She was certainly the most talented solo soul act that came out since, dare I say, Aretha Franklin.  The reason I brought up the comparison is because of Franklin herself, who at one point refused to perform with Alicia Keys at a MusiCares event in Los Angeles because she had apprehensions at the prospect of being upstaged by Alicia Keys and co-performer Mary J. Blige.  Why the diva, Aretha should be worried is indeed a mystery, but she must have her reasons.  And they may seem evident to you once you’ve seen Alicia Keys perform.

Her latest single “Empire State of Mind” which features Jay-Z was used as an anthem for this year’s New York Yankees victory.  When stripped of all its mainstream hype, the song is actually a poignant recollection of Key’s domicile, New York, that makes one wonder what her memories must have been. Although it gets cheesy toward the end, the emotion is still there and is especially crystallized in this stripped down version of the song:

Alicia Keys - Empire State Of Mind Pt. 2 (Broken Down) [Download] [Lyrics]

Gig logos courtesy of tunogtimog.tk

At late, I’ve been sort of a drifter in the so-called local  music “scene”, partly because having to go to all the gigs and listening to the same people and the same songs over and over can eventually grow tiring, (not to mention being coaxed in to yet another drinking session, which I have already outgrown) even though it’s totally hip to support the local music scene. A part of me still thinks that showing up to these things is helpful in mobilizing gigs, and as a result you’ve got a healthy music sub/culture. (Note: In fact, this was exactly what Paolo Castillo and the early Kaibans have envisioned. Making music gigs a habit in order for musicians to habitually create and play music.)

Years later I realized that in Davao, the music culture has met some difficulty in departing from the “gig” machinery.  On one hand, you have got to admire how the locals have finally warmed up to the idea of recording their original music, also home recording at that.  However, recording became an alibi to go out and support yet another gig.   I know I’ll divide the discussion on this but I daresay that music distribution hasn’t outgrown selling CDs to friends (even giving them away for free – as alternative interpretations of “indie” permit).   And so it comes as no surprise that you have a handful of very talented musicians and even music producers that have a day job. Unless you’re the likes of Noel Cabangon, Gauss Obenza, Bayang Barrios, Popong Landero…you know…the MTS people.

In a “scene” where music is appreciated but not necessarily “sold” (not to be confused with “sold out” as that requires a more complex qualification), being a musician  is just not a career option around these parts.  And so Davao has made it possible to have a music scene without a music industry.  Because the latter for me is manifested by the proliferation of artists who have records people go out of their way to buy in order to listen to.  When artists have a listener-ship with demand high enough to “inspire” more music, then tautologically, you’ve got yourself a market.  But unlike this ideal scenario you notice that in Mindanao, the artist is lax on the business side of music.  Which is fine but it’s symptomatic of obscurantism and a low appreciation of independent music.  Independent music is a musical process or genre that is, more often than not, commercially relaxed or devoid of formulaic musicality that the only way to give it artistic justice is for it to be appreciated by as wide an audience as possible.

This is the predominant trend in Mindanao.  We could make an exception of this period in time in Cagayan de Oro, when they were at their most abundant musical days thanks to the emergence of music powerhouses from the city, like Nuncyspungen.   Before even knowing that the band was from CDO, I was able to acquire a copy of their music off Manila racks.  It’s just an example of the potential for artists to enjoy wider circulation than most Mindanaoans.  Although in this case, they had a little help coming from the “South” music industry, which is actually Cebu (it’s strange that they call it South when Mindanao is a lot more…southern).  But I digress.

Digression #2: Wait a minute, what about Myxtreme?  Or Sidecrash?  Aren’t they widely proliferated? Well, I’m only talking about Indie here, get with the program.

Digression #3: What’s Indie by the way? Let’s keep these ideas at bay for now.

I categorically exclude mainstream artists from Mindanao who’ve been absorbed by “big” recording companies because there’s really no point in calling them independent.  And recording companies tend to hegemonize sound such that they become commercial and formulaic – creative impositions that Indie culture resists.  I’d like to think that aside from independence from companies, it can also be said that it’s a culture that resist creative conformity.

And so the point of this article is: Yes, Davao has an existing independent music culture but with some internal issues that need to be addressed in order to grow.  Your thoughts?

The MTV Video Music Awards 2009 is probably the weirdest to date.  Supposedly, the highlight of the show was the much-awaited tribute to the late Micheal Jackson by his sister Janet and the queen Madonna herself.  But there have been numerous scores that really eclipsed the opening number in memory of Jackson. For one, you get a very interesting medieval rendering from Lady GaGa which shocked audiences (as usual) and then another asshole stunt from (the guy who I thought was scratched off the guest list after the last fiasco), Kanye West took place. Again, acting like a complete hillbilly, he grabs the mic from Taylor Swift as the 19-year-old accepts her Best Female video award to tell audiences that Beyonce’s video was the best of that year. Of course, Beyonce looks shellshocked by this unexpected turn of events and West is booed off the stage, the works.

Kanye the douche

Way to crush a teenager’s self-esteem. West was reportedly scolded by Swift’s mother to which he later apologized on his blog.

In other  news, the US Open semifinals concluded with an ugly unsportsmanlike display from Serena Williams, a disruption that caused her a crucial point to the game.

Here’s the report that ran on Yahoo Sports news:

Defending champion Serena Williams was charged with a point penalty on match point after yelling at a line judge for a calling a foot fault on her previous serve. The ruling gave Kim Clijsters a 6-4, 7-5 victory in their semifinal match, which had been delayed 32 hours because of rain.

After the line judge called the foot fault with Serena, the youngest Williams sister intimidatingly stared her down before screaming at the official with a jabbed finger. After a few seconds, Serena turned back around to serve, thought better of it and resumed the badgering. The chair umpire then called over the line judge to ask what Serena had said, rules officials were summoned, a brief summit occurred at the net and it was determined that Serena would be assessed a point penalty for a conduct violation. The point gave Clijsters the match.  Williams was quoted saying, “I’m going to shove this ball down your fucking throat”.

It got worse from there. There were multiple profanities, more threats and a lot of pointing. Serena was soon defending herself against accusations that she had threatened to kill the lines judge. Even John McEnroe said it was a bit much.

Even if the foot fault was a wrong call from the line judge, it should not have been enough excuse for the outburst.

Oh well, cheers for my namesake for bagging the US Open grandslam!  Clijsters is indeed the queen of come back.

Kim Clijsters with her daughter enjoying the award ceremony of the US Open

Dangerous album cover

In the summer of 1995, I snuck into my uncle’s room with keys to his bottom drawer containing his most precious special edition tape of Michael Jackson’s  ”Dangerous” album.  The album is said to be the last plateau of Jackson’s music career before it went downhill relative to the high standards he himself set with previously historic sales.  I played the tape every morning while I stayed at my grandmother’s house that whole summer.  Every morning the first song I’d play would be “Black and White”  which my uncle told me was my generations version of Stevie Wonder’s “Ebony and Ivory”.    I never understood it until much later, upon hearing Stevie’s song throughout my life.

Every legend or celebrity we tend to render some respect to are often intertwined to a personal memory that we could connect with their creations. It shows that some mementos are created not only by people we personally know, but who leave a mark through their art or performance.

RIP Michael Jackson.

Michael Jackson – Gone Too Soon [Download] [Lyrics]

(L-R) Me, Jett Pangan, JB Leonor, Kenneth Ilagan (Truefaith), Ricci Gurango (Hungry Young Poets, Mojofly)

New wave has got to be my unconscious genre.  I was born in the late eighties, so most of the music I remember from my earliest living memory is a combination of new wave radio hits and clumsily spurned grunge.

Growing up, I never knew The Dawn but when I did my homework prior to my interview I immediately recognised their songs.  Most probably, the only reason I would ever get the chance to hear their music is if someone older than myself had been picking the tunes on the radio and I just happened to be in the same room at that time.  The night before the interview, I sent everyone on my phonebook ages 30 up to see if any of them knew the band.  I get an urgent reply from my lawyer, our veterenarian, an engineer, so on.  People of considerable stature.  This is the generation the band sung to.  And so as someone who was barely born at the cusp of their prime, my Filipino music history was enriched and had a brush up last friday with The Dawn.

Unfortunately, my record of the said interview was of such poor quality I wouldn’t dare upload it to grate your ears. Instead, I wrote a transcript of the higlights of the interview that fans might appreciate.  Viola.

I see we have a couple of powerhouse sessionists that’s Kenneth of True Faith and Ricci of Mojofly. How come Buddy and Francis couldn’t make it?

(Jett) It’s really a coincidence because Buddy’s wife is having her graduation from her Masters today and Francis is taking a leave from the band.  Really busy guy.

You’ve been a band for more than 20 years.  Five of those years you spent in hiatus, did you ever think at that point when you first disbanded that hey, this is it?

(Jett) I really did think that that was it for us.  We were just fatigued and picked up on the new trends where we really didn’t fit.

All of you did several side projects during that time and we’re doing well on your own, how did it occur to you to have a reunion?

(JB) I just wanted to play the drums again.  And I thought why should I be playing with anyone else when we had these guys here?  I called Jett, Caloy, Kiko and even Atsushi.  I just wanted to play music again, and you know it was a good thing to have a breather to have dealt with all the clutter we’ve accumulated, because after that it was just about the music.

I want to talk about your newest album The later half  of the day and noticed a number of new wave covers.  Some of your old songs have been “jazzed up”, I would say, to a point they are distinctively mellowed from the originals.  How did you come up with that?

(JB) We wanted to do something rock bands never do, at least in the Philippines.  Because normally, we want our music loud.  But we agreed to push through with the concept anyway, did a series of shows in Makati, in Greenbelt to be exact, and they proved very successful.  I thought people were going to thrash it. (Laughs) But people flocked it, they actually loved it.  We did five or six more shows and then we decided, it made sense to make an album out of it.  Surprisingly it was selling very well.  Basically putting old songs in a new way, that’s what new wave’s all about.

What was the idea behind the movie based on your band called Tulad ng dati?  Did Mike just approach you one day?

(Jett) Oh yes, definitely.  He’s a big fan of the band.  He worked for us shooting another video, but he wasn’t directing.  He was like just watching there.  Really anticipating the chance to talk us because he had this idea for a long time to come up with a film about our band.  One day, we borrowed a video camera and did it.  It was just refreshing working with Mike because he’s very passionate about film and the story.  He had been developing it for years, made us read the script and we talked about it, and we put in our input.  By the way, the film won Best Film in Cinemalaya 2008 and that was just an utter surprise.  Then it was a flurry of opportunities for the band.  We even had a musical based on our songs.

I posted a notice online to see if any of your fans would chime in with their questions for you.  I have one here that is a bit peculiar, it’s from Mickeyboy:  If you were stuck in an island, how did you get there?

(Laughs) (JB) That’s a really profound existential question! An island, huh.  It depends how I got there.  What’s my favorite mode of transportation?

(Jett) I know what’s your favorite mode…

(Laughs) (JB) Well, really I’m trying to come up with a wholesome image here.  Say, I got there on my imaginary yatch packed with hot chicks!  But there you go.

I have another one here from a fan named Cheska, she asks:  Do you guys have any openings?

(JB) Are we talking about a physiological opening? (Laughs)

But more to the point, I understand that you wanted a female vocals initially.  JB, you were there with Ted Diaz when you formed the band.  I know about this story but I want to hear it from you.

(JB) Actually, it was Ted’s idea to get a female vocalist, whereas I, you know, I’m good with anything.  And so this guy (points at Jett) shows up with a girl who he was helping out and she had a hard time singing.  So he was demonstratively helping her out and when he sung on the mic he just blew away the place into high heavens!  You Jett, you really broke those speakers.

(Jett) Which reminds me, I haven’t paid for their damaged goods. (Laughs)

I have here a question from Ria, how did you guys manage to stay together for a long time?

(Jett) Wow. It’s all about the music.  We never imagined getting this far.  Plus, we’re all in a way educated enough not to get in to physically hurting each other when we fight. Basta, music is always number one.

My friend Blogie wants to ask you guys, how did you get the strength to move on after Teddy passed away?

(Jett) That’s a very good question, because at that time, we felt there was no band without Teddy.  And so we were like, let’s not talk about it, let’s bury our friend first and talk about the band later.  We wanted time to mourn because we didn’t just lose a bandmate, we also lost a friend.

(JB) So we asked ourselves, if Teddy could speak to us now what would he say? Were we just going to let up? He’ll probably say, “You wimps!” if we didn’t let the band go on.

You said earlier that you’re currently recording a new album.  Tell us what’s new with The Dawn.

(Jett) We have a new one coming up this June or July, it’s a lot louder than the album we released in 2008.  We also have a new video that will be showing on MYX.  It’s called Love will set us free.

(JB) I want to talk about the video briefly, the director’s cut that is.  It’s set in a museum, and there is this statue in the middle of it of two beautiful women, naked, and are embraced.  As the video progresses, the mold on the statue gradually washes away.  And at the end of it, they walk away from the Museum. Love will set us free.

(Jett) We’re still getting it through MTRCB.  So it’s uncertain yet that it will actually be shown on public television.  They are seriously contemplating on giving it an X-rating!  I mean, can you imagine our band being x-rated?

(JB) Good luck to that.

The movie The Wackness starring Josh Peck and Ben Kingsley was so nostalgic.  It might be a classic Sundance bleeding heart movie, but you could easily forgive the theme when you listen to the music featured on the film.  It was the music of 1994 – such a great year for music, championing in that time are greats like A tribe called Quest and even The Smashing Pumpkins who really shook the scene with the release of Siamese Dream, which was in my opinion the best album they released.

But let’s talk about the state of Hip-hop now. The truth is, I’m a snob when it comes to mainstream Top 40 Rap, Hip-hop and RnB, if you could call it that.  It all began when these Hip-hop artists wanted to sound more like SoSoDef.   Suddenly, Hip-hop wasn’t soul music anymore, or talked about the harsh realities of racism and ghetto violence.  It wasn’t the music that we used to call in the 90’s as Urban.  The tripe you hear from Hip-hop these days are about grinding, girls on the side, car upgrades and partying.   Not that these wouldn’t count for realities, but where’s the depth?

I knew that the death of Tupac changed the face of hip-hop.  Kanye West is trying to revive part of the glory that belonged to that great era of Urban, but he doesn’t have the exquisite rhyme of old school artists nor enough humility to really overcome the insipidness of the mainstream that riddles his exposure. We can’t identify deep issues from the likes of new hip-hop artists like Eminem or Nelly or T-Pain.

The groups who managed to resist the trend of materialism that is evident in most Hip-hop music have disappeared in the background of the multimedia spectacularism, simply because they choose not to.  If you’re attentive enough, you realise that music pundits harp about them, appealing to everyone’s music sensibility.  But strangely, there’s just not enough promotion: most of the MTV generation just doesn’t buy in to that kind of music anymore.   The mainstream music entices its lot with people’s vanity and hype not their intelligence.

The Roots are one of those artists who have stood their ground.  In 2002, they released an album entitled Phrenology. Phrenology is the pseudo science of assessing the figure of someone’s head to determine their intelligence – an idea which used to justify racism.

Peace out.

The Roots – The Seed [Download] [Lyrics]

And there’s the fact that Amy Winehouse, already snagging 5 Grammys and rightfully doing so, didn’t even get the Album of the year. The strange controversy all about her losing, has much to do with her losing to Herbie Hancock for an album I have yet to check because curiously enough, I’ve never heard of it prelude to all the acclaim. You know I ought to don that Indie snob hat I usually wear for this kind of occasion but I can’t. Is he that obscure these days? Did the pop jazz guy topple the breakthrough anorexic weirdo from London? And speaking of the latter, I feel bad that the oh-so-powerful Grammys couldn’t get her in the US because the embassy refused entry for Winehouse on crack. She looked so anxious on that last award, because album of the year would be such a slap to everyone’s face, but no: Herbie Hancock won, which just threw ice cold water on everyone. Never mind that Kanye West, doing his speech for Song of the year, singled out himself and Amy Winehouse as the only “deserving” winners for Album of the year and that he would not be surprised if it happened. The point is, Kanye, Herbie Hancock won, and some people are too SURPRISED to even bother asking the question why.

The Grammys have made some surprising upset over the years. In 2001, the 1970’s rock band Steely Dan won over then sweeping rap artist Eminem, and pundits nod their heads in agreement because, we’re talking about Steely Dan here. But some argue that Grammy award winners are supposed to represent the anthems of that particular year, which means that, the only way anyone gets a Grammy status is if he or she does have that critical mastery down pat, which meant sometimes, commercial success. Hancock made waves in the adult contemporary radio streams ONLY but produced, what was decidedly a musically and politically justified album, “River: Letters to Joni” was a tribute. People wonder why the choice this year was made on an artist the listening public’s barely heard of. We have to admit though that the listening public has transformed dramatically over the years. So is the Grammy trying to go back to the criterions upheld in the late 60’s up? Like it was some lost golden era music? What is it that the Grammy is trying to preserve?

It must be musical dignity. What the major upsets taught us really, is that both Eminem and Winehouse were white people who basked in success by hybridizing if not, capitalizing on music created by black people. The inter-racial concern is particularly too political to openly discuss without stirring an ample amount of confusion and outrage. But the point is, how many people can pull of writing and performing music white people have created without garbing on the gangsta’ high society tripe that has riddled the images of artists today? Hancock is a slap on West’s face but at the same time a snide remark on the hoards of artists who have lost their musical integrity in the midst of their gimmicks.

Towards the end of the event, some guy made this speech about how the next 50 years will be, inevitably governed by this transformed body of musical taste, and that the artists which will emerge then will be playing the music of their time. Possibly, the next wave artists to come will be tasteless and if anything, just a bunch of copycats. But I’d like to think that we’re not all that tasteless, and sometimes I’d like to think that some are improvisers instead of copycats. So the music snobs behind letting Hancock win over Winehouse might be fearing the day that the kids have to learn to appreciate music beyond the music ascribed to their time and that there are essentially more elements to it that go beyond the mainstream. This move can teach us a lot about being open-minded but I still feel that Winehouse could have and should have won. She could have won if the political comment was unnecessary for this time — but it was. To me, she should have won because of the musical merit that is thought to be possessed by the Grammy’s Album of the year: musical charisma.

Let’s see.

So how is the man going to survive the cruel mainstream music business without MTV? Who knows. Hop in the indie bandwagon Kanye! It’s so much more fun here.

***

By the way, Kanye’s latest single, “Stronger”, the video of which he expected to win in the VMA’s had an old Daft Punk track remixed into it. Now, I’m an even bigger fan of Daft Punk than I am of the Brilliant West. And I found this awesome version of that old hit, “Harder, Better, Faster, Stronger”. Check this out, it’s so cool…

Here’s a video of Alanis Morisette’s cover of The Black Eyed Peas‘ song “My humps”. I’m shunning comments about how much a lot of people dislike this song. I just think it’s ridiculously brilliant. It’s a parody of how insipid songs, videos and pop culture can get. And the touch that Alanis put in to it just underscored feminist undertones. ALAVET!

Tags: Alanis+Morisette, Black, Eyed, Peas, Covers

Reviewing:

1.) Coldplay – Sparks
2.) Damien Rice – The Blower’s daughter
3.) Blur – Out of time
4.) Julie Delpy – Ocean apart
5.) Broken Social Scene – Lover’s spit

***

If you’re ready for this, kids, my music reflects a lot about my “emotional ressonances”. A friend of mine argues that emoting over music is redundant because music is already feeling. The way I see it, it’s hard to deliniate the two, but we ought to realize that a song cannot be a song without the meaning or sentiments that a person can attach to it. So this entails that a person is separate from the song and whatever was meant by either is something that’s unique from each other. In the end, the meanings might converge. Feelings are never redundant, they’re more often than not, refreshed in us through songs. It makes more sense that way.

Does it?

Currently reading Germain Greer’s Sex and Destiny. Western context though, but Greer pulls it off with her wit and superb analysis.