Reportage on the less-traveled pathways of Pinoy culture
I call them my “How did I get here?” moments, after the line in the Talking Heads song—those odd moments of mild cognitive dissonance when you catch yourself in
May 6, 2021
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I call them my “How did I get here?” moments, after the line in the Talking Heads song—those odd moments of mild cognitive dissonance when you catch yourself in
A smoky, sensual vibe permeates “That Room,” the upcoming solo debut of Chillitees’ front woman Uela Basco, leaving little to the imagination as to what went on there.
The heart wants what the heart wants… And, apparently, so do the ears. How else can we explain the continued popularity of baroque one-hit wonder Johann Pachelbel’s “Canon in D” as wedding music?
With an appropriately rabbinical beard and yarmulke or Jewish skullcap in place of his trademark black beret, you are hard put to recognize Mike Hanopol, one-third of the legendary Juan de la Cruz Band and author of such Pinoy rock classics as “Laki sa Layaw” and “Buhay Musikero.”
In the immortal words of James Brown, “Give the drummer some.” Some what? Some more of that Q.P. mayonnaise, ’yo. But seriously, the local foodie scene has been increasingly trend-driven of late, thanks to the pervasive influence of the blogosphere.
Rock can be learned, but it cannot be taught. At least, that’s how the old adage went. Back in the day, in the dark ages before mobile phones and the worldwide web, if you wanted to play rock and roll, you bought yourself a guitar and a copy of Jingle magazine, and spent countless hours locked in your room learning the opening riff of Deep Purple’s “Smoke on the Water” from the classic 1972 “Machine Head” album.
Kalayo has variously been described as playing “experimental,” “contemporary,” “folk,” “fusion,” “world” and “roots” music, but “music without borders” is probably a better description.
Lank of leg and long of tooth, but still fleet-fingered at 63, Nitoy Adriano is the very epitome of the grizzled rock ’n’ roll veteran.
Not many can pull off the rock star look at 60, but Pinoy rock pioneer Gary Perez—best known as the lead guitarist for Sampaguita back in the peak years of Pinoy rock in the late 1970s, early ’80s—manages it, barely.
When the lights go on, the amps start humming, and the roar of the crowd fills their ears, the last thing on any musician’s mind is: “Do I have enough health coverage?”
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