| tama |
[Oct. 11th, 2009|01:23 pm] |
**isipin ang kahulugan**
-----
nabangga
nakabulagta, duguan
mudmod ang mukha sa aspalto
miron:
nasaan ang ambulansya?
(himig ng mga nagdaraang sasakyan)
nasaan? nasaan?
di na ba daratnan
di na aabutan ng kapalaran
sa isang iglap
pagbabalik-tanaw
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|
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| kabalintunaan |
[Sep. 23rd, 2009|01:45 pm] |
*sa wakas nakapagsulat ulit..
naalala ko si mang kanoy,
600 ang grado ng mata
ang salamin pwede nang ipangharang sa bala
minsan nakita so siya sa daan
nahuli ang kanyang asawa na si aling teta nangagaliwa
kahit wala siyang suot non na salamin
parang ang linaw ng poot sa kanyang mga mata
kabalintunaan.
lamay noon ni kapitan temyo
ang lakas ng hagulgol
isang babaeng nakaitim na belo tila umuungol
ndi magkaugaga ang taga-iyak
magkano kayang quota niya sa gabing iyon
mas mainam pa siyang pumapel sa drama sa tv
di tulad ng mga artista ngayon para lang kabibi
kabalintunaan.
ayun si selong payaso
ang gaslaw ng kilos
ang laki ng ngiti sa mukhang puno ng pulbos
pero ang di nakakaalam,
lasenggero't pala mura, mahilig makipagrambulan
wala sa hitsura nya habang siya'y nagpapasaya
ng mga batang nakangiti at tumatawa
kabalintunaan.
naglalakad ka ba palayo
para bumalik lang sa kabilang dulo
ang labo mo? na-wika ni tenten
isipin mo, pareho lang ang nakita mo
ndi mo ba napansin na bilog ang mundo?
uulit ulitin ko yan at uulit ulitin
hanggang sa may mahagilap na dahilan
-sagot ni juan. |
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| Bobby Balingit (The Wuds) |
[Mar. 2nd, 2009|10:16 am] |
Bobby Balingit ng The Wuds: Walang paglilimot sa lipunan
12-Jul-2008
Darius R. Galang
SA LAHAT ng nauso’t sumikat, isang tradisyon ng musika sa Pilipinas – ang punk rock – ang di masyadong napapansin ng publiko pero lumalaganap sa kabataan. Buti na lamang, may tinitingala silang The Wuds bilang pioneer na pangkista sa bansa.
Kasi naman, sa pamamagitan ng klasiko nilang mga kantang tulad ng Bayan-bayanan, at At Nakalimutan ang Diyos, ipinamalas ng The Wuds na hindi simpleng sikat na banda sila. May sinasabi ito. Sa maingay – pero puwede ring malumanay at hitik sa melodiya – na paraan, nagkokomentaryo ang The Wuds sa lagay ng lipunang Pilipino.
Binubuo ang banda nina Bobby Balingit bilang bokalista’t gitarista, Alfred Guevarra sa bass, at Aji Adriano sa drums. At sa loob ng dalawampu’t limang taon buo pa rin ang grupo, ang musika, at, siyempre, ang matalas na mensahe nila.
Nakapanayam ng Pinoy Weekly si Bobby Balingit ukol sa kanilang nakaraan, ang pakikisalimuha niya sa lipunan, at ang hinaharap ng banda.
Pangkistang lirisita
Ang hindi nalalaman ng mga pangkista ngayon, nagsimula si Bobby bilang isang folk singer. “Nagsimula ako ng 16 tapos naging trabaho ko na iyan, nagsimula ako sa folk singer hanggang 18. Noong edad ko ng 19, punk rock na kami. May nakilala na nakaimpluwensiya sa aming maging punk rock.”
Anu’t ano pa man ang naging sikot ng landas nila bilang grupo, solidong punk rock ang nakatatak sa puso nila. “Nagsimula kami noong una as The Wuds nilang punk band…Hindi kami sumakay noon (sa mga uso). Basta isang araw dumating na lang ang mentalidad namin (bilang punk) at ang rebeldeng galaw,” ani Bobby.
“Ayaw mo lang lahat ng setup (sa lipunan). Kahit ano basta ayaw mo. Unconventional ka,” sabi ni Bobby, na malapit nang mag-50 anyos. “Siyempre darating ang edad (mo) na mas nagiging pino ’yung reasoning mo.”
Sa ngayon, abala siya sa ilang progresibong grupong pangkultura. “May sinasamahan akong grupo, kasama na ang Artists' Arrest (Artists’ Response to the Call for Social Change and Transformation), grupo ng mga alagad ng sining na nananawagan ng pagbabago sa kasalukuyang pamunuan sa pamahalaan." Noong burol ng yumaong si Kong. Crispin Beltran, niyaya naman siya ng CAP (Concerned Artists of the Philippines) na magtanghal.
Kakatwa ang kanyang simulain sa pagsabak sa mga rali. Naranasan na rin niya ang mahilam ang mata at hindi makahinga dahil sa teargas. Siguro, ani Bobby, luma na ang teargas na ginamit. ”Matagal na sigurong binigay ni Bush iyon kay Gloria…Iba ’yung kulay. Mabigat na usok. Sabi sa akin nung mga journalist nung ma-teargas ako, iba raw ’yung ipinutok,” pabiro niyang sabi.
Pangkista kahit tumatanda
Mahusay ang paliwanag niya sa tumbok ng punk rock at ang kahulugan nito sa lipunan.
Aniya, ang punk rock ay bahagi ng “rebolusyon” sa lipunan. Ngunit pansin rin naman niya ang kahalagahan ng mga pagbabago – sa musika at sa lipunan – sa paglipas ng panahon. “Habang tumatagal, nagiging makinis ’yung pagtutol mo. Ang pag-ayaw mo (sa sistema), nagkakaroon ng direksiyon. Importante rin iyon, nagkaroon ng rebolusyon.”
Kaiba sa maraming nagsasabing pangkista siya, inaayawan ni Bobby ang anti-sosyal na kultura sa punk rock. Naging tinaguriang “Krishnapunk” siya. Nakita raw niya ang limitasyon ng pagiging anti-sosyal (pagbabasag sa lahat ng produkto at tradisyon ng namamayaning lipunan), na kadikit ng kultura ng punk rock.
“Noong panahon na iyon, mas andun yung tulak ko (sa kilusang “Krishnapunk”). Kaya lang, nakita ko rin na sa paglipas ng panahon, mas nagiging minority yung galaw ko. Maliit ’yung iniikutan ko…Nakita ko na nasa isang community na may parehong (pag-iisip) lang ako,” kuwento pa ni Bobby.
“Ang mahalaga kasi makapasok ka sa malaking pulong o malaking grupo o malaking komunidad at mas maihahayag mo talaga ’yung gusto mong sabihin sa tao,” dagdag niya.
Matalas ang kanyang pagpuna sa naging takbo ng punk rock sa paglipas ng panahon. Isa isa niyang binangga ang pagsasala ng corporate world sa musika hanggang sa repleksiyon nito sa pang-araw-araw na pamumuhay na tao. “Nagtagal-tagal, may pera diyan kaya papasok na ang negosyo.”
Sanay sa hirap ang kanyang banda, ani Bobby, at hindi tulad ng ilang mayayamang musikero. “Iyang mayayaman na iyan, kalokohan na walang pakialam iyan,” aniya. Kasi raw, “nagsisiuwian sa bahay nila e. Kami, kung saan-saan kami napapadpad; si Alfred, titira sa akin ng anim na buwan. Ako titira ako kay Alfred ng anim na buwan.”
Hindi dapat kalimutan?
Karakter man ng punk rock ang hindi pagsunod sa nakagawiang kultura, hindi na nito problema, kasama na rin ang tunay na pangkista, ang pagsakay sa uso. “Mapapansin mo ’yung musika na ginawa namin, wala lagi sa panahon. Sa paglipas ng panahon, dun pa lang nila naiintindihan yung trabaho (namin).”
At sa tinaguriang emo (emotional rock) ng kasalukuyang panahon? “Umulit lang yan,” ani Bobby, na pinansin na isang aktitud ng pangkista ang pagiging “emo.” “Nire-relish lang nila ’yung nakaraan. May tinatawag pa nga silang new school ng punk. Kalokohan iyan. Hindi mabubuhay ’yung new school na punk – ang problema hindi na totoo yung punk kasi nagiging tradisyon na siya. Inulit mo na lang kahit tapos na yung scene pero negoyso na lang.”
Ang mensahe umano ng musika ang pinakamahalaga, pangkista man o hindi. “Mahalaga sa akin kasi siya yung huhubog sa kultura ay siya ang huhubog ng lipunan. Siya ang huhubog ng mga tao. Pag sinabi mong artista ka, pumapabor ka sa sining na mapapakinabangan talaga ng tao. Hindi yung tinatawag na sining na pinakikinabangan ng iba na kikita sila (business oriented).”
Padayon sa daloy ng panahon
Sa ngayon, abala ang banda sa pagtatapos ng kanilang bagong studio album. Dahon ni Juan ang kanilang ibinigay na pangalan. ”Ang philosophy behind that (album), lahat ng kuwento lahat ng istorya, matatapos. So lahat ng libro, may ending sa dulo.”
Kasama ng tatlo si Dennis Fabunan, anak ng bahista ng dating bandang Maria Cafra. Tatayong gitarista si Alfred tulad ng ginawa nilang setup sa pagbubuo ng dalawang naunang album ng banda (ang Gera at Nakaupo sa Puso). “Pero hindi siya (Alfred) kasama dito kasi ang plano namin ay dalawang volume ’yung album,” dugtong ni Bobby.
Siniguro niyang may mahalagang laman ang mabubuong album. “Parang pahina ni Juan, may isang karakter,” ani Bobby.
“Hindi siya katulad noong unang panahon na albums na ginawa ko. Tatawagin kong mas revolutionary iyon kasi naging walang pakialam yung paggalaw ng pagsulat ng tula. Hindi kaparis noon, masyado akong partikular. Binasag ko ’yung ruling kasi nawalan na ako ng kuwenta sa mga nangyayari. Protesta ito tulad ng panahong ng dadaismo, protest siya sa makinis na art. So parang punk rock protest rin ito. Kaya lang mas mabait yung tunog ngayon; hindi siya pounding,” paliwanag pa ni Bobby.
Inaasahan niya na ang album, na pinunan niya ng isyung hinugot na niya sa pakikisalimuha sa lipunan, ay mag-aambag sa panibagong rebolusyong pangkultura sa lipunan.
Higit pa sa mga nauuso’t sumisikat na musika, higit pa sa rakenrol o punk rock, inihahayag ng The Wuds ang mga mensaheng dapat malaman at dapat ipaglaban.
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http://www.pinoyweekly.org/cms/2008/07/bobby-balingit-ng-the-wuds-walang-paglilimot-sa-lipunan |
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| Edmond 'Bosyo' Fortuno |
[Feb. 17th, 2009|11:22 am] |
The story of this legendary drummer is practically the history of Pinoy Rock itself. His wild, manic, almost chaotic style (like that of "Animal" in "The Muppet Show", for Gen-X'ers) was at once unique and compelling, and he was one drummer who always gave it his all, for every performance, no matter if there were 10 people in the audience or 10,000.
Born to a drummer/big band leader father (Ramon Fortuno), Edmund began playing drums seriously while still quite young. He first began sitting in on big band sessions at age 13. His first group was a Motown-style quintet called The Swooners (or sometimes, "D' Swooners"), formed in 1964, when he was 15. They had a million-seller called "Sonata of Love" in 1965, which was popularized by Eddie Ilarde on his radio program "Kahapon Lamang".
The Swooners toured Hong Kong and found success there as well. There were several feature articles on the band in the Manila and Hong Kong papers of the time, with photos of the (then) angelic-looking Edmund, in a Beatles-style Nehru jacket, with the rest of the band.
In 1966, as the psychedelic Age of Aquarius dawned, Edmund split for Japan with a multi-ethnic band called Foodbrain. His bandmates were Hong Kong Chinese and Japanese, and the band had some success in Japan.
Speaking of the Age of Aquarius, Edmund's Foodbrain fame landed him the drum stool in the Japanese version of Hair (the musical), which, despite an imported cast, was sung entirely in Japanese.
Edmund had met Joey "Pepe" Smith in, of all places, Vietnam, back in 1965. They were both journeymen musicians, playing for US troops. When Edmund returned from Japan five years later, their reunion resulted in one of the most notorious partnerships in Pinoy music history.
The Juan dela Cruz band was founded by Edmund and Mike Hanopol. The original personnel were Edmund on drums, Mike on bass, Bo Razon on guitar (later of T. Tinio, and today Afro-Cuban beat master), Bing Labrador on keyboards (later of Anakbayan), and Alex Cruz on saxophone. It was Edmund who came up with the name. His reasoning was, they wanted to make rock for the common man, so they should name the band after the common man. It is interesting to compare this with the later name "Anakbayan", which Edmund also came up with.
It was not until a year later that Bo was replaced by Wally Gonzales, and then, the notorious Joey "Pepe" Smith joined the band.
Pepe was already a drummer of some repute (his previous group was the Airwaves), but he joined Juan dela Cruz as a front man. Initially, he did vocals, but as time went on, he began to sit in on drums more and more. He and Edmund became quite close. This was the period when Edmund acquired the nickname "Bosyo", to Pepe's "Kalabog", after the inseparable komiks duo, one of whom was tall, the other short, like Pepe and Edmund.
This era, from roughly 1970 to 1973, was the golden age of Juan dela Cruz, and thus, of Pinoy Rock. Almost all their major hits were cranked out during this period, and Bosyo was the drummer on many of them. They also gained acclaim as the backing band for the smash hit Manila productions of "Hair" at the UP, and"Jesus Christ Superstar" at the CCP.
Eventually, Edmund decided the time had come to leave the Juan dela Cruz drum stool to Pepe and strike out on his own. So in 1971, he went off and formed Anakbayan.
Meanwhile, 1974 brought the first breakup of Juan dela Cruz, although some of the members kept on touring. Eventually, they all had a dispute with Dodie Gonzales, their manager, and the brother of Wally. However, Dodie owned the rights to the name Juan dela Cruz. So Mike and company (essentially the original band) got Bo Razon back and renamed themselves "T.Tinio", which, although it sounds like it was meant to be an insult to Wally and Dodie (and no one believed it wasn't), was actually from a Pampanggo manager they had had, named Teodoro Tinio, insists Mike to this day.
AnakBayan had several hits, among them the heavy "Probinsyana" and "Jeepney Rock", and the haunting ballad "Habang Buhay". But the band petered out by 1976.
It was, in fact, not until 1978 and the band's comeback (under the auspices of Sampaguita, who they backed), that Anakbayan had the monster hit "Pagbabalik ng Kuwago", which remains perhaps the foremost ur-metal anthem among even today's kids. This is thanks to a number of covers by contemporary bands emulating Bosyo's earthshaking beat and Gary Perez's immortal riffs.
Kuwago tends to overshadow its own B-side (yes, it was a vinyl record), the intricate "Sirang Plaka", which hardly anyone remembers today, but which was just as massive back then. In the meantime, many of Sampaguita's hits were propelled by Bosyo's considerable energy and steady backbeat.
But by 1979, Pinoy Rock as we knew it finally died, smothered under the weight of its own glitter, and Bosyo turned his considerable talents (and, by this time, name) to jazz. He had started playing session for Eddie Katindig in '77, and '79 found him backing Bong Penera as well.
Bosyo always remembered 1980 most fondly, as it was the year he got to play alongside one of his own musical idols. He was handpicked by Chuck Berry himself to back him at the Folk Arts Theater on his tour of Manila. A framed photo of Berry duckwalking, grinning at a manic Bosyo, occupies a prominent spot in the Fortuno living room.
Mainstream rock began to reawaken with the Manila Band in 1981, where Bosyo's solid rhythm wall with Cash Manalang on bass took the tiny but always packed Calesa Bar by storm. The Manila Band played largely covers of US and British music, but it drew an enthusiastic rock audience, which at the time was almost unknown.
In '83, Edmund once again formed his own band, Vozio, managing to reinvent himself to a whole new generation of listeners at Mayric's and Red Rocks, which would later evolve into Club Dredd. He was then invited into Coco Jam, and presided over their peak years from 84 to 86, when huge crowds thronged Mayric's and Kalye to skank to the reggae beat. Coco Jam lasted until the early 90's, but it was session work that kept Bosyo alive in those lean days of "fusion jazz", when every local guitarist was aping George Benson, and there simply wasn't room for the hard and heavy.
The Edmund Fortuno band was Bosyo's vehicle until '94, when his solo album spawned the hit "Suklayin Mo". Bosyo sat in with the Blue Rats while gigging at Hobbit House in 1995, and joined the band late that year.
In 1998-99, Edmund played at the Juan dela Cruz reunion concert and jammed with a temporarily re-formed Manila Band. But it was in December 1999 that perhaps the greatest recognition ever, finally came: Bosyo was made the newest Hall of Famer at the year-end NU Rock awards, joining Pepe Smith, Sampaguita and Clubb Dredd. He was now officially a legend.
Bosyo continued to play with the Blue Rats and other bands until suddenly, on February 18 this year, he was taken ill. He initially complained of weakness in his limbs. He thought, at the time, that it was something to do with his gouty arthritis, which had bothered him all his life. Not many people knew it, but Edmund's recurring arthritis occasionally made it very painful for him to play, but he would never miss a gig unless it was so serious that he literally could not move his hands.
By the next day, Feb 19, he began to run a very high fever, and was rushed to the San Juan de Dios hospital. The day after that, he lapsed into unconsciousness, and was diagnosed as suffering from bacterial meningitis.
He awoke briefly the following weekend, and appeared to be making progress, although he was still unable to speak, but he lapsed back into unconsciousness. He passed away few days later, at 4 pm on March 2nd.
Edmund is survived by his wife, Emmy, a son, Moon, in his early teens, who also plays the drums, a daughter, Abby, in her 20's, a registered nurse. and his mother, Rosa. He has a brother, Ding, also a musician, working abroad, and a sister, Nora.
©1999 by Rafael A. S. G. Ongpin, all rights reserved
Please do not reprint this article, or substantial portions of it, without attribution.
This article was based on interviews with Edmund Fortuno in 1999. |
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| Chronicles of Pinoy punk (1976-1990) |
[Feb. 2nd, 2009|11:58 am] |
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--
1976
A new form of music and lifestyle takes the American and British underground scenes by storm. Punk was born.
1977
Time magazine ran a two-page cover story on “Punk Rock’s Primal Scream” on its July 11 issue entitled “Anthems of the Blank Generation”. The article popularized the term “New Wave” as punk developed into a musical and cultural phenomenon worldwide, overshadowed only by disco’s peak of popularity then. Manila becomes curious.
1978
A wave of wealthy teenage Pinoy expatriates brings punk to Philippine shores from Britain. Filipino punkdom, however, would derive most of its features from punk fanzines from the U.S.
DZRJ-810 AM, the “Rock of Manila”, radio jock Dante “Howlin’ Dave” David introduces punk rock to stunned Manila listeners via the Sex Pistols’ “Anarchy in the U.K.”.
RJ also got the rights to air BBC-London’s “Rockline” which regularly featured the music of the Sex Pistols, The Clash, and the Boomtown Rats among others. The awareness becomes apparent.
1979
Among the biggest hits of the year were The Knack’s “My Sharona”, Blondie’s “Heart of Glass”, and M’s “Pop Muzik”. Dyna Products, then the local distributor of A & M Records, released The Police’s debut album “Outlandos D’ Amour”.
Top 40 radio station DWRT-99.5 FM, which mainly caters to the so-called “A-B crowd”, included The Police’s “Roxanne” on its playlist.
1980
On Disco, a small but progressive joint along Roxas Blvd., opened its “New Wave Nights” during weekends. It played punk and new wave and initially featured Joey “Pepe” Smith of the Juan Dela Cruz Band as regular live performer. Habitués were required to dress up in “new wave gear”. Punk buttons were sold at 10 pesos each.
The Jerks, a five-member group led by former folk singer Chicoy Pura, replaced Joey “Pepe” Smith (whose asking price became too exorbitant) as On’s regular performer and became Pinoy punk’s first major discovery.
Local rock queen Sampaguita went new wave with her second LP “Sampaguita Vol. II” (released by Dyna) which featured the hit “I’m Behind You” and three more others
1981
Pabs Dadivas, whose solo pop career enjoyed a brief resurgence, was heckled and jeered during a guest stint at On Disco. His manager and bodyguards later mauled lead singer Chicoy Pura of The Jerks in disgust.
Two original songs by The Jerks, “Romantic Kill” and “Big Deal”, received extensive airplay over DZRJ’s “Pinoy Rock & Rhythm” program.
Manila is treated to more punk and new wave releases from the Sex Pistols, Ramones, XTC, The Cars, The B-52’s, Devo, The Police, Joe Jackson, Elvis Costello, and The Clash.
Channel 9’s noontime TV show Eat Bulaga launched “Punk Rock Philippines”, a dance contest participated in by weird-dressed couples. Howlin’ Dave and wife Delilah were among the judges during its grand finals.
“Breaking Glass”, a punk movie starring Hazel O’Connor, was shown in Metro Manila.
Jingle magazine, the most respected music rag in the country at that time, started a series of coverages on the growing punk scene in Manila. The Jerks were the first to be featured.
The very first Brave New World concert was organized at the conservative Philippine Trade Exhibits grounds (Philtrade). It saw the debut of Chaos, a teenage punk quartet led by concert organizer Tommy Tanchanco. “Music is just part of the punk lifestyle. What bothered me was that bands were just copying foreign pop music... I got bands to submit original music. They could only play at the concert if they did, so they were forced to write.” -- explained guitarist Tommy. The BNW Movement was born.
1982
Student Canteen, Channel 7’s noontime TV show, organized “Rock Explo”, a contest for rock bands judged on its grand finals by the visiting Little River Band. The Jerks made it as finalist of the said contest.
New wave flicks like “Liquid Sky”, “Brimstone and Treacle”, and “Pink Floyd: The Wall” were shown during the “Manila International Film Festival” at the CCP Complex.
“Brave New World Part 2” took place at U.P. Los Baños.
On Disco cancelled its “New Wave Nights”.
1983
Punks were talking about “The Tribes of Britain”, a seven-page cover story on Time magazine’s October 24 issue about the latest fashion trends and lifestyles in England.
More BNW concerts were organized as more local punk and new wave talents emerged, the most noted of which were The Zoo, College, The Lost Boys, and Private Stock.
Local punks became more creative. They designed their own clothes and made their own gear, including their own punk buttons. D.I.Y. (do-it-yourself) punk was born.
English hairstylist Stephen Bradley established Public Image, an expensive hair salon in Manila specializing in punk haircuts.
Punk and new wave classics like “Times Square”, “The Rocky Horror Show”, and “Quadrophenia” were shown at the Manila Film Center.
The Zoo, renamed Ocean Zoo, released “Animal Party”, a 7” four-song EP under their own Insect Dance label. It became a first of sorts in the local indie recording industry.
College was banned by radio station DZRJ from further airplay after the group smashed a car’s windshield during a concert at the station’s parking lot. “We don’t read the news, we make it!” -- retorted a drunken Arnold Morales, the band’s lead singer and a U.E. music conservatory dropout. At that time, their song “Manila Girl” was the most requested by the station’s listeners. The same song would become popular in the 90s via Arnold’s ska outfit Put3Ska.
RCA-Vicor recorded Chaos’ “We Are the One” and “Quitter” as a single release, and filmed a music video of both songs after that.
Formed in “BNW Part 5” and dubbed the “fastest band in the land”, Betrayed -- a quartet composed of U.P. jocks -- introduced hardcore to euphoric punk concert goers as gigs became more violent than ever.
College guitarist Enggol “Sid Bukol” survives a stabbing incident at Quezon City.
Nito Palacio, formerly of Aunt Irma, recorded a demo tape of synthesized music for DZRJ’s “Pinoy Rock & Rhythm” program under the name “Integrated Circuit”. The song, “Rollers on Her Hair”, became a DZRJ classic and Nito earned the moniker “Mr. Chips”. 90s hard rock group Rizal Underground would later popularize the song. “Warning! Psychologist Sigmund Freud himself said: I should define this cassette tape as a piece of fiction that has unity of expression and that can be listened upon by children below 20 years of age so that they may learn to speak faster, to write faster, to read faster, and to listen faster.” -- would be Nito’s intro on TRC-09 three years hence.
College disbanded. Arnold Morales founded an Oi!/punk outfit called the Urban Bandits, guitarist Enggol formed the Sex Militants with Chiloy on vocals.
Home-coming senator, Ninoy Aquino, was shot dead upon his arrival at the Manila International Airport by alleged minions of then incumbent president, Ferdinand Marcos. Pinoys became furious [rather short-lived though]. The Urban Bandits paid their respects to the dead solon via their song “Do You Rebel Rebel” with the chorus lines: “And I know why... (N-I-NO-Y) Oi! Oi!”.
Wuds, formerly spelled Woods, makes their debut as a transcendental punk rock band (with folk rock as their roots) at “BNW Part 6” and at the second “Punk for Peace: Neighborhood Concert” at Singalong. Newly formed acts like the Urban Bandits, Sex Militants, Dead Beat, Vex, Black Signals, Living Entity, 52 Busy Streets, and others supported the concert. The trio would eventually survive the 90s’ onslaught and continue to make music, first on folksinger Heber Bartolome’s controversial Akasha Records (“At Nakalimutan ang Diyos”) then on a major label.
1984
Now it is 1984...punks organized themselves into regional or area tribes (or armies) with names like the Two-Tones, Slabs (short for Salabusabs), Mess, Nazi-Haters, Wasted Youth, Exploited, Criminals, Dead Paranoids, Rebels (Philippine Rebellious Youth), Abnormals, Hazards, S.A.D. Army (Search And Destroy), and many others, each supporting a certain band or musical style.
Urban Bandit Arnold Morales chased a startled heckler with his stainless switchblade during the “Rock of the 80s” concert at Trinity College. Arnold would later be remembered as the rude singer who had a repertoire of stock phrases and who wore red socks on stage just when the government was cracking down on suspected commies.
Dyna signed Chaos to an unprecedented five-year contract under the Tower label. “Anyway it’s just a piece of paper for us.” -- was Chaos’ say on the deal. The group released their first and only album “New Move for Error” under the name Third World Chaos [I wonder if Brazilian gods Sepultura bought themselves a copy]. The LP suffered from poor promotion and minimal radio exposure, thus finding its way into the bargain bins of record stores.
Dead Ends debuts as a HC trio at the “Crappy Halloween” concert organized by the promoters of BNW at the Pasay City Sports Complex. Fronted by high school English teacher Al Dimalanta and younger brother Jay, Dead Ends was the Philippines’ answer to the Dead Kennedys. And though they started out as a heavy metal band (Traffic Jam) practicing in their home studio in Navotas, their lyrics were probably the most thought-out in the scene. “We play punk rock but we aren’t punks, punks are petty hoodlums.” -- Al would point out.
Likewise, the Philippine Violators (Young Offenders at first) made their debut at the “Oi! Wednesday” concert somewhere in Caloocan. Like Dead Ends, PV was fronted by the brotherly tandem of Bong Espiritu on mikes and the younger Jesus “Rotten” on guitars. “School is a place where you must do what you are told and no questions asked, as if you’re some kind of slave.” -- Jesus Rotten on education. And like Wuds, PV would carry on into the next decade. The Espiritu brothers would later establish an underground record label in the 90s called R.M.D. (Rare Music Distributor) and help many local bands in the UG scene before the quartet finally signed up to a major.
Softdrinks giant Pepsi Cola sponsors a punk band contest in Channel 4’s noontime TV show Ito Yun Ang Galing. New wave band Ethnic Faces (formerly Ocean Zoo) won the grand prize. The Runaway Boys, a rockabilly group, and pop outfit Slyk emerged as runners-up. Other finalists included Betrayed and Wuds. Dead Ends, failed to make it to the finals though.
The Jerks took their act to Olongapo City. Guitarist Jun Lopito, an avid fan of Keith Richards, insisted on an all-Rolling Stones repertoire.
So-called “punk parties” were organized in the plush outskirts of Forbes Park, Corinthian Gardens, and Valle Verde. The mobile disco business was born.
Punks declared war against preppies (also called “chongs” or new wavers) and breakdancers (rappers), and vice versa. The Glorietta in Makati became the most frequent battlefield.
Tommy Tanchanco of Chaos forms Paralyzed Body Inc., an indie entrepreneurial company. Twisted Red Cross, an underground cassette label, was his first business venture. Recorded at AD & AD Recording Studio, TRC’s first release “Rescue Ladders & Human Barricade” was a compilation of sample recordings from the Urban Bandits, Wuds, Betrayed, Dead Beat, Private Stock, Sex Militants, and Public Scandal. The tape, TRC-01, was formally launched at the Glorietta the following year.
Wuds, obsessed with the Hare Krishna religion, began their “Punks for Peace” campaign. They sponsored a couple of small gigs at their home turf like the “Soldier’s Feast for Peace”, their third neighborhood concert. “We write songs to simply raise the consciousness of every individual because material things won’t make them happy. It’s more on spirituality.” -- comments Bobby Balingit, Wuds frontman. Punk vegetarianism and straightedge were born.
Aloy, a member of the Slabs tribe, attacked Betrayed guitarist Buddy Trinidad with a padlock during a slamdancing spree at “BNW Part 8” at Philtrade. Buddy’s friends came to his rescue and almost mauled the poor Slab to death in return.
Converse hi-cut Chuck Taylor colored sneakers became the official shoes of Pinoy punks. Oftentimes, colors were worn mismatched.
Shortly after the conclusion of the “Pepsi Punk Band Contest”, Howlin’ Dave talked Pepsi Cola into organizing a 36-day daily punk concert at the Folk Arts Theater grounds, then called the “Pepsi Fun City”. The affair lasted for barely a week though because of too much violence.
Punk buttons, whether imported or homemade, became a prerequisite for the local punk attire. Likewise, spiked and studded wristbands also became essential to the post-Jerks punks.
A locally produced film, “The Punks”, starring the popular love team of Rey “PJ” Abellana and Leni Santos flopped at the box office. Punks believed it was due to its wrong interpretation of the local underground scene.
The original Betrayed disbanded. Bass player Chris Carrere and vocalist-founder Eddie “Tokwa” Siojo left for the U.S. for good. Speedy Eddie would later make a comeback in the 90s and reform Betrayed, this time as a half-American, half-Pinoy hard rock quartet and release an album on a major.
Ray “Decay” forms T.R.A.S.H. (Total Rebellion Against Society’s Hypocrites, their song “Teenage Anger” was the inspiration for my zine, okay) with Noel Luczon on vocals, Neil on guitars, and Tammy on drums, while somewhere in Navotas George “Imbecile” Cruz founds Girls. “It’s the music that binds us. Remember when the Beatles came the music was so fast people didn’t know how to deal with it? But it’s not only in the speed but in the lyrics. Our music appeals to the psychology of kids who want to be different, who don’t want to look like anybody.” -- remarks the not so stupid George Imbecile.
1985
Punk becomes a profitable business for T-shirt and RTW manufacturers based in Cartimar, Recto. Shops like Shambhu [no, not shabu], Khumbmela, Hard Stuff, Arte Linea, and High Adventure among others made a killing in selling punk and new wave gear and clothing. Likewise, the stairways of Tandem Cinema became the favorite hangout of punks and hardcores, and the nearby Dapitan Sports Complex, the favorite concert place. The coming of the 90s, however, saw these shops closing down and going out of business, and the stairs of Tandem, vandalized and deserted.
Imported vinyls and cassettes of locally unreleased punk and new wave albums, as well as their pirated pre-recorded counterparts, proliferated in the underground market. The most notable distros then were A2Z Records along Anonas St., Q.C. and Third Mind Rare Tapes. Tape piracy was born.
DWXB-102 FM, the “Capital Radio”, became the “station that dares to be different”. Located along Donada St. in Pasay City, “102 Music” to the station’s listeners meant the music of New Order, Joy Division, The Cure, the Sex Pistols, The Clash, and occasionally Betrayed, Urban Bandits, and Private Stock.
DZRJ (both AM & FM) stopped programming punk and new wave in the air, thanks to the RJ himself. DJ Howlin’ Dave distanced himself farther from the punk scene and had a bitter falling-out with TRC’s Tommy Tanchanco, reasoning that “music has to move on”. Whatever the reasons, the only album-oriented station in the air (as opposed to the prevailing singles-oriented format of other radio stations) had finally signed off.
Betrayed reformed. This time with a new-lineup: Dominic “Papadom” Gamboa (of Absolute Zero) on vocals, Boyet Miguel (of Ethnic Faces) on bass, and Manny “A.J. Peanuts” Pagsuyuin (of Ironic Trauma) on drums (a.k.a. DJ “Jimmy Jam” in the 90s). Only Buddy Trinidad on guitars was a remnant of the original Betrayed.
The Jerks disbanded. Chicoy Pura forms Triad. Chaos changed their name to Excommunicate. Genocide, The N.E.X.T. (Not Exactly Hardcore Type, which released their 90s debut “Talamak”), and R.D.A. (Rapid Deployment and Antidote then) were formed somewhere in the streets of Manila.
Rock critic and punk photographer Didits Gonzales organized weekly punk gigs at Katrina’s, a pub operated by his family at Mabini St., Malate. Slamdancing was allowed during “hardcore Saturday nights” but only when a “referee” was around. Entrance fee was pegged at 10 pesos per punk. Betrayed and Private Stock were the first to play.
The Matimyas rooftop concert series was organized by the promoters of BNW as more punk groups like George Imbecile & The Idiots (formerly Girls), with a new vocalist by the name of Jun “Idiot” Ortega, and the Philippine Violators were discovered.
Twisted Red Cross released more UG cassettes: “Brave New World Live! Part 3” featuring the live acts of Betrayed, Wuds, TRASH, Sex Militants, Dead Ends, Dead Beat, Urban Bandits, Private Stock, Public Scandal, Excommunicate, Ethnic Faces, and rockabilly group Zoot Suit at “BNW Parts 8 & 9”; Dead Ends’ debut “Complaints” (which was bankrolled by Al’s pop, “Daddy McLaren”); Urban Bandits’ debut “Independence Day”; Wuds’ debut “A.R.M.S.T.A.L.K.” (or Armies’ Reunion for Modern-age Service and Training in Attainment of Love and Knowledge, pheeew!) which they re-issued in the 90s as “Oplan Kahon” under their own Criminal Records; and the “Rescue Ladders & Human Barricade” second compilation, “Fatal Response”, featuring Dead Ends, G.I. & The Idiots, Wuds, Urban Bandits, and Zoot Suit. The tapes, mixed and recorded at Jim Sarthou’s Studio Z, were sold cheap at 33 pesos each and generally have poor sound quality. The tapes’ cool cassette liners were designed by Dodong Viray (now with the Racket Music Group). Lyrics sheets were also provided to enable the listeners to relate to words uttered in a rapid half-yelp, half-bark, half-scream. The bands, with producer Tommy, also dropped by mainstream TV shows like the Big, Big Show and Eat Bulaga to promote their cassettes to the public.
Betrayed released their long-awaited self-titled debut under the DMZ label. It was the fastest selling indie recording at that time. Shortly after that, guitarist Buddy Trinidad sold all his equipment and vinyls and left for the U.S. indefinitely, to work as a cook or spinner I think.
Rock Ola, a dance club along Vito Cruz, became the hottest hangout of punk and new music lovers all over Manila until it decided to jack up its entrance fee. The chong place eventually closed down as expected.
Arnold Morales brought a golf club with him during an Urban Bandits guest stint at Channel 7’s TV show Discorama. When interviewed on the spot, Arnold said he uses the golf club to “smash the heads of assholes that are against the local punk movement”.
CMT combat boots replaced Converse colored sneakers as the official shoes of Pinoy punks. Tie-dyed jeans were also the “in-thing” with punks. The more financially gifted and more resourceful ones began displaying their Doc Martens safety shoes and one-inch-soled Creepers (mostly made-to-order at some of Recto’s veteran shoemakers like Glenmore) as part of their so-called “Type A” get-up. Bandage pants and surplus military gear were also a common sight among updated punks.
The last BNW concert took place at Philtrade for two successive weekends. It marked the end of an era.
Arnold Morales forms Y.S.M. (Youth Solidarity Movement) after the sudden inactivity of the BNW Movement. YSM aimed to continue what BNW had begun: to organize more punk gigs and to support small and lesser known underground bands. Jun Tisoi later took over the helms of YSM when the 80s came to an end.
1986
A four-day “revolution”, no, make that an uprising [better yet, a fiesta] at EDSA overthrew the 20-year old puppet government of Ferdinand Marcos (see G.I. & The Idiots’ classic “The Flag”) from power and installed the new puppet government of Cory Aquino. Punks couldn’t care less [I mean, who the hell cares].
Katrina’s pub closed down. The punk movement needed something to keep it alive and kicking.
DWXB was sequestered by the new government’s Presidential Commission on Good[?] Government. Normal operations, however, resumed on a voluntary basis. Still, the station managed to discover local talents playing new music like The Dawn and Identity Crisis, and was still able to organize a couple of new wave parties.
Chaos plays their last gig at Rock Ola (just when the club re-opened its doors) and called it quits indefinitely. Likewise, Ray Decay disbands TRASH and forms Deceased with Bubboi “The Bones” on bass and Jun “Bandit” on drums. TRASH drummer Tammy and vocalist Noel “Flashback” would unfortunately waste away on drugs. Noel was later sent to the U.S. by his parents while Tammy would eventually overdose and commit suicide with his girlfriend (a la Sid & Nancy) at a motel room early in the 90s.
More TRC releases, including the re-issue of Betrayed’s debut, invaded the underground market. Among them were Dead Ends’ second effort “Second Coming”, G.I. & The Idiots’ debut “Fascinating World of Garbage”; the last “Rescue Ladders & Human Barricade” compilation “3rd Bombardment” which featured the Phil. Violators, Private Stock, Deceased, R.D.A., Chaos, Betrayed, Collision, and I.O.V. (Intoxication Of Violence); and “Katrina’s Live! (Tamana Away!!!)” recorded live during the last gig at the said pub featuring Betrayed, Wuds, G.I. & The Idiots, and Private Stock.
Private Stock, the rockabilly/mod group who wore their schoolboy uniforms on stage, released their debut “Hype’s Cool!” under Payola Records, an indie label put up by then Jingle writer Butch Maniego [yup, that P.B.A. guy now] to bankroll his younger brother’s, guitarist Mel, album.
The cult film “Sid & Nancy: Love Kills” was shown in some of Manila’s moviehouses.
More than 700 punks, mistaken for drug addicts, were rounded up by the police during the concert “Suicide: The Only Alternative” at U.E.-Recto while G.I. & The Idiots was playing. The incident made headlines in such broadsheets as the Philippine Daily Inquirer and tabloids like the People’s Journal. The drug charges were later dropped by the cops due to lack of sufficient evidence. “Well, what were the police supposed to think? All these people in black, slamdancing, the music. Many people don’t understand us, even some people in the movement itself.” -- George Imbecile on the arrest.
Former Absolute Zero bass player Je Bautista joins Betrayed replacing Bong “Fluoride” who suddenly did a disappearing act.
An uninvited Betrayed jammed at a chong concert at the ULTRA. Lead singer Dominic Gamboa smashed two microphones in excitement, and was beaten up in “excitement”. Dominic was later charged with destruction of property by the concert organizers. He countered by threatening to file charges of serious physical injuries. Case settled.
Violence erupted from slamdancing during a guest performance of Betrayed at the recognition night of the “1st Independent Film and Video Festival” at the Wave Cinema in Cubao. Mowelfund director Lamberto Avellana, who was present at that time, was culture-shocked and utterly disgusted with what happened.
Triad disbands. Lead singer Chicoy Pura returns to folk singing and reforms The Jerks in Olongapo City with a new line-up. Though a pioneer in the scene and probably the most influential group, it wasn’t until the late 90s that The Jerks was finally able to cut an album. First, a live recording during a gig at Mayrics pub on activist Gary Granada’s indie Backdoor Records, then later their debut album on a major label long after the other bands (whether punk or not) that they’ve influenced have released theirs. On the other hand, guitarist Jun Lopito (and wife) enters a drug rehabilitation center to detoxify. The guitarist would eventually become a Buddhist and play his instrument again with the coming of the new age.
Allan, a skinhead punk, was found brutally murdered, allegedly by cops, in one of Manila’s slums. TRC-11 was dedicated in the memory of the slain tribesman.
1987
The Urban Bandits disbanded. Arnold Morales formed Music Front with former bandmate Fur on bass, ex-Zoot Suit Rainier on guitars, and ex-Sex Militants Chiloy on drums. “We’re not a band, we’re modern newscasters.” -- Arnold on his previous band. Not longg after, the group also disbanded and Arnold suddenly found himself singing in an opera [at least for a while].
Betrayed played their last gig at the “World Annihilation” concert at Ortañez University and called it quits permanently. Vocalist Dominic Gamboa, a prime mover of the International Music Workers Union and the War Resisters League then, founded the first generation of reggae group Tropical Depression. The line-up consisted of The Jerks’ Chicoy Pura on guitars, ex-Betrayed Je Bautista on bass, and ex-Dead Ends Harley Alarcon on drums. The same group later formed a ska outfit called the SkaVengers for fun. SkaLawags, another pioneer ska band, also graced the scene. Ska would eventually gain more local adherents in the 90s, particularly its bastard child “ska-punk”, thanks to its American proponents like Operation Ivy and the rest of the “California sunshine” punks.
Smile Plenty, an experimental noise outfit, was formed. Within time, noisecore/grindcore/splattercore would make its deafening presence felt in the underground, courtesy of some of Manila’s lesser talented bands and their utter lack of musicality.
Private Stock disbanded. The group resurfaced again in the 90s, as full-fledged dentists, and did a couple of club gigs before finally fading into oblivion.
DWXB closed down. Its DJs tried to organize a couple of new wave parties to save the beleaguered radio station, but to no avail. As a last-ditch effort, the station organized “The Final Countdown”, its farewell concert-party, at the CCP Complex and formed the “102 Club” as its lasting legacy to its listeners.
DWNU-107 FM, the “Home of New Rock”, and DWBM-105 FM, the “Power Station”, hit the new music airwaves. Though NU would carry on into the next decade’s alternative rock scene, BM wouldn’t be as lucky. Another radio station, Ed Formoso’s “Rock of the World” DWLA-105 FM, would shortly join NU on the air in the early 90s, though it too would suffer XB’s fate. Still, LA would be instrumental in the local punk scene’s growth even if some of its DJs blatantly pitted punks against hip-hoppers in a vain attempt to attract more listeners [really, what a cheap marketing ploy]. Said radio jocks also made an overkill on the term “alternative”.
The Philippine National Red Cross threatens to sue Tommy Tanchanco in court for using the international Red Cross symbol on his TRC products and tapes. Tommy, being the son of an influential ex-government minister, just brushed the threats aside.
G.I. & The Idiots drummer Louie “We Gotta Go” Guiang survives a stabbing incident at the “Self-Destruction” concert at Ortañez University.
Dead Ends, with G.I. & The Idiots, IOV, Genocide, and others, took their acts to Olongapo City. The gig, sponsored by Tropical Viruses, was marred by skateboard-bashing, bottle-throwing, several knifings, and good old fistfights. The concert eventually ended in total chaos and violence as Manila’s punks clashed with Olongapo’s punks. The tribal war between Manila’s punks and Olongapo’s punks had begun.
TRC released more UG cassettes: IOV’s debut “Another Destructive Century”, Dead Ends’ third album “Damned Nation”, RDA’s (now Reformed Destruction for Action) debut “Brave United in Trust”, and the Phil. Violators’ debut “At Large!”. All four bands would make a comeback in the 90s after some period of hibernation. Ex-IOV bassist Rady (minus vocalist Xeres, guitarist Gerri, and drummer Undo) would eventually join forces with vocalist Jun Idiot of G.I. & The Idiots (sans guitarist Benjie, bassist George, and drummer Louie) to form Hard Kulangot. GI would later reform and release their d.i.y. second album “Technology Eats the World” (under their Recycled Records & Tapes outfit), which contained the anthemic song “Spirit of the 80s (Where Have All the Tribes Gone)”. RDA would still be RDA and vocalist Ollie “Punk rock is the last revolution!” Malolos would still be the wasted punk that he is, with some members (guitarist Angelo, bassist Mandy, or drummer Ferdie, I’m not quite sure who) joining the local police force. PV would release two more indie albums under their RMD label, “State of Confusion” and “The Third Offense”, before landing on a major label. Dead Ends would pursue the thrash metal grind (a la Slayer) and self-produce their fourth and last album, “Mamatay sa Ingay”, with all songs sung in Tagalog (a Dead Ends’ first). Soon afterwards, bassist Jay Dimalanta would die in his sleep, marking the end of DE’s career.
TRC tapes also found their way into the review section of Maximum Rock ‘N’ Roll, the U.S.’ (and probably the world’s) longest-running punk fanzine. Local punk bands couldn’t be any prouder.
Punk fanzine Herald X hit the newsstands. Sold at 20 pesos and published by Tommy Tanchanco and friends, HX became known as the “alternative music read” for the country’s bored generation. Published in newsprint, it became a first of sorts in the local d.i.y. publishing industry and immediately became the official paper of the local underground movement.
A short experimental film, “Generation Loss”, made it as entry to the “1987 CCP Short Film and Video Festival”. The punk film’s soundtrack featured the music of the Urban Bandits, Dead Ends, Betrayed, Dead Beat, and Wuds.
The Catholic Church and other religious groups, with the help of the country’s leading print and broadcast media, discredited the local punk scene and branded hardcore as satanic. Rumors and black propaganda falsely accusing punk tribes as satanic cults roaming Manila’s streets and stalking elementary schools to look for human sacrifice [as in eating children’s hearts and all that shit] struck the scene. “Satanism” became the main course in most talk shows (TV and radio) and made newspaper headlines, and made punk their favorite whipping boy. In response, some punks reluctantly forbade the wearing of black clothing for a time until the hubbub and rumors died down. “How can we be Satanists when some of us don’t even believe in a god?” -- blurted one devout punkster.
Herald X came out with an exposé on the satanist-cult scare menacing Manila. The article exposed the public fear as nothing but the top secret works of the U.S. government’s Central Intelligence Agency in the Philippines as part of its Low-Intensity Conflict program on third world countries hostile to its foreign policies. With the blessings of the Aquino puppet regime, the rumors were concocted to divert the public’s attention from the bloody Mendiola massacre that happened right in front of Malacañang Palace early in the year, and also to silence the peasant movement’s growing clamor for genuine land reform in a predominantly landlord-class bureaucracy (the President herself is one). The massacre was foretold by the Urban Bandits in their song “Battle of Mendiola”, and RDA in “Violent Dispersal”.
Punks celebrated the yuletide at the “Merry Christmess” gig at U.P. The concert was a mess as expected as punk bands thrashed the instruments, scaring the shit out of new wave groups who never got to play.
1988
Asia magazine ran a one-page cover story about the Philippine punk scene with the title “Punk’s Alive and Well” on its September 4 issue. “Punks believe in anarchy. We believe in self-rule, whether what we do conforms or does not conform with the system.” -- Tommy Tanchanco interviewed.
Crossover, a mix of hardcore and heavy metal, slowly invaded the punk scene as more metal acts, particularly thrash, emerged from the UG. Skate rock or “skate punk” also became popular as more and more punks were getting into skateboarding, headbanging and the mosh pit (the pogo’s “more energetic” version). Pinoy thrashers were born. Crossover would eventually evolve in the 90s as crust and reclaim Sampaloc’s downtown area.
Friday The 13th, D.F.A. (Death From Above), A.O.D. (Agony Of Destruction), M.A.D. (Mutual Assured Destruction), V.O.D. (Valley Of Death), Discant X, Tribulation, Mere Mercy (which sold out to shitty new wave), and other new thrash/crossover acts emerged from their respective garages.
Foxcore [no, not FoxPro] or “femcore” and the riot grrrls movement (yup, even before 1991) also made their presence felt with female-led bands like the Tribunals, Suicidal Syndrome, and Fatal Disguise who got into the scene.
In Laguna, the hardcore crew (New York style) of Biofeedback was formed. BFK would eventually pave the way for the development of NYHC (both old school and new school) in the scene, particularly far south. BFK’s only album “Hardtimes”, under the d.i.y. Mutilated Noise label, was released in the mid-90s and was a ground-breaking achievement from the provincial scenesters.
Deceased’s debut cassette, “Never Rest in Peace”, was the lone release of TRC for the year as X-producer Tommy got more and more inactive in the punk scene. Recorded at Fullerton Audio, the tape was produced by George Imbecile of G.I. & The Idiots fame. Deceased would also pursue the thrash metal grind in the 90s (like Dead Ends) and self-produce their second album “Reborn”, under the Darkmoon label [awooo!].
Skate-contests-cum-concerts became the trend in many punk gigs like “Nightmare on Skatestreet”, “Aggression Session”, and others. Some notable gigs of the year that were either forcibly stopped by cops or ended in total violence were “Start the Conflict” at the Dapitan Sports Complex, “Glad to Be Alive” at the Y.M.C.A., “No Stopping Us” at Philam Homes, Q.C., and “A Twist in My Nerve” at Trinity College.
D.I.Y. fanzines, which were usually handwritten or typewritten [no computer shit yet] and then xeroxed, flooded the underground market after Herald X’s inactivity after only two issues. The most noted zines then were Garbage, Blatant Underground, Mutilated News, Anti, Manila Oi! Paper, Warewolf, Scrap, and Grrowll (which was the first local zine to feature foreign scene reports and bands) among others.
Chong magazine Score appeared on thick glossy paper. Sold at 35 pesos, it featured new wave and a little punk. It came out with only four issues before finally folding up.
Red Rocks, an alternative rock pub at Timog Avenue, Q.C. (Club Dredd’s predecessor) became the hottest hangout of punks, thrashers, and chongs alike when there were no major gigs around.
1989
The Duke of Charlez organized the “Rock Against Drugs” concert tour featuring thrash, crossover, and punk bands from the UG side by side chong/new wave groups. The tour started at U.P. and made the rounds of Manila’s universities.
Punk concerts became harder to get by as TRC released “Philippines: Where Do We Go From Here?”. TRC-19 was a punk-thrash compilation featuring the music of Discant X, Infernal Wrath, MAD, Banned, VOD, Death Threat (not that rap group), Fatal Disguise, Distorted Minds, and UdK. Produced by Benjie Sengson of GI, the compilation became TRC’s last as the “music that makes headlines” and the “tapes that tell the story” ceased to be. In fact, the question posed by the compilation’s title is in itself a sad statement on where the punk scene was heading. TRC tapes would later be re-issued in the mid-90s by the bands themselves after ending their long leave of absence.
Somewhere in Tondo’s slums, the country’s first death metal outfit was formed. Crematorium was born. This birth would mark the dawn of more sinister things to come in the local underground, particularly of the death/doom/black metal kind.
1990
Tommy Tanchanco, like Howlin’ Dave and the rest, left the scene for good and became the manager of chong band Introvoys [ha! what the...]. “It’s hard to respond when people ask, ‘Are you a punk?’. Some people think it’s all in the look, but it’s all in the attitude.” -- said Tommy [yeah, sure].
Bad Omen was founded by former Phil. Violators groupies. Bassist Jon Fishbone would soon establish an underground record label in the mid-90s called Middle Finger and, like PV’s RMD, help many struggling bands in the UG to express and unite themselves through its various compilation albums. MFP would eventually become the 90s’ answer to the 80s’ TRC.
As the 80s came to a close, many punk/hardcore bands either had to disband or lie low. Some groups pursued the thrash/death metal genre while others joined the core of future mainstream/ alternative acts. As for the average punk-on- the-street, some chose to grow their hair to chest-length and become headbangers while some decided to just cut their mohawks and spikes and live regular lives. Though some may have moved on and forgotten the whole underground scene which they’ve helped sustain, still, a few brave souls would remain to continue the struggle in the 90s and carry on with what the movement had earlier begun and stood for. Punk’s not dead!
Metal fanzine Bakal hit the newsstands. Punk and new wave were unofficially pronounced dead... but the revolution continues [this article, not to be continued].
----
*credits go to jay-tee of rakista.com, dahil dun ko nakuha itong article. dead link na kasi yung original source eh.*
link: http://www.rakista.com/viewtopic.php?f=995&t=367&st=0&sk=t&sd=a
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| mga pinakinggan ko netong 2008 |
[Dec. 31st, 2008|11:00 am] |
walang magawa eh.
<b>Top 10 albums para sa 2008:</b>
10. Oasis - Dig Out Your Soul.
Nagbabalik pagkatapos ng 3 taon na walang bagong album.
pakinggan: Falling Down, I'm Outta Time
9. Camerawalls - Pocketguide To The Otherworld
Naengganyo ko makinig ng rondalla dahil dito sa album na to. at nagbabalak bumili ng rondalla instruments.
pakinggan: Clinically Dead For 16 Hours, Solitary North Star
8. Marit Larsen - The Chase
guilty pleasure album para sa 2008. walang pakialamanan
pakinggan: Fuel, If A Song Could Get Me You
7. Look Mexico - Gasp Asp EP
surf rock. ika nga nila. think happier times with american football o kaya minus the bear na mas malaro
pakinggan: You're Not Afraid Of The Dark Are You?
6. Sugarfree - Live! with the Manila Symphonic Orchestra
medyo mababa etong album na to sa listahan dahil kapag napapakinggan ko nabubuiset ako at di ako nakapunta nung ginanap mismo itong concert na to!
pakinggan: hmm, pakinggan mula simula hanggang wakas
5. Markus Highway - Behold! Rejoice! Surfernando Is Hear Nah!
makulet tong album na to. nakaka-LSS. Eto ang Rock N' Roll!
pakinggan: Wow Kalabaw, American Gurl
4. Mishka Adams - Space
technically released nung 2007 pero, december na kasi yun. Kasama ng Album ng Rinka Collective na Cityscapes at album ng Sound na Bossamanila, maganda pakinggan habang traffic sa byahe o sa mahahabang biyahe.
pakinggan: Space, Summer Dreams, Sunrise
3. Up Dharma Down - Bipolar
sonic soundscape. Anggaling netong album na to. yung interplay ng mga instrumento at paghahalo ng mga tunog. asteg. lalo na pag tumugtog sila ng live. grabehan.
pakinggan: Taya, Silid
2. This Town Needs Guns - Animals
jazz-math! hayup ang gitarista ng bandang to parang apat ang kamay at 20 ang mga daliri. galing din ng drummer pumalo.
pakinggan: Crocodile, Baboon (pakinggan lahat)
1. Bon Iver - For Emma, Forever Ago
good winter ang ibig sabihin ng bon iver sa salitang pranses. Etong album na to at yung sa This Town Needs Guns ang mga pinakinggan ko ng labis ngayong taon, kahit medyo mga august ko na sila nadiskubre. eto ang aking album para sa taong ito.
pakinggan: Blindsided, Skinny Love, Re: Stacks
o siya siya. ayan new year na. sakto tong post ko
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| sugarfre? |
[Dec. 10th, 2008|04:09 am] |
nakita ko tong sugarfree shirt kuno ng isang mama sa mrt. may tracklist ng tala-arawan sa likod. grabeng typographical errors namaaaaan.haha.
eto yung transcribed tracklist:
1. Dear Kaya
2. Kallan Ka Ba?
3. Kung Ayaw Mo Na Sa Akin
4. Huling Gabi
5. Salamia
6. Nangagawit
7. Pasyal
8. Wari Ko y
9. Ang Pleakamay King Na Tao Sa Balat Ng Lapa <--- WTF?!
10. Raunion
11. War Ka Nang Umiyak
12. Lkaw Pala
13. Batang-bata Ka Pa (bonus Track)
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| paroon |
[Nov. 17th, 2008|10:32 am] |
you strayed too far from town
crossing asphalt roads and unnamed streets.
until you've forgotten where it leads
and where it doesn't.
Can't turn around, it's getting dark already
Lost within the intricacies of a foreign place
the traveling map you hold fails to make sense
how you long to return home.
heave a sigh, the sun's not left yet.
just slowly fading. dyeing the horizon.
these moments you wished you could
stop awhile and wander.
again and as the sun's warmth disappear.
be here until it does.
then be alone again. |
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| Blood Drive for Francis M. pls. donate & repost |
[Aug. 13th, 2008|11:20 am] |
A BLOOD DRIVE for FRANCIS M is currently ongoing at the Lower Ground Floor of Medical City, Pasig.
Francis M has been diagnosed with leukemia (cancer of the bone marrow and blood), and is in need of blood platelets and whole blood donations (of any blood type).
Donors may go to the Medical City (lower ground floor). Pls. inform the staff at the blood bank that you are volunteering to donate whole blood/blood platelets for FRANCIS MAGALONA.
Here are the guidelines of blood/platelet donor screening:
http://www.redcross.org/services/biomed/0,1082,0_557_,00.html
Let's also pray for Francis M and his family.
Pls. go and donate... also repost and spread the word... thanks!
(blood drive details from Ms. Day Cabuhat's post at the Circus, Pupil, and other music mailing lists)
*reposted*
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