Wednesday, May 31, 2006

"Bakasi" ug "Lansiao" gihukad sa Jimmycycle


JIMMELOU DACLISON. Kining nag-antipara nga milumpong sa pagkagitarista ug pagkavokalista mogitik sa kwerdas sa iyang bag-ong gitara (tungod kay ang iyang karaang instrumento iya mang gibunal nga naghatod sa pagkapusgay niini atol sa usa ka mainitong pasundayag sa Minglanilla) aron kahatagan ug katagbawan ang mga sumusunod sa ilang mga kantang linawgaw nga giilang nagpasiugda sa pagkuyanap sa paningog nga Bisrock.

Si Jimmy mao ang tingog likod sa “Bakasi”, usa ka Sugbuano nga termino sa “eel”, kansang sabaw giisip nga makapalagsik sa pagkalalaki. Hinungdan man gani nga naikag si Jimmy nga suwaton ang mga benepisyo sa paghigop ug sabaw sa bakasi ug pagkaon sa unod niini nga nakahatag ug tugob nga kalagsik ug lahutay sa natad sa pakighilawas.

EXPEDITO SIABOC. Ang bahista sa pundok mas gusto nga tawgong Choyex Doyek. Ug susama kang Jimmy masiawon usab niyang giyagyag dihas “Pilok sa Kanding”, ang usa ka linawgaw nga pangantalita sa uban nga gusto gayud magpagamit ug intimate adult toys, ug ang “Lansiao”, nga laing matang sa sinabaw nga sud-an nga giisip nga makahatag ug dugang kabaskog alang niadtong buot mahimong kampeyon sa sangka sa kama.

ARNIEL ONG. Mas pilion niyang tawgong Potenciano sa wa mabutyag nga hinungdan. Ang iyang pagpakang sa concave metal plates nakahatag ug usa ka matang sa orgasmo matag jamming session ug linawas nga pasundayag.

Ang tulo ka mga tinun-an sa Cebu Institute of Technology nagkatapok ug nagkurambos ug mugna ug kanta ubos sa ngalang Jimmycycle ug giila nga usa sa mga pioneers sa Bisrock nga mga banda.

Ginamit ang mga impluwensiya sa Nirvana, Silverchair, Creed, Pearl Jam, Rivermaya ug Eraserheads, ang matag pasundayag sa Jimmycycle nahimong makalingaw ug tugob sa kinabuhi.

Sugdan nato kang Jimmy. Tawga siya’g Grungechy Boy. Unsa kaha ang nakapatukmod kaniya nga sudlon ang natad sa pagkanta? Sa usa ka pakighinabi, siya misaysay nga sa dihang diha pa siya sa grade school, usa ka higala mitudlo kaniya pagduyog pinaagi sa gitara. Usa usab siya ka sakop sa children’s choir kaniadto.

Sa dihang diha na siya sa high school, nahimo siyang sakop sa usa ka banda sa ilang tulunghaan. Nanukar sila ug mga covers sa mga kantang gipasikat sa Radiohead ug Eraserheads. Ug bisan pa man nga sa dihang ang E-heads ana-a sa kinapungkayan sa kasikat niadtong mga tungora, ang iyang dakong interes sa grunge music nga gipalambo sa bandang Nirvana, nahatod ning panahona ug nagpabiling kinaham niyang tipo sa musika.

Sa laing bahin, si Choyex gikan sa bandang “No Earth” ug matud pa nagsugod pagtukar sa bass guitar sa unang ang-ang sa kolehiyo. Siya nagkanayon nga kinaham gayud niya ang istilo sa mga kantang gipasikat sa NOFX, MxPx, Green Day, ug Blink 182. Gikahibalag ni Choyex silang Jimmy ug Potenciano sa usa ka pasundayag. Si Potenciano ug Jimmy maoy mingduol kaniya ug nangimbitar nga patukaron usab siya isip kauban sa tapok sa Jimmycycle. Tuod man nitunga si Choyex, apan atrasado na kining naabot sa ilang jamming session.

Usa ka sarkastikong Potenciano ang nagyawyaw: “Murag rockstar ang ani**l!” Si Jimmy, sa laing bahin, mikomento pagkahuman niadto ug “What the heck! Mo-uli dayon inig human sa gigs kay nagdali sa chicks pero wala’y chicks nga ebidensya. Sige lag pa choy-choy.”

Ug bisan pa man niini, nagka-bonding ang tulo ug nahilakip gyud si Potenciano sa pundok. Si Potenciano nagagikan sa bandang “5wounds” ug nagsugod sa iyang pakang-pakang sa drums sa dihang freshman pa usab sa kolehiyo. Iyang naila-ila niadto si Jimmy ug kauban ang iyang giilang sila si Archie Bautista ug Robert Luceno, nagkapundok sila aron kahatagan ug pagkaalim ang nagnangnang nga mga samad sa ilang dakong kasibot nga baklayon ang tunokong dalan paingon sa kalampusan. Si Potenciano nag-idolo sa Blink 182, Green Day, ug Wolfgang, gawas sa Nirvana, Rivermaya ug Silverchair isip musical influences.

Nakapugnit gayud ug pagtagad ang Jimmycycle gumikan sa ilang kantang nag-ulohan ug “Unsa Ning Tama-a?”, usa ka sarkastikong paagi sa pagsaway sa mga nahitumpayak sa paggamit ug illegal nga drugas: “Unsa ning tamaa, Wa' ko kasabot, Gusto kong mo kaon, Di ko ka tulon, Gusto kong matulog, Di ko ka tulog, Unsa ning tamaa, Wa' ko kasabot….ngano mang ni-enter? Wa man tay apil?”

Ug sa dihang nakalaksi na ug pagtagad ang Jimmycyle tungod sa mga makapatisngi nga dugukan sa ilang mga kanta, miapas na pud ug pagsakmit ug igo-igong requests ang “Peling Gwapa” ug “Kodigo”. Ang nahauna may kalabutan sa mga babayeng sobra ra kaayo ang pagsalig sa kaugalingon nga nagtoo nga maanyag sila, gisimba ug gipantasya sa kalalakihan, samtang ang naawahi atake sa mga tawong tapulan nga mahiligon sa paggama ug kodigo aron lang gayud makapasar sa usa ka pasulit o mga susama niini nga tumong ug tinguha.
Ang mga masabawong mga kanta sa Jimmycycle, gidihogan sa pag-aprubar sa nagkabaga niining mga sumusunod, nakatukmod usab sa pagsulbong sa lain pang mga tracks sa album sama sa “Lostrid”, “Barako”, “Tomboy”, ug “Emo Ako”. Ug niining tungora nagkanayon si Jimmy nga buot niyang ang Jimmycycle mahinumduman sa pagka-prangka ug pagkapintok sa mga mensahe sa ilang mga kanta tungod kay ila mang gipang-isa ang mga isyu nga dili sarang matuki kon ang atong katilingban padayong gawngan sa belo sa pagkatigpakaaron-ingnon.

Alang sa R18-rated nga lyrics ug website nga rated PG, mas pilion nako nga kamo na ang makasusi kon unsa ang ulohan sa ilang album nga mapalit sa Guerilla Wear Boutique, Mango Square Mall, Melrose Sports sa Raintree Mall ug A. Salonga Music Center sa SM City Cebu Mall. Susiha usab ang www.geocities.com/jimmycycle007 ug alang sa mga direct orders text 0917-6987722. Email o ipuno sila sa friendster: jimmycycle007@yahoo.com.


Sexuality tackled the wacky Jimmycycle way


JIMMELOU DACLISON. This bespectacled guy with a chick-sounding name will strum strings of a new guitar (yes, because he had his aged guitar smashed in a euphoric performance at a recent Bisrock concert in Minglanilla) to allow an audience the mouthing of wacky songs that already dominated Bisrock airwaves for quite a time. Jimmy is the voice behind “Bakasi”, a Sugbuano term for “eel”, its soup treated an aphrodisiac. The very reason why Jimmycycle got interested in writing how some men would want their virility sustained the cheapest way – a slurp of “sabaw sa bakasi”.

EXPEDITO SIABOC. This bassist refused, and begged and prayed never to have his true name revealed, but sorry Choyex Doyek we have to stick to basic facts. And standard operating procedure dictates that when your story takes to the paper, the national identifications system becomes unnecessary as there is Jimmy who can provide details a text away (what’s the use of the unlimited short message service, by the way, highway?). Choyex Doyek is another person fond of discussing his sexuality the funny way, and he has a mouthful of that literally (hee-hee!) that are compiled in the songs “Pilok sa Kanding”, a playful look at intimate adult toys and “Lansiao”, another soupy serving of double meanings, from erection to dereliction.

ARNIEL ONG. Okay he prefers to be called Potenciano, for whatever that means. And he strikes concave metal plates with a clanging gusto, you won’t ever question his obsession for products labeled with a shimmering Zildjian. He caps the foreplay in every jamming session to give audience a Bisrock orgasm that is beyond definition – it takes a Bisrocker to understand another Bisrocker, that’s what!

The trio reports to school at the Cebu Institute of Technology. Choyex in his architecture classes, Potenciano in tinkering with computers for his computer engineering projects and Jimmy in his electronics and communications engineering pursuits. Collectively, they are Jimmycycle.

It was on that very first night as an observer at the Handuraw Events Café that I came to appreciate a Jimmycycle performance. You can just imagine three rockers with the power twice the figure. Power play might have been triggered by the combined influences of Nirvana, Silverchair, Creed, Pearl Jam, Rivermaya and Eraserheads that fuel such a drive for an enthusiastic, ecstatic and explosive performance, every time!

Okay let’s start with Jimmy. Call him Grungechy Boy. What ever pushed him to sing? He said that when he was in grade school, a friend taught him to play the guitars. He was a member of a children’s choir back then, and his friend and him were focused on playing the guitar for good, fine-tuning and polishing and honing a talent that they consider a life.

In high school, he was a member of a band in their school. They played some covers of Radiohead and Eraserheads (what’s with the head, Grungechy Boy?). Though the E-heads were at the summit of popularity that time, his big interest in grunge music like that propagated by Nirvana, until now makes it his favorite type of music, he said.

Meanwhile, Choyex was from the band “No Earth” and started playing bass in college as a freshman. He says he loves the music of NOFX, MxPx, Green Day, and Blink 182. Choyex and the two crossed into each other’s paths in one of their gigs. Potenciano and Jimmy approached him to play for Jimmycycle. But owwwww this guy came late during a jamming session.

A sarcastic Potenciano blurted out: “Murag rockstar ang ani**l!” Jimmy on the other hand would comment, “What the heck! Mo-uli dayon inig human sa gigs kay nagdali sa chicks pero wala’y chicks nga ebidensya. Sige lag pa choy-choy.”
Meanwhile, Potenciano was from the band “5wounds” and started to play drums also in college as a freshman. He met Jimmy and formed a band with a certain Archie Bautista and Robert Luceno and thus the sound of the “blistering of wounds”. They mentioned of Chuck Wagon Grill where they played regularly as members of Scream of Cebu’s Underground Music (SCUM). Potenciano looks back at Blink 182, Green Day, and Wolfgang, aside from Nirvana, Rivermaya and Silverchair as influences.

Jimmycycle also hit it good with “Unsa Ning Tama-a?”, a sarcastic song on illegal drug use: “Unsa ning tamaa, Wa' ko kasabot, Gusto kong mo kaon, Di ko ka tulon, Gusto kong matulog, Di ko ka tulog, Unsa ning tamaa, Wa' ko kasabot….ngano mang ni-enter? Wa man tay apil?”

As soon as Jimmycycle was recognized for the amusing subjects in their sound, “Peling Gwapa” and “Kodigo” also started picking up. The former is about women getting the feel and the “poor assumption” of being physically attractive and adored and wanted, while the latter swats those involved in making “kodigos” just so to pass an examination and the like.

The smorgasbord of soupy songs dashed with spicy attacks on people's goofiness, is capped by a cornucopia of other songs that slap us with biting realities, like that in “Lostrid”, “Barako”, “Tomboy”, and “Emo Ako” of which Jimmycycle would want to be remembered for being downright honest on tackling subjects that remain taboo to a society shrouded by the veil of Christendom.

Delivered the wacky way, Jimmycycle upheld a radical stand that human sexuality should not be a topic that would continue to suffer from incredible ignorance, confusion and misinformation. Negative attitudes toward sex and sexuality have proven to be more potent than ignorance in stunting the sexual and emotional lives of so many of our youngsters, resulting instead to teen pregnancy, early parenthood, abortion, drug/substance abuse, sexually transmitted/venereal diseases, suicide, and population explosion. This has happened over and over in time – like a cycle - as young people are unfortunate to have entered into a critical period of their life ignorant about the purpose of sex, confused about sexuality and guilty about gender preference.

It is the hope of the group that matters of sex and sexuality could be discussed among family councils, so problems could be prevented by accurate information and the constructive and positive messages about sexuality and love that their funny yet honest-to-goodness songs try to convey.

For R18-rated lyrics and site that’s rated PG, I reckon that you get a personal copy of their CD available at Guerilla Wear Boutique, Mango Square Mall, Melrose Sports at Raintree Mall and A. Salonga Music Center at SM City Cebu Mall and check www.geocities.com/jimmycycle007 instead. For direct orders text 0917-6987722. Email or add them at friendster: jimmycycle007@yahoo.com.

Glass of Dirt: Bisrock metalheads (in vernacular)

Ang mga rockumentaries nagdokumento kon giunsa nga ang psychedelic rock, European classical music ug British blues, nga gitawag ug stylistic origins, naghatod sa pagkagama sa nagkalandrakas nga subgenres sa heavy metal gikan sa death ngadto sa doom, gikan sa folk ngadto sa trash; ug nakakulit ug dalan nga mahatod ang panagsambog nga nakapahimugso na usab sa Christian metal, funk, industrial, nu metal ug uban pa.

Ang 1970s nga istilo sa musika nga gitamod sa mga susama sa Black Sabbath, Deep Purple, Iron Maiden, Led Zeppelin ug ang tropa sa mga gitawag ug metal maniacs, nakaimpluwensya sa tawong tabunon – ug tuod man nakahatod sa ebolusyon sa Bisrock metal.

Heavy metal music - mao kini ang naglagubo kanunay sa utok nilang hardcore metaller Lawrence “Loloy” Amante (vocals and guitars), headbanger Great “Gege” Englis (drums) ug metalhead Warren Martinez (bass) nga naglangkob sa Bisrock metal band nga “Glass of Dirt”.

Ginamit ang impluwensya sa bandang Alice in Chains, Sound Garden, Metallica ug Black Sabbath, ang tulo mipahimugso sa paningog sa Glass of Dirt, ang giingong nag-inusarang heavy metaller sa Bisaya rock music scene.

"Malipayon kaayo mi nga naapil mi sa line-up sa mga bandang Bisrockers. Based on feedbacks sa among mga performances, duna nay nahinangop ug nakadayeg sa kabug-at sa among music nga impluwensiya sa death metal," saysay ni Loloy.

Ang Glass of Dirt nagdala sa bansagong “bug-at". Sa termino sa musika, nagpasabot kini ug “thick, heavy, guitar-and-drums-centered sound typical of metal music” nga mogamit ug “highly amplified distortion” sa gitara, sama sa buhaton ni Warren sa pagtukar niya ug “repeated riffs and pounding rhythms” nga gitimbangan sa “typical intentional gruff sounding vocals” nga gipahaum ni Loloy, ug sinambugan sa makapalayat-layat nga drumplay ni Gege.

Sa tuig 2005, sa dihang diha na ang Bisrock music genre apan dili pa lang susama karon nga pwerte nang paka-paka ug piti-piti gumikan sa kasibaw nga namugna niini, ang pundok nakabuhat na ug album nga may ulohang "Digest". Aduna kini 12 ka mga kanta, 7 niini nasulat sa Iningles, 4 sa Tinagalog, ug usa sa Sugbuanong pinulungan nga may titulong "Dragon".

Nahitabo kini human maghugpong ang mga pwersa nilang Gege sa “Onion Glass” ug Loloy ug Warren sa “Men on Patrol”, mga banda nga aktibo sa panahon sa Scream of Cebu Underground Music balik sa katapusang mga yugto sa dekada 90.

Ang "Digest" gisumite sa 93.1 Smash FM sa pamasin nga kon dili man tanang kanta matukar, ang “Dragon” makabugwak ug nagkayo-kayong pagtagad gikan sa mga tigpaminaw. Apan pakyas ang Dragon nga maapil sa playlist. Bisan pa man tuod ug wala’y lyrics nga binastos o pamalikas ang maong kanta, gibalibaran kini tungod sa gihulagway niining sitwasyon sa paggamit ug ginadiling drugas.

Apan sa tinood, ang Dragon matud pa ni Loloy, nga maoy naghablon sa mga pulong niini, usa ka atake sa mga nangaungo na’s makapakuyaig nga bisyo. Didto sa imong kuwarto/naglikit ka ug tissue/foil sinaw kaayo/pagbubo mo way yabo/Dagway nimo mura ug dragon/Ang imong lawas kabungkagon/Siga na kaayo, kalimutaw nimo/Hait na kaayo, tinutukan nimo..."

Midungag si Loloy nga nahimuot siya sa sangputanan sa pag-ban, “Ang naka-ironic lang gyud kay during our live performances, mas dali matiman-an sa mga tawo ang Dragon nga walay airplay sa radio kaysa kadtong mga kanta nga gipatukar sa radio. Duna man gyud gani mopalit sa among CD aron lang gyud madungog ang Dragon.”

Dinhi na nakaamgo ang Glass of Dirt sa impact sa mga kanta nga Binisaya.

“Mao gyud na ang nag-propel namo karon nga mo-prioritize gyud mi ug Binisaya nga kanta unya last option na lang nang English ug Tagalog," apas sumpay ni Warren sa gibuhiang pamahayag sa iyang duha ka bandmates.

Alang sa dungag nga kahibalo, e-mail glassofdirt@yahoo.com o bisita sa http://glassofdirt.multiply.com. Mapalit ang “Digest” sa Manu-Ent sa E-Mall ug JB Music sa SM City.






Dream Satellite for Manatad

In earnest hopes of reaching out to indigent students in mountain barangays, The FREEMAN Foundation visited Manatad Elementary School in Sibonga town, which is part of Cebu's 1st district, located 50 kilometers southeast of Cebu City, or about an hour drive from the city, and another two-hour ride onboard a motorcycle-for-hire (habal-habal) from the Poblacion.

The purpose of the ocular inspection last February was to find out if the school could accommodate a television set in line with the foundation's special project, dubbed "Balik Eskwela", in coordination with Operation Damayan of the Philippine Star News' Dream Satellite Project in line with its 28th anniversary.

Three television sets are already in our Administration building which are scheduled for turnover to three school-beneficiaries in Sibonga, Bohol and Siquijor.

TF General Manager Melandro "Boy" Mendoza first came to barangay Manatad last year to supposedly hand over a Dream Satellite unit, as part of the multimedia tools that the company will be giving out to support the call for schools to come up with educational equipment aimed at improving teaching strategies and methodologies. However, the school doesn't have a proper place for the equipment.

Sir Boy even noticed that the pupils used empty cans of infant formula as improvised chairs. Thus, he suggested to the foundation for the possible procurement of chairs and tables and the launching of a drive to solicit cash donations to fund the repair of the school building.

Recently, the University of San Carlos Campus Lions Club donated a check for tables and chairs of six classrooms in response to an earlier report on the need for renovation of classrooms and procurement of new equipment in preparation for the Balik Eskwela project.

The check was formally turned over to Sir Boy early last week by club secretary Sheryl Antoinette Go and witnessed by club president Derek Go and club founder Devin Go with Janet Montenegro of TF Marketing department and
Ma. Faith Maroto of TF Circulation department.

Derek specified that the donation for tables and chairs for two classrooms were sourced out from club funds, while club member Jose Mari Gochangco donated said equipment for two classrooms, Devin for one classroom, and another club member Jason Yu for one classroom.

Also, in a meeting with Rep. Eduardo "Eddie" Rivera Gullas of the first district of Cebu, the congressman facilitated assistance through district engineer Daisy Toledo for the construction of a classroom to house the Dream Satellite unit.

Along with TFF Administrator Dr. Remedios Yap-Bacasmas, reporter Garry Lao, Maroto and Sir Boy, we presented the project proposal and glad to have already touched first base in the first phase of this project.

To give you an idea how miserable the state of the school is, I would cite the report of Liv Campo, stating that, "the public school seemed, at first glance, abandoned had it not been for the presence of pupils scurrying about the place waiting for their teachers to arrive."

“The steep path and the rains did not hinder the seven-man team to climb the mountains of Sibonga leading to the place where the said school nestled," the report went.

Upon reaching the place, the group was met by the sight of classrooms with broken windows. At a closer look inside each of the four dilapidated buildings, housing three classrooms, run-down desks and rickety chairs were noted.

According to Charity Peresores, the school’s Grade 3 teacher, these desks and chairs were even borrowed from the Sibonga Central School.

“Ako gyung gihangyo ang principal. Unya amo pa nang ipa-repair kay gubaon man,” Peresores said on the equipment that actually the mother school had discarded.

Meanwhile, a proposal will also be presented to Ms. Annalee Duran Flores, Mall Marketing Manager of SM City Cebu this week for the possible donation of educational tools like books for Grades 1 to 6.

The core group is scheduled to conduct an assessment on the number of enrollees and a consultation with parents and teachers for needed manpower during the construction of the building, and the scheduled fun day for the Balik Eskwela to happen in either late part of June or early part of July in line with The FREEMAN's 87th year in the community newspapering industry.

The foundation is also knocking on the hearts of TF readers to help provide school supplies for the pupils there. The foundation is also open for cash donations. Let me just remind the reading public that all donations must be coursed and accepted at The FREEMAN Foundation and will be issued official receipts. This policy is implemented to protect the foundation's integrity and the good intentions of you - donors.

Also, it has been decided that the foundation will accept all donations on behalf of patients and be the one to allocate specific funds to beneficiaries.

The decision was reached after having noticed that some unscrupulous individuals took advantage of the old scheme of accepting donations by not informing the foundation about the actual condition of the beneficiaries. As coordinator of this special project, I would not allow an inch of these kind of people to prey on the innate goodness of those who have been very supportive of our mission to be of service.

The foundation learned that some guardians and/or relatives of beneficiaries collected benefits for their patients even though these patients already died. Donors do not have to worry though because your donations are in good hands since it is the foundation itself that settles hospital bills and purchases medicines for the patients.

On how you could be of further help to indigent pupils in Manatad or to our sick indigent children, please email me at
pinay_mangatkatay@yahoo.com, or text 0921-5323616. Thanks for living a purpose-driven life!









Glass of Dirt: Bisrock metalheads

Rockumentaries documented how psychedelic rock, European classical music and British blues, as stylistic origins, led to the creation of various subgenres of heavy metal from death to doom, from folk to trash; as well as paved way to the fusion of from Christian to funk, and from industrial to nu metal.

The 1970s music style exemplified by the likes of Black Sabbath, Deep Purple, Iron Maiden, Led Zeppelin, among a host of metal maniacs, went on to influence the brown race - and had inspired the evolution of Bisrock metal.

Heavy metal music has constantly been in the heads of hardcore metaller Lawrence "Loloy" Amante (vocals and guitars), headbanger Great "Gege" Englis (drums), and metalhead Warren Martinez (bass) of Bisrock metal band "Glass of Dirt".

With the influences of Alice in Chains, Sound Garden, Metallica and Black Sabbath, the trio gave birth to the sound of Glass of Dirt, the only heavy metallers of their kind in the Bisaya rock music scene.

"Malipayon kaayo mi nga naapil mi sa line-up sa mga bandang Bisrockers. Based on feedbacks sa among mga performances, duna nay nahinangop ug nakadayeg sa kabug-at sa among music nga impluwensiya sa death metal," Loloy expressed.

Glass of Dirt is labeled "bug-at" for their thick, heavy, guitar-and-drums-centered sound typical of metal music that is characterized by the use of highly amplified distortion of guitars, like that of Warren's, with the playing of repeated riffs and pounding rhythms matched by the typical intentional gruff sounding vocals provided by Loloy, capped by Gege's drumplay.

According to Loloy, their "bug-at" sound becomes their edge as they don't have a musical match yet with other bands in the Bisrock world. This he likes because it is part of his desire to be known for their musicality and the accompanying sentiments of their songs, and not having to be pressured on satifying an audience.

"Ang among gusto nga masakyan nila among mga kanta, dili kay mo play mi para masatisfy sila or ang ilang mga requests because that defeats the purpose of our being an indie band," Gege added.

Sometime in 2005, at such a time when Bisrock has been there already but hasn't yet reached this so-called state of renaissance, the group was able to release independently an album entitled "Digest" with 12 songs, 7 of which are written in English, 4 in Tagalog and only one in the vernacular entitled "Dragon".

This was after Gege of "Onion Glass" merged with Loloy and Warren of "Men on Patrol". Said bands were part of the Scream of Cebu Underground Music scene back in the late 90s.

"Digest" was submitted to 93.1 Smash FM in the hope that if not all songs would be played, "Dragon" being delivered in Cebuano would create some pyromaniacal stirs over the airwaves. Unfortunately, Dragon wasn't able to make it to the playlist. Though the song doesn't contain any offensive or explicit lyrics, the notion on drugs is said to have been labelled by the station as "somewhat bothering".

With words woven by Loloy himself, Dragon is an attack on the physical physique of a person hooked on substance abuse. "Didto sa imong kuwarto/naglikit ka ug tissue/foil sinaw kaayo/pagbubo mo way yabo/Dagway nimo mura ug dragon/Ang imong lawas kabungkagon/Siga na kaayo, kalimutaw nimo/Hait na kaayo, tinutukan nimo..."

Though Dragon failed to make it to the airwaves, other tracks "Burns Inside" with its light-at-the-end-of-tunnel sort of message and "Nalilito" which Loloy described to be a kick-ass song got the approval of Ram "Milby" Dizon and Bré Ambungan - two disc jockeys who anchor "YourVoice, YourChoice Tingog Kabataan" program.

"Ang naka-ironic lang gyud kay during our live performances, mas dali matiman-an sa mga tawo ang Dragon nga walay airplay sa radio kaysa kadtong mga kanta nga gipatukar sa radio. Duna man gyud gani mopalit sa among CD aron lang gyud madungog ang Dragon," Loloy recounted.

It was then that Glass of Dirt realized the impact of songs in the vernacular.

"Mao gyud na ang nag-propel namo karon nga mo-prioritize gyud mi ug Binisaya nga kanta unya last option na lang nang English ug Tagalog," Warren said.

Now what's with the glass? The group explained that they chose the name as the properties of glass stood for their kind of music and mind frame.

"Like the hard material that can be made into many shapes, and like its being often clear but can also be made in colors, such speaks for the members of Glass and the songs we have written - transparent, relatively strong, heard-wearing, essentially inert, and biologically inactive material which can be formed with very smooth and impervious surfaces. These desirable properties lead to a great many uses of glass," Loloy explained.

"However, here comes our being brittle that when we break we become sharp shards, our weaknesses and the world's impurities all contribute to the making of a glass of dirt," he added.

"But these properties can be modified or even changed entirely with the addition of other compounds and the application of heat treatment. Our mistakes in the past we would like to share to our listeners because we would want our heavy metal influences to induce life-changing decisions," Loloy summed up.

Glass of Dirt thanks Smash FM and other Bisrock bands - like Jimmycycle which Loloy said was the first Bisrock band he heard with "Lansiao" for a start - and those supporters because although majority of their songs are in English and Tagalog, they are already recognized as part of the Bisrock community.

Right now, Glass of Dirt is preoccupied with writing new materials for a CD they are planning to release third quarter of this year. The 5-song Extended Play album would include "Basol" written by Gege and an unrecorded song "Kuyaig" penned by Loloy.

"Surprisingly, nahibaw-an na sa mga tawo during our live gigs unya wala pa gani namo na record sa studio nang Kuyaig," Loloy noted.

"Kuyaig" is another attack on how drug abuse would reduce one into another laughing stock, looks-wise, "nakuyaig na ka, nakuyaig na ka/pirti na gyung dauta/nakuyaig na ka/pirti na gyung niwanga/nadaut sa bisyo, natay-og ang ulo/undangi na ninyo/bisyo nga way ayo.

Meanwhile, Gege penned "Basol" based on what a relative had went through. "Naa na sad sila, wala'y laing mahimo kung di basolon ka/naa na sad sila/walay laing mahimo kung di paluhaon ka...O dulot sa bukog ang insulto, duot sa bukog ang pagtunto, sakto na."

Also, Glass of Dirt was tasked to write "Tingog sa Mamumuo" with help from the studio Vann Aznar, of another Bisrock band, "Gangrene", runs. The song was to become a theme song for dyLA's May 1 Labor Day celebration, it being associated with a labor group.

"Digest" was mixed at the Backyard Studio Project, while their EP album will be done at Zzubu Records. For more info, e-mail
glassofdirt@yahoo.com, or visit http://glassofdirt.multiply.com. Get a copy of their "Digest" album at Manu-Ent at Elizabeth Mall and JB Music at SM City.

Get Ossified!


Pleased by the perceived sense of concretion at the sound of the term “ossified” exploited by a Social Science professor in a discussion, Bernard Fario (vocals), Dante Taactaac (guitar), Ronnel Bual (bass), Jose Condor, Jr. (drums), and Rheggie Ybañez (keyboards) grouped to the inspiration provided by Bisrock music and christened their band “Ossified!” – to stand firm and unified to the call on making music, whatever challenges this decision might pose.

Unlike other band members who started making music in some neighborhood, these teeners’ musicality bloomed when their paths crossed at the University of Cebu main campus. As engineering students they started the “bond to band” upon realizing that they all have the inclination to create music, a common denominator that draws them together.

Fario, who stands as big brother, main man, songwriter, and spokesperson of the group rolled in a heap of a bundle, shared that they first learned the medical term “ossification” from their college instructor who taught “Rizal’s Life and Works”.

“We kind of like the sound of it and the sternness implied by its meaning,” says Fario.

In medical terms, ossification is the process of bone formation, in which connective tissues, such as cartilage are turned to bone or bone-like tissue. The ossified tissue is invaginated with blood vessels. These blood vessels bring minerals like calcium and deposit it in the ossifying tissue. It is thought that this process led to bone as a structural element in vertebrates.

As for the band, the word means to become rigid in habits and in opinions when facing the challenges in pursuing their passion, their kind of music. And coupled with the growing resentment demonstrated by their parents to the concept of band-ing, the youngsters’ bulldog tenacity to pursue their musicality has also been dared.

According to Ms. Zarah Smith of Handuraw Events Café, a haven of artists, where I first watched a live Ossified! performance, the band is “makalingaw” as Fario catches attention with his antics more than his “Hagtik Titik” orientation, pertaining to literary works, at the Lakandiwa, the school organ of the University of Cebu. Together with Dante, Ronnel, Jose and Rheggie, a buffoon-like Fario performs with so much life in an intermittent display of antics, faces, hoots, grooves, shaking and jiggling, and trembling as though shocked with volts of current.

As a songwriter with his poetic heart, he penned sweet lines typical of “Balitaw” that later on achieved stereophonic appeal with the help of the other four, and thus the birth of carrier “Deep Pressed” of an album in the making entitled “Ma’da ra’g Smile”. They may not be as musically advanced as other bands considering that their song materials are still in the raw, but the boys at such young ages are already bent on trailblazing for the blossoming of cultural revival.
Appreciation of the legacy of the Balitaw, which is a mark of the musicality of the Visayans as kundiman is to the Tagalogs and dal’lot is to the Ilocanos, is one of the challenges they have to incorporate into their creations while thriving to carve a name in the Bisaya rock music scene that has now found a niche in mainstream music.

Fario takes care of the verses, the rest of the Ossified! pack provides tunes.
“Sometimes we chipped in a few lines, but we really leave it up to Fario because he is more of a son of the plume,” Rheggie pointed out.

Fario said he wrote most of the lines of four songs, they have completed, in two hours at max, arranging the marriage of thoughts and emotions.

The would-be carrier track in their supposed EP to be available in the next months dubbed “Mad’a ra’g Smile”, is entitled “Deep Pressed” which is about being in a state of snafu (situational normal all f**cked up!). Ossified! blares, “I hate being like this/sobra pa ka sa mga kurakot nga pulis/ I hate being like this/ baho pa ka sa mga basura ug sa mga ipis/ I’ve been in love and I’ve been hurt/di na ma-in love sa babaye nga flirt.”

Personally, I like the auditory feel of “Ma’da ra’g Smile” because this is a song about hope for hopefulness. Despite raging teen angst delivered by quite a number of bands, Ossified! tackled smoothly a teener’s common dream in such a way that veered from the tenor of being mad or angry or upset or irate, “ang mga taghoy sa kalanggaman, nagapanlimbasog nga imong madunggan/ Ako unta may tumang hinagiban/Aron ang tanan mapuslan/Si Eva ka….sa paraiso ko/Prinsesa ka ….sa gingharian ko/Si Juliet ka…..ako si Romeo/Kanus-a kaha kini mataghapan/ Sa damgo posible ang tanan/Sa tago puno ako sa kalipay/Mad’a, mad’a ra’g smile…”

Ronnel said that they are one in choosing “Problem Solving” as their anthem as a band reflective of the principle they are living and the call they would want the youth to heed, “ato nang isinggit nga dili ta palupig/sa mga problemang dagko pa sa mga bukid/ayaw na paglagot og dili na magbagutbot/ayaw pagsapot-sapot kay ang kalibutan nagtuyok…”

Meanwhile, “Bahawpenings” is another testimony to Fario’s rich literary orientation, “didto sa baybayon, hinumduman ko atong kagahapon/may hugot nga panumpa/hangtod sa langit kita mag-uban/kalipay nga walay sukod, bahala’g magkilat magdugdog/bisan pa mapuno ko sa utang, basta dili lang ka mawagtang…”

Sensibility, intelligence, performance level that’s beyond the influence of drugs – these are the qualities that make Ossified! the next band to watch as it takes its trail to create a concrete mark in local independent music.

Dante shared it would be a joy to find somebody singing their songs in the next weeks.

“That we would call achievement,” Dante said.

Jose added that the biggest challenge that they are facing right now is that on creating an impression, and defining as well as refining their musical direction.
“It would be very nice to see a compact disc generation compile our songs that speak of the ossification of this passion invaginated with the fiber of our aspirations,” Jose mused.

Listen to cuts of their raw materials over dyLA, 909 on your dial, on June 16, Friday as Ossified! becomes guest band for the “OKRyan” program in a live interview with this writer. For requests, listen to 93.1 Smash FM “YourVoice, YourChoice Tingog Kabataan” program, Tuesdays and Thursdays, 9:30-11:30 am.

Add and check friendster: ossified_bisrock@yahoo.com.

Monday, May 22, 2006

The trees in our minds

Saturday, the 6th of May. While the core group of volunteers of The FREEMAN Foundation was heading to a site in Tuyan, Naga for a scheduled ocular inspection relative to our desire to conduct a tree-planting activity in time for this paper’s 87th anniversary, I got thrilled at the thought that as coordinator of this special project I would be able to lead a humble start of a long-term project to be dedicated to the late Baby Kara Tejam.
Baby Kara was one of sick indigent children that The FREEMAN Foundation had attended to. She was only a little over a year old when she was diagnosed with congenital heart disease. When the foundation learned of her family’s need to raise P200,000 to fund her operation, a campaign was published in this paper’s public service section.


The fund drive served as a barometer on our readers’ innate goodness. In less than two weeks, the amount was raised. But Baby Kara failed to hold on to dear life. Until today, and every time I write a piece about how Baby Kara’s memories left us in tears as we watched her fund drive end along with her vulnerable life, the desire becomes an urge to seek for the creation of a tree park where her spirit could live among trees.

In a strategic planning in December, I came up with two proposals – a mangrove propagule planting activity for a coastal reforestation project, and a tree park to be dedicated to the memories of little Baby Kara whose fate all squeezed our hearts.

In the morning of May 6 we were already shown a site at Inoburan, Naga for our mangrove propagule planting on July 15. But before we could start checking the site for the proposed tree park, we already were served of disheartening issues that translate into threats to the “trees conceived in our minds”.

Love of trees

I could hear the beat of enthusiasm reverberating from the hearts of my co-volunteers with their reception from that moment I presented the proposals. It doesn’t take one to be an established arborist to manifest his one great love of trees. I know and feel that they too have learned over in time the benefits of planting trees.


They were one with me as I discussed during the strategic planning that if each of us could at least bring five trees to maturity that would mean 80 trees. Eighty trees would mean 20 natural cooling systems. If we would be able to nurture 80 trees to maturity on slopes that would mean stabilization of the topsoil. Remember that when it rains hard, the topsoil loses its friction with the subsoil, triggering mudslides and floods that are threats to lives and properties.

I did imagine that if about a hundred employees of this paper would be able to take good care of their saplings and bring these to maturity, there would be 500 trees at the park for our Baby Kara. Having these trees around would create a mini-forest that would act like a huge water reservoir, preventing flashfloods from occurring. It would be buffering water because of its storage capacity to keep water in streams even during dry season.
In the long run, the tree park would be able to create a habitat for both plant and animal life. As it encourages vegetation, it would create biological corridors that would allow these animals to move between natural jungle areas often cut off to them by farms and towns and industrial zones. Reforesting can also store certain tree species crucial to endangered birds.


Aside from economic values, trees are very good in carbon sequestering. Trees store carbon and as long as they are not burned or allowed to rot, the wood will lock up carbon, helping to slow global warming.

Threats to the trees in our minds


But before we could even check the site we were already posed with the challenges to restudy first our plan and consider points such as if our trees would not become obstructions in the desired place where we would want to plant them. Says a representative from Wild Bird Club Phils, Inc. Nilo Arribas, Jr. “your tree might end up at the wrong place. Think a hundred times of the chances of your trees being able to reach maturity. It is not about quantity, this is about how many saplings would be able to grow into trees.”
The fact that the timberland area belongs to the government, there is also the threat that one day our trees might end up chopped and sold at the market to give way to a cleared area for the site of an industrial zone should this become a priority of the local government of Naga.


After a consultation with community partners and officials from the Department of Environment and Natural Resources and the Community Environment and Natural Resources Office, we considered to drop the tree-planting project for the meantime. Hope we won’t appear chickens for doing so, but we have to be practical. Our would-be efforts are for an ailing environment. Our intention is pure, and we don’t want to mess up with any town officials or any entities that might find industrial zones valuable over reforestation programs.
The decision to postpone the tree-planting activity came after we were told to consider that we need to shed considerable amount for the fencing of our area, then provide a guard who would conduct roving to secure the area from stray animals that might feed on saplings. Also, constant monitoring is needed so the saplings would be watered and tree guards replaced if necessary, and the area brushed from weeds that might compete in soil nutrients. And then, there is the big need to educate settlers in the area so they would not chop down these trees and sell them as firewood in the market. As economics is the very reason why settlers would cut down trees, we were challenged to help in providing an alternative livelihood for the community.


At lunchtime, the core group decided to vote for the pushing of our coastal reforestation undertaking in Inoburan, Naga which is easier to organize and facilitate.

Okay, our love of trees is “inalienable”. We cannot profess to be hardcore arborists, but the desire has already transmuted to passion. But how far can this love of trees carry our intentions is the big question. After having been enlightened of the pros and cons, we realized that the real challenge lies not on the planting of trees, but on sustaining them to maturity.

Monday, May 15, 2006

Mantequilla flavors "Bolinaw"

Perhaps you already had a rich treat of anchovies in vinegar, minced ginger, siling labuyo and realized why Cebuanos love to eat anchovies raw, in a serving style called “kinilaw”.

“Oh kinilaw nga bolinaw/ikaw ang akong gihuna-huna/buntag, udto, ug hapon/ikaw ang akong handumon suka, sili ug luy-a/kinilaw’ng bolinaw,” Mantequilla blares at the thought that its beloved Tañon Strait will soon be losing its communities of anchovies once impending oil explorations and reclamations of foreshores would become a government priority in the name of so-called progress and development.

This is the sentiment embedded in the song “Bolinaw”, flavored by the musical taste of Mantequilla from Pinamungajan town facing Tañon strait that separates Cebu from Negros province.

Mantequilla is comprised of Cliff Jude Cocjin (vocals, Computer Science student at the Cebu Doctors University), Salipada “Lip-lip” Cerna (drums, Physical Therapy student at CDU), Neefrey Cocjin (lead guitar, Radiologic Technology student, CDU), Jowell Rico (bass guitar, Electronics and Communications Engineering student at the University of Cebu) and Ric Ryan “Doming” Cañada (lead guitar, Electronics Technology student at the Cebu School of Science and Technology). Other than Doming who hails from Hilongos, Leyte, three of Mantequilla have all shared a melting and a solidifying of dreams and aspirations since they were classmates back in Sta. Monica Academy in Poblacion, Pinamungajan. Though Neefrey was a schoolyear ahead of the three, he hangs out with the pack as he is elder brother to Cliff Jude.

From teenage rascals to passionate musicians, the band considers their friendship through time as the backbone that gives strength to their attempt in pursuing their craft with the music of Deftones, Korn and Rage Against the Machine as influences.

In an interview with the group at their rented pad, it was learned that the first four guys mentioned above began to group as a band when they played for morning service in their high school campus right after the flag ceremony.

“Siyempre, pag run by sisters na-a man jud nay part after sa flag ceremony na we would sing praise music. Didto nagsugod ang among banda-banda,” Lip-lip said emphasizing how he started his “drumming” stint.
When asked on the choice of their band name, it was also learned that the group had chosen Mantequilla from five choices for its Spanish sound, and for the properties of butter which speak for the band’s versatility as it was able to play hardcore music years back, down to its Bisrock sound transition recently.

A firm solid when refrigerated, butter softens to spreadable consistency at room temperature and melts to a thin liquid consistency at 32-35 degrees Centigrade.

Besides, butter is the everlasting delight of the connoisseur, the faithful ally of the culinary arts, and the constant symbol of good living, food critics say.

It is also said that through time and across the globe, butter has had a sacred quality. From ancient civilization to date, butter has symbolized the powerful, life giving and sacred; the good, the happy, the healthy and pure. It has sustained lives, cultures and civilizations for millennia, though this has lately been refuted by health buffs and nutritionists for its high level of cholesterol.

It was also mentioned that butter is a culinary treasure as old as Egyptian King Tutankhamen’s tomb. In fact the Bible mentioned in Judges 5:25, “she brought forth butter in a lordly dish”.

And like the churning of milk to get the fat needed in the production of butter, agitation is part of the process, so as to come up with the best of the product. This happens at the collaboration in the pooling in of materials for the completion of the 10-track album.

Other than “Bolinaw”, “LQ (Lovers Quarrel)” and “Ibog-Ibog” are two songs that constantly receive airplay requests over at 93.1 Smash FM via the program “YourVoice, YourChoice Tingog Kabataan” because of the emphasis of the stages one has to go through when nurturing a romantic relationship.

Hearts would melt like butter at the romantic, introspective, interrogative lines of LQ, “nganong sige man gyud ta ug away, nganong dili ta magsinabtanay/ nganong wala man kay salig nako, undangon na lang ni nato/ngano kung ikaw ang sapoton, maabtan pag ugma usa maulian/ug ngano kung ako ang sapoton, gamay nimong gakos ako maulian.”

“Ibog-Ibog” is inspired by their “kilig” moments as teenagers getting a crush on the girls of their dreams, “Kung makakita ko nimo, makompleto gyud ang akong adlaw kay ikaw man ang akong kusog….kung kahibaw lang ka nga ikaw ang babaye sa akong damgo/ kung kahibaw lang ka nga unsa ko kalipay kung makita tika/ kung ako magul-anon ikaw dayon ang pangitaon.”

The other tracks talk of motherly love, like in “Mama”, which they would like to be highlighted in time for Mother’s Day; a look at life’s simple pleasures in “Pobre” and the struggle for survival in “Manglilimos”.

Noteworthy is the design of the album that’s a thought shower of Rayhoundz including the inverted victory signs to form the M for Mantequilla. Album is engineered, mixed and mastered by Paul Cañada of Zzubu Recording Studio. To know more about the group, visit www.myspace.com/mantequilla2005. Email mantequilla_theband@inbox.com. For bookings, call Cliff Jude at 09174701262.

Friday, May 05, 2006

Cool script

People were milling around and huddling at tenant stalls and booths, walking to and fro food stations, spilling onto the basement of Robinsons to shop for groceries while I was throwing questions for a most-wanted interview with Kadangyan band main men Baba Mitra and Iligan City-born Jean Marquesto who already took the name John Govinda. Both are proponents of local ethno-tribal music.

Despite the buzzing, humming, and droning noises of shoppers, the two visual artists-turned-musicians managed to express their message louder – embrace back cultural roots to efficiently move with the call of the times so to strengthen nationalist pride.

Baba Mitra, who is of Ifugao descent, is vocalist of Kadangyan deemed “godfather of local ethno-tribal music”, of which I had expounded in an article for the Entertainment section dated January 12 (The Kadangyan mystique: The life they live is their music).

Getting him to sit down for an interview transported me back to beautiful, verdant Ifugao. Back in 2002, along with other participants to the first ever Explore 2002: North Philippines Expedition, I got immersed in the culture of the Ifugaos as we toured inside the Ifugao Museum in Linda, municipality of Kiangan where burial jars, weaponry, furniture, kitchen utensils, ritual paraphernalia, garments and implements, and other tools of human workmanship had amazingly connected with the lives of those brown people of the ancient Ifugao world.

We had a short trip to the Nagacadan Rice Terraces, a part of the rice terraces system of Banaue. We joined Ifugao performers from the Kiangan School of Living Traditions in their dance-ritual of courtship, marriage and burial.

One of special memories I had was when I motioned to Ifugao Governor Teddy Baguilat, Jr to take center stage. The beatings of the gangsa carried both of us away as we leapt and strode with our stretched arms. Our palms and fingers spoke in a dance-ritual offered to Kabuni-an. Together, we soared like birds, mighty and free, to the anthem of the Gran Cordillera.

Meanwhile, John Govinda who gave up his plans to study medicine is from Iligan City. John shared with Baba this passion to retrace links with past culture and together the two promoted ethno-tribal music that employs indigenous musical instruments emphasizing on strong cultural continuity over time.

Through what they call drug-free music, the fusion of North Philippines’ gangsa and South Philippines’ gong allowed for the message to reverberate in support to universalism and peace, that it is possible for music to touch ideologies and philosophies without having to break up, destroy, erase, collapse, or, worst indoctrinate.

The group performed the other day for a fashion show at the Elizabeth Mall entertainment area and held a concert at the parking lot of the Ayala Center Cebu yesterday showcasing a repertoire of their 10-track self-titled debut album they themselves produced. As usual, the hypnotic mantra in Babanam (actually O Babanam Kevalam) mirrored what Kadangyan stands for – “datu sa kultura” (rich in culture).

With the acceptance of their music into mainstream, receiving raves over the airwaves as supported by UR105 and Killer Bee, they are able to wow crowds despite the fact that some of today’s youth find them outrageous in the manner they dress up o project their inner selves.

With worthwhile activities like propagating the use of recycled trash for musical instruments, the group is also into the reeducation of the public on Alibata (baybayin scripts). And this is what I would want to expound in this column.

Baybayin is actually more appropriate term than alibata. Speaking of etymology, it comes from the Tagalog root word “baybay” meaning to spell or from the word pagbabaybay or spelling.

At a tent booth near the Fountain area of Robinsons, featuring one of their drums using for material the hide of a deer accidentally killed of which the group had used to give birth to the spirit of the dead deer, the duo embarked on free henna tattooing for every P500 purchase at any Robinson tenant/shop/stall.

One can choose from a variety of tattoo designs, but the most interesting of these is the ancient script baybayin often referred to as alibata, a term coined inexplicably to mimic the first two letters of the alphabet of the Maguindanao people - alif and bet - derived from Arabic.

A passionate John, with his Muslim inspiration being from the area, through his collaboration with Baba hopes that many out there would soon find themselves delving into the study of the baybayin script, interested to perhaps initiate a forum, discussion, or a conference.

Setting up a booth for a henna tattoo exhibit is John and Baba’s way of encouraging new opportunities to interact with enthusiasts on learning the ancient writing scripts and writing systems of the Philippines.

Now why am I bringing this up? My fascination for baybayin came at such an early age. Though back in grade 4, the lessons were limited, one trivia stuck in my head that other loads of information were not able to overwrite through time. That of knowing that though major languages (yes dear! languages, not dialects!) in the Philippines are now written using the Roman alphabet, these languages were first represented using a script related to and directly or indirectly derived from the Bugis and Makassar scripts of Celebes.

I remember one advertising congress held here in Cebu some years back when George Escalona of Tattoo Museum painted my name in henna using the baybayin script. I went gaga over those pretty fascinating strokes of graceful loops, crooked lines, wavy arrows, cute zigzags, and an inverted fat heart beautifully tattooed in the native script on my left arm. Those spoke so much of the beautiful past of my Tribu Sibo people, and of the Pintados, as well. It is so sad though that the two forms of these indigenous scripts that still survive to date are not used here in Sugbo. The scripts are used by the Tagbanwa of Palawan and Mangyans of Mindoro today.

It is believed that the Philippine scripts were derived from Kavi script or old Javanese, perhaps indirectly through the Buginese. The Buginese origin of the Philippine scripts best accounts for the fact that the latter cannot represent the final consonants of syllables since Buginese has the same limitation.
I brought up this Kadangyan initiative in the hope that many of us most especially the young people would take interest in promoting advocacy for “cool-tural revival”.

Kadangyan is not only about music inspired by the ancient world. It is here to promote a culture of excellence.


The Kadangyan mystique: The life they live is their music

Their music is classified ethno-tribal for employing indigenous musical instruments and expounding on strong cultural continuity over time. The genre is tribal pertaining to a system that governs groups of people dwelling in small communities sharing common norms and social institutions and experiencing internal cohesion.

Their music is considered Earth as it gives more prominence on the afterbeat over the downbeat. Theirs is labeled World music, as the message is of universalism and peace, touching ideologies and philosophies without having to break up, destroy, erase, collapse, or, worst, indoctrinate!

So much had already been written about Kadangyan, Ifugao term for “datu sa kultura” (rich in culture), that to dig up a fresher angle would require one to sit down with the band’s main men --- Iligan City-born Jean Marquesto aka John Govinda on Muslim gong, and the son of the Gran Cordillera Baba Mitra on vocals. The rest are Jerome Resuera on drums, Rolly Resuera on bass and Rolo Manayan on percussion, proudly Sugbuanons.

With a little download session at www.fiestamundo.com/kadangyan, shrouded by the seemingly ambiance of trance, I entered into a page of the lives of these visual artists-turned musicians. These lives they are living, they said, happen to be their music.

Their self-titled 10-tracked debut album featured a repertoire of the cultural anthropology and folk traditions of northern and southern Philippines beginning with the hunt song “Anup” to the chant “Umaga”. There’s also the intertwining of brown tapestry of the indigenous cultures of the Ifugao, the Iliganon, the Maranao and the Sugbuanon in “Iba’t-Iba”, to the hypnotic mantra in Babanam (actually O Bhavanam Kaiwalam), which means Infinite Love. Their love of environment is manifested in “Kalikasan”, and their mission to support universalism is passed on orally with the fusion of native tongues in Elal-lay (“the real spirit in this material world”) that showcases the belting out of “kayamanan at kasikatan di namo kinahanglan (wealth and fame ain’t a necessity).”

The site also offers a glimpse of an August 2005 interview with video jock John Joe via MTV Siesta and a sampler-video of the carrier track “Babanam” that featured the “lagapak” of the flip-flops over the mouth of a bamboo tube, a Kadangyan ingenuity, which espouses the concept of non-distortion of musical creations.

Come weekend, prepare to be mesmerized once again by the Kadangyan mystique. Get ready to shed tears for this infinite love of “cool-ture”, the environment, and a God perceived in kaleidoscopic shapes, forms, patterns, images.

Like a child long lost in a river of influences, brace to hug back a Mother thought to have long-perished as we all embrace back cultural roots – the tribal wisdom propagated by Kadangyan, the “godfather of local ethno-tribal music”.

Cultural preservation, per se, is not a Kadangyan goal, Baba Mitra pointed out. Rather the group is working for culture to evolve, to move with the swell of the influences without losing a grip on tribal wisdom. Sad to note that with these various influences through the ages, most Filipino people have lost touch of their cultural identity and could not even point out the true makeup of a Filipino.

This predicament has become a challenge to Kadangyan on how to make way for the thread of ethnic unity to come splendidly amid cultural multiplicity in this country.

“We have music that’s truly our own to be proud of, and we have started from here to create consciousness that would give way to the recognition of cultural roots so that we may be able to know who we really are as a Filipino and move from there to deal with our social issues and concerns,” Baba Mitra said during the interview at Robinsons where their henna tattoo exhibit opened last Wednesday and will wrap up this Sunday, mall hours, at the Fountain Area.

Kadangyan points out that there’s so much more to external wealth that’s only superficial. Beyond such is richness in knowledge, morals, culture, friends, and philosophy that a Filipino could possess if only he would take pride in recognizing his roots. “Plant without roots will not flourish,” Baba Mitra stressed.

To connect the present to its roots would also mean to trace what makes up a “lumad Sugbuanon”. The absence of a tribal community here in Cebu only shows that we had long given up our cultural identity to western influence. It has been written that traditional tribal cultures must have been dissolved as a result of the confrontation with a variety of influences. This gives weigh to the observation that the national culture of the Philippines is strongly influenced by western civilization, and that many modern Filipinos have grown up with the view of having no other cultural past other than a colonial one.

Enters Kadangyan with its promising Earth music to help reconnect the severed link.

Kadangyan with its mission of supporting universalism and peace will perform at the E-Mall to provide scoring to a fashion show this Saturday at 2pm and will perform at the Ayala parking area at 11pm. On Sinulog Day, the band will still be at the Ayala parking lot to continue with its mission of promoting cultural appreciation through the genre of their music.

John Govinda eagerly shared his excitement over the group’s upcoming show with recycled trash for percussion. On behalf of Kadangyan, he would like to thank the people who fully believed and supported them in their cause, their album and gigs, and hopes that same support will be given to the second album they are currently working on with “Huminga Ka Ng Malalim” as carrier.

Other than that, another interesting thing about Kadangyan is their work on the promotion of environmental concerns and humanism, moral and drug-free music, aside from the promotion for the appreciation for Philippine ethnic music and the revival and evolution of the vanishing Philippine culture.

“You need not indulge in drugs to set a beautiful mind free,” Baba Mitra said. “This is all about natural high!”

As Kadangyan finds acceptance in mainstream music, there still dangles the thought that what it is propagating might not be able to win everyone. For its 5-point mission to find realization, Kadangyan can only do so much. The challenge now is to allow that Kadangyan mystique to inspire us move on as a people on top of our Hispanic, Chinese, American, Hindi and Malay influences.

“The beauty of every place in the world is its own culture,” John quipped.

May this advocacy be sustained to deal with the great need for the development of national cultural identity in the Philippines as this would mean that once knowledge on cultural traditions become embedded in the nation’s psyche, our one love for the “katutubos” and their lifestyle follows in line.

I think that what we miss as a brown race is the appreciation for one beautiful tapestry of indigenous cultures and the love for this intricate weaving of tribal wisdom that should have strengthened our cultural pride.

Junior Kilat to spray the bratatats on Sinulog day

Expect homegrown reggae artists of the famed Junior Kilat to release electronic spark discharge and heat up the 26th Sinulog celebration with a spray of their onomatopoeic lyrics lifted off from an old school comic book – the bratatats of “Ako si M16”, adjudged Song of the Year at the NU 107 Rock Awards 2005 that outplayed Bamboo’s “Hallellujah”, Parokya ni Edgar’s “Mang Jose” and Sugarfree’s “Hari ng Sablay”, among others.

Laden with the seemingly “indiscriminate firing” in its bratatats and bang-bangs employed by the Kilat dub guerrillas, the song is actually the group’s attack on the illegal arms deal that allegedly transpired between military crooks and rebels cracked in the most antic method the band described as “done in a rarer style of reggae”.

Before the local reggae world had been “bratata-ed” by “Ako si M16”, there was already the wacky “You are free to dance to the reggae bet (actually it’s beat) “Hoy agta! Nag unsa ka diha?” which is worth paying of one’s attention as the message varies proportionately with “Suyop”, only that the latter is delivered in reverse psychology to give those into drug/substance abuse a picture of how they are entangled in their own mazes.

Junior Kilat admirers took as national anthem the hilarious line “Kon moabante pinabackward, kon moatras pinaforward , singled out from “Original Sigbin” said to be referring to the half-goat, half-dog creature of Visayan folklore described a consumer of both squash and charcoal. Sigbin may stand metaphoric of the group’s songs with the fusion of genuine reggae, dub and dancehall.

With the seemingly rude clicking of tongues after singing “kung di pa lang sala ang manakla, gitaklaan na unta!” (if it weren’t rude to click a tongue at someone), the 10th track of “Party Pipol Ur on Dub TV” album entitled “Kung Di Pa Lang Sala”, throngs after throngs of smitten fans rooted for them with the honesty in their songs, and could not quite wait to be served with the next helping.

Earlier, the band could have taken the name Leon Kilat Junior in homage to the Bacong-born revolutionary Pantaleon Villegas (Leon Kilat or Lion Lightning), who figured prominently in the Tres de Abril uprising here in Cebu City, only that they gave up the idea as the name was already taken by another band. Despite the absence of a member named Junior, the band created Kilat that did not proverbially strike once in same places, but a couple of times which prompted the band to take the gigs back to where it had officially been accepted. In time for the Sinulog celebration, Junior Kilat will once again take center stage to entertain the Bisdak crowd that catapulted them to the music charts and billboards.

With a host of musical influences like Lee Scratch Perry, Sly and Robbie, Eek-A-Mouse, Prince Far-I, Yoyoy Villame, Max Surban and the Teletubbies, frontman Errol “Budoy” Marabiles would again wag his antics on Sinulog day with cohorts Diana Freese (drums), Gina Pestaño (keyboards) Arcie Ybañez (guitars), Cleofas Quijano (trombone), Christian “Bangin” Atienza (turntables), and Tiano Evangelista (bass) who also produced and directed Budoy’s wacky RCTV magazine program on small-scale industry dubbed “Ismol Tym”. Sorry to say that those who rooted for Jad Dapat (guitars) would fail to see the man this time as he is in Australia, this was disclosed by drummer Diana Freese. Nevertheless, his Bisdak spirit is one with the group.

Though the Kilat song lineup may sound confusing as to where it is directing its audience at times when it comes to value formation and or social responsibility, it sure found a niche in the capital where there’s an enduring atmosphere of discrimination for Bisdak artists. In fact, the band was nominated Best New Artist side by side with Hale, Brownman Revival, Pedicab and Paramita; Album of the Year for “Party Pipol” and Gina Pestaño for Best Album Packaging in the NU Rock Awards.

Marabiles attributes their success to those who brought copies of their songs and passed them around to share with friends and relatives in Manila. Sans royalty, Marabiles finds it flattering for their music to find acceptance in another venue. This was averred by the rest of the group who shared that though the burning of CDs hasn’t a bit sparked up their personal coffers, they find that the consequence for such form of publicity is working to their advantage and just what a rising band would normally pray for.

Last year, Kilat struck front act for the MTV Pilipinas Award and jammed with various artists like Radioactive Sago Project that romped away with the Video Award of the Year for their “Astro” project. The band proudly recalled that the “bullet-peppered” performance of M16 before a non-Cebuano speaking audience (or that majority of it) served as barometer on how much appeal they have in the capital Whew! I doff my rasta cap to this bunch of musicians!

Such acceptance could well be understood as reggae fanatics, wherever they are in the Philippines, share this understanding on the desire for emancipation from mental, spiritual, political and economic slavery. And that the imposition of thought control becomes the main subject for reggae artists whose works reveal striking qualities of good oratory on the deployment of both classical, traditional and innovative rhetorical skills to various causes – political independence, economic advancement and the restoration of racial pride, not to mention the playup of musical instruments that gives heads reasons to rock and fingers to thump and feet to stomp.

It is now hoped that the Kilat craft, in exaltation of the Sugbuano language, would effectively touch a wayward generation with reggae myoozik’s intense desire to unite people everywhere in whom burns the unfulfilled wish for freedom, equality including musical space and dimensions, and dignity as a race.

If the patterns of reggae music employed persuasive strategies coupled with the functionality of its aesthetics to serve as an effective device that a musician and orator uses in order to achieve intellectual and emotional effects on an audience, then let the Kilat spirit spice up and nurture this Bisdak generation.

Hail to reggae myoozik! Hail to Bisdak talents!

Nganong Ni-Enter! debut album sa Konigs gilusad

Hugyaw ang nahitabong paglusad sa pinakaunang album sa Bisdak hip-hop nga pundok Königs nga may ulohan "Nganong Ni-Enter!" nga adunay dose ka mga kanta nga gipahaum sa tuno, bunal, ug paningog sa hip-hop/rap music.
Nagkauyon ang tulo ka sakop - silang Naw-t-dog, Garvie ug Brent - sa pagbunyag sa pundok ug Königs (gikan sa pulong nga Swiso-Aleman, ang koenigs nagakahulugan ug "kings" kon mga hari. Ang saktong pagbasa niini mao ang koi-nigs.) Tungod kini kay gipakahari man nila ang talento sa Bisdak sa pamuhat ug mga huni ug awit. Tam-is kaayo palandongon diha sa usa ka linya sa ilang mugna ang: Dili titulado/ngano?/Dili ilado/ngano?...Cebu ni bai/Dili mo katandog sa among garbo/ayaw'g labay kon makakita mo’g talento.
Ang "Nganong Ni-Enter" nga silbing carrier track usa ka maalamon nga paggaray-garay sa mga pulong nga nagbatbat may kalabutan sa paghulagway sa usa ka tawo nga nahitumpawak sa pagpayuhot ug paggamit og ginadiling drugas, ug ang sangpotanan sa maong bisyo - ang pagkawala sa direksiyon ug bili sa kinabuhi, lakip na ang saktong pangisip. Masungogon kining nagkanayon: Nganong ni-enter man! Nganong gisugdan! M'o na asa na man natanggong nas prisuhan/naay kwartahan sa rehab gipadala's ginikanan/tungod sa bisyong way ayo/daghan nang nawad-an.
Lab-as pa ang pagkahaw-as sa pundok sa ilang malamposong pakigtambayayong sa Dice and K9 Mobbstarr nga maoy nigama sa official soundtrack sa lilas "Enteng Kabisote 2" nga gibitoonan ni Vic Sotto, nasundan gilayon kini ug gig atol sa nilabay nga Sinulog. Ang tulo ka sakop sa Königs nga managsilingan sa Talisay City - si Naw-t-dog nga kanhi sakop sa laing hip-hop nga pundok, ang Brownian Method; si Garvie nga maayo kaayo modala ug pinasagitsit sa likod sa mga kanta aron katagaan ug igong "hoomp" ang bunal sa tuno sa hip-hop, ug ang balaknon usab nga si Brent nga maoy nangunay pagmugna ug pag-abanid sa mga pulong sa "Nganong Ni-Enter!" mipalumpayat sa bagang du-ot sa mahiligon sa rap music diha sa luna nga nabakantehan sa karaan nga pamuhatan sa SSS sa Osmeña boulevard.
Nausban pa gayud ang paghugop sa mga Bisdak nga mahiligon sa hip-hop sa dihang gilusad na sa katapusan ang ilang debut album diha sa Handuraw Events Café sa Mabolo niadtong miaging Biernes atol sa "RNB Hip Hop Rap Nights".
Ang maong album nga gitawag sa tulo ug "labor of their love to propagate Bisdak hip-hop culture" gi-mix ug gi-master sa 6000 Goonz label ni Dice Rosaroso sa Dice and K9 Mobbstarr, gipagawas sa Alpha Music, ug gipakatap sa Harmony Music.




Gawas sa makalingaw kaayong paghulagway sa mga abusado nga “nangenter” paggamit ug ginadiling drugas, ang album aduna usay track nga "Pop Chick" kauban si Hi-C sa Dice and K9 Mobbstarr. Mahitungod kini sa usa ka ambongan nga lalaki nga buot mosakmit sa kasingkasing sa usa ka dalaga, apan bisan pa man sa iyang ka chickboy maglisud siya pagduol niini ug labaw pang dili makasugakod bisan "hi" na lang o "hello" tungod kay permi na lang siyang maunhan sa kaikog, kauwaw ug kataha.
Lain pang makalingaw nga track mao ang "Ungo Ka!" nga bunal kaayo ang “hardcore” nga elemento niini apan nakapasamot sa pagpatigbabaw sa panaglubid sa novelty ug hip-hop. Mahitungod kini sa dagway sa usa ka tawong palahubog ug kusog pa gyud moyupyop. Daw manggitik ang mga singgit sa tulo: “Kalkag kag buhok, ungo ka!/ Baho kag ilok, ungo ka!/ Lagom na'g lagos, ungo ka!/ Sige lang kag yupyop, ungo ka!”
Ang ubang mga kanta lagmit gayud nga adunay maigo ug mayatakan tungod kay may kalabutan kini sa kauna-unahon sa mga babaye ngadto sa mga lalaki, hinungdan nga buhaton lang sila ug pulutan sama sa gibatbat dihas “Ms. Appetizer”. Ug ang usa mao ang kalaay sa kalibutan ug sa mga buluhaton kon walay kuwarta. Gisaysay dihas "Wawart" nga maayo pa ang patay kay naa pay molimos ug kwarta. Makapahimuot nga ang buta misanggaak na lang ug: "Asa na mang kwartaaaaa?"
Samtang ingon niini ang dagan sa mga tracks sa album, nahinabi ning tagsulat si Naw-t-dog alang sa pagtino kon kinsa ang iyang giigo sa "Funky Juan". Matod pa ni Naw-t-Dog, ang maong rap naghulagway sa iyang kaagi sa dihang iyang gipakita ang iyang dakong pagtamod nga may ugma ang hip-hop music sa Cebu. Iyang gusto lang pahibaw-on ang matag mahiligon sa rap nga ipadayon ang gugma sa maong natad sa arte bisan pa man ug dunay mga tawo nga kusog manggamit ug mangwarta sa ilang mga pasundayag. Dinhi nakat-on ug leksiyon si Naw-t-dog nga ihatag ngadto sa tawong angayan ang iyang pagsalig ug ilhon pag ayo ang iyang mga katrabaho.
Ang tulo malipayon kaayo nga nisaysay nga sa AstroPlus pa lang daan sa SM City Cebu, ang ilang album mihalin na ug 50 kabook, nga matawag na og kalampusan alang sa usa ka pundok nga pasulbong pa lamang.
Silang Naw-t-dog, tinun-an sa Computer Science diha sa Asian College of Technology; si Garvie nga tinun-an ug Mass Communications sa University of San Jose-Recoletos ug si Brent nga ana-a sa Southwestern University alang usab sa pagtoon ug Mass Communications nakiglambigit sa SOS Village, usa ka institusyon nga nag-atiman sa mga ilong tuwapos, pinaagi sa pagbuhat ug kanta isip "jingle" ug ingon man ang “Nganong Ni Enter!” nahilakip sa Philippine Red Cross Album, usa ka pahat sa pundok aron makatigom ug pundo alang sa mga buhat sa kalooy.

In the raw: The oxymoron that is Santing Scalawags










More and more of our children today are battered by issues on broken families, deterioration of cultural and family values, and the reported widespread corruption even in the educational system, the displacement-misplacement of family members exported to some foreign labor forces to do mostly domestic work, these among a heap of other concerns.

A group of Talamban youngsters picked up these subjects knowing that the surge in the scarcity for work opportunities here and the exporting of human resources greatly affect them. Though they consider the songs they penned as something raw yet, the subjects are considered perennial. The issues speak of the lack of concrete programs on development of technical skills and the proper forum for the healthy discussions and debates on their topmost concern – sex and sensuality, access to education, career and or employment opportunities; including the strengthening of franchises for the handy “trisikads” and motorcycles-for-hire to the legalization of hemp for its industrial and medicinal values.

Raw musical compositions, so their works may seem, but the meaty messages in the lyrics of Santing Scalawags speak of the restlessness of our youth and of the things that our government and most adults failed to prepare for them – a better life – them being next in line.

Santing Scalawags is not only a reggae band, it is a walking, cymbal-clanging, drum-beating personified oxymoron composed of teeners Ron Miguel “George Bagul” Martinez (vocals), 17, 2nd year student at the Talamban National High School; Jhurry “Jammir” Dyguaso (percussions), 19, first-year Fine Arts student at the University of the Philippines; Christopher “Snoop” Flores (drums), 18, 2nd year Information Technology student at the University of Southern Philippines; Kreutzerr “Krutch” Capidos (guitar), 17, first-year Nursing student at the Cebu Doctors University; Jonathan “NatNat” Labrador” (bass), first-year Nursing student at the University of the Visayas; and other members Encabo Robocop and Clyde Buan, both 19, 2nd year IT students at the USP; and Wilson “Kaspa” Arela (backup vocals), 18, 3rd year student at the Talamban NHS (Night School).

Santing is colloquial equivalent or street slang for “something”. In the vernacular, “santing” is a surge in blood pressure, a rise of temper, a mood swing, almost the same feeling as that of the rising of the hair at the nape but not responding to the stimulus of fear, rather of anger or dismay or excitement.

And though the group adopted the name Scalawags to speak of their hyperactivity, of their restless, of their silly goofiness and of being at times rascals and mischiefs, they are using the name to raise a cause, to come up with a voice on how the young people of today think and work. With roots, rock, reggae musical influences as vast as O-shen, Damian "Jr. Gong" Marley, and Robert Nesta "Uncle Bob" Marley, as well as the dancehall style-ly of Buju Banton, and Chaka Demus and Pliers, Santing Scalawags believes that good things can still develop out of some worst situations.

Santing’s songs are the amplification of our young children’s stories, issues and concern. Most of the time, the youth are seen but never heard despite being referred to as the “new generation of prime movers”. These songs speak of the trails adults could have blazed for them had we only had the conviction to make a sacrifice, and paths we could have bushwhacked had we only gotten the will to be selfless at times.

Mask Rider Black for example is their attack on the spate of killings here done vigilante-style. “Mask Rider Black is on de attack, mga pamilya na watak watak, mga kaliwatan puros gahilak, mga luha dili na mupatak; sa mga panghitabo, kawatan din-a gyud moguho, mga tulisan bantay bantayan, basin sila ang mosunod sa listahan, sa mga tawo nga wa mailhan.”

“Mask (masked) Rider Black dili malihayan basta maagian ka sa kadalanan, mga taong sad-an dili mahatagan ug hustisya sa mga kapulisan; hasta ebidensya dili makit-an morag gitabunan sa mga politician. Bang! Bang!”

And long before President Arroyo placed the nation under Executive Order 1017 or the State of National Emergency, the group has already been blaring out with “Put Out de Fire” - Put out de fire that’s been burnin me country/shoot de water to the people in ja prayer rally/why do you get to do this to me/when we try to make it in a peaceful way/As ja police tries to block our way/but we proceeded/With the use of ja Bible and pray/But there you go use some force/But I believe coz we carry the cross/And the words our Father gave us/All of ja evil will bow down to us/Ei it’s “The Lady in Red” and have u heard all the things she said?/She said “for the sake of our country we gotta call for the state of emergency/hypocrisy/have you forgotten what’s democracy/it’s a free country where people can say/all of ja things that they wanna say.

In the raw yet, having been contented with exposures in various gigs at campuses, Santing Scalawags is yet to produce an album of their compilation expected to be delayed for lack of funds. Yet, despite the oxymoron that puts their songs in conflict with their band name, they have proven to speak their mind on what our divided society failed to prepare for them.
***

TEXTPRESS URSELF! 27-Feb 15:48:57 "Nabasa ko po ang inyong main heading na SEX.SEXUALITY.SEXUAL RESPONSIBILITY. LOVE. Gusto ko pong malaman kung ano ang kaibahan ng love sa like - Anonymous. 27-Feb 14:02:15 "Hi ms. eleanor, Im ariel, 23 yrs old. i love ur column 2day. Its good dat u open ds topic to confused & guilty teenager's bout sex. 27-Feb 17:07:54 "Hi, I'm a reader. I have read your magazine about sex and love.. Is sex really needed in love? Pwede sa sunod maghimo pa ka og mga readers digest sa love og sex? My name diay is Kenrick Avila, 17 from Compostela.

Thursday, May 04, 2006

Phylum: Gibahig nga "alternative music"


Gitawag sila kanhi-ay og “Phylum Prodigals”, matawag og tukmang bansagon alang sa lima ka mga batan-on nga naglarawan sa mga sayop nilang mga panahom sa kinabuhi. Mao kini ang unang pamahayag nga gibuhian sa bandang Phylum – gibahig nga “alternative music”.

Apan bisan pa man sa ilang kanhi pagkalatagaw, gipahimug-atan sa lima ang ilang hukom nga susama’g tubig mokulit og bag-ong dalan. Sa sulod lamang sa upat ka bulan gikan sa ilang matawag og “reinvention”, ang lima nahimong “Phylum”.

Sa mas hingkod nga paagi, ilang giatubang ang hagit nga pinaagi sa musika kansa nakapatandog kanila ug nakapausab sa dagan sa ilang kinabuhi ug panaghinigalaay, mahimo usab kining panig-ingnan sa uban nga walay kalainan kanila nga gibukotan sa mga nagkadaiyang matang sa mga suliran. Silang Ian Raye Biñan (vocalist, computer engineering student sa Cebu Institute of Technology), Charleston Miparanum (lead guitarist, BS Law graduate sa University of the Visayas), Ariel Junald Corcuera III (rhythm guitarist, marine electronics technology stude at the Cebu Technological School), ug ang magsoon nga silang Anthony “Nene” Talledo (bass guitarist), ug Josephus “Jojo” Talledo (drummer), susamang tinun-an sa nautical science sa University of Cebu) mao ang tingog ug ritmo nga nagpaluyo sa Phylum, kansang carrier track nag-ulohan ug “Palagot sa Contra”, ug laing mga kanta sama sa “Left Me, Luisita, Time Machine, E2Y-E2Y, Txtmyt, I’m Sorry, Scandal, Keep and Kaibigan”.

Ang Palagot sa Contra ug ang E2Y-E2Y nakadawat na ug ubay-ubay nga airplays sa 93.1 Smash FM dinhi sa dakbayan. Ang pundok mao ra usab ang niprodyus sa ilang album nga may susamahang ulohan sa pangalan sa banda.

Gibitbit gayud sa lima ang taxon nga “phylum” nga may kahulogan nga “classification of life”. Ang pundok mibahig ug mga himno ug katugbang niining mga hubad. Gihugpong kini sa usa ka sistema sa pagkahan-ay nga nagbatbat sa mga tingusbawan nga makagama ug napulo ka kanta kansa kapanalaminan sa ilang mga kinabuhi ug ang katakos sa musika nga makahatag ug damlag.

Bisan pa man ug nagkadaiya ang ilang mga kasinatian, ang hibla sa musika nagkutay kanila, nakahikap ug nakapatandog, nakapaalim ug samad, ug nakapaamgo sa dakong kamahinungdanon niining hinulaman tang kinabuhi.

Adunay magsoon sa sakop sa Phylum ug ingon man sila “magka-berkz” (short message lingo sa barkada) nagkauban ug usa ka silinganan, nagdungan pagdako maong matawag ug magkatalirongan. Kini nagpasabot lamang nga naila na nila ang matag usa kanila gikan pa sa pagkabata. Kining maong gitawag ug panaghugpong kon “bonding” maoy nakapaaghat nila nga seryosohon na nga patumanan ang ilang kamahiligon sa paggaray-garay ug kanta ug ngadto sa pagpasundayag.

Pahayag pa ni Ariel “Like most struggling musician-performers, we had our share of being booed, sneered, and jeered at, like in Plaza Independencia, the most cruel of all venues.”

Apan salamat sa inspirasyon nga gihatag sa uban kanila kansa may mga ginikanan nga mahiligon usab sa awit, napatumanan nila ang ilang kaugalingon nga palamboon ang ilang “musical inclination”.

“Sa una boo-han mi kay mokanta mi ug Binisaya. May gani karon nausab na ang trend. Singgitan na sad mi nga Bisaya na puy tukaron,” nagkanayon ang umaabot nga manlalaban nga si Charleston.

Ang album sa Phylum gilusad na sa 93.1 Smash FM pipila ka adlaw gikan sa pakighimamat ning tagsulat sa lima diha sa tugkaran sa karaang balay sa mga kaliwatan ni Charleston sa Bontores, Basak, ning dakbayan sa Sugbo.

Si Charleston midalit ug sampol sa iyang gisuwat nga kanta, ang “Keep” nga may kalabutan sa panaad nga magmahal, mounong, ug mahigugma sa kanunay nga maoy kinahugyawan sa tanang mga mananoy niyang mugna kay kuninitan man gayud kini sa mga gitawag ug “incurable romantics”.

Ang “Txtmyt” lingaw kaayong miatake sa mga minyo nga sige pa ug pailad sa mga mangingilad sa text. Samtang ang “Luisita” naghisgot may kalabutan sa pamayhon sa usa ka babayeng laksot nga nakatrato ug ambongan. Sa dihang nahibaw-an ang hinungdan kon nganong daw sa nidukot ang lalaki sa babaye, nakita nga adunay maanindot nga taras si Luisita - ang kabulawanon sa iyang kasingkasing. Samtang, ang carrier track “Palagot sa Contra” may kalabutan sa “pasuya” taliwala sa mga kanhi managhinigugmaay nga karon nakakaplag na ug bag-ong minahal.
Tungod sa naghitak nga ilegal nga pagpangopya ug mga kanta, mas gipili sa Phylum nga iapud-apud na lang ang ilang album sa direkta nga paagi. Mapalit kini P150 matag CD. Ang album may tatak nga “Nostalgic Content”, samtang ang album cover graphics design niini nga tribal-inspired gipahaum ni Roel Rosario sa Cyberwheltz. – Tinagik ni Maria Eleanor Elape Valeros, mga hulagway kuha ni Chendrina Villarino Rosaroso



Phylum: Gibahig nga “alternative music”
Tinagik ni Maria Eleanor Elape Valeros
Mga hulagway kuha ni Chendrina Villarino Rosaroso

Gitawag sila kanhi-ay og “Phylum Prodigals”, matawag og tukmang bansagon alang sa lima ka mga batan-on nga naglarawan sa mga sayop nilang mga panahom sa kinabuhi. Mao kini ang unang pamahayag nga gibuhian sa bandang Phylum – gibahig nga “alternative music”.

Apan bisan pa man sa ilang kanhi pagkalatagaw, gipahimug-atan sa lima ang ilang hukom nga susama’g tubig mokulit og bag-ong dalan. Sa sulod lamang sa upat ka bulan gikan sa ilang matawag og “reinvention”, ang lima nahimong “Phylum”.

Sa mas hingkod nga paagi, ilang giatubang ang hagit nga pinaagi sa musika kansa nakapatandog kanila ug nakapausab sa dagan sa ilang kinabuhi ug panaghinigalaay, mahimo usab kining panig-ingnan sa uban nga walay kalainan kanila nga gibukotan sa mga nagkadaiyang matang sa mga suliran. Silang Ian Raye Biñan (vocalist, computer engineering student sa Cebu Institute of Technology), Charleston Miparanum (lead guitarist, BS Law graduate sa University of the Visayas), Ariel Junald Corcuera III (rhythm guitarist, marine electronics technology stude at the Cebu Technological School), ug ang magsoon nga silang Anthony “Nene” Talledo (bass guitarist), ug Josephus “Jojo” Talledo (drummer), susamang tinun-an sa nautical science sa University of Cebu) mao ang tingog ug ritmo nga nagpaluyo sa Phylum, kansang carrier track nag-ulohan ug “Palagot sa Contra”, ug laing mga kanta sama sa “Left Me, Luisita, Time Machine, E2Y-E2Y, Txtmyt, I’m Sorry, Scandal, Keep and Kaibigan”.

Ang Palagot sa Contra ug ang E2Y-E2Y nakadawat na ug ubay-ubay nga airplays sa 93.1 Smash FM dinhi sa dakbayan. Ang pundok mao ra usab ang niprodyus sa ilang album nga may susamahang ulohan sa pangalan sa banda.

Gibitbit gayud sa lima ang taxon nga “phylum” nga may kahulogan nga “classification of life”. Ang pundok mibahig ug mga himno ug katugbang niining mga hubad. Gihugpong kini sa usa ka sistema sa pagkahan-ay nga nagbatbat sa mga tingusbawan nga makagama ug napulo ka kanta kansa kapanalaminan sa ilang mga kinabuhi ug ang katakos sa musika nga makahatag ug damlag.

Bisan pa man ug nagkadaiya ang ilang mga kasinatian, ang hibla sa musika nagkutay kanila, nakahikap ug nakapatandog, nakapaalim ug samad, ug nakapaamgo sa dakong kamahinungdanon niining hinulaman tang kinabuhi.

Adunay magsoon sa sakop sa Phylum ug ingon man sila “magka-berkz” (short message lingo sa barkada) nagkauban ug usa ka silinganan, nagdungan pagdako maong matawag ug magkatalirongan. Kini nagpasabot lamang nga naila na nila ang matag usa kanila gikan pa sa pagkabata. Kining maong gitawag ug panaghugpong kon “bonding” maoy nakapaaghat nila nga seryosohon na nga patumanan ang ilang kamahiligon sa paggaray-garay ug kanta ug ngadto sa pagpasundayag.

Pahayag pa ni Ariel “Like most struggling musician-performers, we had our share of being booed, sneered, and jeered at, like in Plaza Independencia, the most cruel of all venues.”

Apan salamat sa inspirasyon nga gihatag sa uban kanila kansa may mga ginikanan nga mahiligon usab sa awit, napatumanan nila ang ilang kaugalingon nga palamboon ang ilang “musical inclination”.

“Sa una boo-han mi kay mokanta mi ug Binisaya. May gani karon nausab na ang trend. Singgitan na sad mi nga Bisaya na puy tukaron,” nagkanayon ang umaabot nga manlalaban nga si Charleston.

Ang album sa Phylum gilusad na sa 93.1 Smash FM pipila ka adlaw gikan sa pakighimamat ning tagsulat sa lima diha sa tugkaran sa karaang balay sa mga kaliwatan ni Charleston sa Bontores, Basak, ning dakbayan sa Sugbo.

Si Charleston midalit ug sampol sa iyang gisuwat nga kanta, ang “Keep” nga may kalabutan sa panaad nga magmahal, mounong, ug mahigugma sa kanunay nga maoy kinahugyawan sa tanang mga mananoy niyang mugna kay kuninitan man gayud kini sa mga gitawag ug “incurable romantics”.

Ang “Txtmyt” lingaw kaayong miatake sa mga minyo nga sige pa ug pailad sa mga mangingilad sa text. Samtang ang “Luisita” naghisgot may kalabutan sa pamayhon sa usa ka babayeng laksot nga nakatrato ug ambongan. Sa dihang nahibaw-an ang hinungdan kon nganong daw sa nidukot ang lalaki sa babaye, nakita nga adunay maanindot nga taras si Luisita - ang kabulawanon sa iyang kasingkasing. Samtang, ang carrier track “Palagot sa Contra” may kalabutan sa “pasuya” taliwala sa mga kanhi managhinigugmaay nga karon nakakaplag na ug bag-ong minahal.
Tungod sa naghitak nga ilegal nga pagpangopya ug mga kanta, mas gipili sa Phylum nga iapud-apud na lang ang ilang album sa direkta nga paagi. Mapalit kini P150 matag CD. Ang album may tatak nga “Nostalgic Content”, samtang ang album cover graphics design niini nga tribal-inspired gipahaum ni Roel Rosario sa Cyberwheltz.

Makapasanting ang matang sa kinaadman sa Santing Scalawags

Nagkadaghan ang mga kabatan-unan karon nga gibati-bati sa nagkalandrakas nga isyu may kalabutan ang pagkabuak-buak sa mga banay, ang inanay nga pagkagabok sa bili sa pamilya ug kultura, ang gikatahong nakakatap na ug nakagamot nga corruption bisan pa man sa pamuhatan sa nagpadagan sa mga reglamentos may kalabutan ang edukasyon, ang di na malalis nga pagkahurot sa mga propesyonal dinhi sa nasud tungod kay inanay na man silang gipang-export diha sa puwersa sa pamuo sa laing nasud.
Kini pipila lang sa mga isyu nga gikulitan ug nota ug gihatagan ug bulok dihas mga kanta nga gimugna sa usa ka pundok sa mga batan-on sa Talamban, ning dakbayan.
Bisan pa man sa kalinghod pa sa kasinatian sa maong mga batan-on, nigilak na ang kalantip sa ilang pangutok ug namuwak daw antuwanga ang ilang pagpakabana.
Pamulong pa sa mga sakop sa Santing Scalawags nga nahasi na gayud sila sa kakulang sa oportunidad makatrabaho ug tarong dinhi sa atong nasud. Bisan pa man ug matawag ug linghod pa ang ilang kasinatian sa panukar, ang ilang gipiling mga hilisgutanan hingkod na susama sa paglig-on sa sistema sa libreng edukasyon, oportunidad sa pagpangempleo, kawsa pagpahingusog sa prangkisa alang sa mga trisikad ug mga habal-habal nga ilang gilarawan nga maoy klarong naay gamit tungod kay adunay mga tawong walay sakyanang kaugalingon apan ang padulngan lagyo ug hilit.
“Nganong gukoron man gyud nang klarong nanginabuhi, nga pwede man na tagaan ug pamaagi nga mahimong legal, unya mobati pa nang mga drayber nga dunay dignidad ang ilang klase sa panginabuhi,” mao kini ang ilang panahom.
Hilaw pa ang ilang mga komposisyon ug gani nabalaka sila nga dili nila madali-dali paggama ang ilang album tungod sa kakulang sa pundo ug suporta alang kanilang mga local ug bag-o pa lamang sulbong nga independent reggae band, apan ang maundanong mga mensahe sa lyrics sa Santing Scalawags naghubit sa kaaktibo unta sa mga batan-on ug kadali pasundon kon ang gobyerno ug ang mga tawong hingkod nag-alirong kanila andam pa lang untang nitagana alang kanila ug usa ka mas maanindot nga kinabuhi.

Ang Santing Scalawags gilangkuban nilang Ron Miguel “George Bagul” Martinez (vocals), 17, 2nd year student sa Talamban National High School; Jhurry “Jammir” Dyguaso (percussions), 19, first-year Fine Arts student sa University of the Philippines; Christopher “Snoop” Flores (drums), 18, 2nd year Information Technology student sa University of Southern Philippines; Kreutzerr “Krutch” Capidos (guitar), 17, first-year Nursing student sa Cebu Doctors University; Jonathan “NatNat” Labrador” (bass), first-year Nursing student sa University of the Visayas; ug silang Encabo Robocop ug Clyde Buan, parehong 19, 2nd year IT students sa USP; ug si Wilson “Kaspa” Arela (backup vocals), 18, 3rd year student sa Talamban NHS (Night School).

Gibunyagan nila ug Santing ang grupo, nga dalin-as lang sa “something” kon “aduna”. Ang “santing” mahimo usab nga sabton nga pagsaka sa alta presyon, sa di maayong buot, sa pagsaka sa dugo ug kalit sa ulo nga gamiton nga expression kon gisapot, gilabdan, nalagot, nakuratan, nahisagmuyo ug kaha sobrang pagkahinam.
Gisumpayan nila kini ug Scalawags nga may kalabutan sa ilang pagkaki-at, pagkalawgaw, panagsang pagpabadlong, ug nag-awas-awas nga enerhiya dinala sa ilang kabatan-on. Apan bisan pa man sa ilang nakab-ot nga pangalan, mas gipili gihapon sa maong mga batan-on nga gamiton ang ilang pagpakabana batok sa mga sakit sa katilingban aron makapukaw sa pagkapabana pinaagi sa makapasanting nga kahibalo.
“To raise a cause, to come up with a voice on how the young people of today think and work, that’s what we would like to give to the Cebuano community,” mao kini ang ilang hinugpong nga baruganan.
Kinupuan sa inspirasyon nga dala sa ilang mga roots-rock-reggae influences nga sila si O-shen, Damian "Jr. Gong" Marley, ug Robert Nesta "Uncle Bob" Marley, lakip ang dancehall style-ly artist nga si Buju Banton, ug Chaka Demus and Pliers, ang Santing Scalawags may dakong pagtoo nga adunay maayo pang motumaw taliwala sa kagubot karon nga gitagamtam sa nasud. Kining maong kaayo mamatikdan pinaagi sa paghatag ug luna kanila nga gitawag ug “new generation of prime movers”.
Ang ilang Mask Rider Black nga kanta ilang pamaagi isip pagsaway sa sunod-sunod nga patay dinhi sa dakbayan ala vigilante-style. “Mask Rider Black is on de attack, mga pamilya na watak watak, mga kaliwatan puros gahilak, mga luha dili na mupatak; sa mga panghitabo, kawatan din-a gyud moguho, mga tulisan bantay bantayan, basin sila ang mosunod sa listahan, sa mga tawo nga wa mailhan.”
Ug sa wala pa gipakanaug ni Presidente Arroyo ang Executive Order 1017 kon ang State of National Emergency, ang pundok mipalanog nas ilang panahom niini pinaagi sa “Put Out de Fire” - Put out de fire that’s been burnin me country/shoot de water to the people in ja prayer rally/why do you get to do this to me/when we try to make it in a peaceful way/Ei it’s “The Lady in Red” and have u heard all the things she said?/She said “for the sake of our country we gotta call for the state of emergency/hypocrisy/have you forgotten what’s democracy/it’s a free country where people can say/all of ja things that they wanna say.”
Matawag pa tinood ug hilaw pa ang matang sa musika sa Santing Scalawags tungod kay pending pa karon ang ilang album tungod sa kakulang sa pundo. Kuntento na lamang silang nagpasundayag tuyok sa mga tulunghaan dinhi sa dakbayan. Bisan pa man, mapasigarbohon ang Santing Scalawags nga nakasulti sila sa ilang panahom nga walay lipud-lipud batok sa usa ka nabahin nga katilingban nga yanong nalimot nga ang maong pagkabahin-bahin ug pagkabingkil-bingkil sa mga ideolohiya walay natabang alang sa pag-agak, pagsapnay ug pagsagakay sa mga kabatan-unan nga makita ang ilang luna ug bili ning kalibutan.