AUGUST 2009 VOL.3 NO.08 I FELL IN LOVE WITH MY MOTHER TOUNG IN BARCELONA / SPOTLIGHT - IMAGINE / SOUNDBITE - THE DEFINITIVE BUDOY INTERVIEW / CREATIVE JUICE - RENE ELEVERA AND MORE...
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Say so Saying so, is one of the obvious points of a language. Any language, from animal to animatron. But, as anyone who has studied language will tell you, simply saying so isn’t the whole language loop.
Roy Lumagbas Text Minder David Harris Inspiration
There is the other end of understanding language. And this is a whole different, if related, bowl of soup.
Mona Polo Word Factory / Guidance Apiong Bagares Needs a Life
Here, the whole arsenal of language – a PhD worth, if you want to get to its deep end – is brought to bear.
Marites Abatayo Sales Executives Iris Su Viral Marketing Pumpkin Property Custodian
Still, the old wisdom applies: Say what you mean and mean what you say.
Paul Dean Editorial Contributors Mona Polo Dexter Sy bakunawa_on_the_loose Niño Gonzales Ian Zafra Insoy Niñal
Yet, some people think that’s not interesting enough. Too bland, too blunt, too brutal. In short, too honest. And, as the song goes, it is such a lonely word. Honesty is.
Apiong Photo Contributions Archie Uy Aldo Banaynal Nicko Real Robert Bagares Mark Yap
But, it also makes you sleep better, keeps you more at peace with the world, with yourself. It’s your choice.
The Front Teeth
Yo! Bisaya ko, Yo!
Cover Stars Missing Filemon Photography by Apiong Bagares Location Kukuk’s Nest
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Akeanon: Ro uwa’ gatan-aw sa anang ginhalinan hay in waya giruromroma it ida ginghalinan, indi makaabot sa id dasog at bato lawan. Bikol Central: An dai tataong magsa manan. Albay Bikol Buhinon Bikol: Yu di nikiling sa pinaga Bikol: Su indi tataw makarumdom nung ginitan, indi mak na idi tataw mag linguy sa sanyang inalian, idi man maka pinaggalinan, diri makaaabot sa pigiyanan. Cebuano: Ka padulongan. Caviteño Chavacano: Quien no ta bira cara Chavacano: Ay nung sabi mira i donde ya bini no di yega sabe vira na su orígen, hay jendéh le puede llega na su d nanna, ari makadde ta angayanna. Itawis: Ya tolay nga angayanna. Northern Ilokano: Ti saán a ammo a tumaliaw Southern Ilokano: Ti haán na ammo nga tumaliaw iti nag ligaynon: Kon sin-o ang indi makahibalo magbalikid sang Mapun: Soysoy niya’ pandoy ngantele’ patulakan ne, niy malikid king kayang penibatan, e ya makaratang king kay sa ana ginhalinan, indi makaabot sa ana paaragtunan. O to id pomonan din, konna mandad od poko-uma riyon tod pinanlapuan to, agga makasabi’d laen to. Sambal (Botola teng ha lalakwen. Sambal (Tina): Hay kay tanda mamano Tao mata taya mabiling su pubuakengnge taya dumant awwal na, ga-i du sab makasong ni maksud na. Surigao gajod makaabot sa ija pasingdan. Sorsogoanon: An diri m galog/Filipino: Ang hindi marunong lumingon sa pinangg di’ maingat lumingi’ pa bakas liyabayan niya, di’ makas lumingi ha tinikangan, diri maulpot ha kakadtoan. Yaka
I fell in love...
with my mother tounge in Barcelona Text by: Niño Gonzales
t is August once again, Buwan ng Wika, when one cannot escape questions of language and identity. For a Cebuano, it’s a complex question, a tug-of-war between several languages and several identities. On one side, you have the Cebuano language, which evokes loyalties as old as myth and as strong as blood. At the same time, you feel a bit uneasy having such strong loyalties amidst this month-long extravaganza of nationalism, as if you’re marching against the beat of the republic. You feel even more uneasy with such little insular sentiments amidst the urbane, English-speaking world of global business, technology and opportunity.
ndi makaabut sa anang ginapaeangpan. Asi: Kag tawong da apagtuan. Bangon: No fuktaw hadwa bumontag idwan alingoy sa saiyang ginikanan, dai makakaabot sa padudualinan, di makaantos sa pupuntahan. Daraga/East Miraya kaabot sa adunan. Oasnon/West Miraya Bikol: Kan na taw ka abot sa sanyang paidtunan. Iriga Bikol: A diri maglili sa adtong dili molingi sa gigikanan, dili makaabot sa gia na su origen no de incarsa na su destinacion. Ternateño a na destinasyon. Zamboangueño Chavacano: El quien no destinacion. Ibanag: I tolay nga ari mallipay ta naggafuamari mallipay tsa naggafuananna, mari makakandet tsa w iti naggapuanna, ket saán a makadánon iti papanánna. ggapuanna, ket haán nga makadánon iti papanánna. Hig iya ginta-uhan, indi makaabot sa iya padulungan. Jama ya’ ta’abut katakkahan ne. Kapampangan: Ing e byasang yang pupuntalan. Kinaray-a: Ang indi kamaan magbalikid Obo Manobo: Iddos minuvu no konnod kotuig nod loingoy d undiyonnan din. Pangasinan: Say toon agga onlingao ed an): Hay ahe nin nanlek ha pinag-ibatan, ay ahe makaraomtom ha pinangibatan, kay immabot sa kakaon. Sangil: ta su kadam tangi. Sinama: Ya Aa ga-i tau pa beleng ni o-non: Adon dili mahibayo molingi sa ija ing-gikanan, dili mag-imud sa pinaghalian diri makaabot sa kakadtuan. Tagalingan ay hindi makararating sa paroroonan. Tausug: In sampay pa kadtuun niya. Waray-Waray: An diri maaram an: Gey tau mayam sibukutan, gey tau tekka kaditaran. So it’s a bit ironic that I learned to love my mother tongue, my local language, free of these complexities, in Barcelona, a very global, very cosmopolitan city. There I saw the love affair between the city of Barcelona and its language, Catalan. Barcelona shows how language revival can be achieved, and how to go beyond the petty antagonisms that commonly go with language politics. Barcelona is a special place for a Cebuano, because telling its story is almost like telling the story of Cebu. The Catalans have been speaking their language for centuries. But when the boundaries of nation-states were drawn, they ended up belonging to one
with a different national language, Spanish, which they insist on calling Castellano. However, they had much greater challenges than Cebu. For several decades in the last century, Catalan was prohibited in all public offices and schools. Parents were even forbidden from naming their children with Catalan names like Joan, Jaume or Jordi—names had to be “authentic” Spanish ones like Juan, Jaime or Jorge. The worst that Cebuanos could complain of is that singing the national anthem in Cebuano is against the law (which is nevertheless openly disregarded), or that most Cebuanos never get taught their mother tongue in
school. And if you name your kid “Lapu-Lapu Gandhi Beckham M. Apelido,” you won’t be punished, although you should be. Yet Catalan is now thriving. There are almost 6,000 books published in the Catalan language every year, around 12% of the total published in Spain. Ads in Barcelona use Catalan. Catalan is taught and is used for instruction up to the university level in Barcelona schools. And today, there are probably as many Jordis in Barcelona as there are Niños in Cebu. How did Catalan go from an “illegal” language to its current state of vigor? And what can Cebu learn from this experience? In case you’re feeling geeky, there’s a book by a certain Daniele Conversi entitled The Basques, the Catalans, and Spain. It traces the roots of the successes and failures of the struggle for recognition of the two strongest non-Castillan language groups in Spain, the Basques and the Catalans. However, if you walk the streets of Barcelona, visit its museums and talk to its people, you could plainly see the answers. One factor must be the success of homegrown Catalan businesses. Another is clearly their strong sense of identity, shown in their support for their artists and their language. The third is something less tangible, but is something that you could see in both Barcelona and Cebu— a certain openness or outwardness in their collective mindsets. Barcelona families would probably agree when I say that they are the most entrepreneurial in Spain. Being a coastal city, Barcelona has always been a center of commerce. This is probably the reason behind the deeply-rooted business culture of Catalans. Apparently, they also have a reputation for stinginess, which only increased my endearment for the city. One day, I was toured by four guys from the residence hall I was staying in. One of them, Marc, was Catalan. As we were walking, we saw a tiny coin on the pavement. The three non-Catalans told Marc, in that affectionately insulting manner one has with close friends, to drop to his knees and scramble for the coin, “because,” they told him, “you are Catalan.” Perhaps this stinginess just shows that Catalans know where to put their money. Support for artists is very tangible in Barcelona; you see it all over the city. Gaudí, Dalí, Picasso—they are honored in Barcelona the way Manny Pacquiao is honored in the Philippines. Each of them had patrons—private wealth and popular following—which enabled them to pursue their artistic visions. The best example of this is Antoni Gaudí’s La Sagrada Familia, which unfailingly appears in Barcelona’s tourist brochures the way the Magellan’s Cross appears in Cebu’s. This immense church is the most audacious expression of faith I’ve seen in architecture. While Gothic spires express the medieval sense of the glory and order of a universe ordained towards God, La Sagrada Familia—which grows, swirls and bubbles upward like a concrete
forest of living, breathing organisms—seems to celebrate and emulate God’s own artistry and architecture as seen in nature. The construction of La Sagrada Familia started in 1882. Gaudí died on 1926, leaving the church unfinished. The construction continues, and 2026 is its targeted completion date, a hundred years after the death of its architect. La Sagrada Familia is a Catalan artist’s expression of the Catholic faith. What made that expression possible, long after the death of the artist, has been the patronage of the people of Barcelona and beyond, Catholics and non-Catholics alike. La Sagrada Familia answered my questions about the usefulness of Cebuano in this globalized world. Or more accurately, it questioned my questions. Questioning the usefulness of my mother tongue is like questioning the usefulness of La Sagrada Familia. It is like questioning the usefulness of a Raymund Fernandez sculpture or a Celso Pepito painting. These are not tools you use to further your career. These are ends in themselves, made possible by your professional success. Likewise, Cebuano is not a mere tool for progress. Resplendent Cebuano will be the greatest reward earned from the success of Cebu and the greater Cebuano world.
La Sagrada Familia is just one example of the symbiosis of business, art, and the expression and growth of a people’s culture. Like La Sagrada Familia, the Catalan language also flourished in the material and cultural wealth of Barcelona. In an essay entitled Resplendent Catalan: What Money Can Buy?, linguist Anthony Pym writes: “So is Catalan really a model for other stateless languages? More exactly, can contemporary language revival be achieved by money alone, or even money plus sharp political skill? The answer must clearly depend on very specific combinations of factors.” This is why I find the Barcelona experience so interesting. If there is another city which fulfills the “very specific combination of factors” that Pym requires, it is Cebu. Even the cultural shortchanging experienced by both cities had identical strategies. According to Conversi, “While the attempts to crush Euskara were openly aimed at its eradication, the antiCatalan polity included a supplementary strategy of ‘dialectisation’: that is, the authorities tried to promote the view that Catalan was a mere dialect, a sub-variety of Spanish.” Sounds familiar? More than similar challenges, it is shared mindsets that make Barcelona a model for Cebu. Resil Mojares, in the book Cebu: More Than an Island, observes that being a “nar-
row, elongated island of coastal settlements, Cebu is turned outwards, more oriented to the sea and places beyond it than to mountains and the hinterland.” The same could be said for the coastal city of Barcelona. Furthermore, Conversi says that “Catalans had a ‘bourgeois’ ethos tied to small family enterprises,” while Mojares notes that Cebu has a “merchantman culture.” This openness, I think, is what prevents contempt for other languages and for outsiders, contempt that stems from excessive nationalism. Pulitzer prize winner James Michener has a book entitled Iberia. It’s a bit outdated but it still gives a good introduction to the varied cultures of Spain. In the chapter on Barcelona, he relates a conversation with Dr. Poal, a Catalan. Michener asks about separatism. Dr. Poal answers: “We must integrate fully with Spain, and everyone I know is eager to do so. But I would lie if I did not say that I feel more Catalan than anyone else in this room or perhaps in all Barcelona. My heart throbs to the rhythm of this land. [...] But politically our future rests in being a creative part of Spain. God, how the rest of Spain needs us!” He explains the roots of their openness: “Because we are so mixed in our heritage we are not narrow-minded little provincials. We have a bigness of spirit . . . a singing of the heart.” In the end, Barcelona’s love for Catalan art and language showed me how to love my own mother tongue, Cebuano. And its mindset of openness, which is likewise part of my Cebuano heritage, freed me from my complexities with other languages. I realized that I had conflicting loyalties because I was thinking like a politician. When one politician supports his language, other politicians see it as a threat to theirs. In the world of politics, there can only be one winner, and language is just one of the many weapons to gain power, a weapon to be used or discarded as convenient. In the world of art, the beauty of language is an end in itself. When a Cebuano poet speaks of the beauty of the Cebuano language, the Tagalog poet understands perfectly. Because she feels the same for the Tagalog language.
Nino Gonzales is a Cebuano Wikipedian. Email him at gonzales. firstname.lastname@example.org
or a campaign to succeed in promoting a particular language through music, it should make that language a hot issue. That language should become a subject of a fight, a reason for quarrels and a point of disagreement. The campaign is a failure if it doesn’t upset the status quo and trigger a controversy.
Cebuano Language as Controversy Text by: Insoy Niñal
It should be in this context that Bisaya rock must be judged. But we’ll come to that later. First off, some news: after ushering in the phenomenon called Bisrock four years ago, an FM station has decided it has had enough of these Binisaya songs. It doesn’t want to have anything to do with rock music anymore, especially the type that the “baduy” crowd patronizes - Bisrock. The station will play trance, techno and house music once it is back on air, I’ve been told. A DJ from that station said the new management wants to import “European concepts” to Cebu’s music scene. Hmmmm… Can somebody please google “European concepts + music + Cebu + stupid?” Thanks. That the station hasn’t made any official announcement about the reprogram should not come as a surprise. It also didn’t say goodbye to its loyal listeners from the masa who helped it earn a place in Cebu’s music history (because no matter how you hate it wise-ass, Bisrock is now part of Cebu’s music history. So just zip it!). Off air the station went. Just like that. And this other news: a resto bar that is known to cater to Cebu’s “high-end” crowd of artists and art lovers will soon include Bisrock bands in its monthly schedule of events. The dictionary defines a “high-end” crowd as “sophisticated and discerning.” The description is debatable and might not exactly be accurate, especially if one gets to jam with the cool and nice people who hang out at the bar. But the description will serve its purpose in this article. Suffice it to say, a resto bar is business. Its management will not make decisions that will discourage potential customers and disappoint the regulars.
Something interesting is at play here. We have two different types of businesses developing opposing views towards Bisrock. One has grown tired of it, the other sees in it a potential. One has turned its back on the masa and the “baduy”, the other wants to reach out to this huge market (and maybe help tweak the music a bit, who knows?).
In the middle are the years of debates on the role Bisrock plays in the local music scene. These oftentimes heated and divisive discussions must have shaped the opinions of the two business establishments about Bisrock. This tension caused by Bisrock are played out in other arenas – the mainstream media, the Internet (oh, those mean blogs and forums), the classrooms, campus publications, students’ term papers, the tubaan at the corner, the pungko-pungko at the sidewalk. Some say the Cebuano youth has finally found its voice in Bisrock; others say it is the music of the dumb and the great unwashed. Some take pride in it; others call it an embarrassment. Some say it is dying; others say no, it has in fact gone mainstream. But before all these debates on mostly the technical aspect of Bisrock (out-of-tune guitars, pathetic singing, poor recording, mediocre songwriting, etc.) started, the first thing that caught the public’s attention was the medium used: the Cebuano language. Because when Bisrock burst into Cebu’s music scene for the first time, the Cebuanos, particularly the youth, finally found a type of music that they felt they had a right to talk about and criticize. It’s their own language, for crying out loud. And for the first time, they heard it being used in the type of music closest to their hearts, rock music. Would the debates that were to follow be as passionate if the songs were in, say, Korean? Those non-Bisaya people can sing flat all they want. The Cebuanos will not care. A culture of criticism is taking shape somewhere. And that’s good to Cebu’s music scene. Now, copy-paste first paragraph and let’s end this discussion.
Detached By Numbers [Independent]
I don’t really care for this kind of sound – angry bands are a dime a dozen and I don’t think we really needed one more, particularly one that lacks the originality to hold up on its own. But considering that I never liked this band live – what with all the overly-theatrical stage presence and a less than desirable sound mix, I have to give them credit where it’s due – they sound pretty good on record. Based on some performances, I was pretty convinced that the album would turn out to be an audio disaster, but I stand corrected. The sound is tightlywoven and the quality is praiseworthy. Now on to less pleasant things. The songwriting is rough and could have used a little more work. In fact, showing the lyrics on the album sleeve may not have been a very good idea. The monotonous melodies may be heard as artsy on one hand, plain lazy on the other. Some tracks, like “Product of My Choice” really shouldn’t have made it into this album at all. Even if you dig the whole angry-slashartsy act, “By Numbers” is pretty much good for only one listen. Then you learn to move on.
Text by: Dexter Sy
Sound Advice Paul Dean, M.D.
CLINIC: Rm. 6-1 Sound Arts and Rehabilitation Center MON-FRI Telephone: 032-8543962 / 032-8457872
Don’t do anything that’ll dry out your voice and stop you from singing well. Caffeine is bad, as is anything that causes mucous buildup like dairy products (milk in particular is a very bad choice).
sounds, but can emphasize squeaks. Flatwound bass strings have a duller sound with less extra noise. Flatwound strings tend to keep a more consistent tone longer.
Don’t smoke or drink too much; this can really make you sing poorly. One famous case of booze and cigarettes ruining a classic voice is Harry Nilsson, who shred his vocal cords while working on his “Pussycats” album with John Lennon and ended up carrying a bucket with him to spit blood into during the recording session. His fantastic voice eventually improved and sounded great, but he never could sing quite as well again; his highest register was permanently damaged.
You can rejuvenate your roundwound bass strings by boiling them in vinegar or a mild detergent solution.
Run through scales—a lot. If this was guitar, it wouldn’t be different, and the human voice is a lot less accurate than a guitar. You need to get your sense of pitch down, and you need to train your voice to reach higher and higher if you want to really hit all the notes in your range. Breathe from the diaphragm, not the lungs. You need to really control the air that you’re expelling when you sing, and breathing from the diaphragm gives you more air to work with. To do this, breathe so that your stomach goes out rather than your chest when you inhale Roundwound bass strings deliver brighter
The best way to clean your guitar is with a warm, damp cloth. Human skin moisture causes strings to become dirty and corrode, and this layer of corrosion eventually deadens the sound of the strings. Replacing only one string causes an unbalanced sound. Don’t bother loosening the strings when putting your guitar away unless it won’t be used again for several months. Constantly tightening and loosening strings quickly ruins their sound. Never detune and remove all the strings at once. The truss rod is designed and adjusted to provide counter tension to the strings - removing that tension suddenly can damage or warp a neck.
Album Review Sometimes all it takes to improve your bass drum chops is a simple height adjustment on your drum throne. Sitting too high or too low can cause tension in your legs, which not only slows you down but makes endurance and control a nightmare! When playing Heel Up, raise your heel no more than about 1/4 inch from the footboard. Higher than that will cause tension. The faster you play, the closer you should keep your sticks to the drumhead. For maximum speed, try using less wrist and more fingers. If you are developing calluses or blisters from playing the drums, then you’re not playing correctly! Using the correct technique, you can drum for a lifetime and still have fingers as soft as a baby’s behind! Do you regularly crack your knuckles as a way to warm up before playing the drums? If so, STOP IT! Why? Because it really doesn’t loosen you up at all, it tightens you up. And worse than that, it can eventually cause arthritis. Don’t do it! Play bass drum on 1 and 3 and snare drum on 2 and 4. That’s it! You can play about 90% of today’s Rock, Country, Pop, New Wave, and Techno tunes using this basic pattern. Learn it well. Then go out and make some cash with it!
Dr. Paul Dean, M.D. Lic. No PTR No
: 00239418991 : 21454345123
The Line Divides Signals and Sounds [Rocket One Records]
I was a little skeptical when this album came out. Sure, TLD have always been awesome, but when you’ve got a band this promising, something’s bound to go wrong. So I listened to the record with an anxious ear and some assumptions in mind. Assumption #1 – these guys have got to run out of good material at some point. Debunked: Their singles aside, this album is full of great tunes, most of which ring of the revered “Cebu sound” while reflecting the unique TLD magic. Assumption #2 – it’s all dance rock, and though this is a new concept for a Cebu band, we’ve definitely had more than our share of dance rock from the European and American scenes in the past. Debunked: The album contains some interesting tracks that wouldn’t be considered “dance rock”. Ah, diversity – the mother of all genius. Major credit to this band for daring to be different. Despite all the negative vibes going around, they manage to come up with some of the happiest tunes I’ve heard from the local scenes. The album could use a little more cohesion (add a climactic track, end on a powerful note, and all that other jazz), but all in all, this band is great live and definitely just as good on record. Text by: Dexter Sy
ow did your involvement in music begin, what was the trigger and who was your earliest musical influence? When I was a ten year old kid in Samar, I used to hang-out in my grandma’s sari-sari store/ drinking hole. One afternoon I become witness to an exceptional rendering of a folk song using a harmonica— that was my first taste of a truly virtuoso musical performance. The man was a frequent customer of my grandma’s place, sort of a “drunken master”, the more drunk he was, the more wicked the performance! The next thing I knew, my grandma hired the master to teach me the harmonica for a modest fee of 2 Mallorcas (cheap gin) per session. Back then, I had my first Chinese-made harmonica for P30. That’s how I learned my first musical instrument, just basic skills. The only ‘basic move” of the old man that I cannot follow until this day is the taking-off of his pustiso (dentures) before playing!
How about Reggae Jester, Reggae Magician or maybe Kinkiest Reggae Monster? It doesn’t matter what they call me. I just want the people to know that there’s a lot of good music out there. Even my own music collection (roughly 200 GB mp3s), maybe only 60GB is reggae and I will not finish listening to all of it anytime in the near future! DJ’ing is not just about playing a familiar RnB or House track that people can dance to, but also about having a good selection of music. Everyone deserves at least 10GB of good music before they die!
As a singer, my first exposure was during my high school years, also in my hometown in Laoang, Samar. I joined the town fiesta amateur singing competition three years in a row and I didn’t win. Then one year the organizers introduced a new category called “Doble-Cara.” I immediately shifted and joined that category and finally won the coveted FIRST PRIZE! There were only two entries, me and the SECOND PRIZE GUY, I forget his name.
Why do you think Reggae became such a popular force throughout the Philippines and particularly Cebu? The Philippines is an archipelago, a cluster of islands, almost like the Caribbean. It has something to do with the island vibe I think, very laid back.
To most of the public you are known as the ‘Reggae King’ in the Philippines, but does your personal taste in music reach into other genres and areas? “Reggae King” Wow!
What does Bob Marley mean to you? He is the first international superstar who came from a third
According to him The Definitive Budoy Interview
Interview by Paul Dean Photos: Apiong
world country and his message is still very relevant today. Here in Cebu, we have celebrated his birthday since 1995 by organizing a Reggae concert. We used to call it ‘BOB DAY’, it started with fifty or more people in the audience and then we called it BOB FEST or BOB MARLEY DAY FESTIVAL and it became even bigger. The movement produced some of the most original Reggae bands in the country. This year however, we changed the name to “CEBU REGGAE FESTIVAL” for cultural considerations. I’m sure that the people who attend the festival yearly still know that it’s still basically a Bob Marley tribute.
You actually remind me of Bob Marley (who I was lucky enough to meet a few times over the years, along with Bunny Wailer and Chris Blackwell of Island Records who opened up Reggae to the rest of the World). Offstage, Bob tended to be very laid back, fairly quiet, a little isolated and a bit of a thinker rather than a talker. Many successful artists tend to be a bit Jekyll and Hyde on and off stage, why do you think that is? The process of producing music (recording in the studio) and performing it onstage are two separate worlds. This is common in bands or even solo performers. Write music first, rehearse, then perform. Live performance and studio recording are two different experiences for both the artist and the audience.
As Bob says: “those who feels it, knows it”
I have plans to make a performance and the creative process at the same time. No rehearsals!!! Just like I was doing before in art school, specifically MINDWORKS of U.P. Fine Arts Cebu. I miss those times when I was not really popular, hence no big expectations from people.
When I’m trying to guide or advise young bands here I often use you as an example of what a true professional showman is all about. Does it come naturally to you or is it something you have to work at? I do not have any special preparation, I’m just aware of my responsibility as an artist: Quality audio and visual experience, relevant positive message.
Are you a true Rastafarian? If so, why and when did you join the faith? Could you give us a simple description of what a Rasta is? I’m honored whenever people call me a Rastaman. RASTA is a way of life, not an organized religion. It is a medium for positive change. I&I JAH RASTAFARI
is GOD within ourselves. Rasta is a symbol of resistance. Any individual who is ready to fight corruption and injustice. Anyone who rejects the ‘Babylon system’ (corrupt government, evil corporations, wrongdoings), someone who knows how to grow organic vegetables, is self-sufficient and possesses at least 10GB of JAH JAH MUSIC to listen to, is worthy to be called a RASTA. You have covered a lot of ground already in your life, musician, songwriter, T.V. presenter, reality TV star etc. What other ambitions, goals do you have? Senator? Superhero? Motorcycle Mechanic? Astronaut? Let’s just wait for the new chapter. Rumor has it that you are making some changes to Junior Kilat? Can you tell us what they are? Rumors, rumors, yes its true. I assume a lot of people have noticed that only me & Tiano (bass guitarist) are the original members in the present line-up. I already knew beforehand that this would happen eventually. Any self-respecting artist knows that it’s tough to survive without compromising, and my bandmates realized this as well. We all have different priorities in life and I’m happy that they are more economically secure now in their respective endeavors. Junior Kilat is not done yet, just taking a nap to recharge and will be refreshed the next time you see us. I believe you have also been working on some other projects, any chance of some details? Some collaborative projects with other artists are ongoing. In SIGBINHAUS SOUNDSYSTEM, a Jamaican inspired sound-
system outfit, I am known as ‘E-roll’ the SELECTOR, or in more western context, DJ E-Roll. In Jamaica, a Deejay is the one singing or “toasting” over a “riddim” or beat being played by the SELECTOR. In the Hip-hop community, the deejay is called “MC”. I’m also working with Nico Devroe on more experimental and electronic music outings. Early next year, I will be involved in a community-based dance project for children. It is being organized by Dance Artists from U.K & Sweden, Christina Jensen & Ylva Henrikson of EXPLORER DANCE COLLECTIVE I notice that on many social sites e.g. Friendster, Facebook there are many many photos of you with lady fans. Do you see yourself as a sex symbol? I have always observed that you always have time for your followers, is it something you enjoy and why? If Sigmund Freud is right with his theory, then maybe I am a sex symbol. But then there are also male fans trying to get photo ops with me, and that’s another story. What are your feelings on the Philippines Music Industry and what changes would you like to see? The music industry here is actually changing little by little. More young people are aware of music being made locally. The INTERNET became the tool for independent artists to level with other better known artists. I was amused when I found out that even in the mountains, poor people can access 4minutes of YOUTUBE for only 1peso!! Now that’s way better than putting a 5peso coin in a videoke machine and singing a foreign song, and be killed by a person irritated by your voice!
“I realized t can easily g is hard for m
What advise would you give to up and coming artists? BE AWARE OF YOUR GOVERNMENT’s POLITRICKS. DON’T KISS BUT KICK THE ASS! Specially the CON-ASS!!! BE DREADED BY IT!! REJECT IT, BY ANY MEANS NECESSARY!! BE ORIGINAL. How much of your life over the years was consciously planned, or does it maybe still surprise you to see what you have experienced and achieved already? I even forgot
that I have a Life Insurance Plan, until the billing notice arrived. Ssyeeeeet!!! What other interests do you have outside of music? Massage oil, organic tea, ratbiking, painting, sculpture. I will also start doing capoeira very soon. What does Budoy do to relax and wind down? Have a good massage. Or invite a friend to go cruising in the mountains. Usually a single lady. All the single ladies, my bike can carry regardless of size!! (Small? pwede. Medium? pwede pud! Large? wait ha…I check the tires first ) Is there anything you would have liked to change about your life so far? Nothing Any idea of where you would like to be and doing in 10 years time? No idea What’s been the biggest moment in your life so far? Did it happen? I can’t remember! You are probably one of the most easily recognized faces in the Philippines today. Is it a plus or a minus? Definitely an advantage and disadvantage. You have a huge following, do you therefore feel an added responsibility of being under the microscope and have to try and behave in a manner, publicly and privately, that is not going to create waves? OF COURSE…some of my fans are kids as young as 3 and unlike the Jollibee mascot, I can actually sing and write lyrics.
that the only fortune one get is to be incognito. It me to get it now.” INCOGNITO. It is hard for me to get it now.
What are your feelings about the press and publicity you have received over the years? Was it a help or hindrance? To most people, their goal in life is to have fame & fortune. In my case I` got the fame, but not the fortune and I don’t know if this is something fortunate or unfortunate. I realized that the only fortune one can easily get is to be
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DISCO SATURDAY GIRLS GONE WILD
Battle of the Dj Divas! Monisha Manogaran & Nikki Taylor. Witness for the first time, a showdown of two divas as they unleash their wild side, one time only! Venue: Alejandro's Filipino Resto / 10pm Phone: 253 7921
ACOUSTIC SESSIONS W/ SOULSTRING A night of acoustic music at The Northwing. Venue: The Northwing, SM City Cebu / 6pm Phone: 0917 9189953
CHAMPAGNE SERIES: W/ CHRISTINA MUELLER At the lobby lounge, come and discover the sweet melodies of the world – class European performer, Christina Mueller, on her first time here in the Philippines. With a repertoire of international hit songs along with some well – loved Filipino favorites. Play dates from August 1-13 Venue: Lobby Lounge, Marco Polo Plaza, Lahug Cebu City / 8pm onwards Phone: 253 1111
RCTV: TAMBAYAN SA OUTPOST: SEASON ENDER SPECIAL From July 27 to September 7, Catch Tambayan sa Outpost Featuring Rescue a Hero, Still, Pandora , Missing Filemon, Cattski, Junior Kilat, The Line Divides and Lowela at RCTV Channel 36 back to back for the season ender special. Venue: RCTV / The Outpost Phone: 417 2929 WEDNESDAY
MIDWEEK SESSIONS: PLAYBACK Featuring Happy Days, Sheila and the Insects, Missing Filemon and Hastang. Also this month is Julia’s mint performance. One good song at a time… Free Admission Venue: The Outpost Phone: 417 2929
ACOUSTIC DELIGHTS @ EMALL
With Serendipity. Venue: 2nd level Sanciangko bldg., Elizabeth Mall Phone: 417 7735 7
SANTING SKALAWAGS & POTENT BUSH Venue: Handuraw Pizza Phone: 232 6401
ACOUSTIC NIGHT @ ALEJANDRO’S Featuring Rhapsody Venue: Alejandro’s Filipino Resto Phone: 253 7921
BISROCK NIGHT @ THE OUTPOST The best of Bisaya rock gathers once again on this Friday night. Venue: The Outpost / 9pm onwards Phone: 417 2929
A night of rock, metal and hardcore & acoustic. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322 8 SATURDAY
The best of the 80’s & 90’s, with Worry Free TV and a whole lot more! Free Admission. Venue: The Outpost / 9pm onwards Phone: 417 2929
DEAD BIRTH CITY PRODUCTIONS: PLAY, PAUSE, REWIND
JURESS & LUI @ HANDURAW
Venue: Handuraw Pizza Phone: 232 6401
AUGOSTO ACOUSTIKA: LOUD SOUND TO DOWN SOUND
With Foldstripe, Silhouette, Mindfool, Bled for Words, Mathet, Karma Conviction, Here with Silence, Oath of the Black Soul, and Baby killer. Venue: 7th destiny Lapu-lapu city above Jollibee Radaza Plaza bldg. / 7pm Phone: 09238162841 / 09165501450
MERCONCEPT: RASTAFARIAN BREWS REGGAE BAR TOUR II With Sefyla, Roots Revival, Ogotip, and a whole lot more… August 8 – Handuraw Pizza, August 14 – BBQ sa Colon, August 15 – CHEAVERZ Fried & Grill, Talamban, August 21 – Club Nuvo, August 22 – Mandaue City, August 29 – FHM Pinoy Grill, For updates and inquiries, email email@example.com Phone: 0927 2770595 580 3167
AUGOSTO ACOUSTIKA: SPONJIE CHILL REGGAE A night of chill reggae, acoustic version & compositions. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322 11
PERFECTO DE CASTRO Hailed as one of the best guitarists we have today, holds an informal workshop on playing blues rock music. And he will be jamming with Cebu’s own later in the evening. Venue: The Outpost Phone: 417 2929 14
BACKGATE PRODUCTIONS: ROCKATHON 1
With Missing Filemon, Aggressive Audio & Phylum. Entrance 50php Venue: Handuraw Pizza Phone: 232 6401
RED HORSE MUZIKLABAN 2009 AUDITIONS The Red Horse Muziklaban 2009 holds their bar auditions at The Outpost this year. Venue: The Outpost Phone: 417 2929
AUGOSTO ACOUSTIKA: ETHNIC ROCK A night of tribal and rock fusion. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322
BACKGATE PRODUCTIONS: ROCKATHON 2 With Cattski, The Line Divides & Kage. Entrance 50php Venue: Handuraw Pizza Phone: 232 6401
A night of chill reggae, acoustic version & compositions. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322
TOP QUALITY CEBU REGGAE MUSIC
TRIBUTE TO MICHAEL JACKSON
Some of our local bands will be doing their renditions of your favorite MJ hits. Venue: The Outpost Phone: 417 2929 21
AUGOSTO ACOUSTIKA: OLD SCHOOL ROCK ACOUSTIC A night of 70’s, 80’s & 90’s rock acoustic. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322
The guys who brought you the Lucky Doobie series (including the Sinulog Top Rankin’ event) now return under a different name, but with the same purpose…to bring you top quality Cebu reggae music, and nothing less. Venue: The Outpost Phone: 417 2929 ALL WEEK
LIVE BANDS ALL WEEK LONG @ JAZZ ‘N BLUZ
ARTIST KO MEMBERS NIGHT A gathering of the members, with the aim of informing the people of the initiative, and highlighted by collaborative performances by the members. Venue: The Outpost Phone: 417 2929 22
AUGOSTO ACOUSTIKA: SPONJIE CHILL REGGAE
CHOOSE BY NUMBERS
Venue: Jazz ‘n Bluz Phone: 232 2698
HAPPY HOUR @ THE OUTPOST
20% off on ALL beers, cocktails, and your favorite Outpost Pizzas. Everyday from 5PM to 9PM (except Mondays, closed) Venue: The Outpost / 5pm – 9pm Phone: 417 2929
One of those days experience with our Cebuhour local bands like Dymphna, Docudrama, Campbell, August Skyline, False Graveyard, Ashtrid & more.. Venue: Kukuk's Nest Phone: 0916 3792473
VUDU HAPPY HOUR
ALL STRINGS ATTACHED W/ SOULSTRING
Happy hour from 6pm to 10pm choose fromP45 net on your fave mojito, San Mig Light and other cocktails Smirnoff Twist flavored vodka tonic, 7 or screwdriver at P65 net. Venue: Formo Phone: 416 1990 / 236 7700
Acoustic Mall Show. Venue: Robinson’s Place / 3: 30pm Phone: 0917 9189953
AUGOSTO ACOUSTIKA: OLD SCHOOL ROCK ACOUSTIC A night of 70’s, 80’s & 90’s rock acoustic. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322 28
The monthly happening comes with a jamming session of some of Cebu’s best bluesmen. Venue: The Outpost Phone: 417 2929
AUGOSTO ACOUSTIKA: LOUD SOUND TO DOWN SOUND A night of rock, metal and hardcore & acoustic. Venue: 14zero bar, Raintree Mall Phone: 0905 5267322
FORMO HAPPY HOUR
LAID-BACK SUNDAYS W/ WORLD MUSIC
Local beer starts at 45php. No door fee. Venue: VUDU / 5:30 – 8pm Phone: 234 0836 / 236 7700
August Skyline Album Launching with our Cebuhour local bands Campbell, Docudrama, False Graveyard, Midday and more.. Venue: Kukuk's Nest Phone: 0922 8654303
Relax, loosen up, and settle down or play the Game of the Generals while listening to The Outpost’s World Music Playlist, just what you need for a Sunday night out. Venue: The Outpost / 8pm Phone: 417 2929
SUNDAY CHILL & REFILL
Take a break, prep for the week ahead with chill out music, good vibes and great cocktails. with happy hour all the way, only on Sundays. Venue: Formo Phone: 416 1990 / 236 7700 MONDAYS
ANDY CALOPE & FRIENDS Songwriter gig. Venue: Handuraw Pizza, Lahug Phone: 232 6401
M SESSIONS (FREEFLOW) House/Tech/Underground DJs get together Venue: Zcrets Resto bar / 9pm Phone: 2539942
We take every care to ensure thet the information we publish is accurate. Yet, we are not responsible for any changes to event and consequently for any information that have been forwarded to us of those changes. Do make use of the phone numbers provided.
MONDAY CLASS @ FORMO
Dj Hans, Jude and Marlon, teach a thing or two about house music. Venue: Formo / 6pm Phone: 416 1990 / 236 7700 TUESDAYS
VUDUEUOKE TUESDAYS The freedom to sing like no one's listening; the much talked about and anticipated weekly Tuesday habit. To sing your heart out without a care in the world usually with a bottle of ice cold beer or GPS on one hand for some liquid courage. Doors open 6 p.m. for early (song) birds. Venue: VUDU / 6pm Phone: 234 0836 / 236 7700
TUESDAY CLUB CLASSIC Great times are best with the right kind of dance anthems from Djs Jude Flores and Marlon Orellano--dance-floor history at its finest, every Tuesday night Venue: Formo Phone: 416 1990 / 236 7700
Listen to old and new classics played like it was done before…on a turntable using vinyl records. Venue: The Outpost / 9pm Phone: 417 2929
OPEN MIC & SONGWRITER’S NIGHT
Set your music free. Come to The Outpost and bring what you have. Simple set-up, no distortions, no double pedals...take away the noise, and let the music speak for itself. Songwriters & Open Mic Night, every Thursday. Hosted by Lui Castillo. Venue: The Outpost / 9pm Phone: 417 2929
ALL ACOUSTIC @ ALEJANDRO’S Open Mic with Anton Mansueto Venue: Alejandro’s Filipino Resto Phone: 253 7921
DE JA VUDU THURSDAY
DJ Marlon Orellano & Maxie Perez | 80s & 90s mixes and The Band Night edition old school style. Bring back memories from your well loved 80s / 90s hits as only UK LILY can deliver. Back to Basics, Think Depeche Mode, Sting, U2, Dave Matthews, Venue: VUDU / 5:30pm Phone: 234 0836 / 236 7700
THURSDAY SOUL Where old school show new school what real music is all about-- rhythm n blues, soul and rock n roll from the 60s and the 70s with Bob Sellner. Venue Formo / 9pm - No cover charge. Just good vibes. Phone: 416 1990 / 236 7700
ACOUSTIC SESSIONS W/ ALEX CANETE
Venue: Handuraw Pizza Phone: 232 6401
OPEN MIC ROCKY-EOKE @ IAMIK’S Venue: Iamik’s, Chicken & Beer Phone: 238 2366 / 0922 8426457
Open Mic Venue: Handuraw Pizza, Lahug Phone: 0918 6040775 / 232 6401
HOUSE – TECH W/ DJ MARVIN EVANGELISTA WEDNESDAYS
WILD WAHINE WEDNESDAYS
Venue: AK&7, The Gallery Phone: 233 3328 / 232 4285
With DJ Errol & guest bands Venue: Handuraw Pizza, Lahug Phone: 232 6401
RNB NITE W/ DJ MARVIN LEO & NISH
FEMME WEDNESDAY Vudu promoters’ night: Want your own Vudu party? Interested in being a party promoter? Let Vudu be your playground. Host it. Promote it. Own it. Venue: VUDU / 6pm Phone: 234 0836 / 236 7700
POWERED – DOWN WEDNESDAY @ THE OUTPOST
Everyone deserves a break on a Wednesday. Ice cold beer in hand, friends around you, great ambiance, and acoustic music in the background perfect for a midweek break from your hectic work schedule. Venue: The Outpost / 8pm onwards Phone: 417 2929
OPEN MIC ROCKY-EOKE @ IAMIK’S Venue: Iamik’s, Chicken & Beer Phone: 238 2366 / 0922 8426457
FRIDAYS Venue: AK&7, The Gallery Phone: 233 3328 / 232 4285
VUDULICIOUS FRIDAYS With Resident RnB Dj Kutlyfe and power house Djs Maxie Perez and Marlon Orellano. Doors open at 6 pm. No door fee till 10 p.m. Venue: VUDU Phone: 234 0836 / 236 7700
Venue: Iamik’s, Chicken & Beer Phone: 238 2366 / 0922 8426457
FRIDAY NIGHT RAPTURE A clubber’s haven with Djs Hans, Jude & Marlon bring you their essential mixes, for the week's end! Drink and Play with Johnnie Walker Man-days, get special freebies when you avail JW bottle. Friday Nights only. Venue Formo Phone: 416 1990 / 236 7700
WEDNESDAY RHYTHMS Baileys for the ladies and your fave Y101 Djs. The rhythm crew plays your requests live every week. Brought to you by Baileys, simply irresistible. Venue Formo Phone: 416 1990 / 236 7700
FRIDAYS - SUNDAYS
THE LOFT WEEKENDS
Enjoy your weekends with family and friends while listening and dancing to the beat of The Loft’s resident DJs. Venue: The Loft Phone: 231 3284
JAMMING SATURDAYS @ IAMIK’S
Pusod, the Open Organization of Cebu Visual Artists Inc. and ARTEPINAS Inc., the premier web portal for Philippine art, presents a visual art convergence of contemporary visual artists from Manila and Cebu. Venue: Art Center, SM City Cebu / 10am – 9pm Phone: 09173295626
Venue: Iamik’s, Chicken & Beer Phone: 238 2366 / 0922 8426457
ACOUSTIC NIGHT @ ALEJANDRO’S With Natural Episode Venue: Alejandro’s Filipino Resto Phone: 253 7921
CENTERFOLD & THE PURPLE NOTES BAND Venue: Jazz ‘n Bluz Phone: 232 2698
VUDU EVOLUTION: THE HOUSE OF VUDU Vudu brings you The Return of House Music to the Main room featuring powerhouse Djs Marlon Orellano and Maxie Perez. .Bear witness to the return of house music where it belongs – the Main room, because in Vudu our house is your house. VUDU Resident RnB DJ Kutlyfe at Prive Lounge. Venue: VUDU Phone: 234 0836 / 236 7700
DISCO DE LUXE With Gap Mobile's Gilbert Go and Smirnoff Twist @ the only party venue that offers the best, sophisticated, stylish, glam 80s party in town Venue Formo Phone: 416 1990 / 236 7700 SATURDAY
THE ARTISAN GOURMET CHEF: SATURDAY MARKET DAY MADNESS
10% off on meat and sausages, free sausage and ham tasting every Saturday from 10am – 4pm. Venue: The Gustavian, Banilad Branch Phone: 236 4297 14-17
The Alcosebas have made a mark in the country’s art scene. Vincent Alcoseba the youngest of the four artists usually does portraitures. Antonio “Tony” Alcoseba uses watercolor, acrylic and oil for his landscapes and modern artworks. Leo specializes on his pen and ink with churches as his favorite subjects. Vidal Alcoseba Jr. creates his modern artworks using mixed media. Venue: Art Center, SM City Cebu / 10am – 9pm Phone: 09173295626 22-31
THE BIRDS AND THE BEES
Life is full of metaphor. If there is one subject where metaphor is a dime a dozen, it should be sex. One wonders why, as a child, sex seems to be an object of intrigue and secrecy, when it is one of the most carnal acts of human beings. Parents love to sugarcoat, thinking that through this, they can protect innocent minds from being corrupted. Birds & The Bees, an art exhibit which showcases three artists' perception about how the abnormalities and flaws in one's sexuality affect not only an individual as a sexual being, but as an entire human person. This includes the other aspects that mold his behavior and relationships: emotional, social and psychological. Venue: Gamay’ng Gallery, Turtles Nest, Lahug Phone: 0927 3413737
MAKE YOUR OWN HAVAIANAS 2009
Put Some Local SouLinto your steps. Venue: The Atrium at the Northwing, Sm City Cebu Phone: 417 7735 (up to 38) ALL MONTH
Capoeira Cebu Academy offers classes with award winning Capoeira instructor Jensen Go Chow. Venue: Luan Bldg./ Regency Crest / Ballet Centre – Ayala Phone: 412 4076 / www.capoeira.ph
OMNILOGY “One Humanity: Bridging the Gap Across Cultures and Between Cultures” A Piano Workshop and Master classes by Racquel Borromeo for the underprivileged communities in Cebu City, & Benefit Dinner at Marco Polo Plaza on the last day. email Ms. April Dequito at firstname.lastname@example.org. Phone: 262 5847 21
ABSTRAC[SIO]N II Abstract art exhibit in large scale by Dennis "Sio' Montera Exhibition hours, 10am-6pm weekdays/ 10am-8pm weekends from August 14 to September 12, 2009. For non – resort guests, please contact Mr. Ruben Licera at 492 1808 / 232 5411. Venue: Bluewater Gallery, Maribago Bluewater Beach Resort
NINOY AQUINO DAY A public holiday in the Philippines observed annually on August 21. It marks the anniversary of assassination of former Senator Benigno "Ninoy" Aquino, Jr. Returning to the Philippines after three years of self-imposed exile, Aquino August 21, 1983 as he was escorted off an airplane by soldiers at the Ninoy Aquino International Airport. Aquino was a staunch opponent of then-President Ferdinand Marcos. Aquino's death sparked anti-Marcos sentiment that led to the 1986 EDSA Revolution. Venue: Philippines
We take every care to ensure thet the information we publish is accurate. Yet, we are not responsible for any changes to event and consequently for any information that have been forwarded to us of those changes. Do make use of the phone numbers provided.
will always remember how my mother taught me to ‘read’ editorial cartoons. She taught it like an exercise in higher thinking – which I still think it is. Apparently, it is a favorite exercise in grade school classrooms: to try to get pupils to interpret current issues as portrayed by an editorial cartoon through the use of symbols and buffoonish caricatures of whichever political figures made the headline of the day. In a self-respecting newspaper, an editorial cartoon is considered neither lowbrow entertainment nor fine art. It is intended to represent the paper’s stand on issues which pedestrians will understand at a glance. The proverbial man-on-the-street’s instant and honest reaction upon seeing an editorial cartoon should either be ‘Ataya, sakto’ if he agrees with you or ‘Pataka ra, di ko mu-uyon.’ If it takes longer than a snap of the fingers for the message to sink in, you have to work harder. Such is the everyday task of Renato “Rene” Elevera. He works with Cebu Daily News and is behind the concise (symbolic) strokes of the daily’s editorial page. Seeing his work on an almost daily basis, I have to say that he always hits the nail right on the head. This is what it’s like to work for the fourth estate. How did you start? I started as editorial cartoonist during my school days as a member of the school publication. I was spotted by my class adviser when I bagged awards in art competitions. Since then, it became part of me to express my opinions through my drawings. Who chooses what topic you are to draw for the day? To date, as CDN’s opinion cartoonist, the Editorial board gives me huge freedom to pick my own ideas regarding some primary issues. It may be tiring, but it is more challenging to read the headlines of our local and national papers early in the morning before coming up with a strong and hard hitting opinion for the
Opinions Ma Especially for Cartoons
Interview by Bakunawa_on_the_Loo cartoon. Sometimes, topics may be events like ‘press freedom celebration’ wherein we come up with a collaborative opinion of the issue. The editorial staff gives me an advance write-up as my guide for my cartoon interpretation.
atter for Opinion Matters,
ose Images from Cebu Daily News Do you have any consistent symbolisms for abstract ideas? In a cartoon, I balance art and criticism. The objective is to come up with a piece which can easily be understood. Since art is a universal language, symbols are important to maximize the provided space in an opinion section. Public anger and protest can easily be symbolized by a clenched fist, a dove for peace, a burning torch for hope, a crocodile for corrupt officials, and so on and so forth. How do you choose which features (of personalities) to exaggerate? The presence of a caricature is sometimes necessary to represent an office of government. Readers get easily amazed by how I treat political faces; it immediately helps them understand the context of the cartoon. Personalities are more popular with their own distinctive features, and by exaggerating their features I often laugh when I start to
bring down some powerful and highly influential politicians for criticisms of their wrongdoings. Government officials are easy prey for my cartoons since they are accountable as public servants. Do you trust the readers to understand your editorial cartoons? Without the readers, I do not exist. Their reactions inspire me. Readers have different levels of understanding. I may hit some and impress few, but at the end of the day, I always believe my opinion is based on an ordinary person who has been enslaved, maltreated, and deprived of his rights as a human being. Nevertheless, before submitting
my work, I take time to see myself as an ordinary person who does not have a voice in the political arena. I often ask myself, “Is the cartoon going to inform and educate the public? Am I going too far with my personal opinion? Is it fair?” Generally, I weigh-in factors of public concerns. How do you make your cartoon’s message as clear as possible? By going directly to the point of concern and focusing on the issue, I come up with less lines and characters for the readers to immediately grab the idea.
What would you consider as the most controversial editorial cartoon you’ve ever drawn? For me, there is no controversial cartoon unless I am being sued to court. So far, Ma’am Eileen Mangubat (CDN’s Editor-in-Chief) hasn’t informed me of any cartoon malicious enough for a libel case. Therefore I believe that my opinion has been balanced and fair. In our country, erring politicians are pathetic to swallow criticisms in any form of satire. They join the laughter of those who scrutinize them, as if they are used to being criticized. It doesn’t bend them or keep them from doing corrupt practices. I consider cartooning as my medium to bring the message across. I feel a sense of achievement when I bring to the limelight concerns on environmental, political, and social issues which have affected the lives of every Filipino. Have you ever been asked to speak to an audience regarding your work, or asked to judge competitions? How do you feel about participating in these types of events? I am very much honored to be invited on forums or to be a resource person for relevant events. Many times, I’ve been asked to speak at school press conferences in local and national levels. The only way I can pass my skill to the next generation or to some aspiring cartoonists is to inspire them, to share with them my experience and give them workshops (especially with the advent of computer technology which helped
a lot of cartoonists simply by using the right computer software). Cartooning is a social responsibility for the public to consume. I may not be able to do it forever, but as long as there is injustice in our society, cartoonists like me will always exist to educate the public. Do you consider drawing editorial cartoons purely as a social responsibility or is there an aspect of creativity in it? Cartoonists are artists. Some artists may be able to draw but they don’t have the skill to balance political opinions. As an artist, I marry politics with creativity to become an opinion cartoonist. Creativity is a large dimension in an artist, sometimes it is a gift that if used properly (as with editorial cartoonists) we can help unite the nation or help save the environment for the next generation. What awards/recognitions have you earned so far? Are you aspiring for any one in particular? My works have been recognized by CAMMA body. For me, being a cartoonist whose works have been continuously published daily is already an award for me to be remembered by those people whose minds I helped open regarding subjects of public concern. I would have liked to ask Rene one last question but I guess it’s more interesting to have his answer left to speculation for now. I would have liked to ask him “Will you ever consider going on a graffiti bombing spree?” To contact Rene for workshops, please email email@example.com.
Text and Photos by Roy Lu I am not a big Beatles fan. I like the Stones better. Still, it didn’t keep me from jumping on the chance to view the Imagine exhibit at the Musee des Beaux Arts in Montreal, which really doesn’t have to do much, if at all, with the Beatles. But, it has all to do with John Lennon and Yoko Ono and their second bed-in at the Queen Elizabeth Hotel in Montreal, which this exhibit commemorates the 40th anniversary of. My interest in this is part of my greater interest these days and of late: Performance art. By the time John met Yoko, she had already established herself as among the leading pioneers of performance and conceptual art. And this has to be one of her biggest performance pieces, judging from the press attention it originally received at that time and crush people at the exhibit which was on its last weekend at the time of our visit. With such pedigreed raw material, this exhibit has become an even bigger, more elaborate, though, strangely, less immediately compelling work of performance art. I suppose the crush of people had much to do with it; more than half of them as clueless about the immediate context of the work as they were about the bigger history then and now, and thus happily noisy about their ignorance or nonchalance. Still, It has grown into a huge, and hugely interesting interactive art machine: The 140 works on display include drawings, unpublished photographs, videos, films, artworks and interactive materials that convey the message of universal peace, including Yoko Ono’s ‘Wish Tree’ where one can tie their own wishes to, stamp “Imagine Peace” on maps of the world, and read the works of certain Nobel Peace Prize winners in the Peace Library. Yet, through all these, there is that residual power of performance art that
springs from the initial absurdist, comic, tonguein-cheek aesthetics yet feels confident enough to take on or challenge a big an issue as War or the War Machine that is bigger and more pervasive than ever. Of course, there was John Lennon’s fame that helped it along, though it is apparent here that John is being less John the Beatle and simply being John the world-citizen, the human being. And nothing exemplifies this better than the song Imagine. Of course, one could argue that it is vastly different sung by John Lennon – making it to the
top of most influential song lists -- and sung by Everyman. So there I was. Everyman, hunched over the white Baldwin piano that John used to compose â€˜Imagineâ€™ playing that song knowing that nothing and everything changes with imagination.
A World Music Performance Text by Dexter Sy Photos by Apiong Every time I mentioned to people that some guy from Israel named “Tal Kravitz” was coming over to play a show, I had to emphasize the fact that he was not related to Lenny. To be honest, I had the same thing going through my mind when I first heard about the show. I didn’t know the guy, and without a doubt, no one else in the crowd did before the promotions came out. But this is a guy who loves his music, regardless of the what’s, where’s, and how’s – and the passion came shining through the entire hour of his show. The performance was presented by the Embassy of Israel in Manila & Arts Council of Cebu Foundation.
Like I said, the guy loves his music. It’s uncommon to have a guy come out and play three or four conventional instruments (read as “guitar, drums, keyboard, etc.”) in one show, but this guy yodeled, played the bagpipes, a harp, and a frigging saw! Add to that the use of what he introduced as the “first electronic musical instrument ever made” - the same piece of machinery you’ll find in Led Zeppelin’s live performances of “Whole Lotta Love” - to play a piece originally arranged for the cello. And I thought that thing could only be used to make weird car noises. I can’t say I wasn’t a little bit disappointed though. All that overwhelming diversity of music aside, it was really more of a “tasting” session rather than the aural buffet I’d expected.
the entire crowd involved by handing out various percussive instruments. If there’s any dude who knows how to treat an audience, it has to be Tal Kravitz. He should run for office in 2010. I’m sure the natural-born citizen clause has some workaround.
I’ve got to admit, it felt pretty good to be plucked out of my usual scene and placed right smack in the middle of a high society club such as Casino Espanol to watch a gig. But on the organizers’ part, there was probably an inaccurate estimate in terms of crowd attendance, as I was turned down at the door at first because the place was packed and security wouldn’t let anyone in anymore. Eventually though, they let us in, probably because security wasn’t paying that much attention anymore. I’m sure they picked the place for the sake of class, but for an event with this much publicity, a function room just won’t do.
Picking out some fundamentals from each of the instruments he’s mastered and toying around with them for a few minutes, there really wasn’t much to really blow the audience away. In addition, nearly half of the time was spent on a nylon guitar singing folk songs from different locales – which isn’t really bad in itself but not what I’d come to expect based on the hype.
Audience Impact: 5
While one would come to expect an expert in world music to be, in one way or another, an odd-talking academic introvert, Tal Kravitz was just the opposite – charming his way through the set and getting a standing ovation at the end of it all. Audience participation apparently being an essential part of his repertoire, he managed to convince a guy from the crowd (who obviously had more than a little experience with percussions) to play the djembe, while he pranced around in a kilt and played the bagpipes. At one point, he even got
I can ignore the fact that the crowd was composed mostly of (a) socialites in it for posterity’s sake and (b) students required to see it for a reaction paper. I can also tolerate the fact that there were people in suits just standing around the cocktail tables at the back of the room, inhaling hors d’oeuvres and “mingling”, as they call it, while the performance was ongoing. The mere fact that we were turned down at the door spoke loudly of the attendance. The fact that people from different social strata and walks of life came out to witness a cultural event like this was proof that there’s definitely some class left in Cebu.
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Published on Aug 1, 2009
Bite Magazine is a pocket sized magazine based in Cebu the Philippines, its content documenting music, arts, and culture and the sub-culture...