Our June 2012 Pop Culture Review: Supreme's top of the pop
Gaping wounds in the local music scene
MANILA, Philippines - There’s no denying that local music still has a long way to go. The fledgling indie music scene, thanks to the ease of creating and sharing music through digital platforms, has been a counterbalance to the releases of the big record labels that continue to offer an array of bad cover songs, redundant power ballads, and top 40 wannabes. But Cynthia Alexander’s leaving has exposed some gaping wounds about the music biz. Our country doesn’t exactly offer a greener pasture for those who want to pursue a career in music, something that can actually double as a source of living. Young bands have been playing gigs mostly for beers and a few pizzas but what happens when things start getting a little grown-up? And it’s not largely about paying the rent or putting food on the table (Cynthia is leaving to work on a project abroad, not because of “lack of support” as the original narratives had it). There are obvious struggles that our musicians are going through, whether it’s creatively, emotionally or financially, and it’s only the wail of the guitars and the pounding of the drums that make these issues fade into the background.
Popularity over sunstance
Facebook likes, reblogs, retweets, and other clickable forms of reproduction and reverence have spawned a community where the biggest act of prominence is ubiquitous domination. It’s fine to have a circus for a pop scene and things getting out of hand isn’t exactly an emergency situation. But when stupidity starts kicking in, it becomes an entirely different thing. A few weeks ago, Alexander’s leaving not only invited sensationalism but also inanity and indifference from several people online. Puns about her name cropped up in comments sections from many of the ill-informed trolls that exposed a syndrome that overcomes a large percentage of people blinded by klieg lights. Then came the cries about some of the nominees at the Globe Tatt Awards, which eventually became contenders (and possibly winners), being voter magnets who don’t really deserve being nominated in their respective categories. Fans of the people in question may see this as whining or bitterness but charm and ability to sway people with shallow pleasures can’t hide the lack of actual talent. In the end, it’s creative integrity that will be looked back on kindly. And the rest will be novelty.
The kids are not alright
Hung up on emotions and hormones, youth is the perfect excuse to make one mistake after another, as purported by the increasingly annoying acronym YOLO (You Only Live Once) attached to any potentially dumb decision. But these days, teenagers cross the line from being “just kids” to being plain stupid. The latest teen edition of Pinoy Big Brother has been a massive display of dubious behavior. Kabataan Partylist’s recent move also doesn’t help the youth’s standing. They recently filed (and eventually withdrew) HB 6330 or the “Religious Freedom in Government Offices Act,” a bill that sought to ban religious practices and artifacts in government places. Dubbed as the “anti-God bill” by the CBCP, it was intended to promote “religious sensitivity and harmony” but some provisions earned the ire of religious institutions. The purpose of upholding the state’s independence from any religion is noble but the harried push of this issue was marred by lack of proper consultation and research, something that is crucial for a sensitive issue like this. While these events do not represent the majority, they certainly do paint a rather bleak future, especially when more kids online latch on to issues without proper basis and fact.
Rediscovering our film roots
2012 proves to be a critical year for Filipino films. The resounding call for Dolphy to be anointed as a National Artist has never been stronger. While the entire nation awaits his recovery, people have begun to reexamine the Comedy King’s extensive filmography. It is undeniable that Dolphy’s roles have been a significant part of our country’s collective experience, whether on TV or celluloid. More recently, Mario O’Hara’s passing has left behind a filmic legacy that carves a unique perspective of our culture and collective experiences. From Tatlong Taong Walang Diyos to Halimaw sa Banga, and Babae sa Breakwater, these are epic narratives and portraits from a master intimately familiar with the nuances and trappings of our culture. However he wants to put it, he is indeed one of the greatest Filipino filmmakers, up in the ranks of Lino Brocka and Ishmael Bernal.
