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A Conversation with AdamGoesHam

Jack Angell

Adam Weiss, perhaps better known by his moniker AdamGoesHam, is the man responsible for some of Los Angeles’ most star studded concert line ups. With no clear future in sight and drifting in and out of jail, Adam first threw an event in order to play Lil B’s music. Teaming up with his friend Romo, the two worked together to throw HamOnEverything events which are now known as wild DIY warehouse parties that have some of SoundCloud’s finest on their bill. We got to talk to Adam as he gives advice on throwing events, DIY ethics, how the internet has changed hip hop, how Britney Spears helped him avoid prison time, and much much more.

Header Photo by @M2GH2

UU: So the reason I particularly wanted to ask you some questions was due to the fact that you have witnessed first hand the different phases underground hip hop has gone through as the internet evolved. What would you say the biggest change has been? What has remained the same?

AdamGoesHam: It’s funny because so much of today’s underground reminds me of the underground scene I came up in. Let me preface by saying I’m in my 30s [laughs]. Growing up in Phoenix, AZ (& in Thousand Oaks, CA at 17) there wasn’t very many “hip hop heads” so I always looked to the internet to feel a sense of community with other “hip hop heads.” Back then in the 90s that meant chatrooms [laughs] .i.e. IRC hip hop chat, Yahoo hip hop chat, and hip hop message boards/forums. I was always into rap but via the chatrooms/message boards and college radio I discovered underground hip hop. In 99’/2000 I got into what would often be labeled as “experimental hip hop” or “abstract hip hop” or what the “real hip hop heads” on the chatrooms would refer to as “weirdo fag-hop” [laughs]. It was definitely just weirdo artsy indie rap though. There was a lot of hip hop collectives I was into back then like Living Legends, Shapeshifters, Project Blowed, Def Jux, Rhymesayers. But there was a hip hop collective called Anticon. They were like the epicenter of “weirdo underground hip hop.”  Artists like Dose One, Why?, Sole, Pedestrian, Restiform Bodies, etc. And being an “Anticon kid” was like very specific. It meant you were super artsy and weird [laughs]. Like their music really broke away from any means of traditional hip hop. Sometimes it was more “indie music” than it was “rap” (sound familiar? Looking at today’s current underground rap scene).

Anticon had a compilation called “Anticon: Music For The Advancement of Hip Hop” and I remember El-P (now from Run The Jewels, but back then Company Flow/Def Jux) had a diss track about Sole from Anticon and said “The only thing advance about your music is you need a computer to hear it.” Even in 99/early 00’s our “weirdo underground rap scene” was so interwoven with the internet. We’d all be on the message boards (at this point the chatroom era kinda died out) and we’d get all our music from Soulseek. Soulseek was a file sharing software but all the underground heads used it. And it was almost like trading tapes cause you’d search for something then if you find like whatever rare underground tape you were looking for you’d message the user and ask permission to browse their hard drive and likewise you’d grant them permission to search yours and that’s how you’d find all the hard to find underground shit. So pretty much the message boards was like our Twitter and Soulseek was like our SoundCloud [laughs].

But the parallels between the underground weirdo rap scene in the late 90s/early 00s to today runs even deeper than that. Like I said back then It fused a lot of elements from “indie rock”, some of It was more poetic and words like “emo rap” (i.e. Atmosphere, Sage Francis, etc) would get thrown around. It’s really wild that more & more today’s Underground is coming back around to the stuff I grew up on. But I think they say everything cycles back every 20 years. So makes sense.

When I first started throwing shows in 2009/2010 it was called “Hipsters Who Heart Hip Hop” and I was booking indie hip hop artists that I was into in the early 00s. Then end of 2010 I heard Lil B. I feel in love with it. Not just the music, but the weirdo performative art that went along with It, and the community feel that went along with understanding what being “based” was about. Lil B is entirely responsible for me starting Ham On Everything. But even watching the phases underground hip hop has gone through as it relates to the internet since the start of Ham/Lil B era has been mad interesting. From Lil B it gave birth to the cloud rap scene, which was heavily influenced by Tumblr; Main Attrakationz, Kitty, Kreayshawn, beautiful lou, etc. Which eventually gave way to stuff like Lil Ugly mane, and then Raider Klvn, which eventually gave way to SHWB and Thraxxhouse, the later which gave way to GBC, and then we started seeing the use of SoundCloud as the main platform for today’s underground rap; to the point some refer it to “SoundCloud rap”; which then of course gave way to tons of shitty clout demon rappers but also to today’s underground scene WHICH I LOVE!!! Ghostemane, 5 Finger Posse, Smrtdeath, Coldworld Gang etc. So shout out the internet. I love you!

You mentioned on Twitter some artists that you were made fun of for listening to in the early 2000’s when hip hop was progressing is in similar ways it is now. Who do you think could have blown up in today’s scene that the industry wasn’t ready for back then?

I still don’t think the “industry” would be ready. But I think kids today who are into underground rap would dig a lot of the indie rap I was into back in the early 00s.

I mean Atmosphere was a huge one when I was younger. And he’s one of the fews that have had a long lasting career with touring, etc even today. But he was really the first Drake [laughs]. Like non-fans of Atmosphere would say “that’s emo shit”; but in reality while some of the content was about being heartbroken, a lot of it was about just sleeping with girls and not being able to commit. And while Slug from Atmosphere doesn’t “sing”, he did have kind of singy-song flow.

But as far as underground stuff from back then; I think the only thing that’d throw kids from today off is the sound quality. Back then a lot of it was recorded on a 4 track tape recorders, so it was low quality and had tape hiss. But to be honest, that was part of the appeal back then. Even now, with other genres of music I prefer low quality/4 track sounding stuff. Like sad indie-folk songstress Waxahatchee. I preferred her first record; American Weekend, because of the low sound quality. Seems more raw and intimate to me.

Also with the weirdo indie rap of the early 00s I think what else would turn off kids are the beats. They weren’t really bassey. Even the most emo-ish or artsy or weirdo underground rap of today still has those Atlanta trap drums and hard hitting bass. But flow-wise and as far as styling and creativity goes I think kids would dig most of the artsy underground stuff from the early 00s; Dose One; and all of his side projects (cLOUDDEAD, Themselves, Greenthink), Reaching Quiet, Restiform Bodies, The Shapeshifters, Sole, Eligh, dudes like Josh Martinez, Buck 65, some of the fast rapping LA dudes (whom style to me is very similar to Raider Klvn, Denzel Curry, etc etc); CVE, Ellay Khule, Myka 9, Of Mexican Decent,..oh, Busdriver for sure; he was one of my favorites and can rap his ass off but is still really like artsy and satirical. Oh Ceschi Ramos too, he is incredible.

Do you feel like there is a generational gap between the people running the management side of the scene and the performers? If so, how can we bridge this gap?

Well, as far as management goes a lot of these young artists have managers that are just as young as them, and inexperienced. I think something that happens way too often are these artists who don’t have real management are signing really bad deals with these major labels because they see that initial check and all they see is $$$$$. When you’re 19, or 23 or whatever and you get offered a big check from a major label you’re gonna say “fuck it”, but then you just signed away your rights way to early. And a lot of these artists now are getting too big too soon. It’s a lot of pressure for a young artist. Plus the artist, or the young managers aren’t looking at longevity or having an actual career with music. If you get too big too soon more than likely you’re going to fizzle out…that’s just the way the universe works. And the major labels, they don’t give a fuck. They RARELY care about the artists or their longevity.

I think where the generational gap exists though is with the major labels, they’re fucking dinosaurs and don’t get it. They market & push these underground/SoundCloud artists the same way they’ve been doing it with rap artists since the 90s. That formula is played. And honestly, this is a new era of music. This isn’t your traditional rap and shouldn’t be treated as such. But it’s just as much these artists fault. DON’T SIGN TO A MAJOR. They need you more than you need them. So just don’t! Plus that check they offered you, you’re gonna owe it all back to them! Stay independent, stay DIY, and if anything sign to an indie!!!!!!!!!

You have tweeted about punk ethics. What is your background in punk, and how do you think the so called SoundCloud community takes from the punk community?

[laughs] I have no background in punk. And I actually don’t and have never listened to punk. I am an Emo kid though. Emo music and sad indie music is very important to me. Growing up as an underground hip hop head I had a lot of friends in hardcore bands so I saw the “punk ethics” first hand at their shows etc. But really with that tweet I was just referring to DIY ethics in general. Even with my underground hip hop scene as a kid it was very much about those same DIY ethics; but for the sake of the tweet I said “punk ethics” since that brings to mind the DIY ethics I was speaking about.

But yeah, the SoundCloud scene is def crossbreeding with the DIY/punk/hardcore scene. I mean from the music (Ghostemane, OmenXIII, $uicideboy$, Sybyr, Gizmo, Blvcsvnd, XXX, etc etc), to the look (punk and metal band tees, tight ripped jeans etc), to the crowd moshing and crowd surfing (which I swear we didn’t start seeing at rap shows until like 2014). Funny story, Juicy J who has played Ham a few times told me in 2014 after playing Ham that he’s never seen kids mosh like that, he was amazed [laughs].

There’s a lot of kids in this scene that def get indie DIY ethics, but still there’s some who don’t give a fuck and are dicks. I think if we’re gonna borrow the aesthetic, lets borrow from the ethics too. Lets respect each other at shows, lets respect each other in the pit, although you’re moshing be aware of safety, and help someone up if they fall, also let’s respect women at the shows. They aren’t objects, they are fans and supporters of the scene too. Lets all have each others back and treat each other like a family. I think that’s why Ham is so important. I see that sense of community in the Ham crowd; that’s why we call it a “Hamily”

But also I’d like to see us in this scene adopt other DIY ethics such as the self sufficiency that DIY stands for. DO-IT-YOURSELF. And that’s prob something that bums me out the most about the scene; is how quick an artists are willing to jump on a festival lineup or play some bullshit traditional venue. Those festivals and traditional venues don’t give a shit about a scene or a culture. They only care about $$$ and are ran by greedy corporate dollars. I feel like I’ve mentioned Ghostemane a lot haha but I saw recently someone tweeted at Rolling Loud and was like “why didn’t you add Ghostemane” and Ghost was like “No thank you”; SEE THATS FUCKIN DIY ETHICS. I just think in the name of “clout” a lot of artists are ready to go industry. Which is wack to me.

How do you deal with random, out of nowhere attacks from people on the internet and just negativity in general?

Hmmm usually I ignore it. Or respond with positivity. I’m a really positive dude. People trying to hate or attack really hate when you respond with positivity [laughs]. If I’m really bored though I’ll just roast them and make them look dumb….which is honestly such a waste of energy, and I shouldn’t partake, but hey… ha.

With prominent events nearly weekly and a large social media following, how do you destress? Do you have any advice on how to separate your personal live from the music industry life?

Good question. That is really important to me too. I’m sober, and have been for a few years so I’m not really “Mr. Party Guy.” And by nature I’m pretty reclusive, like if its not my party or something I’m DJing you definitely aren’t going to see me somewhere where there’s a shitload of people [laughs]. But I do enjoy throwing Ham or DJing; both feel performative and I like performing, and when DJing or when hosting Ham I definitely feel outgoing (which disappears as soon as I’m not on stage ha). But also I get a high from all of it. Like you said the events are nearly weekly so I like the chaotic nature of putting together these events last minute then it all coming together and the excitement of running the show, and hosting it, and stage managing, and just all the other hats you have to wear while throwing a DIY event. Its this excitement. Plus the whole time I’m getting validation from supporters. Kids stopping me to thank me for the party or what not.

But with my reclusive nature once its all over I feel drained, emotionally drained; and how that can look for me is as depression. I jokingly call it post-party depression. But also I’m a depressive person so depression is a dangerous place for me to be in. So I have to force myself to engage in what a therapist would refer to as “top line behavior” ha. Like activities that give me positive validation that’s not connected to my career. Which for me, is self love/self care. Usually on Sundays I do a whole self care thing. For me being in nature makes me feel at peace and also walking is very therapeutic for me. So I’ll go to the beach and take an hour walk along the shore, or I’ll hike, or I’ll go to one these huge gardens we have in LA or one of our big national parks and just walk and enjoy the beauty of nature. And most of these I do alone. The solitude is important. Because of my job, or career, or whatever sometimes I have to be around a lot of people so it’s important for me to cleanse myself of other people’s energy and to have that time of solitude. But also its mega important for me that my solitude is spent in nature; be it a park or the beach. Because if its just spent alone at home then thats not solitude anymore, then it becomes isolation. And as a depressive person isolation is very very slippery slope for me.

But yeah, other than these grand gestures of self care that I do on Sundays, I also just make sure I live a regular life and that not everything is about parties or “Ham” or being “AdamGoesHam” ha. I go to movies, I read, I go to comedy shows, stuff like that.

What performances have moved you to tears, if any?

Ah, this goes back to where I said Emo and sad indie music is really important to me. I grew up strictly a hip hop head but at around 21 (remember I’m in my 30s now ha) I heard Modest Mouse and Bright Eyes and got super into sad indie music. Matter of fact my record collection at home is all sad indie stuff, no rap whatsoever [laughs].

I’m a hyper-sensitive person so I’ve definitely been moved to tears. Got moved to tears seeing The Good Life twice (seriously check out that band, especially the older stuff), I’ve been moved to tears seeing Bright Eyes; Bright Eyes is my favorite of ALL TIME. I’ve seen Conor Oberst of Bright Eyes play literally 14 times. He always moves me to tears [laughs]. When I saw him last year I was moved to tears from a song of his new album that I didn’t even like very much, but seriously no one is as good at expressing intense feeling during their performance as Conor Oberst is. I was moved to tears once during a The Mountain Goats performance ha. I also might have shed a tear or two when I saw Okkervil River do the 10 year anniversary show for the album “Black Sheep Boy” a few years back.

OH SHIT, also I saw Mount Eerie perform almost the whole album; A Crow Looked at Me. This was at the Masonic Lodge at the Hollywood Forever Cemetery; which is already eerie and really beautiful. The record A Crow Looked at Me was written about his wife who had passed. He actually wrote the album in the room that she died & played her instruments (she was also a musician) while writing the record. ITS SUCH A HEAVY, AND INTENSE, AND SAD RECORD!! So that performance DEFINITELY moved me to tears. Although, there’s also a beautiful & happy aspect to it, because it really is a testament to love.

If you’re reading this and dig sad music but don’t know these bands LISTEN TO THEM. You’re welcome [winks].

You’ve said Lil B changed everything. Can you elaborate on this?

Well Lil B is literally why I started Ham on Everything. Before Ham I was throwing indie backpack type rap shows under the name “Hipsters Heart Hip Hop.” But when I heard Lil B late 2010 I loved it! I use to go to this night here in LA in the Echo Park neighborhood called Wildlife Wednesdays at the Short Stop bar. They’d play “hood rap,” but never Lil B. Me and friends would go and just hella cook dance ha, but they’d never play any Lil B. And it definitely wouldn’t make sense to play Lil B at Hipsters Heart Hip Hop. So I asked to speak to the manager of Short Stop; mind you I’d only been throwing shows like 6 months. Anyways I asked them if I could do a night at the Short Stop so they let me do every other Thursday, so I did a night called “Swag it out @ The Short Stop” where we’d play LOTS of Lil B music; plus remember 2010 is when Waka’s Hard in The Paint dropped & Juicy J’s Rubbaband Business; both produced by Lex Luger and that became the new “trap” sound so we’d play all that stuff. It was mad fun. But honestly it was all Lil B’s music that opened me to all that. I then decided I didn’t want to do “Hipsters Heart Hip Hop” cause it pigeonholed me to a certain brand of events (backpack rap shit) so one night while at the Swag it out @ Short Stop night I told my boy DJ Stereotype I wanna change the name and broaden the kind of events we do. I said I’m gonna call it “Go Ham Productions”, Stereotype was like “Hells yeah dude, we’re gonna go ham on everything”…I was like WAIT!! That’s the name!!

But I mean that’s just how Lil B personally affected me, but I mean he changed mainstream music in general. He made it ok for an artist like Danny Brown to be weird, he made it ok for an artist like A$AP Rocky to call himself a “pretty bitch,” he made it ok for an artist like Rick Ross to have absurd ad-libs. He literally influenced both mainstream and underground rap. TYBG.

How did you and Romo meet?

I met Romo during Hipsters Heart Hip Hop. My boy said I should check out this group “Briefcase scenario” for Hipsters Heart Hip Hop. I’m not the best at taking suggestions so I kinda blew it off, but then I ended up at a show at this space in Echo Park called the Mime and Briefcase Scenario played, that was the dirty rap/synth dance band that Romo fronted. They were awesome. So we talked that night them like 2 weeks later I had them play Hipsters Heart Hip Hop. Romo was really cool out the gate, he told me he liked what I was doing and asked how he could be involved so he starting making flyers for me, video promos etc. he was just mad supportive and helpful. Then I started managing Briefcase Scenario. I was also managing Sirah at the time. The first Ham shows were actually just so I could get both Briefcase Scenario and Sirah on cool shows with other artists that I felt they shoulda been affiliated with. But yeah Romo was just always there helping me out. When I first started turning Ham into a warehouse party (2012), this was now post-Briefcase Scenario, he’d help me set up and do everything. I think then once I needed money for a warehouse rental and he went half with me, I think after that we just kinda become partners; 50/50 from there on out. It was all really organic. He definitely has strengths where I have weaknesses, and I’m sure vice versa.

What was a highlight of WonderlandMTV?

Honestly, I wasn’t very into Wonderland MTV. I mean it was cool to experience and everything but wasn’t really like “ideal” or anything. Pretty much, for those reading who don’t know; Wonderland was the first live music show on MTV in a decade and was suppose to be the driving force to make MTV go back to music. So they hit me up because they didn’t want like a TV show audience there, they wanted real party kids. So my job was for every week for 10 weeks to get 600 kids to this party. But obviously MTV isn’t always the coolest so sometimes the lineup for the actual show taping would be kinda lame. So I told them I had to be in charge of the pre-tapping and be able to DJ, bring in DJs, and bring in rappers to perform before the tapping. So that even if the lineup for the show that week sucked at least Ham kids would still get a really dope pre-show. I had Fat Nick do it, Lil Tracy, Uno, bunch of the homies.

But thats kinda how I move, anytime I get any kind of corporate opportunity I always just use it as a vehicle to do something dope for the Ham supporters. So I ended up doing more work than I was hired for since I took it upon myself to do the pre-tapping show but I wanted to make it worth it to my following. So now not only was it a free party, + on MTV, but also you got to see underground artists perform before the tapping. No matter where I go I bring the underground with me.

What was the best thing that jail did for you?

Well I’ve been to jail a dozen and a half times. But I assume you’re talking about the time that I got sober [laughs]. I wish I could say “I assume you’re talking about the last time I went to jail”, but unfortunately I’ve been to jail 3 times since getting sober 9 years ago. But that’s pretty good in comparison cause prior to sobriety I was in and out of jail.

That time I got sober I had went to jail 5 times that year. First a DUI, then a second DUI, then a violation of probation for the second DUI, then a drug possession charge I beat, then that 5th arrest was for sales. I assumed; sales, that’d be like 180 days. But in LA County jail you just do 10% of your time; I figured I’d be out in 18 days and pick right back up where I left off…..only that’s not how it went. Because of my record both probation and the District Attorney recommended state time (Prison). Like I said I’ve been to county jail like 18 times, but never prison. So that was scary. Luckily (actually thanks to Britney Spears) I was able to get 3 month in county then 3 month in rehab. But I had decided while in jail I was going to be sober, so rehab wouldn’t have had made a difference.

Part of my sober plan was to FINALLY pursue rapping. So 6 months later when I was out of jail then rehab I started trying to hit rap shows, open mic etc etc. The underground rap scene in LA at the time (2009) was pretty stale which is why I threw my first show…so really Ham and my entire career now is all a result of that time in jail.

Also, I’ll xpand on the Britney Spears story, I don’t think I ever told it [laughs]. So like I said DA office was recommending state time (prison) and my lawyer was saying it wasn’t looking good. But then I got a miracle; Britney Spears was also in court that day because of some lawsuit having to do with her bodyguard or her driver or something. But since it was a high profile case the head of the DA office was there so my lawyer got to talk to him and convince him that what I needed was rehab, not prison. So thank you Brit xo.

You mentioned that you wanted to be a rapper. How do the rap acts you book compare to the kind of music you wanted to make?

[laughs] They actually make music ha. I was just a kid who rapped. I had been rapping and writing raps since I was 11. I didn’t even record until I was sober and like 29 years old ha. But yeah there’s one tape out there on the internet with me, and two dudes Bizzart and Michael Nhat which is like the weirdo indie artsy rap that I was into early 00s, my raps sucked on that tape though. Then like 2013 me, Romo, and some other homies did a project called Ratchet Set, which was kinda jokey dumb ignorant raps…that’s on YouTube. We played Ham and some other shows as Ratchet Set, that was fun.

https://www.youtube.com/watch?v=8ve4JfcMO60

 

How has your sobriety affected your current outlook on life? What is one thing a life of sobriety has offered that being under the influence didn’t?

Yeah, I’m not even the same person. Like it’s hard for me to even imagine that I was ever even that person. That was like not even the same life. Its weird to put into perspective. And I can’t even name just one thing being sober changed. It gave me an actual life. Before sobriety my life was so fucking small. I didn’t have like any kind of primary purpose in life. My only purpose was to check out (get high, get drunk, anything). I literally didn’t have a life. But once I got sober and my entire essence wasn’t based on getting fucked up then my ACTUAL primary purpose just came to me. Like, the life I was meant to live along materialized. And it’s amazing. I kid you not when I say I’m living my wildest dreams, and its ALL because of sobriety.

What makes your events more than just a fun night?

Honestly has nothing to do with me. It’s all because of the community; the kids who support the scene. Its their scene and their community, they’re the ones that make it so fucking cool and make it an actual “scene.” I’m just the dude behind the scene who builds the platform for them. I mean the warehouse/underground atmosphere I create probably helps though. Just doing a non-traditional venue, with little to no stage, no VIP, no backstage, just everyone; artist and fan being equal just makes it a more intimate experience. I guess I’d answer the community feel and the intimate vibe is what makes it more than just a fun night.

What has been the most memorable experience you’ve had at an event you’ve thrown?

This is hard to answer since I’ve been doing this for 7 years. So many shows ha. I could of course say all the big ones; Waka Flocka playing a warehouse in South Central at 3am, Wiz Khalifa just showing up to Ham and spontaneously performing, getting Father and Key to perform together spontaneously after they had “beef”, so kinda squashing the beer. Same with when we had Soulja and Riff on the same show after they had years of beef. Doing SXSW with Carti, 21 Savage, Uzi Vert, & Yachty right before they all SUPER blew up. But honestly every show, even the ones that aren’t so big or grand, the most underground ones of them are all special to me. Literally every single one is a memorable experience. Im very grateful for all the shows/parties

What makes the LA party scene different than other major cities?

Honestly not really sure. I haven’t really partied in many other cities. But I just think LA is special. I’m also very inspired by old LA parties. 90’s raves, 90s after-hours where they’d play Jungle, Hip Hop, Techno, the LA ditch parties of the 90s, the 90s LA hood backyard raves where they’d listen to electro-funk and breakbeats. I don’t know, I just think LA has a long history of underground and warehouse parties. Also in LA everyone is very supportive of each other. I think that’s just part of that LA positive vibe/attitude. I remember once a DJ from NYC told me in NYC all the promoters beef with each other and it’s like a competition. Out here we all just support each other.

Was there ever a moment where a Ham event got too crazy/out of control?

[laughs] You have no idea how often it gets too crazy/out of control. It being a warehouse/underground environment it really feels rule-less, so it gets CRAZY. But honestly, I work better in chaotic situations. I love the shit. I swear in some out of control situations I perform better than even the head of my event security does [laughs].

How do you see Ham expanding in the next few years?

I think at this point I want to do the opposite of “expand”. Like there was a time where I thought I wanted to throw a festival. And maybe I still will (but on a more low key level). But honestly my main focus is just catering to the underground scene. So I don’t want to expand, I want to stay an underground party. But I mean different opportunities always arise so who knows, but whatever opportunity arises I’ll always use it as a vehicle to give back to the underground and to do dope shit for the Ham supporters.

What makes this all worth it? Why do you do what you do?

I don’t know man, I’m a high school dropout, jailbird, drug addict loser [laughs]. I had no plan for my “future,” I honestly didn’t expect to make it to even see 25. And even all this shit I’m doing now was never my plan, or intentions. Like I said, I got sober and my primary purpose just materialized and I’ve just gone with it. Everything has happened so organically. I’m just taking life as it comes, so I guess this is what I’m meant to do, so I’m doing it.

What would be your advice to someone who wants to throw a show themselves?

One thing to remember always, and not just in throwing shows but in any pursuit you have in life that you’re passionate about; INTEGRITY OVER MONEY. Always, always, always put your integrity first. Sincerity is more appealing to people. If anything you doing comes from a place of sincerity then people will be attracted to it. Throwing shows, or any creative pursuit isn’t going to be quick money. Took me two years until I made money off throwing shows. So my advice is don’t expect quick money, have sincere intentions (that aren’t monetary), and honestly all the kids I’ve seen fail at this over the year are the ones who have the mindset of “I’m gonna take over the scene,” “I’m gonna be the king of LA”, those AREN’T sincere motives/intentions. And start small!

Can I get guest list?

[laughs] Got you homie.

Check out Adam’s Twitter and Instagram to stay in the know about his upcoming events.  

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