By Eric S. Caruncho
Inquirer
MANILA, Philippines--Prophets of doom notwithstanding, these are boom times for music.
The compact disc might be dead, and the music business as we know it dying, but make no mistake, there’s more music being made -- and listened to -- than ever before.
It’s just that the local industry hasn’t figured out yet how to make money off file sharing, the dominant form of music distribution. While Apple quickly cornered the market with iTunes, cutting heavily into the CD retailing business, no comparable local model has yet emerged.
But there can be little doubt that the future of local music will be digital. And it won’t wait for the Philippines to be online.
Already, savvy entrepreneurs armed only with a PC and a dream have set up music “downloading” stations where new owners of the cheap MP3 players now flooding the market, as well as the new MP3-capable cellphones, can buy tunes even without owning an Internet connection. These are the same kiosks where you can get screensavers and ringtones for your phones, and sometimes mix CDs. Many of them serve squid balls too.
So people on the street have got it all figured out, even if the music biz hasn’t.
Despite the uncertainty of getting their royalty payments -- so what else is new? -- artists seem ready to take the plunge. After all, it’s a brave new world out there, where the ringtone charts matter more than the music retailers’ Top Ten, and landing a soap opera soundtrack deal is better than getting your video on MTV.
Just ask Acel.
If the name doesn’t immediately ring a bell, the voice should. It’s the same voice TV audiences heard singing the theme of “Maria Flor de Luna.” Those with longer recall might also dimly remember a little ditty called “Torete” by an outfit called Moonstar 88 that was a radio staple a while back. And if that still doesn’t do it, not to worry: By October televiewers will be getting a daily dose of Acel since she’ll be singing the main theme of ABS-CBN’s new Koreanovela “Spring Waltz."
Acel also has the distinction of being the first local artist to release an album without a CD. That’s right, the album “Silver Lining” will be available only online, at least for the moment. A CD release down the road remains a possibility, but for now it’s available by download only.
“Almost all new releases are available as digital downloads, but mine is the first album to be released without an actual CD,” says the slender, waifish and hard-to-believe-she’s-32 Acel, Maria Cecilia Bisa van Ommen in real life.
Two songs from the album, “Pakiusap” and “Laugh and Cry” are already enjoying airplay and video exposure. If these songs tickle the listener’s fancy, they’ll have to go online, either to www.acelbisa.com, Acel’s fansite, or to www.starrecords.ph, her label’s site, and log in.
“They’ll need to get a prepaid card and an electronic PIN at a load or card central like Netopia, and log in at the website. Then they can download the songs at P12 per song,” she explains.
You heard that right, P12 per song. Compare that with iTunes’ 99 cents (about P44) per song -- or the current P250 per CD -- and do the math.
Acel admits it’s a stab into the unknown. “We don’t have any feedback yet as to how the downloads are doing,” she says. “We also don’t know if any anti-piracy software has been installed, but we think this is the next phase.”
Although she only decided to go solo this year, Acel is already a veteran of the music scene, having come of age during the immediate post-Eraserheads alternative music boom of the mid-’90s.
As an angsty, Doc Martens-clad punkette, Acel cut her teeth at the legendary venue Club Dredd with her first band, Orphan Lily. “I never thought I would be a performer,” she says. “I grew up insecure and with an inferiority complex because throughout high school, I had to wear a body brace for my scoliosis.”
But she also grew up with a love for music. Her parents, both professors of creative writing, literature and grammar in Filipino and noted textbook authors, had a taste for Broadway musicals. Her elder brother was also into theater and influenced her toward the performing arts. So when a neighbor asked her to join his band, Acel immediately said yes.
“If you love what you’re doing, you’ll really work to overcome whatever hinders you from doing that,” she says. “But even then, it took me years to overcome my shyness. At Club Dredd, I would sing with my eyes closed. I just stood there like a stump. But the other bands around encouraged and helped me out, and kind of mentored me in a way. They’d say, ‘Acel, tumingin ka naman sa tao.’”
Eventually, she overcame her shyness, she says, because she had to shout Orphan Lily’s angsty, pop-punk lyrics. Orphan Lily managed to land a record deal with Polyeast Records, but disbanded soon after. Acel’s next outfit, Moonstar 88, was a mellower and more commercial proposition, steeped in Acel’s love for singer-songwriter music by the likes of the Sundays and Tori Amos. They immediately landed a record deal and released their debut “Popcorn” in 2001. The band scored with “Torete,” and followed up with a second album “Press to Play.”
Meanwhile, Acel was discovering a talent for songwriting, inherited perhaps from her parents’ literary proclivities. “I started writing after I left Orphan Lily. I wrote almost all the songs for Moonstar’s first album,” she recalls. “Then for the second album, I encouraged the other members to write so we divided the songwriting duties. I write mostly in English, but a lot of people who’ve heard me, say my strength is in Tagalog lyrics and how I sing them.”
In 2004, Acel left Moonstar 88 to marry her Dutch-Indonesian-Nepali fiancée and take a two-year hiatus from music. During that time, she helped a friend set up and manage a recording studio. But watching other artists recording their songs rekindled her love for music, and by last year, she had already written enough material for her solo debut. Earlier this year, she signed with Cornerstone Talent Management, the same outfit managing glamor-boy Sam Milby, which helped set her solo career in motion.
Acel describes her current music as “easy listening, relaxed driving music” -- perhaps a reflection of her settled life and matured outlook on things. “It’s emotional, with stellar melodies,” she says, admitting to being influenced by Brit pop by the likes of Keane, Coldplay and U2.
“My sister-in-law, who’s a graphic artist, told me, ‘when I listen to your music I feel like I’m swimming under the stars.’”
September 2007 Archives
By Pocholo Concepcion
Inquirer
MANILA, Philippines--Four hundred budding musicians turned up at the activity center of Trinoma Mall in Quezon City recently to audition for “Musikhero” (“music hero”), a three-day workshop which starts on Monday in Baguio City.
Some of the country’s top guitarists, bassists and drummers are serving as mentors at the music camp. They include former band mates Jun Lopito and Chickoy Pura of the Jerks; The Dawn’s Francis Reyes, Buddy Zabala and JB Leonor; Rivermaya’s Mike Elgar, Japs Sergio and Mark Escueta; Bamboo’s Ira Cruz and Vic Mercado; Freestyle’s Rommel de la Cruz; Razorback’s Louie Talan; and Side A’s Ernie Severino.
Only 75 of those who auditioned will be picked. By the end of the workshop, the most promising four will comprise a group to represent the Philippines at the London International Music Festival in April 2008. They also become official endorsers of instrument brands carried by JB Music, which organized “Musikhero.”
At the auditions, most of the mentors noted that today’s kids were lucky because they had access to the Internet, which offers a lot of instructional videos from the world’s top musicians.
Louie Talan, bassist of Razorback, Pinikpikan and Spy and also a record producer and engineer at his own Wombworks Studio, remembers learning to play the guitar by reading Jingle Chordbook magazine. Then he honed his skills by jamming with friends.
Francis Reyes, lead guitarist of The Dawn and deejay at NU 107, was also self-taught and researched a lot from the school library in La Salle. “I’ve learned that the measure of a guitarist is his sense of rhythm,” he shared. “I noticed that kids today, nagmamadaling mag-adlib. But the guitar solo is just icing [on the cake].”
For Jerico Salonga Fernando, whose parents established the JB Music chain 30 years ago, the whole shebang is a worthwhile investment. He said he’d like the kids to be proponents of OPM, if not the next generation of professionals who’ll get to travel the world as musicians. “For now,” Fernando said, “I want them to experience how it feels to play with rock stars.”
By Rito Asilo
Inquirer
MANILA, Philippines—With finger-snapping beats and a sassy vocal arrangement, Bituin Escalante opens her latest CD, “Ur Luv Thang,” with the groovesome track, “Let Go.” The lush music reverberates with a sexy and unconventional tempo that reminds listeners that Bituin’s latest album is not one of your run-of-the-mill, commercial releases. Ironically, this OPM compilation doesn’t sound Pinoy at all!
In a season of slim pickings from the local music industry, Bituin’s independently-produced album, “Ur Luv Thang,” is nothing short of a treat: The 12-song compilation is coated with a musically succulent hybrid of blues and jazzy tunes, all written by Dan Gil -- it’s no wonder why some cuts follow through with similar groove patterns and vocal requirements. Even more pleasantly surprising, there are no revivals here, as is customary with most local releases.
Musical ennui
In her previous offering, the singer-stage actress dished out a memorably frolicsome song, “The Only Two People in the World.” Her independently-produced collection boasts of even more lusciously delivered numbers -- an aural respite from the local recording industry’s current musical ennui.
In “Each Time We Say Goodbye,” for instance, Bituin delivers a lovely R&B duet with Artstrong. In the lone Tagalog track, “Kung Wala Ka,” about a troubled relationship, she dispenses an earnest interpretation full of soul and pathos.
Yes, the somber tune’s lyrics border on “jukebox” sentimentality (“Kung wala ka, buhay ko’y walang saysay. ’Di ako masasanay. Mabuti pang mamatay.”), but with Bituin’s full-voiced rendition (and Alvin Cornista’s moody sax), schmaltz takes on a different meaning.
An upbeat rhythm boosts “What You Do,” a cut reminiscent of the tunes popularized by Swing Out Sisters in the ’80s. Our top pick, “Last Tango in Manila,” fuses Latin sound with LL-J’s foot-stomping rap. When Bituin launches into her infectiously playful taunt (“I know you’re just putting on a show. You got something up you’re sleeve…”), you know she’s having fun -- and so will you!
Feisty
Take the vocally and melodically fascinating “There’s No Single Thing.” The feisty number has a funny albeit simplistic narrative: “I was 8 and you were 9. We’d run around till dinnertime. Then, my dad would drag me back home -- kickin’ and screamin’!”
A number of tracks, however, vacillate with indistinct melodic patterns (“Hurts So Bad,” “Inconsiderate”) that don’t take flight. Bituin would have been served well by a variety of musical styles (and songwriters) that could have showcased her range and versatility.
If a singer’s vocal instrument has the ability to pack as much wallop as Bituin’s, it’s only appropriate to expect more.
By Niña Catherine Calleja
Inquirer
LOS BAÑOS, Laguna--Four college students and a high school teacher have a different take on rock music.
They formed the Ephrot Act, jumbled from “Torpe ka (You are timid)” and they have been composing rock songs with nationalist content, calling them “nationalist rock.”
“What we have is an old-fashioned goal in a modern approach,” Adrian Luneta, the lead vocalist, said in Filipino in a group interview in Los Baños, Laguna.
One of their hit songs on campuses in Lucena City in Quezon and in the University of the Philippines at Los Baños is “Makibaka.”
Although the band has no album yet, Luneta said its members were happy when they learned that their songs had been passed on through the Internet.
The Ephrot Act is composed of Mike Ona, drums; Edz Pagaduan, lead guitar; Louie Dizon, bass guitar; Leroy Valdeavilla, rhythm guitar; and Luneta. The best friends were classmates in the Quezon National High School in Lucena.
Their addiction to playing the computer game “Counterstrike” was diverted to music on their third year in high school. “In one computer shop near our school, the players were in queue so while we waited, we stayed in a studio on the second floor and watched a band’s rehearsal,” Ona said.
All of them had no formal lesson in music and only learned to play instruments from other band members out of curiosity. They decided to form a band and join local contests in 2001.
They just had to make noise to catch the audience’s attention, as other bands in Lucena were doing, Luneta said. In due time, they realized that what they were doing was wrong and aimed to improve their music and compose not only love songs.
In 2006, the Ephrot Act bagged first prize in a barangay contest in Lucena. That same year, they started performing at UPLB where, Luneta said, “we experienced a crowd who liked us and enjoyed our music.”
Since then, they have become more passionate in rehearsing every weekend, walking three kilometers from Lucena to the studio they rented. “We could not afford the fare to the studio,” Ona said, adding that they were already paying P100 per hour for the studio rental.
Modern approach
Eran Lagos, the manager, noted that the band’s music was similar to those of Noel Cabangon, Bayang Barrios and other “alternative” musicians, but its “attack in music” is different. The songs are usually about the country and what is happening, but the type of music is rock.
The group has written “Makibaka,” “Byahe na,” “Astig,” “Asam” and their other songs, based on intuition and observation. “We just write what we see,” Dizon said.
At present, the band has recorded eight songs and is still working on seven others.
By Erwin Oliva
INQUIRER.net
A GROUP of sound artists, collectively known as New Media Arts Manila (NMAM), is set to stage a gig featuring sound art made with electronic, audiovisual, and information technology.
"It includes sound art, video art, interactive electronics, algorithmic art, computer music, and whatever art forms new technologies may yet spawn," the group said in an e-mail announcement.
Calling their music "New Media Art," NMAM was formed to curate, stage, and promote their art.
The gig, dubbed Electrostatic Sound Conference, will feature a range of "performative sound art pieces" done by several artists.
The group is composed of:
- Malek Lopez, Berklee-trained virtuoso who is the principal composer for the band Drip, and half of the abrasive electronica duo Rubber Inc.;
- Mu Arae Transmission, (a.k.a. Moon Fear Moon a.k.a. John Sobrepena), who composes haunting and eerie instances of IDM (Intelligent Dance Music);
- Blums Borres, 3D animator, performative video artist, and sound artist who dedicates himself to expanding the sonic territory of the electric guitar;
- Jing Garcia, tech editor of The Manila Times who founded the seminal sound art group Children of Cathode Ray back in 1989 and composes industrial/ambient pieces as autoceremony;
- Tengal, frenetic composer, a tireless sound artist, the founder of S.A.B.A.W. sound art collective, and a one-man record label;
- Lirio Salvador, sculptor and luthier whose ornate, chrome-plated instruments are featured on television, displayed in galleries, and played by his group Elemento;
- Tad Ermitano, filmmaker and video artist who creates custom programs and hardware for his art installations. His work has appeared in Time magazine.
By Pocholo Concepcion
Inquirer
MANILA, Philippines--On the first of its two-night concert at the Araneta Coliseum, Fall Out Boy (from left: Patrick Stump, Joe Trohman, Pete Wentz and Andy Hurley) played a short but sensational set -- sending some 10,000 fans swooning and singing along from start to finish.
This was an audience that would have looked out of place in a rock concert. There were college and high school kids all right, but we weren’t prepared to see grade school children, too.
Surely they didn’t recognize the band’s opening gimmick -- a canned recording of The Foundations’ “Build Me Up, Buttercup” blaring on the house speakers -- which, we assumed, was FOB’s way of saying, “We’ve got loads of surprises coming your way!”
The first two numbers zipped by, catchy melodies so familiar, but whose titles we failed to remember.
One of the surprises came on: a note-for-note cover of Akon’s “Don’t Matter,” which the crowd loved but was deliberately cut short.
Then the band went back to playing its originals, punk-driven but with pop appeal, because they talked about teenage rage, isolation, frustration and search for love in a pleasant tone.
“This one’s about having a light in the dark,” vocalist Patrick Stump said, before leading the band into “Hum Hallelujah.” It was said to have been inspired by a Leonard Cohen song. And though it sounded spiritual, the lyrics went like this: “I sing the blues/And swallow them too…”
Bassist Pete Wentz, a fireball of energy who often twirled and brandished his guitar like a mad paratrooper, sounded offensive when he asked the audience: “Do you understand a word of what we’re talking about?”
Failed to research
Either he failed to do his research -- he would be playing in front of kids who could’ve been brown Americans -- or he simply didn’t want to be misunderstood. From the way he punctuated his spiels with “muthafu__ers,” it was obvious his adrenaline was on high mode.
The other members were a pure delight. Lead guitarist Joe Trohman, the band’s founder, had this habit of sprinting across the stage, all the way up the drummer’s platform, and then jumping off like he was skydiving.
Drummer Andy Hurley, a vegan and reportedly inspired by Metallica’s Lars Ulrich, banged away like someone possessed by the spirits of great heavy metal percussionists.
On center stage, a geek-looking Stump kept close to the mike and poured his emotion like a guy trying to make up with his girlfriend after a nasty fight.
Another surprise: a faithful cover of the first few parts of Michael Jackson’s “Thriller,” replete with Eddie Van Halen guitar parts.
Surprising indeed, for FOB to try and turn on the crowd with sample covers that were hits before most of them were born (Stump and Trohman are 23; Hurley 27; and Wentz 28).
But that’s the mark of great musicians, even if it’s too early to say whether FOB would reach the rock and roll hall of fame.
Meanwhile, to hear its own widely appreciated hits, such as the quirkily-titled “I’m Like A Lawyer with the Way I’m Always Trying To Get You Off (Me & You)” and “Thnks for th Mmrs,” not to mention “This Ain’t A Scene, It’s An Arms Race,” are a confirmation of the band’s undeniable talent. (Interestingly, the first two aforementioned songs were produced on record by R&B superstar Babyface, due to perform also at the Big Dome on Oct. 13.)
Ironic, potent
These songs are full of irony -- a songwriting approach proven effective in portraying life’s tragicomic side, as well as capturing its audience’s short-attention span.
But looking at how the Pinoy youth worshipped FOB like heroes, especially a couple of straight-looking kids who danced the pogo like crazed punks circa late 1970s, it would probably take a long while before the potency of this kind of music wears off.
Photo courtesy of the Philippine Daily Inquirer
MANILA, Philippines--On the first of its two-night concert at the Araneta Coliseum, Fall Out Boy (from left: Patrick Stump, Joe Trohman, Pete Wentz and Andy Hurley) played a short but sensational set -- sending some 10,000 fans swooning and singing along from start to finish.
This was an audience that would have looked out of place in a rock concert. There were college and high school kids all right, but we weren’t prepared to see grade school children, too.
Surely they didn’t recognize the band’s opening gimmick -- a canned recording of The Foundations’ “Build Me Up, Buttercup” blaring on the house speakers -- which, we assumed, was FOB’s way of saying, “We’ve got loads of surprises coming your way!”
The first two numbers zipped by, catchy melodies so familiar, but whose titles we failed to remember.
One of the surprises came on: a note-for-note cover of Akon’s “Don’t Matter,” which the crowd loved but was deliberately cut short.
Then the band went back to playing its originals, punk-driven but with pop appeal, because they talked about teenage rage, isolation, frustration and search for love in a pleasant tone.
“This one’s about having a light in the dark,” vocalist Patrick Stump said, before leading the band into “Hum Hallelujah.” It was said to have been inspired by a Leonard Cohen song. And though it sounded spiritual, the lyrics went like this: “I sing the blues/And swallow them too…”
Bassist Pete Wentz, a fireball of energy who often twirled and brandished his guitar like a mad paratrooper, sounded offensive when he asked the audience: “Do you understand a word of what we’re talking about?”
Failed to research
Either he failed to do his research -- he would be playing in front of kids who could’ve been brown Americans -- or he simply didn’t want to be misunderstood. From the way he punctuated his spiels with “muthafu__ers,” it was obvious his adrenaline was on high mode.
The other members were a pure delight. Lead guitarist Joe Trohman, the band’s founder, had this habit of sprinting across the stage, all the way up the drummer’s platform, and then jumping off like he was skydiving.
Drummer Andy Hurley, a vegan and reportedly inspired by Metallica’s Lars Ulrich, banged away like someone possessed by the spirits of great heavy metal percussionists.
On center stage, a geek-looking Stump kept close to the mike and poured his emotion like a guy trying to make up with his girlfriend after a nasty fight.
Another surprise: a faithful cover of the first few parts of Michael Jackson’s “Thriller,” replete with Eddie Van Halen guitar parts.
Surprising indeed, for FOB to try and turn on the crowd with sample covers that were hits before most of them were born (Stump and Trohman are 23; Hurley 27; and Wentz 28).
But that’s the mark of great musicians, even if it’s too early to say whether FOB would reach the rock and roll hall of fame.
Meanwhile, to hear its own widely appreciated hits, such as the quirkily-titled “I’m Like A Lawyer with the Way I’m Always Trying To Get You Off (Me & You)” and “Thnks for th Mmrs,” not to mention “This Ain’t A Scene, It’s An Arms Race,” are a confirmation of the band’s undeniable talent. (Interestingly, the first two aforementioned songs were produced on record by R&B superstar Babyface, due to perform also at the Big Dome on Oct. 13.)
Ironic, potent
These songs are full of irony -- a songwriting approach proven effective in portraying life’s tragicomic side, as well as capturing its audience’s short-attention span.
But looking at how the Pinoy youth worshipped FOB like heroes, especially a couple of straight-looking kids who danced the pogo like crazed punks circa late 1970s, it would probably take a long while before the potency of this kind of music wears off.
Photo courtesy of the Philippine Daily Inquirer
I WAS a big Nirvana fan, and Kurt Cobain's tragic death was a huge shock to me.
AJ Schnack's "Kurt Cobain: About A Son" is a documentary that eschews soundbites and instead gives a quiet, intimate look at the man behind the music. Listen to the story of Kurt's life in his own voice, in these interviews conducted by Michael Azerrad for his 1993 book "Come as You Are: The Story of Nirvana."
Interestingly enough, the documentary supposedly doesn't feature any song performed by Nirvana. Instead, the soundtrack includes the music of different bands that influenced Kurt, such as Queen, Black Sabbath, David Bowie and Mudhoney. The film's original score is composed by Steve Fisk and Death Cab for Cutie lead singer Ben Gibbard.
Here's the official trailer on MySpaceTV.
Official Kurt Cobain About a Son Trailer
Add to My Profile | More Videos Here's the clip "Aberdeen" where Kurt talks about his childhood. Aberdeen
Add to My Profile | More Videos And here he is talking about the best part of being in a band. Being in a Band
Add to My Profile | More Videos This documentary debuted at the 2006 Toronto International Film Festival and will have a limited theater run starting October 3.
Add to My Profile | More Videos Here's the clip "Aberdeen" where Kurt talks about his childhood. Aberdeen
Add to My Profile | More Videos And here he is talking about the best part of being in a band. Being in a Band
Add to My Profile | More Videos This documentary debuted at the 2006 Toronto International Film Festival and will have a limited theater run starting October 3.
By Marinel Cruz
Inquirer
MANILA, Philippines--Bossa nova singer Sitti was feeling much better when she sat down with Inquirer Entertainment for this interview. In fact, she was deep in rehearsals for her show at the Captain’s Bar of the Mandarin Hotel.
Sitti had to cancel her Sept. 7 gig at the same venue due to pneumonia and laryngitis brought about by fatigue and lack of sleep.
“My doctor advised me not to talk for several days,” Sitti said. But now she’s good and ready.
Apart from provincial shows and a regular stint at the Stonehouse Café in Quezon City, Sitti is seen on the soap series “Ysabella” and the Sunday variety show “ASAP ’07” on ABS-CBN.
She recently released her third album, “Sitti: My Bossa Nova” (Warner).
How do you take care of your voice?
I take honey. I don’t talk, if I can help it.
What’s your most memorable gig so far?
The one at the Waterfront Hotel in Cebu during the Sinulog festival this year. It was a jam-packed, back-to-back show with Nyoy Volante. When the band was introduced, the power went out. Our drummer started his solo. The crowd turned on their cell phone lights. It was so cool.
I also like performing in Baguio City where the audience appreciates bossa nova and jazz.
What’s the worst place you’ve performed in?
An entertainment center on Roxas Boulevard. I performed to a drunken crowd, who didn’t know my music. They kept shouting mean words. When things like that happen, I just continue singing.
Have you ever sung at a funeral?
I’ve sung in churches because my mom is a catechist, but not at funerals, although I did sing at the wake of my uncle. I don’t consider that a gig, though.
Are you in a relationship right now?
I’m dating. A lot of guys express admiration but no one is seriously courting me. I’ve had previous relationships, and I guess I’m ready for a new one. Mahirap din ang puro trabaho. At the end of the day, you’d want someone to share your experiences with.
Describe your ideal guy.
He should not be in show biz. I prefer a clean-looking guy to a guy with a bad-boy image.
What’s the worst thing ever said about you?
I was shocked when I heard of the rumor that I already had a child. That’s not true at all. I panicked when I was told that “The Buzz” was coming out with a story on that. I was so relieved when the program aired my denial.
MANILA, Philippines--Bossa nova singer Sitti was feeling much better when she sat down with Inquirer Entertainment for this interview. In fact, she was deep in rehearsals for her show at the Captain’s Bar of the Mandarin Hotel.
Sitti had to cancel her Sept. 7 gig at the same venue due to pneumonia and laryngitis brought about by fatigue and lack of sleep.
“My doctor advised me not to talk for several days,” Sitti said. But now she’s good and ready.
Apart from provincial shows and a regular stint at the Stonehouse Café in Quezon City, Sitti is seen on the soap series “Ysabella” and the Sunday variety show “ASAP ’07” on ABS-CBN.
She recently released her third album, “Sitti: My Bossa Nova” (Warner).
How do you take care of your voice?
I take honey. I don’t talk, if I can help it.
What’s your most memorable gig so far?
The one at the Waterfront Hotel in Cebu during the Sinulog festival this year. It was a jam-packed, back-to-back show with Nyoy Volante. When the band was introduced, the power went out. Our drummer started his solo. The crowd turned on their cell phone lights. It was so cool.
I also like performing in Baguio City where the audience appreciates bossa nova and jazz.
What’s the worst place you’ve performed in?
An entertainment center on Roxas Boulevard. I performed to a drunken crowd, who didn’t know my music. They kept shouting mean words. When things like that happen, I just continue singing.
Have you ever sung at a funeral?
I’ve sung in churches because my mom is a catechist, but not at funerals, although I did sing at the wake of my uncle. I don’t consider that a gig, though.
Are you in a relationship right now?
I’m dating. A lot of guys express admiration but no one is seriously courting me. I’ve had previous relationships, and I guess I’m ready for a new one. Mahirap din ang puro trabaho. At the end of the day, you’d want someone to share your experiences with.
Describe your ideal guy.
He should not be in show biz. I prefer a clean-looking guy to a guy with a bad-boy image.
What’s the worst thing ever said about you?
I was shocked when I heard of the rumor that I already had a child. That’s not true at all. I panicked when I was told that “The Buzz” was coming out with a story on that. I was so relieved when the program aired my denial.
HOURS after the judge in her custody case ordered Britney Spears to undergo random drug and alcohol testing, what does she decide to do? Why, go club hopping, of course.
Check out this video from CelebTV.com.
And another one from TMZ.com.
By Lawrence Casiraya
INQUIRER.net
THERE is no better way to end it all than to have everyone in the audience scream our lungs out (And you can have it all/My empire of dirt). When he was done singing, perched on his keyboard in the middle of the stage, no one dared clamor for one more song. That would have ruined it all. Listening to Trent Reznor sing "Hurt" live was something else, really.
Here's a video I took with my mobile of Nine Inch Nails performing "Terrible Lie" at Asia World Expo in Hong Kong.
Me and my fellow Nine Inch Nail-heads -- including fellow journalist Jing Garcia from the Manila Times, who I never saw act as giddy before until finally seeing his idol; Raymund and Myrene of Sandwich; and Kris, lead singer for Fatal Posporos -- soaked it all up.
In the end, burning some serious cash to go to Hong Kong and buy those concert tickets was well worth it. For NIN-heads, it was definitely something not to be missed. Unless you plan on burning more serious cash watching their gigs somewhere farther and more expensive than HK
By David Germain
Associated Press
TORONTO, Canada--What's the best Beatles song?
The revolutionary tunes of John Lennon, Paul McCartney, George Harrison and Ringo Starr are back on the big-screen with "Across the Universe," a boy-meets-girl musical romance set amid the social turbulence of Vietnam and the 1960s.
In advance of its theatrical debut Friday, "Across the Universe" played at the Toronto International Film Festival, where The Associated Press asked stars what Beatles song was their favorite.
Most hemmed and hawed, some said it was impossible to pick one and a couple chose a certain post-Beatles Lennon composition.
A sampling of they had to say:
Evan Rachel Wood, star of "Across the Universe":
"It's hard, because it depends on where you are in your life and what day it is, because they really covered everything. So right now, hmm, recently, I would sing 'Happiness Is a Warm Gun.' I got into that because of 'Across the Universe.' It's my favorite number in the movie, how it's this strange, dark song. I like their weird stuff, too, even when they did 'Blue Jay Way' and 'Fool on the Hill.' You listen to it and it was so ahead of its time. You hear Radiohead nowadays and you're like, wow, I can see these strange similarities."
Julie Taymor, director of "Across the Universe":
"People have asked me that already, and I better come up with one. I love 'Something (in the Way She Moves).' I love 'And I Love Her.' ... I like all of the different periods. Every period, there's something so great about their work. If you say in the early period, what's my favorite, I think `All My Loving' is incredible. But now I'm stuck on the way these kids (in the movie) sing it."
Former president Jimmy Carter, subject of the documentary "Man From Plains":
"My favorite is 'Imagine.' When I go to a strange country, Cuba and other places, in some of those nations, 'Imagine' has become a national anthem. If you go to Havana, for instance, you'll see a statue of John Lennon. ... When we go to a folk performance or a symphony concert or to modern American music, they always play 'Imagine,' and it's one of my favorites just personally. If you listen to the lyrics closely, you'll see that it's against religion, it's against national boundaries, it's against nationalism, it's against jingoism, but the impact it has on people is profound."
Jonathan Demme, director of "Man From Plains," whose musical documentaries include "Neil Young: Heart of Gold" and the Talking Heads concert film "Stop Making Sense":
"Oh, gosh, 'In My Life,' I guess. It explains love amongst people, how the passage of time impacts them. I just think it's gorgeous."
Brad Pitt, star of "The Assassination of Jesse James by the Coward Robert Ford":
"'Come Together,' 'While My Guitar Gently Weeps.' I love the psychedelic phase, but yeah, that's really tough for me to pick. 'Come Together' is (great). I can't tell you why. I'm not good that way. I just know it works for me."
Michael Caine and Jude Law, stars of "Sleuth":
Caine: "'Hey Jude.' It's got nothing to do with him (pointing to Law and giving a huge laugh). It's philosophical. It's deep. It's a deep song."
Law: "I don't have favorites."
Caine: "I'll take back 'Hey Jude' and you can say 'Hey Jude.'"
Law: "No, it wouldn't be 'Hey Jude.' I've got so many memories of that song being played. Thank God, it's a good song. It would be terrible to be named after an awful song. 'Across the Universe,' actually. I like that one. I've always enjoyed Lennon's nonsense verse."
Emily Mortimer, co-star of "Lars and the Real Girl":
"'In My Life,' I think, or 'Here, There and Everywhere.' They just make me sort of cry. I feel like 'In My Life' I'd like played at my funeral, and 'Here, There and Everywhere' is just the most romantic, heartbreaking, sad, beautiful song that I know."
Michael Douglas, star of "King of California":
"I love 'Sgt. Pepper's Lonely Hearts Club Band' as an album. And 'Imagine' probably would come to mind. It is the ideal that you always hope this is what the world could become. This is the hope and the dream and the wish. And certainly being part of the '60s, it was something that we imagined was going to happen. That was going to be the way the world could be."
Kenneth Branagh, director of "Sleuth":
"I could pick one for you. 'For No One.' It's a lovely tune. It's just that sad thing, 'The day breaks, your mind aches, you find that all her words of kindness linger on when she no longer needs you.' It's a great, great popular tune that has that melancholic canopy over it."
Ryan Gosling, star of "Lars and the Real Girl":
"My mother's a huge Beatles freak, so I grew up on their music, and that's all we listened to in the house. This is going to be a tough question. Favorite Beatles song? It's not really Beatles, but I love some of George Harrison so much. Huh, favorite Beatles song? I'm probably not supposed to take this long, huh? This is a real test. This is where the rubber meets the road, my friend, this question. This is a great question. Separate the wheat from the chaff on this one. Aye-yi-yi, favorite Beatles song. OK, I'll pick a record, then I'll pick something from the record (hums to himself). OK, I'm getting there. 'Here, There and Everywhere.'"
And why?
"You can't ask me that. It's going to take me another five minutes to figure that one out."
REMEMBER Binky Lampano? Well, he has a new band called Lampano Alley. He was "caught" playing at 19East in Parañaque with other Filipino blues bands. Thanks to Gerry, I was able to catch the gigs online. The wonders of YouTube, heh.
The following video clip features Lampano Alley performing "Losing You." It is a snappy song with Binky Lampano on vocals, Tom Colvin on harmonica (blues harp), Edwin Vergara on guitar, Simon Tan on bass and Rey (uh, no last name indicated in the video description) on drums.
You can catch the other bands here.
POOR Britney. Her return to MTV at the Video Music Awards, which she kicked off with the highly anticipated premiere performance of her new "Gimme More" single, is almost too painful to watch.
I know she's been through a lot, but if you're going to try to make a comeback, do it with a bang instead of what looks like a half-hearted, barely rehearsed performance.
Check out this clip from SPIKE Powered by IFILM (don't you just love saying that, heh. Ah, remember the good old days before MTV bought IFILM in 2005?) -- you be the judge.
By Associated Press
LAS VEGAS, Nevada--Not only rappers fight at award shows: Kid Rock and Tommy Lee tussled in the audience at the MTV Video Music Awards on Sunday night.
Photo shows Tommy Lee (center) being escorted out by security.
MTV VJ Sway said on the post-show that he saw Kid Rock walk up to the Motley Crue drummer, who was sitting next to Diddy, and "deck him." The incident was confirmed by Palms Hotel and Casino public relations representative Larry Fink.
Both Lee and Kid Rock are ex-husbands of Pamela Anderson, who was a presenter at the show and delivered her lines from atop a table in the audience. Although it was not clear whether the two rockers were fighting over Anderson, it was hard to imagine another scenario.
The incident provided a lot of mock rebukes from the hip-hoppers in attendance.
"They say it's only rappers," said Sway. "I told you rockers fight too."
Diddy noted: "It's not just the hip-hop artists that sometimes have a problem."
Jamie Foxx took it still further: "Stop all this white-on-white violence."
Photo courtesy of Associated Press
LAS VEGAS, Nevada--Not only rappers fight at award shows: Kid Rock and Tommy Lee tussled in the audience at the MTV Video Music Awards on Sunday night.
Photo shows Tommy Lee (center) being escorted out by security.
MTV VJ Sway said on the post-show that he saw Kid Rock walk up to the Motley Crue drummer, who was sitting next to Diddy, and "deck him." The incident was confirmed by Palms Hotel and Casino public relations representative Larry Fink.
Both Lee and Kid Rock are ex-husbands of Pamela Anderson, who was a presenter at the show and delivered her lines from atop a table in the audience. Although it was not clear whether the two rockers were fighting over Anderson, it was hard to imagine another scenario.
The incident provided a lot of mock rebukes from the hip-hoppers in attendance.
"They say it's only rappers," said Sway. "I told you rockers fight too."
Diddy noted: "It's not just the hip-hop artists that sometimes have a problem."
Jamie Foxx took it still further: "Stop all this white-on-white violence."
Photo courtesy of Associated Press
By Agence France-Presse
LAS VEGAS, Nevada--Teenage R&B star Rihanna and pop sensation Justin Timberlake were the big winners at the MTV Video Music Awards Sunday, in a star-studded evening that saw Britney Spears make her stage comeback.
Rihanna picked up the most-sought-after Video of the Year award and Monster Single of the Year for her "Umbrella," notably beating R&B starlet Beyonce, Timberlake, rapper Kanye West, British soul singer Amy Winehouse.
"Wow. Video of the Year. This was definitely the most important one for me of the night... the most unexpected for me," Rihanna said, accepting the top Moonman, as the astronaut-themed statuettes are known.
Timberlake, whose "What Goes Around... Comes Around" reached number one in the US charts earlier this year, picked up the Male Artist of the Year award.
"It's just exciting to see a new generation of artists really doing it and doing it well," he said. "I think music is in a great place right now because we're all doing what we want to do. So thank you for this award MTV."
Despite not even being nominated for an award, all eyes had been on Britney Spears ahead of the 24th annual MTV Video Music Awards, being held this year at the Palms Casino Resort in Las Vegas.
The pop princess looked visibly out of shape as she opened the evening, appearing on stage at a major event for the first time in three years, since when she has had two children and gone through a string of personal problems.
The pop diva marked her comeback with "Gimme More" from her upcoming fifth album, set for release in November.
Opening with the line "It's Britney, Bitch," Spears performed in a dark sequined bikini and below the knee black boots and ended her performance perhaps appropriately with the lyric: "I just want more."
Other notable appearances of the evening were a risque introduction by comedian Sarah Silverman and performances by Alicia Keys, Chris Brown, Foo Fighters, Timberlake and Kanye West.
Underground Chicago foursome Fall Out Boy picked up the Best Group Award, as expected, beating alternative metal fivesome Linkin Park, modern rockers Maroon 5, indie/hip-hop band Gym Class Heroes and Detroit rock duo The White Stripes.
"We know that a lot of people tune into these awards to see who's wearing underwear, who's not, who's going to be a train wreck, but we want to thank all the people who are real fans of music out there," the band's Pete Wentz said.
British newcomer Amy Winehouse had been tipped for the Best New Artist Award, but lost out to New York crossover band Gym Class Heroes.
Winehouse, most recently in the news for canceling a string of US and European gigs for health reasons as she reportedly tries to beat a serious drink and drug problem, was up for three gongs but failed to score.
She had been due to perform on Sunday but canceled last month.
It was also a disappointing night for Beyonce, who was nominated for seven awards but had to settle with Most Earthshattering Collaboration, which she shared with Colombian-born pop singer Shakira.
Black Eyed Peas vocalist Fergie picked up the Female Artist of the Year but failed to show up to accept the award.
The organizers had shaken up this year's ceremony with a number of new awards, hoping to win back viewers after seeing numbers slump in recent years.
Perhaps the most unusual new award was the Quadruple Threat of the Year Award, in recognition of artists' work off stage. The award went to Timberlake, who has a number of restaurants and a clothing line.
Started in 1984, the MTV awards were originally launched to challenge the more traditional Grammy awards.
Among the more controversial episodes during that time, Madonna kissed Britney Spears and Christina Aguilera live on stage during the 2003 show.
By Nekesa Mumbi Moody
Associated Press
LAS VEGAS, Nevada--This has long been a place for escape when life gets too boring. So after a spate of forgettable Video Music Awards shows and a ratings dive, MTV has planted the broadcast in Sin City.
Sunday night's show is being beamed from the Palms hotel -- home to the Playboy Club -- and will feature the much-hyped comeback performance of tabloid queen Britney Spears, who hasn't graced the MTV stage since she famously locked lips with Madonna back in 2003.
"The MTV awards have never been about the awards, it's always been about the party and the music," says Entertainment Weekly executive editor Lori Majewski. "What better place to party than Vegas?"
This year, MTV might as well rename the event to the Video Music Party instead of the Video Music Awards. There will be no host, the number of Moonman trophies doled out during the ceremony has been cut from 12 to eight, and the traditional awards-show format has been junked.
"The overall sort of feeling was, 'What can we do to blow this show up, because there are so many awards shows out there right now,'"' says executive producer Jesse Ignjatovic. "Everyone felt like it was time to take some chances and really do things differently."
Instead of a traditional audience -- which in past years has included throngs of screaming fans in a pit close to the stage -- this year's event will feature only industry invitees sitting at tables with free-flowing liquor, a la the Golden Globes.
And while some of the evening's performances will be beamed from the central stage, the main action is happening at four suites throughout the hotel -- one hosted by Justin Timberlake and Timbaland, another by Kanye West, the third by the Foo Fighters and the last by Fall Out Boy, with cameras broadcasting the performances, parties and overall revelry from those suites throughout the evening. (50 Cent, Rihanna, Nelly Furtado, Lil Wayne and Lily Allen are among the show's other performers.)
"Their suite is whatever they want to do," Ignjatovic says. "It's sort of that feeling that something can happen in there that's not planned."
All of those antics will be condensed into two hours instead of three. And if you miss the show at 9.p.m. EDT, don't expect to see repeats on continuous loop as in previous years. The show will not air in its original form again -- it will be "remixed" with other elements to give people a reason to tune in.
"What I want is for the next day, for viewers or whoever to go, 'Wow,'" Ignjatovic says.
It's been a while since the VMAs had a YouTube moment -- so long that YouTube wasn't even around then. Although it has been defined by jaw-dropping, eye-popping shenanigans -- the Britney/Madonna kiss, Eminem tussling with a puppet, Diana Ross fondling Lil Kim's pastied breast, Prince's buttocks-baring outfit -- there has been a recent lack of spontaneity and excitement.
Majewski says the MTV Awards used to be "the ultimate anti-awards show... (now) their awards show has become a regular experience."
For cutting-edge MTV, such a fate would be death itself -- thus the makeover. "I want to just get people excited about watching an awards show," says Ignjatovic, "watching music on television."
Photo courtesy of Associated Press
LAS VEGAS, Nevada--This has long been a place for escape when life gets too boring. So after a spate of forgettable Video Music Awards shows and a ratings dive, MTV has planted the broadcast in Sin City.
Sunday night's show is being beamed from the Palms hotel -- home to the Playboy Club -- and will feature the much-hyped comeback performance of tabloid queen Britney Spears, who hasn't graced the MTV stage since she famously locked lips with Madonna back in 2003.
"The MTV awards have never been about the awards, it's always been about the party and the music," says Entertainment Weekly executive editor Lori Majewski. "What better place to party than Vegas?"
This year, MTV might as well rename the event to the Video Music Party instead of the Video Music Awards. There will be no host, the number of Moonman trophies doled out during the ceremony has been cut from 12 to eight, and the traditional awards-show format has been junked.
"The overall sort of feeling was, 'What can we do to blow this show up, because there are so many awards shows out there right now,'"' says executive producer Jesse Ignjatovic. "Everyone felt like it was time to take some chances and really do things differently."
Instead of a traditional audience -- which in past years has included throngs of screaming fans in a pit close to the stage -- this year's event will feature only industry invitees sitting at tables with free-flowing liquor, a la the Golden Globes.
And while some of the evening's performances will be beamed from the central stage, the main action is happening at four suites throughout the hotel -- one hosted by Justin Timberlake and Timbaland, another by Kanye West, the third by the Foo Fighters and the last by Fall Out Boy, with cameras broadcasting the performances, parties and overall revelry from those suites throughout the evening. (50 Cent, Rihanna, Nelly Furtado, Lil Wayne and Lily Allen are among the show's other performers.)
"Their suite is whatever they want to do," Ignjatovic says. "It's sort of that feeling that something can happen in there that's not planned."
All of those antics will be condensed into two hours instead of three. And if you miss the show at 9.p.m. EDT, don't expect to see repeats on continuous loop as in previous years. The show will not air in its original form again -- it will be "remixed" with other elements to give people a reason to tune in.
"What I want is for the next day, for viewers or whoever to go, 'Wow,'" Ignjatovic says.
It's been a while since the VMAs had a YouTube moment -- so long that YouTube wasn't even around then. Although it has been defined by jaw-dropping, eye-popping shenanigans -- the Britney/Madonna kiss, Eminem tussling with a puppet, Diana Ross fondling Lil Kim's pastied breast, Prince's buttocks-baring outfit -- there has been a recent lack of spontaneity and excitement.
Majewski says the MTV Awards used to be "the ultimate anti-awards show... (now) their awards show has become a regular experience."
For cutting-edge MTV, such a fate would be death itself -- thus the makeover. "I want to just get people excited about watching an awards show," says Ignjatovic, "watching music on television."
Photo courtesy of Associated Press
BRITNEY'S back, bitch. (And you'll know why I'm saying bitch if you've heard the song, heh). Or is she?
Sure, she finally has a new single, "Gimme More." But is it any good? Will she now be able to revive her career and make the public forget all the craziness that's been going on in her personal life?
Well, listen for yourself if you haven't already. Click here to listen to it on Z100, where the single made its worldwide debut.
Or check out this video clip posted by Hollyscoop TV.
Personally, I don't find the song that great, but it isn't bad, either. Fair warning, though: it's one of those tracks that can make you suffer from Last Song Syndrome if you listen to it long enough.
Escape while you still can :)
By Associated Press
LIVING fast and dying young has long been part of rock 'n' roll lore.
Nirvana lead singer and guitarist Kurt Cobain, for instance, committed suicide at his home in Seattle on April 8, 1994. He was 27.
Now statistics seem to affirm the rock star image, according to a study released on September. Researchers at Liverpool John Moores University, whose report appeared in the Journal of Epidemiology and Community Health, studied a sample of North American and British rock and pop stars and concluded they are more than twice as likely as the rest of the population to die an early death.
The team analyzed the stars of rock, punk, rap, R&B, electronic and new age genres in the "All Time Top 1,000" albums, published in 2000. They then analyzed the artists -- ranging from the late Elvis Presley to the still lively rapper Eminem tabulating how many had died and at what age.
Here's an excerpt from the news update posted on the Liverpool John Moores University site.
LIVING fast and dying young has long been part of rock 'n' roll lore.
Nirvana lead singer and guitarist Kurt Cobain, for instance, committed suicide at his home in Seattle on April 8, 1994. He was 27.
Now statistics seem to affirm the rock star image, according to a study released on September. Researchers at Liverpool John Moores University, whose report appeared in the Journal of Epidemiology and Community Health, studied a sample of North American and British rock and pop stars and concluded they are more than twice as likely as the rest of the population to die an early death.
The team analyzed the stars of rock, punk, rap, R&B, electronic and new age genres in the "All Time Top 1,000" albums, published in 2000. They then analyzed the artists -- ranging from the late Elvis Presley to the still lively rapper Eminem tabulating how many had died and at what age.
Here's an excerpt from the news update posted on the Liverpool John Moores University site.
The music business would do well to take the health risks of substance abuse and risk taking behaviours more seriously, say the authors. This is not only because of the long term effects on the stars themselves, but also because of the influence these stars exert on others. One in 10 children in the UK aspires to become a pop star, say the authors, and the droves of eager hopefuls applying to take part in series such as the "X Factor," confirm the attractiveness of this career option.Want to read the paper in full? Click here for the PDF document. With a report from INQUIRER.net File photo of Kurt Cobain courtesy of Associated Press
By Jude Thaddeus Bautista
Inquirer
MANILA, Philippines--"The Malaysians were scared of whoever would win in the Philippine finals,” Kjwan lead singer Marc Abaya told screaming fans recently at Capone’s Bar in Makati, where the celebration for the band’s triumph at the Asean Ikon grand finals was in full swing.
“To be honest with you,” Abaya went on, “any one of the Ikon finalist bands here could’ve kicked ass and won in Kuala Lumpur. Our country is home to the best musicians in the world!”
Kjwan had gone through a tense moment against Kala and True Faith at the Philippine finals. Guest judge Jose Mari Chan had considered True Faith as “more melodious than the other bands.”
But Carlos Sison, former True Faith guitarist who now plays with Francis Magalona, described Kjwan’s music, thus: “If you listen closely, it has a strong funk influence. What people don’t realize is that this music is representative of how rock is currently evolving. They’ve been around for four years and they really deserve it. I’m proud of Kjwan.”
Asean Ikon is a contest for professional singers and bands whose talents deserve wider exposure in the Southeast Asian Region.
Malaysia, Indonesia and the Philippines fielded contestants, who were required to perform original songs written for, or by, them.
Vina Morales won in the singers category while Kjwan was adjudged the best in the bands division. Both took home $25, 000 in cash prizes.
Cool funk metal
The Malaysian band OAG was a heavy favorite while the Indonesian group Tahta had its own set of fans in Malaysia. But it was Kjwan’s cool brand of funk metal and distinct appeal that clinched the title.
What made the grand finals different from all qualifying rounds was that the winner would be determined solely by a panel of judges. (In the elimination rounds, a certain percentage was allotted for text voting.)
Each country was represented by one judge: Mac Chew (Malaysia), Hedi Koes Enday (Indonesia) and Eugene Villaluz (Philippines), plus Iskandar Mizra Ismael (Singapore).
On finals night, Kjwan, whose members all wore black silk suits, performed “Invitation,” a track from its second album “Two Step Marv.”
Vina Morales’ first song was “Pangako Sa ’Yo.” Her heartfelt rendition conveyed an emotion that broke the language barrier.
In a cell phone interview, Vina’s male Indonesian competitor, Judika, said, “I didn’t know what the words meant but I felt it was about love. Vina has a beautiful face and an incredible voice. I really want to collaborate with her soon.”
Yet Vina had one more ace up her sleeve -- her own dance tune, “Feels So Nice.” She pulled off one impossible dance move after another.
Her G-Force dancer lifted her off the ground and then spun her around with her arms raised as if she was flying. And then the other partner handed her the mic just in time for her to belt out high notes, without her voice faltering.
At that point, the Malay crowd had given her a standing ovation.
Goose bumps
Kjwan drummer J-hoon Balbuena said, “The whole crowd got goose bumps when they found themselves singing along to “Pangako Sa ‘Yo.” Abaya added, “Vina won their hearts. She was amazing.”
Balbuena added, “I think the judges proved they weren’t biased by thinking of the kind of music that’s reflective of Asia. They judged regardless of genre and race. OAG is a great band whose songwriters had a peculiar sense of humor. But we’re also quite different. Hopefully, we’ve reached a wider audience.”
Ikon Philippines Artists Management Director Twinky Lagdameo described the friendships and camaraderie that developed between the performers from each country.
Sincere, professional
“Everybody was so supportive and professional. You could see that they were all sincere. Some of them want to collaborate with each other. And there’s so much great music out there that we don’t know about,” Lagdameo said.
Kjwan bassist Kelley Mangahas echoed Twinky’s sentiments. “We are humbled by the experience. OAG’s members are really nice guys. They’re very respectful. We’ve even made friends with them.”
Lagdameo explained that the goal of Ikon was achieved. She said, “As people and as artists, all the talents were in top form. The winning part is good for the Philippines. My choices and musical instincts were validated by other people in the region. We proved that with the right opportunity we really can make it.”
Fans who missed the grand finals, the Philippine finals and the semis may log on to Pulse.ph.
By Pocholo Concepcion
Inquirer
MANILA, Philippines--You turned on the radio, set the FM dial to 92.3, and your mind wandered off, on to different movie settings -- running away with Scarlett Johansson in “The Island” or plotting with Tom Cruise in “Mission Impossible.”
At times, you slid into a contemplative state. The next moment, you’d be having such a good time that it felt like you were driving around town in breezy weather, with no traffic.
This was the aural atmosphere induced by the music from the station that used to go by the name Joey. It is now known as xFM, and for the past four months, it has been experimenting with a free-form play list you won’t hear anywhere else -- except perhaps in dance clubs, or in parties that wind down at sunrise.
Much of the music on xFM can’t be called “songs” in the conventional sense. That’s because many of them don’t have vocals, at least no more than short phrases (like, for instance, “Let’s make love tonight …”) spoken with atmospheric studio effects.
It gets more complicated if you try to decipher what the station plug says is xFM music. It’s fairly easy to understand “chill out” or “downtempo” -- basically, laidback electronic music. (In fact, “chill out” has become part of contemporary English; it means “cool down” or “relax.”)
But what about “Bristol” (where “trip hop” and “drum ’n’ bass” were supposedly born), “house,” “techno” “trance” and “electronica”? Strange words, especially to 40-year-olds weaned on the Beatles and the Stones.
Maybe that’s why the station’s management recently edited out that plug, and concentrated on hyping its call letters over and over: “This is… xFM.”
What it actually plays are various offshoots of dance music types that were all the rage abroad from the late 1980s till about 2002 at all-night warehouse parties and raves.
In these gatherings, the DJ was king, working the crowd with all sorts of records and mixes that seemed better appreciated with laser lights and the drug Ecstacy.
That scene died a natural death but gave birth to clubs that play chill out music. But then there’s supposed to be a new, revitalized rave scene abroad, although people would rather be called “clubbers” instead of ravers now, and the events they attend are referred to as just “parties.”
In any case, is there a local audience large enough for xFM to attract as listener base? While it’s true that there was a local rave scene several years ago and there are more clubs now around Metro Manila with DJs playing techno, downtempo and the whole caboodle of electronic dance music, is that cool enough to hear on radio on a daily basis?
Apparently, there’s a major adjustment going on at the station. The moody and atmospheric sounds that used to greet us in the mornings are now few and far between. What is supposed to be the centerpiece music is heard only on Wednesdays and Sundays through the syndicated Ministry of Sound franchise in England.
Pop and light jazz
Lately, daytime programming on xFM is veering towards a combination of pop and light jazz.
How else to explain Michael Franks on a Sunday morning? Or Bruce Hornsby’s “The Way It Is,” Phil Collins’ “Easy Lover” and “In the Air Tonight,” Cyndi Lauper’s “Time After Time,” Ambrosia’s “Biggest Part of Me” and Manhattan Transfer’s “Smile Again”?
Well, Steely Dan’s “Hey Nineteen” is refreshing after a long while, but isn’t James Ingram’s “Whatever We Imagine” or Earth, Wind & Fire’s “Fantasy” too, uh, stale for a new station to mess with?
The Inquirer asked Al Torres who, as managing director, is responsible, along with president and CEO Raymund Miranda, for plotting out xFM’s sound and direction. Torres explained that, although the crowd that’s into electronic music (and which xFM wants to cater to) is big enough to be called a “community,” it’s not wise to alienate other listeners who may think the station is too elitist.
In the early weeks of broadcast and in initial press interviews, xFM appeared bent on having no talking DJs -- or news reports and weather updates, for that matter -- to interrupt the music. But perhaps Torres should reconsider this stance, if he wants to reach out to more listeners. Besides, how does one become acquainted with chill out music when nobody identifies the artists and song titles?
In the late ‘70s till about the mid-‘80s, Torres did a great job as station manager of 99.5 RT. It bears watching if he can find the “x-factor” that would transform xFM into something “extraordinary,” rather than the unknown mathematical variable that its first call letter signifies.
By Erin Carlson
Associated Press
NEW YORK--It seems like forever since Britney Spears had six-pack abs and a hit song on the charts. But the fallen pop princess -- tarnished by a tumultuous divorce, late-night partying and erratic behavior -- is trying to get her music career back on track.
For real this time.
Her new single, "Gimme More," debuted Thursday night on the website of New York City pop station Z100, and a new album is due for release Nov. 13 by Jive Records, the label's representative, Wendy Washington, told The Associated Press on Friday.
The song -- a clubby, flirty dance track produced by Danja, a protege of hitmaker Timbaland -- has the 25-year-old singer bringing back the thumping beats and breathy come-ons of her pop star past. The song's opening line has an expletive.
Sharon Dastur, a program director at Z100, says listener response has been positive.
"A lot of people automatically had a negative attitude about it before hearing it," she said. "And then the reaction we've been getting, you know, people are so pleasantly surprised by it. You also have the people who have just been cheering on her comeback anyway."
Spears, whose activities have been tabloid fodder since she split from Kevin Federline last November, hasn't released an album of all-new material since 2003's "In the Zone." She came out with a greatest hits album in 2004, which included a cover of Bobby Brown's "My Prerogative."
Spears, the mother of two young sons, has been taking baby steps toward a comeback. She has said she'd hoped to jump back into the music scene this year, and in May, staged several concerts at clubs in California.
While her escapades may have alienated many of her fans, Spears can slip back into their good graces by teaming up with the right people: the music-makers behind some of today's hottest tracks, Dastur said.
"At the end of the day, it is really all about the actual songs," Dastur said. "Her people have to make sure that she's being produced the right way. That the songs are the right songs for her to be coming out with."
Editor's note: File photo courtesy of Associated Press.
NEW YORK--It seems like forever since Britney Spears had six-pack abs and a hit song on the charts. But the fallen pop princess -- tarnished by a tumultuous divorce, late-night partying and erratic behavior -- is trying to get her music career back on track.
For real this time.
Her new single, "Gimme More," debuted Thursday night on the website of New York City pop station Z100, and a new album is due for release Nov. 13 by Jive Records, the label's representative, Wendy Washington, told The Associated Press on Friday.
The song -- a clubby, flirty dance track produced by Danja, a protege of hitmaker Timbaland -- has the 25-year-old singer bringing back the thumping beats and breathy come-ons of her pop star past. The song's opening line has an expletive.
Sharon Dastur, a program director at Z100, says listener response has been positive.
"A lot of people automatically had a negative attitude about it before hearing it," she said. "And then the reaction we've been getting, you know, people are so pleasantly surprised by it. You also have the people who have just been cheering on her comeback anyway."
Spears, whose activities have been tabloid fodder since she split from Kevin Federline last November, hasn't released an album of all-new material since 2003's "In the Zone." She came out with a greatest hits album in 2004, which included a cover of Bobby Brown's "My Prerogative."
Spears, the mother of two young sons, has been taking baby steps toward a comeback. She has said she'd hoped to jump back into the music scene this year, and in May, staged several concerts at clubs in California.
While her escapades may have alienated many of her fans, Spears can slip back into their good graces by teaming up with the right people: the music-makers behind some of today's hottest tracks, Dastur said.
"At the end of the day, it is really all about the actual songs," Dastur said. "Her people have to make sure that she's being produced the right way. That the songs are the right songs for her to be coming out with."
Editor's note: File photo courtesy of Associated Press.
