WEBVTT 1 00:00:38.150 --> 00:00:39.589 Hi, everyone. 2 00:00:39.590 --> 00:00:41.030 Welcome to the Hammer Museum. 3 00:00:42.130 --> 00:00:43.789 Thank you all for joining us for 4 00:00:43.790 --> 00:00:45.889 jazz pop on this gorgeous August 5 00:00:45.890 --> 00:00:47.029 evening. 6 00:00:47.030 --> 00:00:48.829 I'm Claudia Bester, the Director of 7 00:00:48.830 --> 00:00:50.949 Public Programs, and tonight is the 8 00:00:50.950 --> 00:00:52.869 final concert of our annual jazz 9 00:00:52.870 --> 00:00:55.009 pop series, now in its 19th 10 00:00:55.010 --> 00:00:56.069 year. 11 00:00:56.070 --> 00:00:57.729 Jazz pop is curated by the very 12 00:00:57.730 --> 00:00:59.749 talented composer and bassist, 13 00:00:59.750 --> 00:01:00.750 Lisa Mezacapa. 14 00:01:01.950 --> 00:01:04.009 Tonight, multi-instrumentalist 15 00:01:04.010 --> 00:01:05.729 Machado Mijiga brings his trio from 16 00:01:05.730 --> 00:01:07.170 Portland, Oregon to LA. 17 00:01:08.419 --> 00:01:10.299 Mijiga is, yeah, thank 18 00:01:10.300 --> 00:01:11.540 you for traveling so far. 19 00:01:14.370 --> 00:01:16.849 Mijiga is classically trained, 20 00:01:16.850 --> 00:01:18.569 jazz-weathered, and eclectically 21 00:01:18.570 --> 00:01:19.769 inclined. 22 00:01:19.770 --> 00:01:21.689 He plays drums, saxophone, 23 00:01:21.690 --> 00:01:23.469 and keyboards, and composes his own 24 00:01:23.470 --> 00:01:25.189 music, as well as playing a sideman 25 00:01:25.190 --> 00:01:27.429 for many prominent musicians. 26 00:01:27.430 --> 00:01:29.389 His imaginative compositions reflect 27 00:01:29.390 --> 00:01:31.229 his diverse musical background in 28 00:01:31.230 --> 00:01:33.529 jazz, R&B, electronica, 29 00:01:33.530 --> 00:01:34.629 and hip-hop. 30 00:01:34.630 --> 00:01:36.049 So tonight we get to hear his music 31 00:01:36.050 --> 00:01:38.309 performed by Dario La Palma on 32 00:01:38.310 --> 00:01:41.169 piano, Patrick 33 00:01:41.170 --> 00:01:43.449 Golichnik on 34 00:01:43.450 --> 00:01:44.469 bass. 35 00:01:44.470 --> 00:01:46.609 And Machado Majiga on drums. 36 00:01:46.610 --> 00:01:47.989 So give it up for the Machado 37 00:01:47.990 --> 00:01:49.629 Machiga Trio. 38 00:01:59.930 --> 00:02:02.329 One, two, one, 39 00:02:02.330 --> 00:02:03.330 two. 40 00:08:32.270 --> 00:08:33.989 How's everyone doing? 41 00:08:33.990 --> 00:08:34.990 Doing okay? 42 00:08:35.909 --> 00:08:37.849 Thanks for listening to this music. 43 00:08:37.850 --> 00:08:39.048 You're listening to, again, Patrick 44 00:08:39.049 --> 00:08:40.908 Goličnik on the bass. 45 00:08:40.909 --> 00:08:41.909 Give it up for him. 46 00:08:43.559 --> 00:08:45.299 That's Dario LaPoma on the piano. 47 00:08:48.130 --> 00:08:49.789 And I'm Machado Mijiga, this is my 48 00:08:49.790 --> 00:08:50.790 music. 49 00:08:52.830 --> 00:08:53.989 Thanks so much for having us. 50 00:08:53.990 --> 00:08:55.289 The Hammer Museum has been nothing 51 00:08:55.290 --> 00:08:56.289 but hospitable. 52 00:08:56.290 --> 00:08:57.569 They've been gracious. 53 00:08:57.570 --> 00:08:59.209 It's really cool to be here. 54 00:08:59.210 --> 00:09:01.129 Lisa Mezzacappa, thank you for 55 00:09:01.130 --> 00:09:02.609 curating this series and putting 56 00:09:02.610 --> 00:09:03.889 together so much wonderful music. 57 00:09:03.890 --> 00:09:05.069 There's great music here for the 58 00:09:05.070 --> 00:09:06.449 JazzPOP Series. 59 00:09:06.450 --> 00:09:07.669 Seems like we're the last one for 60 00:09:07.670 --> 00:09:09.529 this season, but there's much more. 61 00:09:09.530 --> 00:09:10.709 I just found out it's been going for 62 00:09:10.710 --> 00:09:12.729 19 years, which is incredible. 63 00:09:12.730 --> 00:09:14.729 So hope that keeps going. 64 00:09:14.730 --> 00:09:16.069 A lot of the music that you're 65 00:09:16.070 --> 00:09:17.389 listening to is just gonna be 66 00:09:17.390 --> 00:09:18.729 scattered throughout. I think I have 67 00:09:18.730 --> 00:09:20.829 44 albums out now. 68 00:09:20.830 --> 00:09:22.649 So. You can look at my 69 00:09:22.650 --> 00:09:24.609 band camp if you want to listen to 70 00:09:24.610 --> 00:09:26.809 even a fraction of those and see 71 00:09:26.810 --> 00:09:27.809 if you like any. 72 00:09:27.810 --> 00:09:28.889 But most of these are going to be 73 00:09:28.890 --> 00:09:31.349 from an album called Gradient, 74 00:09:31.350 --> 00:09:33.269 which is my jazz trio 75 00:09:33.270 --> 00:09:35.129 album that I got grant funding for 76 00:09:35.130 --> 00:09:37.549 and had the largest band and 77 00:09:37.550 --> 00:09:39.089 I usually do all the audio 78 00:09:39.090 --> 00:09:40.449 engineering and mixing and mastering 79 00:09:40.450 --> 00:09:42.069 and all my own stuff, but this album 80 00:09:42.070 --> 00:09:44.269 was the one where everything was 81 00:09:44.270 --> 00:09:46.209 sponsored and that's 82 00:09:46.210 --> 00:09:47.129 what this show is. 83 00:09:47.130 --> 00:09:48.469 So we might as well play that music, 84 00:09:48.470 --> 00:09:49.429 but we're going to play some other 85 00:09:49.430 --> 00:09:50.979 songs from different albums as well. 86 00:09:50.980 --> 00:09:52.959 This next one is a self-titled 87 00:09:52.960 --> 00:09:54.539 track from my album Gradient. 88 00:09:54.540 --> 00:09:55.580 It's called Gradient 89 00:18:20.920 --> 00:18:22.239 A lot of my songs have kind of silly 90 00:18:22.240 --> 00:18:24.279 names just because I'm 91 00:18:24.280 --> 00:18:26.039 not a deeply thoughtful person. 92 00:18:26.040 --> 00:18:27.999 I just feel things maybe, but 93 00:18:28.000 --> 00:18:29.899 then that also sounds pretentious 94 00:18:29.900 --> 00:18:30.839 to say. 95 00:18:30.840 --> 00:18:32.859 I have synesthesia, so that 96 00:18:32.860 --> 00:18:34.539 song is called Gradient just because 97 00:18:34.540 --> 00:18:36.439 it was a gradient of two 98 00:18:36.440 --> 00:18:38.679 colors, actually very similar to 99 00:18:38.680 --> 00:18:40.499 the color that the hammer logo on 100 00:18:40.500 --> 00:18:42.599 the above is like a kind of 101 00:18:42.600 --> 00:18:44.459 a magenta and then like a cyan 102 00:18:44.460 --> 00:18:46.259 color, it's like a gradient between 103 00:18:46.260 --> 00:18:48.069 those two colors is what I see. 104 00:18:48.070 --> 00:18:49.169 A lot of songs are just like, this 105 00:18:49.170 --> 00:18:50.849 is, I felt like this, and so that's 106 00:18:50.850 --> 00:18:52.329 the song name. There's no deep story 107 00:18:52.330 --> 00:18:54.029 behind it. It's just kind of, I 108 00:18:54.030 --> 00:18:55.369 don't know, I've felt that way. 109 00:18:55.370 --> 00:18:56.649 Doesn't sound that profound to say, 110 00:18:56.650 --> 00:18:58.589 but I'm speaking the 111 00:18:58.590 --> 00:18:59.409 truth. 112 00:18:59.410 --> 00:19:00.969 This next song is called The 113 00:19:00.970 --> 00:19:01.989 Viscount. It's one of the few that 114 00:19:01.990 --> 00:19:03.529 actually does have a story. 115 00:19:03.530 --> 00:19:05.389 I wrote it for Vestal Social Justice 116 00:19:05.390 --> 00:19:06.629 Elementary School in Portland. 117 00:19:06.630 --> 00:19:08.129 I was commissioned to write this 118 00:19:08.130 --> 00:19:10.049 piece for this really 119 00:19:10.050 --> 00:19:11.889 cool school that kind of 120 00:19:11.890 --> 00:19:13.909 offers alternative education and. 121 00:19:13.910 --> 00:19:14.789 They didn't really give me any 122 00:19:14.790 --> 00:19:16.049 prompt other than just that it 123 00:19:16.050 --> 00:19:16.849 should be something that the kids 124 00:19:16.850 --> 00:19:17.809 find interesting. 125 00:19:17.810 --> 00:19:19.269 So I made a suite called People, 126 00:19:19.270 --> 00:19:21.649 Places, and Things, four movements, 127 00:19:21.650 --> 00:19:22.569 but it's like two of them are 128 00:19:22.570 --> 00:19:24.309 people, one is a place and one is 129 00:19:24.310 --> 00:19:26.309 thing, but none of them real people, 130 00:19:26.310 --> 00:19:27.129 places, or things. 131 00:19:27.130 --> 00:19:28.829 They're all just imaginary. 132 00:19:28.830 --> 00:19:29.789 I'm not an author, but I just 133 00:19:29.790 --> 00:19:30.889 figured maybe I'll just write 134 00:19:30.890 --> 00:19:32.209 through that, through the song 135 00:19:32.210 --> 00:19:34.129 titles. This is one of the people. 136 00:19:34.130 --> 00:19:35.390 This one's called The Vi-Count. 137 00:25:12.250 --> 00:25:14.890 Let's do resolution first. 138 00:25:17.230 --> 00:25:18.569 Please give it up once again for 139 00:25:18.570 --> 00:25:19.809 Patrick Goličnik on the bass. 140 00:25:24.449 --> 00:25:26.070 That's Dario LaPoma on the piano. 141 00:25:28.530 --> 00:25:29.589 Played with both of these gentlemen 142 00:25:29.590 --> 00:25:31.029 for quite some time. 143 00:25:31.030 --> 00:25:32.449 Patrick actually plays with my 144 00:25:32.450 --> 00:25:34.369 roommate every week and not 145 00:25:34.370 --> 00:25:36.049 with me because my roommate is 146 00:25:36.050 --> 00:25:37.409 cooler than me. 147 00:25:37.410 --> 00:25:39.009 Dario is a psychiatric nurse 148 00:25:39.010 --> 00:25:40.949 practitioner by day and a 149 00:25:40.950 --> 00:25:42.349 killing pianist by night. 150 00:25:42.350 --> 00:25:43.309 So yeah, give it up for mental 151 00:25:43.310 --> 00:25:45.529 health professionals 152 00:25:45.530 --> 00:25:47.130 that shred 88 keys. 153 00:25:48.950 --> 00:25:51.029 Dario also just recorded his 154 00:25:51.030 --> 00:25:53.149 own debut trio album 155 00:25:53.150 --> 00:25:54.969 that features me and 156 00:25:54.970 --> 00:25:56.849 not him on bass, somebody else 157 00:25:56.850 --> 00:25:58.959 on bass. But next 158 00:25:58.960 --> 00:26:00.439 time we'll have Patrick on it. 159 00:26:00.440 --> 00:26:01.579 We're gonna do a song from that 160 00:26:01.580 --> 00:26:02.939 album Just because I feel like Dario 161 00:26:02.940 --> 00:26:04.879 deserves some support and some 162 00:26:04.880 --> 00:26:06.539 people knowing about what to keep 163 00:26:06.540 --> 00:26:08.939 their eyes and ears peeled for So 164 00:26:08.940 --> 00:26:10.079 this one's called resolution. 165 00:26:10.080 --> 00:26:11.319 It's by Dario LaPoma. 166 00:26:11.320 --> 00:26:13.619 You can see it on his 167 00:26:13.620 --> 00:26:16.119 Not yet named album that 168 00:26:16.120 --> 00:26:17.399 was recorded last month. 169 00:26:17.400 --> 00:26:19.299 But if you're interested, 170 00:26:19.300 --> 00:26:21.259 please inquire He's on a social 171 00:26:21.260 --> 00:26:23.559 media. He has a website Dario LaPoma 172 00:26:23.560 --> 00:26:24.579 dot bandcamp.com. 173 00:26:24.580 --> 00:26:26.829 He's got solo piano records out 174 00:26:26.830 --> 00:26:28.609 And hopefully the hammer gets him 175 00:26:28.610 --> 00:26:30.329 here at some point to do his own 176 00:26:30.330 --> 00:26:32.009 show, but we'll let you be the 177 00:26:32.010 --> 00:26:32.829 judge. We're going to play one of 178 00:26:32.830 --> 00:26:34.410 these songs. This is Resolution. 179 00:32:28.540 --> 00:32:29.439 It up once again. 180 00:32:29.440 --> 00:32:30.459 That's Dario LaPoma. 181 00:32:30.460 --> 00:32:32.759 He wrote that song. 182 00:32:32.760 --> 00:32:34.499 Resolution. You can find it on his 183 00:32:34.500 --> 00:32:35.599 album that doesn't have a name yet. 184 00:32:35.600 --> 00:32:38.379 I'm gonna call it Cupcake Daffodil 185 00:32:38.380 --> 00:32:39.380 Silly Lily. 186 00:32:40.240 --> 00:32:42.359 That's what it's gonna be called. 187 00:32:42.360 --> 00:32:44.779 Cupcake daffodil silly willy. 188 00:32:44.780 --> 00:32:46.638 Don't wear the name out. 189 00:32:46.639 --> 00:32:47.939 Patrick, I'm going to put him on the 190 00:32:47.940 --> 00:32:49.499 spot. Doesn't have our record out, 191 00:32:50.739 --> 00:32:52.699 but he's got lots of great music 192 00:32:52.700 --> 00:32:54.299 that we aren't playing tonight. 193 00:32:54.300 --> 00:32:56.139 So just give him a hard time about 194 00:32:56.140 --> 00:32:58.559 it so that he records more music. 195 00:32:58.560 --> 00:33:00.299 I don't think everybody, I have 44 196 00:33:00.300 --> 00:33:01.139 albums, I don't think everybody 197 00:33:01.140 --> 00:33:02.599 needs 44 albums. 198 00:33:02.600 --> 00:33:03.600 But maybe one. 199 00:33:05.040 --> 00:33:06.019 Well, just do one. 200 00:33:06.020 --> 00:33:07.699 Just do one of them. 201 00:33:07.700 --> 00:33:08.899 Let's do, yeah, we're gonna do a 202 00:33:08.900 --> 00:33:11.659 song of mine called Back Home Next. 203 00:33:11.660 --> 00:33:12.819 There may or may not be an audience 204 00:33:12.820 --> 00:33:14.559 member here who's an old friend of 205 00:33:14.560 --> 00:33:15.359 mine. 206 00:33:15.360 --> 00:33:17.219 I'm not trying to call out, but this 207 00:33:17.220 --> 00:33:18.999 gentleman, Rob Arugio is a fantastic 208 00:33:19.000 --> 00:33:20.799 pianist and I wrote this song 209 00:33:20.800 --> 00:33:22.739 originally for a record that 210 00:33:22.740 --> 00:33:25.099 he was gonna release, a jazz record, 211 00:33:25.100 --> 00:33:26.479 before he took this huge pivot and 212 00:33:26.480 --> 00:33:28.389 became this amazing electronic. 213 00:33:28.390 --> 00:33:30.509 Producer and lo-fi producer and 214 00:33:30.510 --> 00:33:31.829 still tours and plays with all sorts 215 00:33:31.830 --> 00:33:33.029 of people all over the world. 216 00:33:33.030 --> 00:33:34.409 He's a wonderful guy, great friend 217 00:33:34.410 --> 00:33:35.609 of mine. 218 00:33:35.610 --> 00:33:36.829 Anyways, this song was originally 219 00:33:36.830 --> 00:33:38.629 like a ghost written thing that was 220 00:33:38.630 --> 00:33:39.609 supposed to be on his album and he 221 00:33:39.610 --> 00:33:41.529 never put it on his jazz album. 222 00:33:41.530 --> 00:33:42.989 So it's going to go on my jazz album 223 00:33:42.990 --> 00:33:45.409 because I'm the boss of that album. 224 00:33:45.410 --> 00:33:46.949 But I think it's wonderful. 225 00:33:46.950 --> 00:33:48.149 All of his music is fantastic. 226 00:33:48.150 --> 00:33:49.289 You should check it out. 227 00:33:49.290 --> 00:33:51.009 This song is called Back Home and it 228 00:33:51.010 --> 00:33:52.889 is also on my album Gradient which a 229 00:33:52.890 --> 00:33:53.729 lot of the songs you're going to 230 00:33:53.730 --> 00:33:55.249 hear are from that album but I'm 231 00:33:55.250 --> 00:33:56.250 doing some other stuff too. 232 00:34:08.360 --> 00:34:09.839 One, two, a one, two. 233 00:42:25.000 --> 00:42:25.779 Trying to make all these 234 00:42:25.780 --> 00:42:27.319 announcements have some segues so 235 00:42:27.320 --> 00:42:28.799 that I can go from song to song and 236 00:42:28.800 --> 00:42:30.119 person to person and do all this 237 00:42:30.120 --> 00:42:31.219 thing. It's kind of a mental map. 238 00:42:31.220 --> 00:42:32.239 I didn't write any of this out. 239 00:42:32.240 --> 00:42:33.319 I'm just thinking. 240 00:42:33.320 --> 00:42:35.319 My jazz musician, I'm improvising. 241 00:42:35.320 --> 00:42:37.399 That song was called Back Home. 242 00:42:37.400 --> 00:42:39.879 It was recorded, as I'd mentioned, 243 00:42:39.880 --> 00:42:41.139 originally written for my friend, 244 00:42:41.140 --> 00:42:43.179 Robert Rougeau, who played piano on 245 00:42:43.180 --> 00:42:44.879 the recorded version that was on my 246 00:42:44.880 --> 00:42:46.439 album, Gradient, which we played a 247 00:42:46.440 --> 00:42:48.299 song from before, but this was a 248 00:42:48.300 --> 00:42:49.719 song Back Home from Gradient which 249 00:42:49.720 --> 00:42:51.559 featured Robert Rougeaux, who just 250 00:42:51.560 --> 00:42:53.059 released an album called Nakama that 251 00:42:53.060 --> 00:42:55.039 features Patrick Lichnick on bass. 252 00:42:55.040 --> 00:42:56.999 And me playing a weird 253 00:42:57.000 --> 00:42:59.079 electronic saxophone. 254 00:42:59.080 --> 00:43:00.899 And then there is, this 255 00:43:00.900 --> 00:43:02.899 also segues into the next song. 256 00:43:02.900 --> 00:43:04.999 I met Rob through doing jazz 257 00:43:05.000 --> 00:43:06.599 stuff, but mostly through lo-fi and 258 00:43:06.600 --> 00:43:07.899 music production stuff, and that led 259 00:43:07.900 --> 00:43:09.619 me to create beats. 260 00:43:09.620 --> 00:43:11.919 I made a beat called Dew Drop 261 00:43:11.920 --> 00:43:13.499 that ended up on a lo-Fi album 262 00:43:13.500 --> 00:43:15.339 called Beach Jams 89, 263 00:43:15.340 --> 00:43:16.219 which is a song that we're gonna 264 00:43:16.220 --> 00:43:18.019 play next. It's called Dew Drops. 265 00:43:18.020 --> 00:43:19.139 I kinda threaded the needle. 266 00:43:19.140 --> 00:43:21.179 I figured a way to get all the 267 00:43:21.180 --> 00:43:23.019 corral into. I don't have a way with 268 00:43:23.020 --> 00:43:24.119 words. I don't even have a way with 269 00:43:24.120 --> 00:43:25.229 the notes, but... 270 00:43:25.230 --> 00:43:26.469 This is the process. 271 00:43:26.470 --> 00:43:27.470 So this one's dew drop. 272 00:49:07.180 --> 00:49:08.079 Thank you so much. You've been a 273 00:49:08.080 --> 00:49:09.019 wonderful audience. It's cool to 274 00:49:09.020 --> 00:49:10.459 play to a full room of people in an 275 00:49:10.460 --> 00:49:12.539 awesome creative space. 276 00:49:12.540 --> 00:49:14.519 I love the intersection of 277 00:49:14.520 --> 00:49:16.359 many types of art, 278 00:49:16.360 --> 00:49:18.519 visual art, performance art, music. 279 00:49:18.520 --> 00:49:20.059 I was just performing earlier 280 00:49:20.060 --> 00:49:22.519 yesterday with Heidi Duckler Dance, 281 00:49:22.520 --> 00:49:24.579 a wonderful dance organization that 282 00:49:24.580 --> 00:49:26.019 sometimes does work in Portland and 283 00:49:26.020 --> 00:49:27.400 sometimes does it work here in LA. 284 00:49:28.560 --> 00:49:29.779 And it's cool the collaborate with 285 00:49:29.780 --> 00:49:31.279 dancers. It's to do something here 286 00:49:31.280 --> 00:49:32.479 at the Hammer, but something with 287 00:49:32.480 --> 00:49:33.799 Heidi that I did last week was 288 00:49:33.800 --> 00:49:34.999 playing the Portland Art Museum, 289 00:49:35.000 --> 00:49:36.439 which was a cool thing too. 290 00:49:36.440 --> 00:49:38.179 I like, just again, the intersection 291 00:49:38.180 --> 00:49:39.159 of art. 292 00:49:39.160 --> 00:49:40.659 Various types of creative art forms 293 00:49:40.660 --> 00:49:42.039 merged together. 294 00:49:42.040 --> 00:49:43.759 Please put your hands together again 295 00:49:43.760 --> 00:49:45.319 for Dario La Poma and Patrick 296 00:49:45.320 --> 00:49:47.119 Galichnik on piano and bass 297 00:49:47.120 --> 00:49:48.120 respectively. 298 00:49:49.540 --> 00:49:50.540 They're so wonderful. 299 00:49:53.000 --> 00:49:54.279 Don't listen to him. 300 00:49:54.280 --> 00:49:55.580 Listen to me, I have the microphone. 301 00:49:56.740 --> 00:49:57.759 We're gonna clap for them because 302 00:49:57.760 --> 00:49:58.859 they did a wonderful job. 303 00:49:58.860 --> 00:50:01.379 They prepared all this music they 304 00:50:01.380 --> 00:50:03.619 have put up with my antics 305 00:50:03.620 --> 00:50:05.519 and tomfoolery for 306 00:50:05.520 --> 00:50:06.519 far too long. 307 00:50:06.520 --> 00:50:08.279 So I'm very grateful for them, their 308 00:50:08.280 --> 00:50:09.979 friendship, their musicianship, 309 00:50:09.980 --> 00:50:11.479 grateful to the Hammer for having us 310 00:50:11.480 --> 00:50:13.039 and for being given a platform to 311 00:50:13.040 --> 00:50:15.279 play this music. To all of you, 312 00:50:15.280 --> 00:50:16.259 I guess if there was a call to 313 00:50:16.260 --> 00:50:17.559 action, please, it doesn't have to 314 00:50:17.560 --> 00:50:18.459 be my music. 315 00:50:18.460 --> 00:50:20.199 Listen to someone's music that's 316 00:50:20.200 --> 00:50:22.079 local. Find an artist in LA, 317 00:50:22.080 --> 00:50:23.259 find an artist in a place that you 318 00:50:23.260 --> 00:50:24.719 live if you're not from LA. 319 00:50:24.720 --> 00:50:25.679 Check their music out, it would 320 00:50:25.680 --> 00:50:27.199 really mean a lot to them. 321 00:50:27.200 --> 00:50:27.979 There's so many people putting 322 00:50:27.980 --> 00:50:30.339 together amazing music, 323 00:50:30.340 --> 00:50:32.259 art of all kinds, and 324 00:50:32.260 --> 00:50:34.039 it starts with you. 325 00:50:34.040 --> 00:50:36.039 So please, the extra 10 seconds 326 00:50:36.040 --> 00:50:37.059 that it takes to go look up 327 00:50:37.060 --> 00:50:38.459 someone's Bandcamp link and buy 328 00:50:38.460 --> 00:50:40.479 their album for $10, do that, 329 00:50:40.480 --> 00:50:41.439 please. 330 00:50:41.440 --> 00:50:42.899 Spotify and Apple Music do not pay 331 00:50:42.900 --> 00:50:44.999 us. We do not make money from tours. 332 00:50:45.000 --> 00:50:46.779 We make money, well, it's not even 333 00:50:46.780 --> 00:50:47.579 about making money. 334 00:50:47.580 --> 00:50:49.189 It's about being able to do this. 335 00:50:49.190 --> 00:50:51.289 As an art form, as a living, and 336 00:50:51.290 --> 00:50:53.229 be a part of society in that way. 337 00:50:53.230 --> 00:50:54.349 So we would love to continue to have 338 00:50:54.350 --> 00:50:56.249 your support in whatever way you 339 00:50:56.250 --> 00:50:57.369 want to do that. 340 00:50:57.370 --> 00:50:58.869 Includes donating and spending time 341 00:50:58.870 --> 00:51:00.489 in the Hammer Museum, all sorts of 342 00:51:00.490 --> 00:51:01.629 things. That's my soapbox. 343 00:51:01.630 --> 00:51:03.189 We're gonna play one more song for 344 00:51:03.190 --> 00:51:05.629 you. This one's called Legacy. 345 00:51:05.630 --> 00:51:06.630 Thank you again. 346 01:00:29.401 --> 01:00:31.340 Thank you again so, so much. 347 01:00:31.341 --> 01:00:32.920 Patrick Galichnik on the bass, 348 01:00:32.921 --> 01:00:35.060 please keep it going for him. 349 01:00:35.061 --> 01:00:37.200 It's Dario Lapoma on the piano, 350 01:00:37.201 --> 01:00:38.201 brilliant. 351 01:00:38.621 --> 01:00:40.220 Once again, I'm Machado Majiga. 352 01:00:40.221 --> 01:00:41.760 We came from Portland to play music 353 01:00:41.761 --> 01:00:42.880 for you. So if you're ever in 354 01:00:42.881 --> 01:00:44.880 Portland, look us up or 355 01:00:44.881 --> 01:00:46.400 tell people in Los Angeles to tell 356 01:00:46.401 --> 01:00:47.900 us to come here more. 357 01:00:47.901 --> 01:00:48.880 That also works. 358 01:00:48.881 --> 01:00:50.220 If you have social media, this is 359 01:00:50.221 --> 01:00:51.580 the time to do all the announcements. 360 01:00:51.581 --> 01:00:53.460 If you social media please, go 361 01:00:53.461 --> 01:00:55.400 to the Hammer Museum, go to my name. 362 01:00:55.401 --> 01:00:56.840 Search my name and you'll find their 363 01:00:56.841 --> 01:00:57.880 names. That's where you find our 364 01:00:57.881 --> 01:00:59.200 music. Even if you don't have social 365 01:00:59.201 --> 01:01:00.660 media, just use Google. 366 01:01:00.661 --> 01:01:02.480 Look for information about releases, 367 01:01:02.481 --> 01:01:03.260 all of that stuff. 368 01:01:03.261 --> 01:01:04.280 Stay up to date if you're 369 01:01:04.281 --> 01:01:05.281 interested. 370 01:01:05.701 --> 01:01:06.640 And tell your friends. 371 01:01:06.641 --> 01:01:07.740 If you don't want to get on social 372 01:01:07.741 --> 01:01:08.620 media but you know somebody who's 373 01:01:08.621 --> 01:01:10.160 got it, tell them and they'll tell 374 01:01:10.161 --> 01:01:11.720 you. They'll text you, send you an 375 01:01:11.721 --> 01:01:13.100 email or whatever it is. 376 01:01:13.101 --> 01:01:14.960 But that extra step is really 377 01:01:14.961 --> 01:01:16.320 what makes a difference for anything 378 01:01:16.321 --> 01:01:17.320 in the arts and the creative field. 379 01:01:17.321 --> 01:01:18.760 So we really would appreciate that 380 01:01:18.761 --> 01:01:20.820 from you. Please continue enjoying. 381 01:01:20.821 --> 01:01:22.800 Tip the staff here. 382 01:01:22.801 --> 01:01:24.560 And keep visiting the Hammer Museum. 383 01:01:24.561 --> 01:01:25.980 Have a wonderful night. 384 01:01:25.981 --> 01:01:26.920 Feel free to talk to me. 385 01:01:26.921 --> 01:01:28.800 I'll be loitering afterwards 386 01:01:28.801 --> 01:01:29.801 if you'd like to. 387 01:01:30.521 --> 01:01:31.880 And these gentlemen will be 388 01:01:31.881 --> 01:01:33.360 hopefully back here soon with some 389 01:01:33.361 --> 01:01:34.440 other amazing artists who are doing 390 01:01:34.441 --> 01:01:35.740 their own music. So thank you again. 391 01:01:35.741 --> 01:01:36.741 Have a beautiful night.