Menchie Interview

1. What is your name and your profession(s)?

My name is Menchie. I’m a music producer, bassist, and music director. By day, I work as a consultant in data analytics/science.

2. What is your ethnic background and what is your citizenship?

My parents are from Urdaneta, Philippines and immigrated to the U.S. in the late 70s. They settled in Long Beach, California where I was born and raised!

3. Are either/both of your parents musicians or somehow involved in the music industry?

My grandparents were jazz musicians, but neither of my parents are. However, the experience of listening to music was a big part of my parent’s lives. I grew up observing my dad curate his favorite music in our living room speakers, his headphones, and car rides. Even though I was a kid, I could sense how music gave him solace. At the time, I was enrolled in piano lessons but I was playing songs I didn’t really enjoy. Seeing my dad’s connection to music inspired me to start learning music I liked. As soon as my dad gifted me a guitar at age 10, I felt a more joyful connection with music through playing music that I loved. My parents have supported all of my music endeavors ever since. Having parents who believed in me and supported me was enough for me to take risks and put myself out there as a musician. 

4. Please tell us a little bit about your experience, either growing up as an AAPI in America, or as a person of Asian descent who immigrated to America, whichever applies.

I’m grateful for growing up in Long Beach because it exposed me to a lot of different cultures and music. To some extent, Long Beach is a microcosm of LA City proper so there’s lots of different groups of folks sharing the same spaces or going to the same school. I appreciate growing up in a city where the vibe has been laid-back and down-to-earth, which makes it much easier for a city to embrace diversity. 

Long Beach is home to over 20,000 Filipinos and that a huge impact on my personal life because I didn’t feel alone a lot of the time. Growing up, my Filipino experience meant going to family parties, eating Filipino food, singing American songs on karaoke, and trying to learn the traditional tinikling dance every once in a while. All of these things are amazing, but I couldn’t quite understand why I didn’t feel connected to my culture on a deeper level that transcended all of those cultural manifestations. It wasn’t until when I found grassroots organizations, like BAYAN USA, when I learned how deeply intertwined Philippine history and culture is with the history of Spanish and American colonialism. Finding this history and analysis were key to deepening my understanding of Philippine culture and identity. I got to learn how politics in the Philippines influenced global and domestic policies that trickled down to how my parent’s migration story played out and even what opportunities they were able to have access to here in the U.S.

5. How connected do you feel to your heritage/culture(s)?

The long history of colonialism in Philippines has paralleled the rich history of the Filipino people’s resistance and militancy against colonialism. So, I feel most connected to my heritage when I am in community organizing spaces that are actively mobilizing people and resources to improve the living and working conditions of Filipinos in Philippines and abroad.

That looks like supporting campaigns that call for an end to U.S. dominance on Philippine land, so that farmers can own the land that they till, feed their family with a livable wage, and benefit from the rich resources of their own land. Instead, the current status quo upholds a structure that enables the exploitation of land and its people for military aggression and corporate exploitation. It also looks like supporting campaigns that protect Overseas Filipino Workers (OFWs) in the U.S. and abroad. Did you know that the primary export of Philippines is cheap human labor? Over 6,000 Filipinos leave Philippines each day because of a lack of strong domestic policies that create good jobs. That’s why there are Filipinos everywhere and, unfortunately, many of them are subjugated to low-wage jobs and poor working conditions. With the escalating attack on migrants, there have been coordinated efforts throughout the nation to create a Defend Migrants Network, so I’m looking forward to being more involved with that (Shout out to organizations like Malaya Movement and International Coalition for Human Rights in the Philippines for being pivotal to my development as a cultural worker)

In 2016, I went on a life-changing trip to Philippines where I lived with farmers, fisherfolk, and indigenous people -- all of whom were facing the potential loss of their homes and income. I got an intimate look at how U.S.-Philippine policies impacted the daily lives of Filipinos. I was angry at how normalized poverty and injustice are for the average person in Philippines. At the same time, I was really inspired by the people’s determination to defend themselves against fascism and organize to create better conditions for themselves.

I asked many of them what I could do for them once I got back home. They simply asked me to share their stories with the world. Once I connected the dots between international politics and the lived experience of Filipino Americans, I realized how important it is for me to engage in political work here that can translate into better systems and policies — both in the Philippines and in the U.S. Through the struggle for national democracy in the Philippines, I’ve also learned the importance of supporting other liberation movements and building international solidarity.

6. 6a.) How did you get into music? Did you major in music in college? Where did you attend college/university (and grad school(s), if applicable) and in what subjects did you get your degree(s)?

My parents were really crucial to my development as a musician because they gave me tools and resources to learn several instruments and play music throughout my childhood. I ended up getting my bachelor’s degree at Berkee College of Music where I was a guitar principal and music therapy major. I was young and had this idea of becoming a neuroscientist to research more therapeutic modalities of music. I went on to get my master’s degree to prepare for a PhD program, but I quickly changed my mind and pivoted to a career in data analytics/science. I decided then to have a day job and upkeep my creative work during the evening hours, which is what I’ve done now for the past decade.

6b.) When and how did you decide you were going to pursue music professionally? What were your parents’ reactions to you deciding to pursue music? Do they support your music career now?

7. What are a few of your (music) projects of which you are the proudest? What were your roles on those projects? Beyond those projects, please feel free to name some of your other credits as well as any brands/companies you officially endorse.

My main bread and butter is Bootleg Orchestra — an electronica/soul band I’m in with two of my best friends, Vanessa and Andrew. We’ve released one album (MAKIBAKA), one single, and even one short documentary highlighting music and activism (Reach Out) ! I was the executive producer for these projects. Quick plug -- Reach Out premiered at the LA Asian-Pacific Film Festival last May and we will be screening it at the Seattle Asian American Film Festival this June !

MAKIBAKAis probably my proudest body of work because I was determined to use music for political education and galvanize people into action. I think the album did that, and I hope it’s inspired other artists to engage in meaningful community work. Working with Bootleg Orchestra has really opened a lot of doors for me, like working with Ruby Ibarra and music directing for the timeless Filipino disco band VST&Co. Last night, I did a set with P-Lo and I did not even know four weeks ago that I’d be doing that.

8. What are some obstacles you have encountered (if any) being an AAPI in the music world? What are some obstacles you have encountered (if any) as an AAPI in general (non-music)? Conversely, has being an AAPI ever helped you in the music industry or in general?

Musicians power a multi-billion dollar industry, yet majority are are among the most exploited workers when you consider how much labor goes into their work. It’s unfair and I really hope that we can wield our collective power to change this (shout out to United Musicians and Allied Workers). Personally, I’m a little risk adverse when it comes to committing to full-time creative work, as much as I’d like to. As the eldest daughter of Filipino immigrants, I don’t have a lot of financial freedom or access to take on a lot of creative work due to the low pay or potential instability. I don’t come from an affluent family, I carry student loans, and I do have to take care of my parents a little bit, so I’m choosing to somehow sustain a full-time day job and part-time creative work. With that said, it pushes me to be more selective about the projects I take. I try to make sure my creative work benefits the community in some way. Community organizing unexpectedly led me to meet other AAPI musicians (like Ruby Ibarra, VST & Co., and P-Lo), and that has brought me a lot of fulfilling work. 

9. 9a.) Who are some AAPI musicians/composers/producers who have previously inspired and currently inspire you (if any)? Why?

I just met Hokage Simon. That guy is a beast and can music direct like no other. Roger Rigor from VST&Co. He’s in his early 70s and is still out here community organizing and playing shows in front of thousands of people! Lastly, Ruby Ibarra — she has really brought me and her friends with her as she continues to grow in her career! 

9b.) What are your hopes for the AAPI music community and your hopes for AAPIs in general?

It’s been really beautiful seeing more AANHPI representation in the media and we still have a long way to go to capture the rich diversity and cultural distinctions within the AANHPI umbrella. I hope we can also engage in more organizing efforts for better working conditions in the industry because our economic power matters and impacts our livelihood. I hope we can also center more marginalized voices in our music through storytelling to uplift our communities. Lastly, I also hope we can include more queer folks, trans people, and people with disabilities in the room. As a queer and brown ciswoman, it’s a different type of magic to work on something creative together with other queers. One of my dreams is to start a people’s school that facilitates access to music education, studio equipment, and production skills. 

10. Name one or two non-music-related things/subjects about which you are also passionate.

I love tennis and I’m organizing a doubles tennis tournament to raise funds for the Filipino Migrant Center on May 31st at UCLA. If you like tennis, please join! All levels are welcomed. Register at tinyurl.com/fmctennis2025

11. Any final thoughts? Alternatively, do you have any questions for me and/or the greater AAPI music community?

--

Support Menchie online :)

Instagram - @beatsbymench & Bootleg Orchestra

Spotify - Bootleg Orchestra

Official Website - www.ashnimusic.com 

Image courtesy of Menchie

Post sponsored by PickUp Music