Glimmer Says: Give Us A Glimmer

When Rape Becomes Rapture

noreply@blogger.com (Clarence Yu) — Sun, 05 Apr 2009 17:43:00 +0000

By Clarence Yu

Can rape be equated to freedom?

The Rapture of Fe (Filipino title: Ang Pangagahasa kay Fe) is an independently produced Filipino film that has just recently started shooting on location in a northern province of the Philippines.
According to the film's official website, the screenplay is written by Alvin Yapan, a winner of the Gawad Urian award and multiple Palanca Awards.* The film will star critically acclaimed stage and film actress, Irma Adlawan (Stray Cats), in the title role of Fe. Fe is a former OFW (Overseas Filipino Worker) forced to come home as she is laid off from her job because of the current global financial crisis.
Upon coming home to the Philippines, she is met with violent abuse by her husband Dante, played by Nonie Buencamino. Complicating her predicament further is her relationship with her younger lover, played by popular Filipino actor TJ Trinidad. Most mysterious of all, baskets of black fruits keep appearing at her doorstep.
Based on this, one can only surmise that Fe will deal with multiple issues confronting Filipino society today: the plight of Overseas Filipino Workers, domestic abuse, family role-reversals, extreme poverty, how these issues are currently being made aware to the general public, and how this movie is an attempt to portray these long overlooked societal problems in a different light.
As these issues have been at the forefront of many a human and civil rights' group's advocacy list, both Filipino and international, one might think that this movie may have nothing new to say. But what makes this film look interesting are the dual titles employed. Whether this is intended or not, it serves to give the film different perspectives from an etymological and linguistic standpoint. Consider the English definitions of the word "rapture":
1. The state of being transported by a lofty emotion; ecstasy;2. An expression of ecstatic feeling. Often used in the plural;3. The transporting of a person from one place to another, especially to heaven.
Essentially, these definitions suggest emancipation, or imply freedom.
Compare these definitions to the English connotation of the Filipino word "Panggagahasa": "The raping" or simply "rape."
Now, we repeat the question: can rape be equated to freedom? This comparison is obviously contradictory when performing a literal translation, but take on a much deeper meaning in a figurative sense.
It is this stark contrast in literal and figurative translation that gives a potential viewer like myself something thought-provoking to incite enough interest in the seeing the finished film. Let’s hope that this presumably mysterious film does not disappoint in trying to enlighten, entertain, and propel thoughts into action. The film is one of the ten finalists chosen to compete later this year in the Cinemalaya Film Festival staged by the Cultural Center of the Philippines.
* The Gawad Urian Awards are annual film awards in the Philippines held since 1977. They are given by the Manunuri ng Pelikulang Pilipino (the Filipino Film Critics) which is currently regarded as the counterpart of the United States' New York Film Critics Circle. The Palanca Award is one of the Philippines' most prestigious and most enduring literary awards and is dubbed as the "Pulitzer Prize" of the Philippines

In the meantime, check out STRAY CATS, a previous movie by Irma Adlawan:

noreply@blogger.com (Clarence Yu) — Mon, 16 Mar 2009 03:02:00 +0000

Book Review: Ronnie by Ronnie Wood

This rock n' roll autobiography deserves more treatment, but is enough to placate.

By Clarence Yu

The Glimmer Twins' (Mick Jagger and Keith Richards) life stories have been so highly publicized that one feels that they need not publish their own autobiographies, thereby adding more stories to the mix. Bill Wyman has published his own revealing memoir (Stone Alone) which seems surprisingly bitter in tone and provides for a detailed inside look from the Stone who moved the least on stage but had the most groupies amongst all.

Now with Ronnie Wood's autobiography, simply titled Ronnie, what is being attempted here? For starters, Ronnie Wood is the third lead guitarist to fill the position, after the death of original Stone Brian Jones and the questionable departure of Mick Taylor, begging the question: what does it take to be a Stone besides being a good guitar player?

Ronnie provides the answers in spades. In a sense, this incomplete autobiography is much like his guitar playing — without the rhythm of Keith Richards' playing, the sound is only half-complete, shades of the complete painting that can only be revealed in a group autobiography.

Nonetheless, the writing is surprisingly candid. He gets along with all the Stones, taking a bit of a stab at each but never being bitter and remaining true to everyone, especially his mate Keith. This feat in itself is testament to the qualities that have allowed him to endure as a Stone and endeared him to his fellow Stones: be nice, don't overshadow, be amiable, and most of all, don't diss anyone.

For Stones fans, there is really nothing new, with the exception of how broke Woody (as he is endearingly called) really was all the time while playing with the World's Greatest Rock and Roll Band, some personal tidbits about his family life, and his detailed account of his frightening imprisonment along with wife Jo on the island of St. Maarten in 1980.

Much expected but not present were more of Ronnie's artistic frustrations, which are only written about in passing. Colorful characters ranging from Anthony Perkins and Muhammad Ali to John Belushi all pop in for visits but all deserve chapters in their own right. Chapters are written in mostly non-chronological format, which gives the book an improvised feel. One has the feeling that Woody wrote this on the fly. In the end, he claims sobriety after years of excessive substance abuse and professes undying love to his wife Josephine, but today's headlines are rife with speculation about his affair with a much younger woman and his rumored relapse into alcohol abuse. Then again, the Stones have always been masters of media manipulation.

Like a work of art, this has to be taken in slowly. Ronnie's Ronnie manages to pull everything off without a feeling of discontent. We love you even more, Woody! Now, if only you could get Charlie Watts to write his memoirs. That would really be something of an achievement.

noreply@blogger.com (Clarence Yu) — Mon, 16 Mar 2009 02:57:00 +0000

The Beatles Will Soon be Playable

The Beatles officially join the video game world. Why?

By Clarence Yu

The band that John Lennon once described as more famous than Jesus Christ will soon be available as a video game as The Beatles: Rock Band.

According to this article from the Rolling Stone website, the game will be available for play on Xbox, Nintendo Wii and Playstation 3 and will be released on September 9, 2009.

Developed by Harmonix Music Systems and published by MTV Games, Rock Band is a popular music video game that allows players to play as a band unit — guitars, bass and drums, unlike the rival Guitar Hero game series by Activision (until the recent release of Guitar Hero World Tour) only allowed players to interface with the game as a guitar player.

This will be the first Rock Band video game devoted solely to a band, and will reportedly cover material from the Beatles' first album, Please Please Me, to their final album, Abbey Road.

This development continues the trend of artists who are diversifying their channels of distribution through the gaming industry. Previous artists who have done so include Aerosmith and Metallica (through the Guitar Hero franchise).

One can have mixed feelings about this kind of medium being used by artists to enhance their popularity and sales. For one thing, it certainly is proven to work well for big-name artists. With Guitar Hero: Aerosmith, the band garnered more sales from the game than from any individual album they recorded. It also worked to boost their catalog sales by giving gamers an increased awareness of the band's past music.

While this is a great way to learn about an artist's music, it might not be the best way to learn an instrument. For example, given the big differences between the game guitar controller and an actual guitar, it might be easier for a gamer just to play the video game. But as a form of expression and creativity, the game might be utterly useless. The only good thing that can be seen at the moment about this from a musical standpoint is that it might spark the interest of gamers into picking up an actual instrument.

The Beatles certainly do not need the money or the added popularity. Hopefully, one can only imagine that they are getting into this project to incite more interest in the art of writing and creating music, which would then lead to a boost in more bands and more recorded music. Just like the Beatles' appearance on The Ed Sullivan Show, which launched thousands of bands and inspired even more kids at the time to pick up an instrument, one can only hope that a similar revolution will occur with the game's release.

In the meantime, it would be interesting to see the kind of reaction this game will elicit from hard-core Beatles fans, gamers, and music industry insiders, and how much Apple Corps Ltd. (the Beatles-owned record label) would stand to gain from a business standpoint, and how other legendary bands would react. Rock Band: The Rolling Stones, anyone?

noreply@blogger.com (Clarence Yu) — Mon, 16 Mar 2009 02:45:00 +0000

Concert Review: Journey At Mall of Asia, Manila, March 14, 2009

Journey stays true to their roots in their first concert in Manila with new singer Arnel Pineda

by Clarence Yu

All roads led to the SM Mall of Asia (MOA) fair grounds as Manila’s mostly upper crust and middle class crowd witnessed rock band Journey’s first Asian date in support of their Revelation album.

An announcer mentioned to the audience that the concert was being filmed for a special DVD and asked the crowd to perform two cheers for filming purposes.

Led by native son Arnel Pineda on vocals, the band took the stage at approximately 8:50 pm and erupted into "Never Walk Away" off the Revelation album with all cylinders firing, followed by "Only The Young," a sufficient one-two salvo to keep the crowd on its' feet.

The legendary rockers mixed the old with the new. Instead of trying to please the crowd with a potential wall to wall greatest hits concert, the band admirably dug deep into their newest release, with songs like the rockers "Change For The Better," "Where Did I Lose Your Love," and the tear-jerking ballad "After All These Years," intermixed with old gems like "Ask The Lonely," "Stone In Love," and the ever crowd rousing "Separate Ways." This brought the crowd on and off their feet; for every hit like "Open Arms," which had everyone screaming, there was a "Wildest Dream" which kind of flew over the audience's heads.

No matter. The sound was all-professional, solid, and tight.

The band also added new bits into their old songs. "Separate Ways" had an interlude during Neal Schon's blistering solo, and "Wheel In The Sky" began with Jonathan Cain on harmonica and Schon on acoustic in a country-honky tonk jam. Bassist Ross Valory was cool and collected, holding down the bottom end while entertaining the audience with his comical facial expressions.

Drummer Dean Castronovo sang lead vocals on several songs, the most impressive being "Mother Father" off the Escape album. Castronovo proves not only to be a great drummer but an excellent singer as well.

Finally, lead vocalist Arnel Pineda was a ball of fire throughout the whole show, jumping all over the stage and hitting all the high notes with his more than apt voice. Confident and equipped with the obligatory arena rock star charisma and moves, Pineda was visibly charged and emotional in his first concert with Journey in his native land, and dedicated the 1996 ballad "When You Love A Woman" to "all the women out there" and "to my wife."

Understandably, though most of the crowd was there to see Mr. Pineda, Journey proved that collectively they are still a serious band to be reckoned with. This was no sentimental tour. Albeit boring the crowd somewhat with their new songs, the band showed no compromise, proving in the end that they are still firmly entrenched in their roots and are looking forward to a longer career ahead of them.

Movie Review: "The Wrestler" Is Simply Powerful

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 11:13:00 +0000

by Clarence Yu
The Wrestler tells the story of Randy "The Ram" Robinson (Mickey Rourke), a professional wrestler 20 years from the peak of his career in the 1980s. Once famous the world over (think Hulk Hogan), he is now reduced to participating in independently staged matches and holding a part-time job to eke out a living.

He is estranged from his daughter Stephanie (Evan Rachel Wood), and the only person he can confide in is an aging stripper named Cassidy (Oscar winner Marisa Tomei) who is also past her prime. Unlike Randy, who is living in the past, Cassidy has a firmer grip on reality and is looking to finish her career as she realizes that she cannot sustain her job on her fading looks. Randy, however, is stuck in the past, reliving his glory days by taking steroids to sustain his aging body, and following a regimen that includes pumping iron and tanning himself in a salon to keep up appearances.

A shot at his former glory, a re-match with his former nemesis "The Ayatollah," is derailed by a heart attack, forcing Randy to stop wrestling, instead taking up a full-time job at a deli counter. He faces issues of his own mortality and tries to patch things up with his daughter while attempting to pursue a romance with Cassidy. Things not being so perfect for him, he defies all logic and resumes his match with his former rival in the face of tremendous risk.
Mickey Rourke delivers a powerful performance as "The Ram" — his Frankenstein-like appearance and over-muscled physique belies the childlike tenderness and warmth of the character; the dreary world-weariness, confusion, and emotional pain he projects on screen is so real that it almost seems that he has lived the role. Best known for his role in the erotic drama 9½ Weeks and his critical acclaim as a cool, suave leading man in the 1980s, he completely disappeared from public view to pursue a career in boxing. The last time I saw him in a movie was opposite Don Johnson in Harley Davidson and the Marlboro Man (which despite its tackiness was still entertaining). In playing "The Ram," a role completely against his conventional eccentric type, many have proclaimed this to be Mickey Rourke's comeback, and I definitely agree with this view.

There are just so many good things to say about this film that it completely outweighs its relatively few faults. While the plot is quite simple and has its share of loopholes (there is no emotional closure for the Wood and Tomei characters), the performances by Rourke and Tomei put the movie past this hurdle and keep the viewers glued throughout. Director Darren Aronofsky employs visual surprise to set the tone and pace of the movie. The physicality of Rourke and Tomei is such a sight to see. Tomei lives up to her Oscar-caliber acting (My Cousin Vinny) in her portrayal of Cassidy — go to any sleazy strip club and you will know what I mean by this. Superb cut and paste frame editing, and close, tight camera shots give the movie a semi-documentary feel, making the fine performances seem even more real. Some might expect a Rocky-esque ending, but simply put, there is no hook in this film.

Fans of wrestling will find delight here as the bloodsport aspect of wrestling is revealed with such realism. Those not familiar with wrestling culture will be thoroughly educated. Add to this a stellar soundtrack consisting of classic '80s glam rock gems and an original song by Bruce Springsteen and you've got one hell of a rough and touching movie. This is one you should not miss.

Movie Review: "The Curious Case of Benjamin Buttom" Has No Merit At All

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 11:09:00 +0000

by Clarence Yu

From my personal notes:

Director David Fincher re-teams with Brad Pitt, who re-teams with Julia Ormond and Cate Blanchett, in The Curious Case of Benjamin Button.

Brad Pitt should have won an Oscar a long time ago for his role in Legends of the Fall, when he was still a young actor full of raw emotion. This attempt at redeeming that lost award is obviously framed at capitalizing on Pitt's current super, uber-celebrity status.

To see a movie where Angelina Jolie's hunky, chunky husband is portraying an old man who ages into youth is exactly the kind of clichéd fluff that will capture the hearts of the multitude of viewers that flocked to see Titanic, and will try to capture the minds of those who awarded Forrest Gump.

The premise of the movie is nowhere near the story of the original 1922 novel by F. Scott Fitzgerald. It's merely an excuse to create a movie that tries to combine elements of fantasy, a sense of the epic, drama, humor, and love. The result is one big mess of splattered bird droppings, salvaged by excellent make-up and special effects.

Cate Blanchett lays her acting credibility to waste here in a role that would have been more suitable for Lindsay Lohan or Emma Thompson. Brad Pitt tries to channel Val Kilmer, James Dean, finally, himself, but fails miserably. Memo to Mr. Pitt: you will be better off sticking to pretty boy roles (Ocean's Eleven, Thelma and Louise) if you want to win an award. Your asset is your charm and movie star charisma, not this 180-degree turnaround against type. If you do happen to win, I'll quit watching your movies forever.

Why is Hurricane Katrina involved, and what's with the insulting and highly irritating New Orleans-Creole accented narration that you hear throughout the movie? Beats me. Again, a wild guess: Titanic and Forrest Gump.

I'm slowly losing my mental acuity and developing a curious case of narcolepsy in the middle of this long, long movie. I'm half-considering leaving the theater to buy the Back to the Future trilogy DVD to get my senses back to life. But I'm still waiting to see Blonde Brad as he ages into his present state, the way I see him on the front pages of every tabloid publication nowadays.
I'm curiously reminded, out of the blue, of a techniqu used in recording music called backmasking. I wonder what we will see if this movie is played backwards. Does it become a watchable movie at all?

The wretched gift this film gives is its interesting title, which will surely remind me of this unpleasant experience till the end of my days.

For the Academy's consideration: The Curious Case of Benjamin Button. Case dismissed, no contest.

Book Review: Robert Kennedy: His Life by Evan Thomas

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 11:08:00 +0000

by Clarence Yu

Any discussion of Barack Obama's message of hope would not be complete without the inclusion of Robert Kennedy, whose life was cut short by an assassin's bullet on June 5, 1968 at the age of 42. Award-winning journalist and Newsweek assistant managing editor Evan Thomas chronicles the life of this peculiar man who lives on in contemporary mythology as a figure of tragedy and a symbol of unfulfilled greatness. Drawing on unprecedented access to Robert Kennedy's personal papers, Thomas (who shares the same alma mater as his subject, University of Virginia School of Law), creates the most definitive biography of RFK since Arthur Schlesinger Jr.'s Robert Kennedy and His Times.

Thomas details Kennedy’s life from his unpromising beginnings as the third son of former Ambassador to England and businessman Joe Kennedy; his rise to power as Attorney General to his brother President John F. Kennedy; his fall from grace following his brother’s death in 1963; his career as a US Senator; and finally, his entrance into the 1968 presidential race under the banner of the Democratic Party.

Insightfully, Thomas examines the transformation of Kennedy through various stages of his life. Kennedy was not a perfect man by any measure, but the circumstances surrounding his life brought out the one thing he was least prepared for: direct leadership. Thomas cites that most of RFK's life had been in the shadows, operating behind-the-scenes, and staying out the limelight in favor of his brother's political ambitions. When the President was dead, Kennedy had two choices: to withdraw from political life, or to capitalize on his dead brother's martyrdom.
He opted, albeit subconsciously, for a third alternative, borne out of an existentialist nature: he suffered, experienced much about loss, and ultimately, in his pain, connected with the American people and much of the world in a way that few other politicians ever could. Thomas' excellent perspective on the matured Kennedy's multi-faceted, often self-contradicting personality gives the reader a closer look at the man who could have been a great President. In this sense, His Life reads like a classical Greek tragedy, like the many that Robert Kennedy himself carried around for inspiration.

Relevant now more than ever, His Life gives readers a profound glimpse into a man who really promised hope in the turbulent world he lived in, but who never had a chance to carry his message into action. To fully appreciate the meaning of hope and change, read and re-read this excellent book.

Movie Review: Clint Eastwood's "Gran Torino" Rides Like a Charm

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 11:04:00 +0000

Clint Eastwood proves that he is at the top of his game with his latest effort, Gran Torino. Revolving around the story of Walt Kowalski (Clint Eastwood), a retired Ford employee and decorated Korean War vet, the movie explores themes of loss, coming to terms, friendship, and ultimately, sacrifice and redemption.

Set in the present day, the film begins with Walt burying his wife of many years. His grown-up children have strained relations with him, and he sets to living out the rest of his years wandering about in his home, tinkering around in his garden, sitting on his porch drinking beer and taking care of his prized possession, a 1972 Ford Gran Torino. He refuses to fulfill his wife’s dying wish, to confess to a "27-year-old, over-educated, virgin priest."

He is bitter about many things, mainly about how the world has changed from his viewpoint, and how his neighborhood has slowly been encroached upon by a group of Asians known as Hmongs. He has a fast and dirty mouth, and isn’t the type of guy who would waste a second of his remaining days on anything sentimental.

The gangs that roam his neighborhood force Kowalski out of his self-imposed exile. In a twist of fate, the only piece of property that is valuable to him (his Gran Torino) sets the stage for a series of events that chip away at Walt’s hard exterior, ultimately leading up to the most climactic ending that I’ve seen in recent years.

Based on a story written by first-timer Nick Schenk, Eastwood makes the film work mainly on the basis of his screen image. He summons shades of every major character he has played: the tough Man with No Name in A Fistful of Dollars, the jaded, disgruntled cop in Dirty Harry, the widowed avenger in The Outlaw Josey Wales, the terminally ill singer-drifter in Honkytonk Man, the avenging preacher in Pale Rider, the foul-mouthed drill sergeant Thomas Highway in Heartbreak Ridge, and the retired assassin Will Munny called back into action one more time in Unforgiven. The only significant difference in Gran Torino is that the gun that he has held in his hand for so many years has been replaced by, among other things, a finger and a lighter, which plays a major role in the heart-wrenching climax.

Those who are not familiar with Eastwood’s previous work may find this movie bland and politically incorrect, as Walt Kowalski growls and grunts throughout the film, calling out every available racial epithet one can think of. I would then suggest going back and checking out his previous films to get in context with Torino. It is all at the same time dramatic, dark, suspenseful, and surprisingly humorous. But without over-analyzing, the film is simply about one man’s initial refusal to accept change; as he slowly yields, he finds his own redemption.

There are moments in the film that are quite comical, mostly involving Kowalski’s “mentoring” the young Thao (played by Bee Vang), but it is always balanced out mainly by the presence of the other essential characters: the young pragmatic priest (Christopher Carley) who continually hounds Kowalski to confess his sins, and Thao’s older sister Sue (Ahney Her), who introduces Walt to the Hmongs and eventually serves as Walt’s trigger to play out his final act.
Much has been said about Gran Torino being Eastwood’s last acting role. Having watched the film, I wish it isn’t. At 78, he anchors the film with his larger than life presence, displaying blatant machismo, shades of classic humor, and quiet sensitivity, in a role that demands Academy Award recognition. He plays it as he sees it, both as actor and director; you will not find over-the-top, method acting here. Essentially, it is Eastwood playing Eastwood directed by Eastwood, and, all things considered, it is probably one the finest acting jobs he has done thus far. Compared to today’s fast-paced, effects-ridden contemporary films, this movie comes out of nowhere to remind of you of life’s basic mores and values by none other than the anti-hero himself. It is also difficult to find a role befitting a man of his age and stature, so much can be said about Eastwood's nose for the good story by Schenk.

Words like “masterpiece” or phrases like “tour de force” seem clichéd and misleading, so it is hard to summon up a definitive word to describe the themes and feelings that Gran Torino evokes, but there is a piece of dialogue in the movie that mentions the word “bittersweet.” It goes something like this: “It’s bitter because of the pain, but sweet because you’re at peace.” Rest in peace, Clint. But only for a while, because knowing the way you work, you won’t stop.

Movie Review: "Milk" Is Lukewarm

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 10:42:00 +0000

Written by Clarence Yu

Milk tells the real-life story of Harvey Milk, the first openly gay man ever elected to public office. Based on actual events, the premise of the movie seems inspiring: the struggle of a man representing a hated, minority community who overcomes all obstacles to win representation in government.

Looks can be deceiving, however. The movie's running time just doesn't give enough to build on Harvey Milk's character, aptly portrayed by Sean Penn in a fine performance.

The film, directed by Gus Van Sant, covers Milk's life from 1970 to 1978, the time in which he begins his rapid ascent from a down and out, 40-year-old insurance executive to his final years as a gay/civil rights activist and eventually, an elected public official, serving as a City Supervisor of San Francisco.

While the film enlightens viewers on the career of Harvey Milk, it lacks a certain sort of dynamic tension needed to justify the climax; there are scenes that show a promise of build-up, but then it just veers off into various sub-plots that tend to irritate rather than to punctuate. You just don't get that feeling of victory as the movie ends.

What is good about Milk is its feel for the time and the superb acting by Penn, James Franco, and Josh Brolin. You don't expect an actor like Penn to take on a role like this, so apart from his superb performance, it is a brave one as well. He is consistently sweet and amiable throughout without any of the fits of rage or anger that characterize his previous work. Josh Brolin proves he has the acting mettle to match Penn as he takes on the pivotal role of Dan White. Brolin captures the frustration and mild insanity that the role demands.

With all the hype surrounding Milk, many will expect it to be cheesy in a good way, but get set for a mild disappointment. The film is certainly entertaining, but the scenes could have been woven tighter in a way that would have made the actors' performances really shine. The movie tells the story of an extraordinary man, but there is nothing extraordinary in its telling.

Music Review: Joe Perry - "Run Rudolph Run"

noreply@blogger.com (Clarence Yu) — Sat, 24 Jan 2009 10:29:00 +0000

by Clarence Yu
article also available at http://blogcritics.org

Aerosmith’s Joe Perry pays homage to his idol Chuck Berry with his own recording of "Run Rudolph Run", and it’s about time.
According to Aerosmith’s official fan website, AeroForceOne, "Joe has always loved Chuck Berry’s and Keith Richards’ version of this song and has wanted to record it for years now. He also wants to share it with all the fans right here at AF1."
A diverse list of artists who have covered the song include Bryan Adams, Lynyrd Skynyrd, The Grateful Dead and Billy Idol, a testament to the long lasting recognition of the song first made popular by Chuck Berry in 1958.
Perry is reputed to be an ardent admirer of Berry, and it shows in his previous guitar work on songs like "My Girl" off Aerosmith’s Pump (1990) and the axeman often employs Berry’s trademark double-stop licks on his own guitar solos.
The recording, available for free download at AeroForceOne, follows the tradition of a swinging, rockabilly beat as previously recorded by Keith Richards. Perry’s voice is ice cool in its lack of emotion, and it is obvious that the recording was engineered to sound like a classic ‘50’s rock and roll song: high on the reverb, with a lot of bar chords, heavy on the crash drum cymbal, with bits of piano flourishes.
Perry adds his own mark on the song with his signature buzz sounding solos throughout the song. An accompanying video recorded for the song can be viewed at youtube.
While the song may only be of interest to die-hard Perry and Aerosmith fans, much can be said about Perry’s gesture of making the song free for download. The legendary guitarist has nothing more to prove, and in making this his gift to his fans, it shows a tender side of Perry that he rarely reveals in the rock arena. It can be viewed then as a simple gift from a human being using his God-given talent. Which is, in essence, part of the true spirit of Christmas. Download it now.

Review: AC/DC - Black Ice

noreply@blogger.com (Clarence Yu) — Thu, 18 Dec 2008 09:12:00 +0000

by Clarence Yu, also on Blogcritics.org, here

AC/DC is like comfort music to me. With their latest release, Black Ice, these seemingly unstoppable and stubborn rockers just refuse to quit. Why should they? The music they’ve created over the past 35 years seems timeless, and you can always be sure of satisfaction. And they know it.

Produced by Brendan O’ Brien (Pearl Jam, Bruce Springsteen), Black Ice is also a return to the sound reminiscent of the band’s previous studio efforts, Highway To Hell (1979) and Back In Black (1980), with renowned producer Robert “Mutt” Lange (Def Leppard, Bryan Adams, Shania Twain).

Whether this is a conscious effort or not, the results are decidedly for the better. The various producers the band have chosen over their previous releases either gave this signature sound a slightly more commercial feel (the late Bruce Fairbairn with 1990's The Razor’s Edge), or a less radio friendly, harder edged twist (Rick Rubin, with 1995's Ballbreaker). Of course, the challenge with each producer is to try to capture the legendary bands' sound as they envision it, so credit is due to Brendan O’ Brien, who rises above the pack.

Black Ice is also a classic example of an album that doesn’t really need titles to make its point. The sequencing of the songs make the album sound seamless: each track segues into the other without much ado, and this is an album you can listen to over and over without having an epiphany of any kind.

The lead single off the album, "Rock And Roll Train," also demonstrates the band’s great songwriting skill. Take the intro of the Rolling Stones’ "Start Me Up," and add a bit of distortion to it, or take the verses from "Highway to Hell," and mix it in with the chorus from "You Shook Me All Night Long," and you’ve got a new, fresh sounding song.

The album contains all the elements of classic AC/DC themes: war ("War Machine" with its signature chants reminiscent of "TNT"), sex ("She Likes Rock and Roll") and rock (four songs on the album have the word "rock" in the title, so it's quite obvious). Outstanding cuts include the funky "Decibel," "Rocking All The Way" with some low-octave, bluesy singing from vocalist Brian Johnson, and the closest thing they’ve done to a ballad in a while, "Anything Goes," which sounds like a cross between Def Leppard’s "Hysteria" and their own "Touch Too Much" off Highway to Hell.

The band also teaches a thing a two about dynamics. Throughout the album, the only thing that constantly breaks the monotony of the basic 4/4 pounding by drummer Phil Rudd is the tempo, and whatever tempo changes that occur are always augmented by the intricate yet deceivingly simple guitar interplay between the Young brothers Angus and Malcolm. Bassist Cliff Williams knows when to play and more importantly, when not to.

AC/DC has, if anything, proven with Black Ice that there doesn’t need to be much thinking in rock n’ roll. It’s also enough to quiet all the “too old to rock” pundits who started criticizing bands of AC/DC’s stature long since grunge reigned for a time. Labels such as "metal" and "headbanging" have always been applied to describe the band's music, but much harder sounding bands have come since their inception in 1973. Basically, it’s just no fuss and no frills — a welcome respite from today’s contemporary rock. And surely, a message that rock is definitely here to stay for good.

Clint Eastwood and Gran Torino: Does He Still Feel Lucky?

noreply@blogger.com (Clarence Yu) — Thu, 18 Dec 2008 09:06:00 +0000

by Clarence Yu, also on blogcritics.org, here

When Clint Eastwood uttered the now famous lines, “Do you feel lucky? Well, do you, punk?” in the polarizing, landmark 1971 cop drama Dirty Harry, he might as well have been talking to himself, minus punk, as he enters another interesting phase of his storied career.

Gran Torino, which opens this December in limited release and wider in January, has been receiving mostly positive reviews as it makes its premiere rounds with the usual critics. The particular emphasis now is on Eastwood the actor, in his first starring role since 2004’s Million Dollar Baby, and also rumored to be his last thespian effort.

Eastwood’s acclaim owes much to his directorial efforts: Unforgiven (1992) and Million Dollar Baby (2004) won him two Oscar awards for Best Director and Best Picture, and Mystic River (2005) and Letters From Iwo Jima (2006) garnered Best Picture and Director nominations as well. He is reputed never to shout or disrupt his actors when directing, keeps his set relatively calm and focused, and delivers his films under budget and with great speed.

Being a lifelong fan of Eastwood, the actor, has been no easy task for me, personally. The stereotype he virtually created — laconic, lean, mean, mysterious, and anonymous — has been particularly hard to defend against nonsensical accusations (especially from vicious personal friends out to hurt my feelings) painting Eastwood as a lazy actor. I always argue that he acts in terms of gesture and economy of dialogue, but that is another story altogether.

I have mixed feelings about why critics get to see a movie like this before I do, but in large part due to Ben Stiller’s terrific Tropic Thunder, I can accept the logic easier now. The film is obviously up for the Academy’s consideration, and there is always this drawn out process of taking out ads and lobbying for votes. Releasing two pictures this year in the late fall has been the same strategy that Eastwood employed in 2006 (Letters from Iwo Jima and Flags of Our Fathers), the other film being a directorial effort, The Changeling, starring Angelina Jolie.

Nonetheless, I am absolutely frantic in anticipation of seeing Gran Torino. I loved the trailer, and have heard the tear-jerking closing credits song (co-written and sung by Eastwood himself in a duet with English jazz singer Jamie Cullum). I’m reading all the reviews I can possibly find. I’m being sucked in slowly but surely, the same way I was during Million Dollar Baby’s pre-Oscar rituals. My crazy theory is that he lost out for Best Actor in Unforgiven and Million Dollar because of a stellar but overshadowing supporting cast (Torino's supporting cast are unknowns) that garnered both Gene Hackman and Morgan Freeman their supporting actor trophies. One feels that, at 78, perhaps wanting to go out with the biggest bang possible, Eastwood the actor wants to make sure that all bases are checked and is relying less on luck to bring in his potential first acting Oscar.

Whatever the outcome will probably not diminish his status, but a win against Sean Penn (directed by Eastwood in Mystic) and Dustin Hoffman, amongst others, would surely be a fitting coda to Eastwood’s distinguished career.

Book Review: Crash Proof - How to Profit from the Coming Economic Collapse

noreply@blogger.com (Clarence Yu) — Thu, 18 Dec 2008 09:01:00 +0000

(also featured on blogcritics.org, here)

By Clarence Yu

I have to admit that I discovered author Peter D. Schiff the new-fashioned way: via YouTube. A friend of mine insistently kept sending me links to his televised appearances on Fox News and CNBC, so, one day, I finally relented and watched a clip. His words were enough to make me go out and buy the book Crash Proof, which he wrote with John Downes (also by Schiff: The Little Book of Bull Moves In Bear Markets: How to Keep Your Portfolio Up When the Market is Down).

Crash Proof is a book about economics, specifically sub-titled as How to Profit from the Coming Economic Collapse, and was published in 2007, way before the current worldwide economic crisis hit us. If you're thinking that this was a book that should have been bought and read in 2007, think again. This book has way too much information in it to be treated just as a "how to" guide, and offers plenty of invaluable advice, whether or not we are in a crisis situation.

In Crash Proof, Mr. Schiff gives the reader a back-to-basics lesson in fundamental economics, dispensing with technical economic jargon and instead using conventional day to day conversational language. Mr. Schiff doesn't pretend that you know everything, nor does he spoon feed you with perfect information, so the layperson reading the book is able to stop once in a while and think before continuing on.

Slowly but surely, the reader is treated to doses of common sensical insight and concepts about the mysterious world of economics---for example, carefully explaining what the trade deficit is about and why a capital surplus isn't always that good, among other things. Or what the gold standard was, and what the Fiat system currently is. I never learned that when I was taking up economics in college (perhaps I wasn't listening), but the point I'm making is that I wouldn't be able to explain this to you now had I not read this book. On that point alone, this book is worth its price, and more.

Building from this momentum, Schiff argues on several points on why and how the U.S. economy is in its current state, and offers specific strategies on how to protect yourself from the real estate debacle that already happened (again, the book was published in 2007), what to buy, what not to buy, but most importantly, he presents the logic on which he builds his strategies with a simplicity that is so understandable, until there is absolutely nothing left to explain. In my case, I had to check Wikipedia a few times to check out some definitions in the book, but not nearly as much as when I read the newspapers or when I inadvertently happen to find myself in the middle of a conversation on economics (not my favorite topic, now and forever).

But what is most admirable and noteworthy about Mr. Schiff's approach is his apparent ideology: he advocates a shift in American economic policy back to manufacturing goods (production), living beneath your means, saving your hard earned money, and emphasizes, in so many words, the value of hard work, as opposed to borrowing to fund your needs. Work and use common sense, Schiff seems to be saying, and you will reap. Followers and worshippers of the Federal Reserve, Allan Greenspan, and Ben Bernanke may have trouble reading this book, but nonetheless, it can’t be denied that the advice Schiff dispenses is invaluable and logical.

The title Crash Proof: How to Profit from the Coming Economic Collapse doesn’t really do the book enough justice, for the content is more than just about that. And though most of the scenarios painted within the book aren't exactly all about sunshine and rainbows, the context in which Mr. Schiff writes --- the worldwide economic crisis --- allows for him to explain economic concepts which are much more understandable to the reader, because of the immediate urgency of this context.

For anyone who has always wanted a solid, easy to read and practical book about economics, but has always been put off by the usual difficult economic terminology, have no fear. Crash Proof will not exactly show you the way out of the tunnel, but it will enlighten you, amuse you and inform you along the way.

Manny Pacquiao should fight everyday

noreply@blogger.com (Clarence Yu) — Sun, 07 Dec 2008 07:53:00 +0000

Manny Pacquiao, now the undisputed wonder of the boxing world, should start fighting everyday. According to this report from USA Today, the crime rate during his fight versus Oscar De La Hoya was virtually nil.

What do you say, Manny? If you really want to make a change, instead of running for Congress or public office, just fight everyday. But I'm not sure you'll do that. You'll probably come home to a ticker tape parade, bestowed with more accolades, record more "Pacman" audio CD's, and enter into more advertising, licensing and franchising deals, which will no doubt plaster your mug around Manila's crowded city highways on giant, monstrous billboards (by the way, do those painkillers really work?) Which is fine. After all, you deserve it. You won the fight. You made the Filipino nation proud. What's the problem with making a few bucks while uplifting the dignity of one of the poorest third world nations?

I just hope one day when you wake up years from now, after all the champagne is sipped, after all the giant, sprawling advertising billboards in the Philippine metropolis bearing your name and a product long gone, your CD and DVD sales all spent and your youthful energy exhausted, that you will realize the potential you had in effecting real change. The Filipino nation, tired of hearing bad news of corruption and governmental scandals, is literally at your command. The irony here is not wasted on some like me: with good news of your continuous wins, the newspapers choose to flash you on their front pages instead of what real news is about. Why don't you start speaking about the real truth?

You, of all people, the people's champion, have the mandate to do this: borne into a world of poverty: the poor boy, who thru hard work, discipline and divine providence, captures a world boxing championship crown and wins more respect than any "elected" official of the Filipino nation. The people who afford you this respect are the very people suffering today from the unfair and corrupt practices (of which, I'm sure you suffered from during your difficult rise to the top) of the Filipino government and commerce --- who, oops, also happen to be, by the way, your prime sponsors and backers.

To say that your victory is a victory for the Philippines is a fallacy, borne of flawed logic, allowing government officials to effectively sweep more corruption related problems and scandals under an already overcroweded and dirty carpet.

This victory is yours, and yours alone. You can offer the victory to the Philippines, but it is not theirs. Cherish it, do not abuse it. Honor your fallen fellow boxer and countryman Rolando Navarette. And while there is still time, use your power wisely. If you are not afraid to step into the ring with deadly prizefighters, at the risk of shedding blood and feeling enormous physical pain, surely, then you should not be afraid in using your celebrity as a starting point in taking on other deadly fighters (of the economic and political kind). After all, we've heard more outrageous stories: A housewife with minimal knowledge of her nation's politics, whose husband was once murdered by a tyrannical President, led a revolution and became it's first woman President. Her name was Corazon Aquino.

Do Video Games Make The Music Now?

noreply@blogger.com (Clarence Yu) — Tue, 02 Dec 2008 09:30:00 +0000

You can also read the article at Blogcritics.org

Apparently, gaming company Activision’s collaboration with rock legends Aerosmith has paid off handsomely for both parties. As reported on the Gamasutra website, the sales to date of the game Guitar Hero: Aerosmith, has netted the band more revenue than any one of its album releases.

In my opinion, the success of the Guitar Hero franchise is dependent on two things: artist name association and the technology employed to make the game highly entertaining to gamers. I am a big Aerosmith fan, but not into gaming myself — thus, I was never attracted that much to consider buying the game.

Of course, there are many exceptions to my theory. I’m pretty sure that a lot of gamers who weren’t familiar with Aerosmith bought the game: some were probably intrigued, some had nothing better to do with their money, and most were probably challenged by the game. Good for them. They get to enjoy themselves, while learning the music of one of the best rock bands of all time.

How does this bode for the music industry in general? For one thing, I’m pretty sure that most big name bands will start to fall in line for their share of the revenue pie. Van Halen and Metallica are examples of the next bands to be featured on the franchise. Big money is in store for both the bands and Activision. But to boast of Guitar Hero's "music selling power" is a bit of a stretch; by reversing the logic, you can say that Aerosmith enabled Activision's "video game selling power."

While it can be argued that the artists involved may not need the money and just want to pass on their musical legacy to a new generation of potential fans, CD/music sales are also a big factor. Reportedly, Aerosmith’s CD/music sales had a “several folds boost.” Now is that just a coincidence, or a result of a lot of focus group discussions?

For the struggling garage band out there, I don’t think it will make any difference — perhaps marginally, in terms of inspiration. But inspiration is a totally different animal from business. Many bands out there with talent have never made it, and many more will never. It’s just a fact in the recording industry. You still have to make it the old fashioned way — through gigging, recording, and touring — before you can be featured on a game like Guitar Hero. And with games exactly like Guitar Hero in the market taking away the attention span of potential new fans of these struggling artists, what will become of them? It just gets harder and harder.

So, while Activision may be on to something here for quite a long and profitable run, dare I say that without the big name artists, the Guitar Hero franchise is worthless? Imagine Guitar Hero: Anonymous, and see if the product sells.

Book Review: President Lincoln - The Duty Of A Statesman

noreply@blogger.com (Clarence Yu) — Tue, 02 Dec 2008 08:49:00 +0000

You can also read this review at Blogcritics.org:
Book Review: President Lincoln: The Duty of a Statesman by William Lee Miller
The author uses Lincoln as an example that statesmen are not born but made. Future young leaders can find inspiration

Any new book on President Lincoln will almost always beg the question, "Why?" In this follow up to Lincoln’s Virtues: An Ethical Biography, author William Lee Miller answers the question with an eloquent, yet easy to read 512-page analysis of Lincoln’s term in the White House and his actions as the Civil War president.

I’m not a scholar of Lincoln by any measure, but I have a small collection of books about him; half I consider garbage and the other half essential reading. Of course, it takes reading the essentials to find out which ones are really meant to be in the trash can, and Miller’s book is one of the essentials.

In President Lincoln: The Duty of a Statesman, Miller reminds us of a time when the young nation was faced with a crisis, and how an inexperienced man by conventional standards was able to withstand and eventually exert his will in seeing the country through the Civil War. In this sense, he asserts that (using President James Buchanan, Lincoln’s predecessor, as one of his examples) experienced men do not necessarily qualify for the nation’s highest office. Instead, morals, kindness of heart, and raw intelligence are also qualifiers in the mix. There is a basic truth to this, and young leaders should take this to heart (President-elect Obama, are you listening?).

The book also tackles the art of statesmanship, that ever-ambiguous field in politics that so many try to inhabit. In the context of Lincoln’s time, Miller writes, statesmen were of noble blood, but Lincoln changed all that, having been a prairie lawyer and of poor family background but rising to the challenge by defeating all his critics, winning the Civil War and preserving the Union of the States. In this sense, you can argue that Lincoln invented the blueprints for the modern politician today.

President isn’t new on factual details, but delivers great insight on the shaping of Lincoln as a politician as he assumes office. The long-standing arguments and debates on whether the Civil War was over slavery, preserving the Union, or whether Lincoln was a dictator or not, shouldn't influence the way the reader interprets the author's intent. The book is supposed to be about Statesmanship, and thus should be treated as such.

Mr. Miller writes with fluidity and a passion, and you are surely convinced by the first few pages that he is clearly pro-Lincoln. The President seems almost infallible in every decision he makes, and the skill of Miller’s writing almost convinces you that Lincoln might be more than mortal. If the reader can be discerning enough to steer clear of this bias, then President is required reading for Lincoln and Civil War buffs, and for those who seek to find meaning in what our everyday politician says.

Clint Eastwood's Gran Torino Gaining Strong Oscar Buzz � FirstShowing.net

noreply@blogger.com (Clarence Yu) — Mon, 01 Dec 2008 04:40:00 +0000

Clint Eastwood's Gran Torino Gaining Strong Oscar Buzz � FirstShowing.net

Kevin Costner's "Untold Truths"

noreply@blogger.com (Clarence Yu) — Thu, 20 Nov 2008 03:10:00 +0000

By Clarence Yu

No, you did not read the title wrong. It is Kevin Costner, actor-director, with his band Modern West and their debut CD, “Untold Truths.”

At the age of 53, Costner decides to go into his first album of all original songs, with long time band Modern West. Most might be surprised (like me) but after a little checking, Costner has not been a stranger to playing music, as he and his band have been playing live gigs for the past couple of years.

The sound is all country/roots-rock with Costner on vocals. Surprisingly, for a shameless country music fan like me, I’m not that disappointed, nor am I elated.

The songs on the album have little to do with what the title suggests, at least in a direct sense. “90 Miles an Hour” sounds a bit like Jacob Dylan’s “One Headlight,” and “Every Intention” sounds like a John Mellencamp song. The fire cracking country-rocker “Gotta Get Away (Song for Bud)” is one of the tracks that is quite unique. Most of the other tracks deal with tales of Americana and it’s heartland and the actor’s voice isn’t really that bad — he sounds like he’s having a blast, and the band is superb.

Please click here for the rest of the article.

When the Boss mixes politics and Rock N Roll

noreply@blogger.com (Clarence Yu) — Tue, 18 Nov 2008 03:53:00 +0000

By Clarence Yu

OCTOBER 27, 1975: Bruce Springsteen, 25, appears simultaneously on the covers of Time and Newsweek and is heralded as “The future of Rock and Roll.” Around this time, a young man named Barack “Barry” Obama, 14, is attending High School in Hawaii’s Punahou School, destined to be the future President of the United States.

October to November, 2008: Bruce Springsteen, 59, now known as “The Boss” worldwide, critically acclaimed and one of the biggest rock stars on the planet, speaks and plays at several rallies for Senator Barack Obama, 47, who is now the President-elect of the United States.

I used to believe in what Keith Richards used to say about rock n’ roll and politics not being a good mix, that rock n’ roll should not be used as a tool to further anyone’s political agenda. After all, rock n’ roll has always been about good times.

However, as an ardent Springsteen fan for many years now, I believe that the Boss is an exceptional exception to this rule, or at least Richard’s rules.

(Please click here for the rest of the article)

AC/DC Back with "Black Ice"

noreply@blogger.com (Clarence Yu) — Thu, 06 Nov 2008 07:09:00 +0000

By Clarence Yu

AC/DC fans, it’s time to rock again after eight years.

Angus Young and company are back with the new album “Black Ice,” released last October in the United States. You can find a sample of one of their songs, titled “Rock ‘N Roll Train” here.

Their last release, “Stiff Upper Lip” was in 2000, and was met with their usual commercial success. In between then and now, the band was quite inactive with the exception of jamming onstage with the Rolling Stones in 2003, and releasing several box sets.

“Rock N’ Roll Train,” the lead single off the album, is typical AC/DC: it lifts the hairs off your arm and immediately hypnotizes you with that 4/4 signature rock groove they’ve perfected since their inception in 1973.

“Spoiling For A Fight” sounds a bit like “Moneytalks” off 1990’s Razor’s Edge, but less radio friendly and more ballsy.

Clint Eastwood: Riding off into the Sunset?

noreply@blogger.com (Clarence Yu) — Thu, 06 Nov 2008 07:04:00 +0000

By Clarence Yu

JUST as mysteriously as he came into the American movie industry as “The Man With No Name” in his “Spaghetti Western” trilogy and as Dirty Harry in the landmark cop drama “Dirty Harry,” reports have been leaking over the Internet that his latest starrer, “Gran Torino” (originally thought as a last sequel to the Dirty Harry franchise) would be his last film as an actor. Might I mention again that word, actor.

I found this official trailer for “Gran Torino” on YouTube:

For Eastwood has, in his storied career spanning over 40 years, been not only an actor, but a director who has had to work his way up the ladder for recognition, culminating with his Oscar wins in 1992 as Best Director for “Unforgiven,” and in 2004 for “Million Dollar Baby.”

You can read the rest of the article here.

SLASH, on life and music after Guns N' Roses

noreply@blogger.com (Clarence Yu) — Thu, 06 Nov 2008 07:00:00 +0000

By Clarence Yu

With news of the imminent release of Guns N’ Roses’ new album setting the rock music world on fire, I thought it apt to write something about one of its members — to be specific, an ex-member, Slash.

To most of us growing up in the 80’s, Slash was the epitome of the cool, tough, classic rock guitar, refusing to use a whammy bar in an age where ala’ Eddie Van Halen tapping was en vogue, and keeping mostly to Gibson Les Paul’s as his main guitar of choice. He (along with Richie Sambora of Bon Jovi) brought the talk box back to life (a device, when connected to a guitar can make your voice and guitar sound cool and robotic — listen to the intro of “Livin’ On A Prayer by Bon Jovi).

(The rest of the article can be found here.)

Movie Review: Swing Vote

noreply@blogger.com (Clarence Yu) — Thu, 06 Nov 2008 06:56:00 +0000

Movie Review: Swing Vote

Starring Kevin Costner, Madeline Caroll, Dennis Hopper, Kelsey Grammer
Directed by Joshua Stern
Distributed by Touchstone Pictures

By Clarence Yu

KEVIN Costner’s latest drama-comedy starrer, Swing Vote, is a timely film for a primer on the US electoral process. Released in North America in August this year, the movie focuses on a trailer-living, divorced, single father, all-around loser and drunk bum (Bud Johnson) played by Costner.

As it happens, during the US election that transpires in the movie between the two presidential candidates played by Dennis Hopper and Kelsey Grammer respectively as the Democrat challenger and the incumbent Republican President, the whole fate of the race boils down to the vote of one man, Johnson, due to a voting machine performance error that did not able to record his vote.

Please click here for the rest of the article (at the Philippine Daily Inquirer's TV blog, Couch Potatoes).

Just Shake Yer Head

noreply@blogger.com (Clarence Yu) — Tue, 09 Sep 2008 05:58:00 +0000

Guest Post by Emjay Polina (you may contact the writer at akdpolina@gmail.com)

(Raves and Lamentations on The Eraserheads Reunion Concert)

“Ok pa ba kayo dyan?” This was one of the very rare moments Ely Buendia spoke onstage (and this was mid-way through the first set). It would have been the perfect question to ask himself. Was he still fine? His calm demeanor onstage all throughout the first 15 songs belied the unstable mental and physical state he was in. We didn’t know his mother just died 2 days ago and we did not know how extremely pressured they were to push through with the concert with just less than a week’s preparations.

Ten minutes before Lally Buendia (Ely’s sister) went onstage to announce that the show has to be cut short, our friend Di said she was feeling weird about something. “Kinakabahan ako. Ewan ko basta kinakabahan ako.”, she said over and over again I almost strangled her. I jokingly told her she’s not going to get raped on our way back to QC and just please cut the crap. But to our great shock, the unthinkable happened – there are no more 2^nd and 3^rd sets. Ely had to be rushed to the hospital due to severe “emotional and physical stress”. Raimund took the stage first, his voice a bit shaky it sounded like he’s going to break down any minute. He handed the mic over to Buddy and Ely’s sister for the formal announcement that would break all of our hearts. It took a while for the disbelief to subside. We left the field after an hour of debate and “pagmumura”.

Me, my three friends and the rest of the 20,000 ‘Heads fans and curious folks who flocked The Fort last night eagerly waited for this event for almost two months. This would have been the biggest and most successful concert this year and not to forget – the most remarkable. There were no major promotional events, no tv and radio commercials, no posters - just plain word-of-mouth and incessant blogging. They started selling tickets Wednesday and, well they just easily sold out. This just goes to show how much the people missed this foursome. The ‘Heads faithful are very much alive. Well just imagine how many more people would have flocked if the concert was really free (as was originally planned before the “Dastardly Dementors” ruined the tobacco company’s plans).

There was really no sign of impending doom at the start of the show. The whole thing was unbelievably organized. Entrance and exit points were well marked and people promptly fell in line. There were no pushing or shouting . And to me and my friends’ great relief – there were no JJ’s ( Jumping Jologs aka Killer Orcs aka Goth wannabes) in the area. Actually the crowd were mostly students and yuppies (mostly people from Peyups). “Parang isang malaking malaking UP fair lang ‘to”, a former dormmate said. And to think hours before I was fretting about getting mercilessly pushed about and having my belongings robbed off me.

So much for the drama….

How did the whole thing start off?

The crowd started going wild during the ten-minute countdown. That was one of the longest ten minutes ever. The excitement can hardly be contained anymore. And then the lights were on, the magnificent sparks flew, and then - Raim’s drumbeats. I always knew they’d kick off with Alapaap. That unforgettable bass line that followed immediately was more than enough to get each and every one screaming and jumping. Each ‘Head got their spotlight –the hyperkinetic Raymund Marasigan (donning a lady’s wig) on drums, the super-cool surferdude Marcus Adoro (my favorite) on lead guitars, the calm and steady-looking Buddy Zabala on bass and of course, the enigmatic and deeply-troubled Ely Buendia on vocals and rhythm guitar. Together at last after six friggin’ years. I was very lucky to have caught them perform twice during my freshman year at UP Diliman. I was always at the front row before, this time I was at the Gen Ad section where I could hardly see their faces. I didn’t really care much just as long as the wide screens were there and the audio system was just directly in front of us.

They sounded really really good. Hands down. It’s as if they never disbanded and just grew even more musically sophisticated. “Alapaap” did not disappoint. If you are a fan of the ‘Heads, you really know that they have the tendency na “magkalat” during live shows. They’re just performing in the spirit of fun and you could feel it. Those were the heady days.

A quick succession of melt-in-your-ear old pop hits followed (mostly from their Ultra, Circus and Cutterpillow albums). There was the very popular college favorite “Ligaya”, then came “Sembreak” (during which UP students and alumni screamed Go UP! as familiar campus sights were flashed on the big screen). “Hey Jay” was just as engaging as well. “They tried…They really tried… to tell us we’re too OLD. Too old to really be … BOLD.” Ely spoke these first few lines from “Toyang” – a song reportedly about a former flame with whom he had a love child. This song was one of the major highlights of the first set.

Everything would have been really OK except that they just don’t talk to the crowd. There is total dead air in between songs. We were half-expecting Raims to jump up and just grab the mic from Ely. All they do instead is tune up their instruments a bit before hitting off with another pop ditty. People chanted “GROUP HUG!!” and “Magsalita naman kayo!!!” to the band to ward off the increasing tension among the four of them. Apart from the really great 1^st set of playlist, the silence in between is really creepy. They went on with “Fruitcake”, “Kama Supra”, and for the rock ballad “Kailan” Ely invited Jazz Nicolas of Itchyworms to play the keyboards and he just let the crowd sing the last part: “Kailan ako lalaya sa anino ng pag-iisa, Mga rehas lang ang tanaw. Nanginginig sa seldang maginaaaaaw”. “With A Smile” became quite an emotional piece that my friend Di almost burst into tears. For “Shake Yer Head” Ely was so hyper he was literally shaking his head a lot and even let his oversized aviator shades fly off his face. If Ely was hyper at one point, Buddy was frowning over a slight malfunction of his bass effects.

Three more pop favorites were sung: “Kaliwete” (with lots of Macoy’s guitars), “Huwag kang Matakot” and the walang-kamatayang “Huwag Mo Nang Itanong”. The first set ended with an obscure “Lightyears” (from Fruitcake). Most people were asking: “What song is that?” It certainly wasn’t the type of ending song they’d want to hear but it was great nonetheless. Ely afterwards just held his guitar in one hand and kept looking sideways (as if looking for someone to take it off his hand). Then the lights started to go out one by one, and the only thing shown on the screen is the big timer once again counting to 20 minutes before the 2^nd set – that would never be.

Raymund, on his Subsandwich mailing list said that they prepared three sets for what he previously called the “Magical Mystery Show”. “The first was just a warm up. The remaining two was going to be the fun part. There were more videos and light shows and pyro in store for everyone.” True enough, their more popular songs were not yet played : the riff-driven favorite of mine – “Superproxy”, the cult-favorite anthem “Pare Ko”, the wild “Pop Machine, the likewise controversial “Tikman”, the upbeat “Magasin”, the beautiful “Torpedo”, the weird “Spoliarium”, the sappy “Hard to Believe” and another controversial, “Alkohol”. I was expecting they would end with the bittersweet “Ang Huling El Bimbo” or the more emotional “Para sa Masa”.

After all the disappointment, the question now remains: “Will there be a Part 2?” There better be. Raims said it himself during one of the numerous news interviews that followed afterwards. “Babawi kami.” No word yet on the date or place. They just wanted to assure that Ely gets the rest he deserved. In the end the people wouldn’t really care if they reunite for real (a highly unlikely possibility) or not. They just want to see the foursome perform as a whole again even for just one marvelous night.

To cap a truly disappointing night, we headed to our favorite ktv tambayan Uncle Tat’s at Matalino St. We sang every Eraserhead song we can find in the catalog and screamed our hearts out until 4:00 in the morning. We did not want to feel really defeated after all.

Applause for true session musicians

noreply@blogger.com (Clarence Yu) — Wed, 27 Aug 2008 14:19:00 +0000

THE scene is all too familiar for me: take any known club in the mainstream nowadays that features a show band. The band is composed of veterans who don’t look overly familiar, yet they play a blitzing repertoire of 70s, 80s and 90s pop standards, get a rousing ovation for the night, and disappear.

If the club owners happen to like them because they bring in the customers, I’ll likely be able to catch them again next week. If not, and I happen to like them, you’ll have to search high and low for their next gig, and at the next club.

Such is the plight of session musicians — virtually virtuosos (pardon the pun) at their instruments, oftentimes with years of experience under their belts, yet unable to find a steady gig, a record deal, a good name for themselves or a steady flow of income from playing their instruments.

Please read the rest of the article at the Philippine Daily Inquirer's On-Line Blog Soundtrip, here.

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