV show? Kiss n Grind. When me, Rashida, and Vikter began, we didn’t realize what an impact it would have…that first year, it was one of the most talked about parties, locally and around the world. The annual MojaMoja Pre-Grammy Brunch. Live performances at a brunch, exposing great talent and partnering with great non-profits.
I’ve attended events that you’ve created and hosted in the Basement of an Art Gallery, in the attic of a Custom Denim Company and in the Rooftop Garden of high-end restaurants. With your event(s) for Puma, Royal Elastics, House Of Blues, The [MJ Higgins?] Gallery and others, is there a theme of having the party build business for the brand or location and is there a plan behind that?
Now there is. I’ve been fumbling for years – first, staying away from the idea of brand building, then considering it after my kids were born and I saw my pocketbook shrink, finally accepting the idea and beginning my foray into the 21st century world of promotion, marketing, and business building. I wasn’t into using social networks, blog, etc. Now, I’m easing into it. The MojaMoja project is where I’m currently building a home for all I think is “fresh”. It has mainstream aspirations, distribution wise.
You’re familiar with the more static scene of nightclubs and club nights, yet you clearly have a propensity to avoid opening your own spot and keep moving all over (a considerably-sized) town… what’s the reasoning behind that?
Honestly, it’s quite random. I’m always looking for the best possible space to settle into, but I haven’t found it yet. The MJ Higgins Gallery was a settlement. That place had magic. Too bad they had to move. I’ve been speaking with potential investors who share my passion for good technical sound and there is talk of a Garth Trinidad venue. Currently, in the realm of major markets, LA has some of the worst sounding venues. It’s a shame because it’s such an international city.
In dealing with different clients and partners, you have done live rock events, straight up dance nights, intimate grown-up nightlife affairs and even art, brand & retail events, all the while managing to have a cross-section of everyone from beach-bums and skaters to hardcore party people and (not-to0) straight-laced Company Execs roll through, is that by design, or…?
Nope. I believe that’s the result of reaching so many different types of folks on the radio for so many years. The listeners that show up to the events join the email list, or find out through word of mouth or sources like listing sites, blogs, etc. I love it. That’s the whole point of the new MojaMoja project.
The business of putting the party together for a focused crowd is a growing (and seemingly working) concept is this all part of a larger theme for you and your team? Where do you see yourself fitting into the world(s) of Fashion, Pop-Up, One-Off and Exclusive events, Branding, Marketing?
That’s just one of the facets of MojaMoja. We’re using events to generate buzz, content, and interest. The team has the ability to curate, consult, promote, market, etc. Large corporations are looking closer at smaller niche markets to get a more precise layout of potential impressions, rather than continuing to cast out the larger, more costly marketing nets. What I’m focused on is the constant exposure of all things fresh – music driven, but culturally aware of surrounding elements from art & fashion to food & tech.
As it turns out, for years now, Garth Trinidad has become, built upon and maintained a brand onto it/your self. Was the Garth Trinidad brand fortuitous happenstance or part of a master plan?
100% fortuitous happenstance. But the master plan has begun.
…Bonus Round Up NEXT!
*** Welcome to the Bonus Round!
A Bit to the left, without being negative, political or naming any names (but feel free if you like), what would you say have been some of the heights and the downfalls of your doing what it is that you do? Any events that have gone terribly array or blasted off beyond expectations? Brands that were dying to work with you, but either didn’t know or didn’t fit your brand as well as they may have thought? Any one, particular – crazy – project that you’ve been involved with (yeah… we’re looking for some ‘spice’, here!)
General downfalls include lack of time, chasing money, learning the hard way to be careful of who to trust in business. The heights are in the moment – seeing a packed room moving as one at a party, having one person approach me with a kind word, getting messages from people around the world who express appreciation, etc. There are always problems, but we learn as we go. It’s other peoples events that have brought me the most grief. Over the years I’ve been lied to and stolen from, almost been shot, not able to get in though I was hired to play, had to play in a rainstorm – outside with people holding umbrellas for a tent. The list could go on and on.
The Getty event surpassed all expectations – one of my best experiences. Jill Scott’s first LA concert in 2000 was crazy. The first Pre-Grammy Brunch was nutty – Heavy D sang reggae, Janelle Monae performed on table tops, Macy Gray spun 2 Live Crew while people ate gourmet omelettes, lox, and sipped mimosas.
I always attempt to include some craziness in what I do. Some of my best memories are from the late 90s. My first club night was a weekly at Fais Do Do in 97. We had spoken word artists from across the city perform with an ill house band. My big brother would take over the kitchen and bbq all night – he even had a bbq poem he performed to inspire people to buy more bbq. Kneedeep In The Countdown was pretty ill, back in 99. We featured graf artists, brought in folks like Medusa, Bahamadia, Speech, Gangstarr. I remember we did one at a boxing gym and had Ming & FS perform in the ring. Maximum bug out.
More craziness to come. I’m looking for a space where I can get away with some scandalous art experimentation.
Speaking to (and speaking of) your position as an influencer’ – What are some of your thoughts on that, the outcome, responsibilities and sensibility that goes along with that… Is that aspect of your brand something that you work at (doing crazy amounts of critical research, etc.) or more an idea of your second nature and/or a natural propensity to seek out new isht and new civilizations then spread the word as far and wide as you can?
- I’ll take natural propensity for 300 Alex!
Do you consider yourself an influencer, an early adapter, a marketing and promotions man, a lifestyle brand or… because, keeping in mind that in essence, you ARE your biggest brand, what kind of moves do you see moving you forward as a brand and what sort of step(s) do you take from here to get to that next level… and the one beyond?
If I’m an influencer, it’s the result of the natural propensity. I’m the dude who has always has something for you to hear, or see. I’m the cat in the living room pulling out records for friends to check out, basically. The next level is fluidity of presence, followed by major distribution of content and product – TV, mobile, inflight, etc. After that it’s farming.
One of the things that you’re known for is bringing new sounds into a space where the listener might not have otherwise heard (of) that artist, band or genre… Are there any names that come to mind of things that you had a more prominent hand in bringing to the fore-front and is there any little synopsis you could share. (i.e. The Jill Scott thing or something even bigger, or lesser known or currently on the bubble.)
Before Jill signed to Hidden Beach, she was deep with Touch of Jazz – Jazzy Jeff’s production house. She was teaching in Philly, recording, etc. Her then manager was in LA and would come by my house to chill and play me her demos. He let me have a few songs and that’s how it all began. I played Gnarls Barkley’s crazy after someone sent me an early mp3 from a blog. No one knew they were called Gnarls Barkley at the time. It took about 6 months to a year before the song was picked up by commercial radio. Same happened with Kelis’ Milkshake. Someone sent me a test press 12″ and I must have been the only cat that liked it at the time ‘cus my show was the only place you could hear it early on.
Right now, since my return to weeknights, I’m into artists and bands trying to do something different – Janelle Monae, Blk Jks, local bands like Big Moves, etc.
In the time that you’ve been working away… what are some of the most interesting or innovative events that you’ve been a part of. (This could be something that you put together, were invited to participate in or would like to do some time in the near future.)
I’m probably biased, but most of the events I’ve had a hand in have been interesting at least. The Getty event was one of the most innovative because it demonstrated to the museum execs how succesful a music event could be at generating new interest for the museum space. Shortly after my event, other museums followed with event series, etc.
Speaking of future plans – your dream collaboration, event or movement. Top to Bottom: Is there a brand, label, artist, event or entity that you’re dying to work with and what exactly (if you’ve thought that much about it) would you want to put together as your perfect project?
Can’t really share that yet. I will say that certain of my plans, if made manifest, will have folks excited. MojaMoja is a movement and I’m looking forward to building it and seeing it thrive as an alternative to mainstream fodder. Otherwise I would just love to introduce Sade on stage.
You have historically (and continually) worked with a great many companies and artists… How do these individual things come together, how do you get these gigs, how hard is it to put and keep together and where/how do these people find you (or you find them)?
All of it seems to happen naturally. Things are getting easier now that I have a good team working with me. Early on, some folks wold just show up at the radio station and say hello out of the blue. Since the station started locking the doors, people call me at the station, send emails, introduce themselves at events, etc.