A generation ago, back in the early 1970s, he was known as the “Kilabot ng Kolehiyala” (scourge of coeds) because his singing seemed to have that uncanny power to turn demure young women from exclusive schools into a pack of shrieking banshees. The coeds swooned over him and filled up the cavernous Folk Arts Theater during his concerts, making Hajji Alejandro a certified campus heartthrob.
From the footwear of the crowd whose queue ended beyond the iron-grille gate of the PICC, then traversing past the walkway connecting the entrance lobby to the performance hall, one could discern that this audience was of a benevolent age.
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