Musical no-read, no-write
August 16, 2004 | 12:00am
For the second year in a row, I was asked to be part of the jury that would decide on the winners of the Aliw Awards. Aliw differentiates itself by being the award-giving body that recognizes "live performance." It doesn’t matter whether one has a recording contract, platinum record, smash single, or what not’s. With Aliw, it’s the live performing that matters – the connection, the slow burn and fire that ignites between performer and audience. And Aliw makes it a point to go across the board in categorizing "performing." There are Pop music concerts, performing in bars and music halls, there’s classical music and dance, there’s stage performing, stand-up comedy, best choral group and even, best emcee. If you’re up on a stage, in front of an audience, Aliw recognizes the craft and effort you’ve put in your endeavor.
I can’t read a musical score to save my life, or carry a tune with any confidence, even the Lito Camo penned sing-a-long’s have me struggling to hit the right notes. So it must have been my association with Dish, formerly in Rockwell, and its new reincarnation in the ABS Compound, that led them to have me on the board of judges. Along with EJ Litton, we’d sift through the bands and acts that would audition at Dish, and it was our duty to keep abreast of what was going on in the music scene. Unlike friends who’d have some music background and studiously assess content, performance level and musicality; I’d opt for the simpler tests of "Did my feet start tapping?" and "Would I want to watch them again?" A Philistine approach perhaps, but it has served its purpose.
As with most spectacular, extravaganza, once-in-a-lifetime, concept shows, this one was plagued by the notoriously Filipino "not starting on time" and "not knowing when to stop" syndrome. I only state this in passing because it is frustrating how the best of intentions are waylaid by the lack of brisker editing and punctuality. Time and again, I’ve pondered on what the solution for this would be. And while each year, the mandate is stated to avoid a repeat of the previous year’s "drag-ability," we just can’t seem to get it out of our system. Calltime of 4 p.m. and some performers not getting on till 11:30 p.m. is a bit of a strain on personal (and professional) reservoirs of patience.
For Best New Artist Female, the nominees were Sheryn Regis, Carmela Cuneta and Karel Marquez. During the deliberations, I had cast my vote and left before this category was discussed. I had recognized that both Sheryn and Carmela had CD’s out, and were far more established as singer/recording artists; and that Karel, the daughter of Pinky, would be recognized by more people as a current favorite endorser (Pond’s Powder, Smiley’s Oishi, etc.) and MYX VJ. She has performed at Dish ABS, as it had always been a dream of hers to go back to singing and live performing. She was part of the singing group Full Circle a couple of years ago. With a repertoire skewed towards alternative music – Evanescence, Lisa Loeb, Nelly Furtado and Michelle Branch – Karel has sought to make a definitive statement regarding the kind of music she’ll perform and the kind of audience and connection she’ll seek. It may not sell records yet or inhabit the commercial mainstream of the Philippine market, but it’s right for her age and temperament. As a gutsy young one trying to make her case, I’ll doff my hat to her.
The Akafellas, another regular at Dish, took home the Best Group Performance in a Concert; and for me that’s just a reward for the very difficult road they’ve taken, and not strayed from. They’ve really brought the art of acapella performance into the 21st century and while I initially doubted the sustainability of this genre of music over a single night of performing, I constantly eat my words when I look at the beaming faces of the happy campers at Dish whenever they’re on the bill.
While the Awit Awards next month has to do with record sales, I take comfort in the fact that for those quality performers out there who just haven’t snagged a recording contract for one reason or another, there is the Aliw. As I’ve repeated like some disingenuous loop or broken record, "So much local talent out there, that’s under appreciated or unrecognized, it’s a shame we keep putting the mediocre and simply well-promoted in the spotlight."
My imaginary alter ego/protégé, 12-year-old nephew, Dylan, the budding Natural Born Cynic, was perusing the newspapers last week as part of his on-going Sibika school project. Looking up from his breakfast of Eggs Benedict Arnold, he arched his eyebrows and quizzically asked, "Tito, what exactly do senators do? I mean, besides bicker, fight, shout at each other, then kiss and make up on the front pages?"
Silently, I cheered and composed my face, hoping to give a straight answer, "Honestly?" And impishly mouthed "Nothing," while verbally paying lip service to separation of powers and the promulgation of laws.
And his question got me thinking. For someone beginning to get a grasp of the concept of politics and the structures that exist within our country, what impression is being made by the manner in which politicians act and get covered in media. One week, and the front pages blare reports about Senators Ed Angara and Ping Lacson bickering about who is truly opposition, then shaking hands and making up; to be followed up by reports of Senators Rodolfo Biazon and Fred Lim shouting at each other on the subject of committee chairmanships, only to be captured (what else?) shaking hands and making up a few days later. Duhhh, is this some playground filled with inflated egos, brats and bullies, or the august chambers of lawmakers? Do the stakes of committee horse-trading really carry such emotional charge, and why? And don’t even get me going about the other "hot" issue that’s connected to our Congress, that of the alleged congressional escort service!
Rhetorical questions, but just the same, questions that do carry weight given how my nephew seemed perplexed by what just is going on within the chambers of government, and the supposedly honorable calling of politics and public service. Maybe I should show him reels of the Korean and Taiwanese Parliaments; and how pelting rotten eggs, flying kicks and punches make a politician’s career there a form of extreme contact sports.
I can’t read a musical score to save my life, or carry a tune with any confidence, even the Lito Camo penned sing-a-long’s have me struggling to hit the right notes. So it must have been my association with Dish, formerly in Rockwell, and its new reincarnation in the ABS Compound, that led them to have me on the board of judges. Along with EJ Litton, we’d sift through the bands and acts that would audition at Dish, and it was our duty to keep abreast of what was going on in the music scene. Unlike friends who’d have some music background and studiously assess content, performance level and musicality; I’d opt for the simpler tests of "Did my feet start tapping?" and "Would I want to watch them again?" A Philistine approach perhaps, but it has served its purpose.
As with most spectacular, extravaganza, once-in-a-lifetime, concept shows, this one was plagued by the notoriously Filipino "not starting on time" and "not knowing when to stop" syndrome. I only state this in passing because it is frustrating how the best of intentions are waylaid by the lack of brisker editing and punctuality. Time and again, I’ve pondered on what the solution for this would be. And while each year, the mandate is stated to avoid a repeat of the previous year’s "drag-ability," we just can’t seem to get it out of our system. Calltime of 4 p.m. and some performers not getting on till 11:30 p.m. is a bit of a strain on personal (and professional) reservoirs of patience.
For Best New Artist Female, the nominees were Sheryn Regis, Carmela Cuneta and Karel Marquez. During the deliberations, I had cast my vote and left before this category was discussed. I had recognized that both Sheryn and Carmela had CD’s out, and were far more established as singer/recording artists; and that Karel, the daughter of Pinky, would be recognized by more people as a current favorite endorser (Pond’s Powder, Smiley’s Oishi, etc.) and MYX VJ. She has performed at Dish ABS, as it had always been a dream of hers to go back to singing and live performing. She was part of the singing group Full Circle a couple of years ago. With a repertoire skewed towards alternative music – Evanescence, Lisa Loeb, Nelly Furtado and Michelle Branch – Karel has sought to make a definitive statement regarding the kind of music she’ll perform and the kind of audience and connection she’ll seek. It may not sell records yet or inhabit the commercial mainstream of the Philippine market, but it’s right for her age and temperament. As a gutsy young one trying to make her case, I’ll doff my hat to her.
The Akafellas, another regular at Dish, took home the Best Group Performance in a Concert; and for me that’s just a reward for the very difficult road they’ve taken, and not strayed from. They’ve really brought the art of acapella performance into the 21st century and while I initially doubted the sustainability of this genre of music over a single night of performing, I constantly eat my words when I look at the beaming faces of the happy campers at Dish whenever they’re on the bill.
While the Awit Awards next month has to do with record sales, I take comfort in the fact that for those quality performers out there who just haven’t snagged a recording contract for one reason or another, there is the Aliw. As I’ve repeated like some disingenuous loop or broken record, "So much local talent out there, that’s under appreciated or unrecognized, it’s a shame we keep putting the mediocre and simply well-promoted in the spotlight."
Silently, I cheered and composed my face, hoping to give a straight answer, "Honestly?" And impishly mouthed "Nothing," while verbally paying lip service to separation of powers and the promulgation of laws.
And his question got me thinking. For someone beginning to get a grasp of the concept of politics and the structures that exist within our country, what impression is being made by the manner in which politicians act and get covered in media. One week, and the front pages blare reports about Senators Ed Angara and Ping Lacson bickering about who is truly opposition, then shaking hands and making up; to be followed up by reports of Senators Rodolfo Biazon and Fred Lim shouting at each other on the subject of committee chairmanships, only to be captured (what else?) shaking hands and making up a few days later. Duhhh, is this some playground filled with inflated egos, brats and bullies, or the august chambers of lawmakers? Do the stakes of committee horse-trading really carry such emotional charge, and why? And don’t even get me going about the other "hot" issue that’s connected to our Congress, that of the alleged congressional escort service!
Rhetorical questions, but just the same, questions that do carry weight given how my nephew seemed perplexed by what just is going on within the chambers of government, and the supposedly honorable calling of politics and public service. Maybe I should show him reels of the Korean and Taiwanese Parliaments; and how pelting rotten eggs, flying kicks and punches make a politician’s career there a form of extreme contact sports.
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