This piece, I address, above all others, to my fellow established musicians in the local rock music scene. Most of us have gone way past that enigmatic “dead at 27” mark, so I think it’s about time we started thinking about the future. Not ours – the music’s.

**************

Like so many others in the scene, I’d like nothing more than to just simply make music, have fun, and deliver the shit out of my bowels at every engagement. But the fact is that I’m forced to deal with the business side of things by default and this necessitates my having to arm myself with as much knowledge of the industry’s inner workings as I can just so my crew and I don’t end up getting victimized.

Since the 90s, I’ve had a lot of opportunities to talk to fellow artists about their thoughts on the music scene and one thing I’ve learned through these interactions is that everybody is privy to some kind of industry bullshit or sob story in one form or another. Whether it’s about greedy label execs, fly-by-night organizers, lopsided contracts, under-the-table agreements, payola and other kickback schemes, or even opportunistic poseurs within our own ranks, these rants have essentially remained the same since I first entered the fray more than 15 years ago.

So, I guess the question is not so much about what’s happening anymore (again, since everyone seems privy to all kinds of dirty info) but rather, HOW the hell they keep on happening and WHY in Pepe fuckin’ Smith’s name haven’t we been able to fix these problems in spite of the fact that WE, the MUSIC ARTISTS, are central to all the wheelings and dealings that take place inside the music industry?

Ironically, the way it’s set up is such that we music artists ultimately find out later in the game that we’re the expendable parts in an industry that feeds off of and, quite frankly, wouldn’t even exist without us. But in spite of this, we seem to be the ones who have the least control or the least say in the way it operates and behaves. If we set aside all the glitz and glamour, the hyped-up showbiz egos, the ”sex, drugs, and rock & roll” ethos, what are we essentially left with? Simply another group of exploited Filipinos. Idolized and held in awe by millions, perhaps, but exploited nonetheless.

Do we still need the production and distribution machinery of the labels? Yes. Do we still need the support of radio and television stations? Yes. Do we still need the professional engagements made possible by a plethora of promoters, organizers, and sponsors? Yes. But the realization that seems to elude most of us is the fact that THEY NEED US MORE THAN WE NEED THEM. And before this gets misinterpreted, I am not suggesting that we junk them altogether and strike out on our own as independents. What’s needed for these kinds of relationships to work is simply an equitable level of give and take that’s based on RESPECT for the RIGHTS of all parties involved. And in our case, what better way to finally push this agenda forward than to ORGANIZE ourselves into a legitimate group that would look out for the welfare of rock artists in the music scene?

Ok, I think I can already hear someone out there screaming, “What the hell’s all this whining about being exploited shit? You’re already a fucking rockstar, asshole!” My intention isn’t to bitch or whine about not being able to get a bigger slice of the fame, fortune, and immortality pie here. Yes, I happen to be part of the privileged few who were able to make a mark in this industry, but it’s precisely that kind of stature which carries both a moral and professional responsibility to look after the interests of like-minded music artists, whether they be of the established kind or, more importantly, those still planning to make their own significant contributions to the field as well (in other words, “Those about to rock.”) \m/@@\m/

This concern becomes all the more critical given that the music industry perpetuates a mindset that favors and rewards repetition, imitation, and replication over innovation and experimentation. Anyone who manages to penetrate the system without getting sucked into its formulaic restrictions still ends up having to deal with a either a variety of unconscionable practices such as those already mentioned above or fall prey to unscrupulous jackasses like Jonas Jejemonias. Whatever the form, what’s important to realize here is that these kinds of practices and personalities are the unmistakable manifestations of corruption inside an industry steeped in its own unique version of patronage politics. To tolerate or turn a blind eye towards these would be tantamount to endorsing our own oppression within the system.

A lot of us are already complaining about how music artists nowadays tend to sound the same, how they get inspiration from the same kinds of styles, the same kinds of groups or individuals, etc. And what are these but the recurring consequences of an industry primarily obsessed with generating mega-profits even if these come at the expense of artist’s rights? Combine that with the gross inability or, worse – lack of willingness on the part of artists themselves to openly challenge the prevailing state of affairs and we ultimately end up with a recipe for self-annihilation.

Halos lahat naman tayo nanggaling sa wala, di ba? Almost all of us probably started out hammering away at knock-off Gibson Guaguas or Fender Pampangas in roach-infested rental studios beside public wet markets. But with a little perseverance, a healthy dose of attitude, and no small amount of luck coupled with the right timing, we were able to penetrate the scene and were eventually able to make names for ourselves. But for each of us who’s able to hang on, how many more actually give up? When you’re a fledgling act facing a drought of fresh opportunities for artistic and professional development, the last thing you’d need is someone like a Jonas Jejemonias exacerbating matters by giving you a different taste of the industry’s inherently self-serving nature, right?

As rock artists, we place such demands on ourselves to become better at our chosen craft. Isn’t it about time that we place the same demands on ourselves to better our lot? The dictates of artistic evolution, real-world survival, and moral conscience now task us more than ever to exert all possible effort into PROFESSIONALIZING ALL ASPECTS of the music industry in order to finally expose and eradicate all the institutionalized practices that continue to oppress, suppress, and repress our kind.

Apart from the music itself, I can think of no greater legacy to provide those yet to follow our lead than to make sure that we do our best to spare them from all the bullshit this industry has had us endure throughout the years. If we truly profess to love the music as much as we always say we do, then shouldn’t we take it upon ourselves to cherish, protect, and nurture it from those who would inadvertently and unwittingly destroy it?

Music is NEVER only about entertainment.

Whenever you’re ready, my friends.

\m/@@\m/

I was all gung-ho, of course, and decided to give conditional approval for the event in spite of the bare info given. Since the occasions that still provided opportunities for bands of my generation to get together already come rare and far between these days, the chance to participate in one exclusively organized for us “old school” 90s bands was too good to pass up. An element of blind faith was also involved as I knew Jonas Jejemonias to be the manager of another “old school” contemporary we’ve had the pleasure to play with back in the 90s and also even on a number of other occasions (some fairly recent) since we came back into the scene in 2005.

Now, ever since our last manager left us in virtual limbo late last year, I asked Cindy (my wife) to handle booking negotiations for the band. She’s always been very meticulous in her professional dealings and we’ve been quite satisfied ever since at the level of professional savvy she’s always brought to the negotiating table on our behalf.

So when she told me a couple of days later that something didn’t feel right with Jonas Jejemonias’s proposal, red flags started popping up. Apparently, Cindy had been informed that the talent fee would be dropping to 10k, with Jejemonias citing budget constraints and other difficulties as reasons for the drop. My wife naturally took back the conditional approval and reasoned (rightly so) that a new approval now had to be secured from the band before anything can be finalized.

Throughout the ordeal, Cindy kept on pressing Jonas Jejemonias for details such as sponsors involved, set time, transportation and site accommodations, food and drink arrangements, etc., and the all-important performance contract. To her surprise, Jejemonias said that there would actually be no contract: “Kaliwaan na lang” on the day of the gig itself. This led us to suspect that this guy was hiding something, so we decided to withhold our commitment until full disclosure was given.

The amount was subsequently raised to 12.5k after it became obvious to Jonas Jejemonias that we were already having misgivings about the whole deal, but his move obviously still failed to reassure us because it also became obvious to us that there really was something going on here.

After being repeatedly asked for clarifications for the better part of a week, Jonas Jejemonias finally told us on August 9 – more than a week after he first pitched the proposal – that the event was the Tanduay Rockfest. This surprise revelation broke the deal, of course, as I couldn’t allow the band to play in a major event exclusively sponsored by any company owned by the great Lucio Tan. At this point, I was already indescribably pissed off at Jejemonias and decided to just decline immediately before I got mad enough to hunt him down, rip his balls out of his sacs and feed it to anyone who considered stale eggs a delicacy.

But in spite of the refusal, Jonas Jejemonias still bugged us to reconsider and even went so far as going back to the original pitch of 15k, only saying this time that the 12.5k offer will remain as is and that he’ll just personally foot the additional 2.5k to square things off. In spite of the seemingly conciliatory gesture, his tone had actually become condescending at this point, as he was already making it appear that he knew we were just being deliberately pig-headed so that we can raise the stakes.

Two things then crossed my mind: Either this creep was simply being just a monumentally stupid douche bag or he desperately needed us to reconsider ASAP because he’d already done something that could compromise him if we didn’t play. So at this point, I already told him that money was not the issue anymore. Datu’s Tribe will not play the Tanduay Rockfest because supporting this event of this company owned by Lucio Tan will most certainly compromise our integrity as an activist band and make a joke out of the continuing support we give our various advocacies.

Jonas Jejemonias didn’t reply anymore, and I thought that that was that. But then, shortly before midnight on the day I gave the flat-out refusal, I saw the Tanduay Rockfest commercial in all its glory on television for the first time and Datu’s Tribe was the very first name I saw on the third frame flashed onscreen.

Early next day, I began to contact band managers in my network in order to ask who among them had artists performing in the event or knew the production’s OIC. Backbeat’s big boss, Richard Tan, told me he had several bands playing, so I asked him for the OIC’s number after explaining our predicament in general.

Cindy eventually got to talk to Gladys Basinillo, the project head under Mediacom, Tanduay’s media arm for the event. Cindy proceeded to tell her the general situation and Ms. Basinillo was absolutely at a loss as to how such a monumental screw-up could have happened. But then she gave us info that shocked us equally in return when she said that the actual budget pegged for artist’s talent fees was at FIFTY-THOUSAND PESOS EACH.

After apologizing profusely for the screw-up, Ms. Basinillo even volunteered to renegotiate with the band and even raise the artist’s fee just to have us play the event, but before we could tell her that that wouldn’t be necessary, she had to terminate the call as she was driving to work and talking to us at the same time. She said she’d look into the matter immediately and give us a call as soon as she arrived at her office.

Ten minutes or so later, Cindy received a text from her. It was a forwarded message that contained the last text I sent Jonas Jejemonias before I saw the tv ad and it was the one that explained the primary reason why we declined. Needless to say, it became clear to Ms. Basinillo at that point that there was no need to renegotiate with the band anymore.

When she called again soon after, I asked Cindy to let me speak to her directly to clarify everything. It was during this conversation that I gave her the details – how we were contacted, how we were informed (and misinformed), how we never gave any kind of final commitment to the gig, how we eventually pieced together this idiotic middleman Jonas Jejemonias’s attempt to scam us, and how it’s now at the point where the band’s credibility is now under threat as a result of our name’s inclusion in the ad campaign.

She immediately gave me her personal assurance that all advertising and promotional materials will be removed, but requested that we give her around a week to do so because of the scale involved. At this point, she still couldn’t get over the shock of the fiasco and kept on expressing concern over the consequences that it would have on their handling of the event. She even informed me that aside from the trimedia ads already in place, the first batch of tickets had already been printed as well, and these had Datu’s Tribe’s name on it, too.

Nonetheless, in spite of the headaches caused on both sides, I did let her know that the band would have no reason to hold them accountable since the advertising pullout would be effected asap. I did tell her though, that if they wanted to sue anyone for the millions they just lost in advertising expenses, they should go after Jejemonias and hit him hard with fraud and misrepresentation charges. All things considered, I guess Cindy and I were just thankful to have finally gotten the chance to talk to somebody in authority who was honest and rational and intelligent enough to settle the matter with finality.

I immediately sent texts to Jonas Jejemonias informing him how his moronic middleman’s scheme to make a quick buck at the expense of Datu’s (and others which he may have also attempted to swindle) had just been uncovered. In a pathetic attempt to cover his ass, he feigned ignorance and claimed how he was also a victim in all of this because he was just contracted by another person to look for acts willing to play the event. He claimed to have been given a budget of only 20k per band for this purpose and that he had no idea about the 50k per band earmarked by the organizers.

BUT THEN he told me na sa tagal ko na sa industriya, alam ko na raw dapat na marami talagang kumi-kickback pagdating sa ganitong mga usapan at pati mga radio stations, network people, atbp. ay talagang involved sa kalakaran. Wala raw siyang alam sa 50k, at kung nabawasan man yun, ang ipinarating lang sa kanya ay yung 20k, so malamang kumuha na ng cut yung ibang kung sinu-sino pa. (I informed Ms. Basinillo about this claim of his especially since he mentioned the name of a person who turned out to be one that Ms. Basinillo tapped to do legwork for the project. I was never able to get any subsequent updates on the results of her investigation.)

In spite of having told him that I had just clarified everything with the event’s big boss, Jonas Jejemonias remained adamant. Providing one logical fallacy after another in his pathetic defense, he continued to claim to be just another clueless, kind-hearted victim out to simply champion the cause of deserving artists in the corruption-infested world of Pinoy rock, yada, yada, yada. And though I was fuming the whole time we exchanged texts, I did have fun shooting his arguments full of the following logic-laden bullet holes:

• He claims having been given only 20k to work with per band, Even if we assume that he’s telling the truth here, he took advantage of our lack of inside info in order to try and get a whopping 50% cut (!!!) off of the whole deal. Getting a 50% cut would only be justifiable if he happened to be band manager, guitarist, and maybe an emergency man-whore for sex-starved fans – all at the same time;
• He offered to bring the talent fee back up to his initial pitch of 15k, but made it appear that 2.5k out of that would be personally raised by him as a show of good faith and commitment to the band. The fact is his subsequent claim to having been duly covered beforehand by the sponsor FOR UP TO 20K just shows how much of a scheming jackass he is;
• Even his initial pitch of 15k meant that he intended to pocket 25% of the supposedly earmarked amount. At the end of the day, he still would have earned significantly more than each of the actual members in the band. The standard commission for these kinds of bookings is just around 10 percent;
• He knowingly committed us to the event EVEN WITHOUT OUR APPROVAL. This alone already speaks volumes about his integrity, or lack thereof.

Jonas Jejemonias still claims to be the victim even after he had already unwittingly exposed himself as co-conspirator in the corrupt backdoor business dealings he ironically and oh-so-idiotically points to as the evil that preyed on his good intentions.

Yan, mga kabarangay, ang tinatawag na ganap na POSEUR.

So where does this leave us? On the one hand, we’re being treated here to a virtual backstage pass (limited access nga lang) into one of the darker sides of the music industry: Its business side. And on the other, there’s that substantially more resonant issue concerning artists’ rights and responsibilities that now comes to the fore as a result of this hilariously pathetic mix-up.

Certainly, we can’t be expected to just leave it at that, right?

(To be concluded tomorrow.)

\m/@@\m/

Si Spiderman na ang nagsabi: “With great power comes great responsibility.”

Not everyone has what it takes to be a true artist, and that’s why a true artist’s talents are uniquely double-edged gifts. A true artist possesses the means to inspire people through creation; in the musician’s case, through music and lyrics. But a true artist lacking in direction will instead have the dangerous ability to reinforce escapist mentality, submissiveness, and conformity. For those of us who won’t be fortunate or resolute enough to go beyond the 15-minute fame mark, the talent may early retire to a quaint, perhaps even painful corner of memory. But for those who’ll persevere and perhaps even break into the scene with a vengeance, talent suddenly takes on a more enormous significance.

Art for art’s sake is a luxury that our counterparts in developed countries enjoy, sometimes to the point of absurdity. In our country, this just isn’t the case. If you’ve ever given a thought as to why most musicians who pursue their craft outside the mainstream tend to struggle and/or starve, you should know what I’m talking about. But despite this reality, the sorry state of affairs is precisely why we should push on and continue evolving as artists, as musicians.

The bigger picture here involves the direct and indirect assaults against our freedom to be able to fully express ourselves; to be able to make truly original, maybe even visionary musical masterpieces without being burdened by the economic restrictions imposed by an industry that caters mostly to the sensibilities of the status quo.

When we use our music to change people’s perceptions, we help our culture evolve and mature by showing others that there are alternatives to a sick, conservative culture. And when sensibilities mature, the musikero’s role in national development should become integral and unassailable. At the very least, the music profession should transform into a more viable and practical means to…well, make a goddamn fucking living.

(That last point might have sounded self-serving, but artists need to eat, too, especially if people want us to keep coming up with more inspiring shit.)

Truth is, until economic realities take a turn for the better, the negative consequences on the creative gene pool will only get worse. If you think about it, just how many of us have already been forced to give up on music in exchange for the financial security offered by a local corporate desk job or higher-paying overseas work? If there’s one thing that I feel hasn’t beenemphasized enough in discussions on diaspora, it’s that brain-drain also translates into artist-drain as sick economics continues to force potential creative geniuses out of the country for lack of long-term basic survival opportunities.

And all this in spite of possessing a power that even government pundits (kasama na rin yung mga nagpu- pundit-punditan) envy and fear?

Just how many times have politicians called upon us to bait voters with catchy jingles designed to make them look like fun people? Just how many times have politicians asked artistas to grace campaign trails and become official celebrity endorsers? Hell! Even the Abu Sayyaf once asked bad boy Robin Padilla to play the part of hostage negotiator! (Okay, he’s not a musician; and fuck it, he’s not even a good actor.) But if that don’t beat all, how many times have entire governments been forced to rethink official policy or undergo massive PR damage control after suffering international embarrassment at the hands of musicians denouncing injustices through a collective display of musical outrage?

Look to the works of Gary Granada, Noel Cabangon, Jess Santiago, Joey Ayala, Yano, The Wuds, and The Jerks and find out just what kind of meaningful impact these musicians have had in the lives of the people they’ve inspired to take on proactive stances; to change and better themselves, their families, and the larger community of people they belong to.

And if these artists are altogether alien to your musical universe, then perhaps looking at the significant social, political, and cultural impacts of bands such as Green Day, System of a Down, Rage Against the Machine, and U2 would be enough to drive home the point that musicians as activists do make a difference.

Ultimately, it all boils down to perspective. And fortunately, as members of the creative community, we should have tons of that stuff, right? Though finding the right one that works well enough to inspire substance as well as material fulfillment can be quite tricky, it’s actually the committing part that can really be one hell of a mind-job. But all this can be made easier if we can reconcile ourselves to the fact that real artists are natural-born activists. And in the world of rakenrol, this has never been more self-evident.

If you happen to be a rakista, you should know that rock history is a history of protest, and it is in this light that we, whether we consciously accept it or not, are actually natural agents of rebellion. But when our kind of artistry fails to elicit meaningful changes in the way people evaluate the kinds of choices they’re entitled to, in a way, we fail our mandate and devolve into pathetic practitioners of self-gratification. Of masturbation.

The unique national context we belong to should compel music artists to challenge what is essentially a repressive and unjust system controlled by the obscene machinations of the political, economic, and even religious elite. For what is the plight of real artists indicative of but the repression that continues to bear down upon similarly marginalized sectors of society? In simple terms, a true artist expresses nothing but truth in his or her creations. And even if truth is relative, someone devoted to its search shouldn’t have the stomach to swallow lies perpetrated by a privileged few, especially when the destructive consequences of such lies on the many are already glaringly obvious.

\m/ \m/

“It is the responsibility of intellectuals to speak the truth and expose lies.” (Noam Chomsky)

“To be persuasive, we must be believable; to be believable, we must be credible; to be credible, we must be truthful.”(Edward R. Murrow)

Enjoy the Music. Arm Your Mind. Join the Fight.

(Originally posted February 20, 2009.  Ala pang nagbago mula nu’n. If you want to read the complete, original text, click on this. \m/@@\m/)

After the Marcos era, we’ve had a disappointingly (though not quite unexpectedly) lackluster line-up of would-be-saviors whose words either hardly ever translated into meaningful changes or just surreptitiously materialized in the form of half-baked, compromise-peppered gestures aimed at pleasing whatever major vested interest happened to be present at the time of consummation.

We’ve also resorted to casting our lot with showbiz celebrities in the oft mistaken notion that their altruistic silver screen personas would translate into incorruptible heroism in the real world. Unfortunately, nobody ever seems to be able to convince those making the career move that scripts in the political arena are fiercely formulaic and that producers and directors are even more cutthroat (some literally) than those found in showbiz. It doesn’t help either that most politicians are actually better at acting than actual actors themselves, so it’s been largely hit and miss with this option.

But then, once in a while, somebody does surface to shatter conventional molds in order to provide real alternatives to the status quo. Case in point: Satur Ocampo.

To begin this testimonial on a totally superficial, absolutely irrelevant, but nonetheless useful point as far as campaigning strategies are involved, it’s already a given that the man brings an arrestingly rugged handsomeness to his already veritable rockstar appeal (a fact I’d expect him to humbly dismiss). As a result of the inevitable combination of this innate showbiz charm and his razor-sharp intellect, he’s already put himself in a celebrity class all his own.

As for political savvy, apart from the fact that he’s already been a force to reckon with even as early as his working student days, Satur Ocampo has served more than a decade as a political detainee under two administrations. As a three term congressman for BAYAN MUNA, he has distinguished himself by authoring and co-authoring progressive bills crafted specifically to empower and uplift millions from the swelling ranks of the marginalized in our country.

But what truly sets him apart from almost every other player in the political arena isn’t so much his ability to elicit awe from pundits and power brokers alike; neither is it his almost inhuman ability to rack up celebrity “pogi points” amongst starstruck fans all across the islands. It is arguably his unwavering steadfastness to the revolutionary principles and ideals he continues to stand for to this day that make him unique among his peers.

YES, he is a REVOLUTIONARY, but not in the desperate, red-baiting context his usual detractors would have you believe. In a country that has always been lorded over by self-serving traditional politicians since whenever, what else can somebody who puts the welfare of the poverty-stricken, disenfranchised masses ahead of his own be anything but revolutionary?

Still, if you’re one to subscribe to the propaganda that tags Satur Ocampo as a godless communist out to destroy the democracy which our ancestors have bled, sweated, and cried (as well as given the occasional political concession) for, then answer me this:

As a nation, have we fared any better under god-fearing, church-going demagogues who preserve democracy for the marginalized masses by engaging in banalities that deprive the very same masses of democratic options in their supposedly democratic state? As a nation, have we fared any better under the inspiring naivete of the incorruptible novitiates (both real and perceived) whose faith, good manners, and right conduct get rendered impotent by a system that requires way more than just the power of good intentions to rock its foundations? As a nation, have we fared any better under the guidance of the narrow-minded conservatives who continue to label activists such as Satur Ocampo as career rabble-rousers; instigators of dissent, hell-bent on sowing discontent as a means to further their twisted ends?

Unless you’ve been comatose for at least the last ten years, your answer should be a resounding NO.

But before my point gets misinterpreted, the crux of the argument is this: How do the purveyors of such tactics stack up against their own rhetoric? The assertion itself is easy enough to debunk, and it only becomes easier to do so considering that the credibility of idiots who resort to mudslinging never quite stand up to objective scrutiny.

Edward R. Murrow once said:

“To be persuasive, we must be believable; to be believable, we must be credible; to be credible, we must be truthful.”

The wisdom lies in being able to make the distinction between a manipulative poseur and an earnest nationalist. If you’re able to do that, then the least that is expected of us is that we help spread the word. As it stands, our continuing susceptibility to the colorful dynamics of character assassination is an ongoing testament to our inability or (worse) our LACK OF WILLINGNESS as an electorate to subject candidates – as well as OURSELVES – to critical inquiry. For those who’ve yet to realize it, this is as much a contributor to our history of broken promises as the recycled rhetoric and poster-boy politics of traditional politicians and showbiz celebrities are as well.

Anyone can claim to be for and of the people. Hell, even the Devil and Gloria Macapagal-Arroyo have mouthed off such claims under the guise of divine providence. In the end, the true measure of integrity has to be the consistency at which one’s words and convictions translate into concrete actions – all in the pursuit of a truly relevant and progressive vision serving the true interests of the people no matter the cost.

Does Satur Ocampo have that kind of integrity? Does Satur Ocampo have that kind of consistency? Does Satur Ocampo have that kind of vision?

Yes, he does – in heaps.

And that is why he has my vote.

- Eric “Cabring Cabrera, vokalista, Datu’s Tribe

]]> http://lupitnicabring.wordpress.com/2010/04/02/slogans/feed/ 0 cabring slogans http://lupitnicabring.wordpress.com/2009/10/11/an-urgent-appeal-for-support-for-the-victims-of-typhoon-pepeng-in-the-cordillera-region-philippines/ http://lupitnicabring.wordpress.com/2009/10/11/an-urgent-appeal-for-support-for-the-victims-of-typhoon-pepeng-in-the-cordillera-region-philippines/#comments Sat, 10 Oct 2009 21:37:42 +0000 cabring http://lupitnicabring.wordpress.com/?p=909 ]]> (This is a repost from a friend’s Facebook notes. Some portions from the original were taken out for space considerations. Please share this information with & through your network/s, dear reader. Thank you.)

October 9, 2009 —The Cordillera Region in Northern Luzon, homeland of indigenous peoples collectively known as Igorots, is one of the areas hit (hardest by) Typhoon Pepeng, after Super-typhoon Ondoy. This mountainous region may not have been as victimized by the flood, but the very nature of the land and terrain has resulted in massive, disastrous landslides that claimed both properties and lives, especially in the mining-ravaged areas of Itogon and Mankayan in Benguet province.

As of 7 PM, the region’s death toll has mounted to 191, with 121 dead in Benguet, 54 in Baguio City with 5 still missing, and 23 in Mountain Province with 32 still missing. Cordillera Peoples Alliance’s chapters and affiliates in Ifugao, Abra, Kalinga and Apayao are still gathering concrete data, but have generally given feedback of massive agricultural damage in the towns of Conner, Apayao and Tabuk, Kalinga. Major roads, such as Kennon, Marcos and Halsema highways have been closed, threatening Baguio City of isolation, while Conner is now totally isolated. A total of 18 landslides were documented (11 in Baguio, 6 in Benguet, 1 in Mountain Province).

Baguio City

Landslides and floods have engulfed and drowned lives and properties in City Camp Lagoon, Pinsao, Fairview, Cresencia Village, Crystal Cave, Lucnab, QM, Kitma, Lower Cypress, Irisan, Bakakeng Central, Queen of Peace, Apugan and Kias, all in Baguio City. Over 50 houses were damaged. There is still an unaccounted number of houses and business establishments damaged in the central business district. Small rivers and creeks also overflowed, adding to the flooding of roads, which only became passable today, October 9.

As of 9 PM, 80 individuals have been evacuated to the Baguio Central School, 24 families at the St. Vincent Gym, 38 families or 184 individuals at the City Camp Youth Center, (City Camp Proper), 91 families at the City Camp Youth Center (City Camp Central), 173 individuals at Aguinaldo Elementary School and around 100 families at the Daycare Center and Barangay Hall of Queen of Peace.

Benguet

Benguet, which has hosted large mines for over a century, always suffered from massive environmental disasters during the rainy season, and especially during typhoons, which causes deaths, aside from destruction, loss of properties and livelihood. This is evident in the massive landslides in Beda, Loakan, Itogon in October 2008 due to the abandoned tunnels of Benguet Corporation, the Colalo landslide in 1999 in Mankayan due to Lepanto Consolidated’s mining operations, which again happened in June 2009.

The death toll now in Mankayan due to landslides has risen to 23 including a 9-months pregnant mother, an additional 5 in Acupan, Itogon. Two were reported dead in Buguias municipality due to landslides, which is adjacent to the Lepanto operations in Mankayan. UK-mining company Bezant and local subsidiary are have actually conducted exploration in Guinaoang, Mankayan. La Trinidad valley, the provincial center, registered 57 dead as of today in the communities of Beckel and Kibungan Village, Puguis. Vegetable gardens were reported washed out in Labilab, Bakun municipality.

Mountain Province

In Mountain Province, the provincial CPA chapter reported this morning at 6 AM that a massive landslide in Kayan East, Tadian municipality totally buried 23 houses, leaving 5 dead, 5 injured and 32 missing. In the retrieval, four residents were rescued, while the bodies of 5 residents were recovered. In another barangay of the same municipality, in Bunga, 5 residents were rescued from a landslide; three are still missing.

Some 130 families were reported affected in Sadanga municipality, while some 50 % agricultural damage was incurred, equivalent to 6-7 months of supposed food supply in Sadanga. Two-month old ricefields were also destroyed in Natonin, leaving the communities without surplus from this season’s cropping. This situation poses serious threat to the municipalities’ food security. CPA-Mountain Province has coordinated with the rescue team in Tadian and is still helping out with the retrieval until now.

There is a full range of the damages wrought by Pepeng. Many of CPA’s and its network of organizations’ staff, organizers and member organizations are affected. Some were already rescued from their homes in Baguio. Aside from the lives lost and properties damaged, infrastructure, agriculture and transportation is also affected. Telecommunication difficulties is one more reason why communication to provinces and interior communities is very difficult at present.

This situation and the series of the massive environmental disasters in the Cordillera and the rest of the country must be elevated to an understanding of the impacts of climate change and beyond the bounds of environmental issues and disaster response. It must be understood that there is disproportionate vulnerability of the majority and certain populations to the adverse impacts of climate change, of which indigenous peoples are very much included.

Serve the People Brigade

The above situation necessitates urgent disaster response, such that CPA and the Center for Development Programs in the Cordillera (CDPC) organized a disaster response body composed of its network of organizations, which is the Serve the People Brigade-Cordillera Disaster Response Network. The name is historic, as it is derived from the disaster response initiatives of Cordillera activists during the 1972 floods and the killer quake in July 1990. This response is also rooted in the indigenous tradition of cooperation and collective action in times of disaster or in emergency situations. The Serve the People Brigade, to sustain its rescue and relief missions, is now coordinating with other institutions, organizations and individuals in the region for rescue and relief operations in the most depressed areas in the region.

OUR APPEAL FOR SUPPORT

The Brigade humbly and urgently appeals for all forms of support for its relief and rescue operations not only for the victims of Pepeng, but in the coming emergency situations expected due to the impacts of climate change and the prevailing political situation.

For the relief operations:

• Food supplies (rice, canned goods,biscuits, munggo, sugar, salt, cooking oil, boiled eggs)
• Drinking water
• Gas for generators
• Clothing
• Blankets
• Sleeping mats
• New underwear
• Toiletries (soap)
• Cooking pots
• Flashlights
• Batteries
• Tents
• Medicine: paracetamol, pain relievers, anti-worm (mebendazole), antacid, amoxicillin, cotrimoxazole, bandages, hydrogen peroxide and betadine

For the rescue operations:

• Rubber boots
• Shovels
• Raincoats
• Mountaineering rope
• Body bags
• Lime
• Batteries
• Flashlights

For Financial, Material Donations, and Volunteers: Please visit us at No. 55 Ferguson Road, Brgy. A. Bonifacio, Baguio City and look for Mr. Santos Mero, Serve the People Brigade Coordinator and CPA Deputy Secretary General (09152054262). You may also call or text the Hotline at mobile number 09209286370 or Telephone Number 63- 074304- 4239, Fax number is 63-074-443-7159. You can also reach us through email at cpa@cpaphils.org for queries.

Financial donations may also be channeled through: Cordillera Peoples Alliance Savings Account: 1-326-72354-8 RCBC Baguio Peso Account You may also lend your vehicles for the relief and rescue missions, and we welcome the assistance and support of paramedics, doctors, and all volunteers who would like to be part of the relief and rescue drive.

We thank you sincerely and look forward to your positive response on this urgent appeal.

SERVE THE PEOPLE BRIGADE -CORDILLERA DISASTER RESPONSE NETWORK

Cordillera Peoples Alliance Center for Development Programs in the Cordillera

I’ve been married for 15 years to a MILF who just turned 40.

And throughout the 15 years we’ve been together, we’ve experienced just about all kinds of fuck-ups imaginable, unimaginable, and everything else in between.

Before we became an item, I had to invent a story about me having sex with a total stranger in a party that never happened just so my girlfriend at the time would initiate a break-up. I know, I know. It was cruel and twisted, but the relationship really wasn’t going anywhere anymore and I didn’t have the heart to be the one to do the splitting-up, so there. (To every rumor-mongering shithead out there from our old college crowd who conjectured and assumed this and that about the whole affair, here, finally, is the version – the true one, mind you – that you assholes were never privy to, so…tangina niyo ngayong lahat, kung sinu-sino man kayo, hahaha.)

To her credit, Cindy was absolutely averse to the possibility of becoming an “other woman,” but she never told me to break it off with my ex. She just told me to think things through and told me right after I made my intentions clear that she wasn’t going to see me anymore. In spite of having the same feelings for me, she just couldn’t approve of the circumstances. Of course, just like any other guy would, I took those words to mean that she wanted me to become single and available again as soon as possible. (An imputation that she vehemently denies to this day, haha.)

So I did the diabolical deed. And after all the psycho-emotional shit I had to go through, the first words of endearment she offered upon my arrival (which, of course, signaled my availability as per her vehemently denied “terms and conditions”) were: “Ano’ng nangyari sa buhok mo?” (Note: “Go figure,” has since entered my Hall of Fame for frequently used marital expressions.)

From that point onwards, and as I’ve already mentioned, we started experiencing fuck-ups of every kind imaginable, imaginable, (and everything else in between) for the next 15 years, and here’s a list of some, I suppose, of the most, well…unforgettable for her:

• She made love with me in a lot of wrong places during the most inopportune times, and as a result, we put a bun in her oven just half a year into our relationship;

• She had to go against her parents’ wishes by supporting my uber-cool decision to get married at the open-air chapel of the National Arts Center in Mount Makiling (because I fell in love with the place back in 1985 when I was still an undergrad in UPLB);

• During the 7th month of her first pregnancy, she contracted chicken pox from a careless, crazy, college friend. As a result, our baby went into distress, began to breathe in the shit she began to dump in the amiotic fluid, and had to be taken out via C-section.

• She married a “rockstar” who preferred reaping critical nationwide recognition to monetary rewards that could have gotten us featured on MTV Cribs (?!?) Having images of birthday-suited groupies offering their love juices during substance-abusive gigs also irritatingly heightened marital tensions from time to time – all of which never really helped at all on the peace-of-mind front;

• She helped me set up a volatile business venture that keeled over after just two short years of operation. It cost us more than what we bargained for in terms of finances and sanity; though we’re still reeling from the effects, they’re already starting to fade away like a bad, passing migraine;

• Just a little over a year ago, we lost a fickle-minded, longtime nanny. Being that I was the one earning significantly less, I had to quit teaching so I could look after the kids. (At the time, our youngest was just about to turn 2 yrs old.) Cindy had to burden the responsibility of being the sole family breadwinner until we could find a suitable replacement nanny, which we still haven’t to this day;

• In spite of her being utterly deserving of it, she’s never been consistently pampered as a wife mainly because we’re both teachers in a country that’s been run by a succession of inept and/or corrupt shitheads who’ve only paid lip service to teachers since whenever. It’s only been lately that we’ve been able to get our bearings back, tentative thanks to the fact that we’ve had to (temporarily) give up our vocation in order to earn insanely better bucks at jobs we’re insanely overqualified for;

• She’s an uber-hot MILF who’s constantly been the target of both pre- and post-pubescent wankers. It’s a good thing she intimidates half the schmucks who adore and/or lust for her because she’s got even more brains than I do. (Oh, and did I already mention that she’s a feminist?) As for the other half of the club, they normally scurry off like the inconsequential vermin they are upon realizing the immortal music demigod she’s married to;

• She almost came close to letting me go because of all the shit that we tossed each other as a result of our financial worries. It didn’t help either that we had to deal with quite a lot of extra shit from a number of rumor-mongering “you-can’t-choose-’em” delusional family members who got busy busy-bee-ing the chakadoo channels and started spreading around stories of how dipshittably irresponsible we were as parents. (Ah, my deeeeepest condolences to you uncool and unloved who’ve found meaning in life by becoming 2nd-class trophy wives.)

The list can go on, of course, but I guess I’ll just leave it at this: Cindy’s been through a lot of holy (and unholy) shit and she may argue like hell with me from time to time and keep on reminding me about crap I did even from as far back as 1993, but whatever destiny has seen fit to throw across her path thus far has just made it possible for her to come up with even more ways for us to just love each other to death until the end of whatever.

The shit we’ve been through together got me into thinking about how I’ve never subscribed to the thought that we’re not really in control of the things we do; that we’re playing out a drama whose plot is just a subplot of a subplot in a divine comedy of errors running on a pre-programmed network sched; that whatever freedoms we exercise are just part of the grand illusion of control that we convince ourselves of having in order to stave off the insanity that would surely ensue from believing otherwise.

But what if it is fate?

After 75 years worth of blood-curdling wisdom brought about by 50 years worth of weirdly enlightening experiences in the short span of a tumultuous 15-year on-and-almost-off relationship, does “Muffy” still have enough fight left in her insanely cool, lovey-dovey, cutie-patootie personage to take on something as supposedly predictably unpredictably predictable as destiny?

Haha…what else is new? She’s cool like dat.

Before we end, a little FYI: MILF doesn’t stand for what you might think it does, dear reader. It’s “Muffy I‘ll Love Forever.” Stinky-cheesy, yes. But then, we all know what connoisseurs say about cheese, right?

Happy 40th, Cinds. I am; You are; We met…

…and we’re still here.

Prosperous Garapales: “Mga kasama, tagumpay ang ating Con-Ass Resolution! Wala nang makakapigil sa balak nating manungkulan habambuhay, muhahaha! Chuvanezzz!”

Tropang Trapo: “Oink! Oink! Ngasab! Ngasab! Nguya! Nguya! Huwee! Huwee!”

Galamaykey Horroryou: “Wag ka masyadong kampante, Prosperous! Tunay at ganap na ba talaga ang ating tagumpay? Tandaan mong ilang beses na rin tayong nabulilyaso! At meron pang malaking Multi-Sectoral Rally Kontra Con-Ass mamaya sa may tapat ng Ninoy Aquino Monument, intersection ng Ayala at Paseo de Roxas sa Makati mula 5pm hanggang 8pm!”

Prosperous: “Tingin ko bad mood ka lang kasi bagsak na naman ang approval ratings ng nanay ni wittle-baby-waby Galamaykey, ano? Kuchi-kuchi-coo, ahahaha! Joke!”

Tropang Trapo: “Oink! Oink! Ngasab! Ngasab! Nguya! Nguya! Huwee! Huwee!”

Galamaykey: “Baboy ka talaga. Ano tingin mo sa akin – mama’s boy??? Isusumbong kita kay mama, hayuffka!”

Galamaykey: “Hrarrr…”

Prosperous: “Hahaha! Relaaakzzz, Chuvalicious! Basta tandaan lang natin na pag di umalma ang taumbayan, panalo tayo. At pag umalma naman at nagkagulo, Martial Law agad! Panalo pa rin tayo, muhahaha!”

Boses mula sa kanan: “Hahaha, asa pa kayo…”

Prosperous: “At sino naman kayo, hmm???”

Tropang Trapo: “Oink? Oink? Ngasab? Ngasab? Nguya? Nguya? Huwee? Huwee?”

“Kami ang Datu’s Tribe! At kami’y astig at cool na Pest Control!”

Galamaykey: “Datu’s Tribe??? Never Heard!”

Datu’s Tribe: “At pa’no mo naman kami makikilala??? Sandali ka lang sa showbiz at ang baduy pa ng movies na ginawa mo.”

Galamaykey: “Hrarrr…”

Prosperous: “Bagong Partylist na naman ba kayo??? Kainis!!!”

Galamaykey: “Prosperous! Ano pa’ng hinihintay mo?!? Lipulin na ang mga hayuff na ito! Magdesisyon ka na agad at baka may mga umalis na naman sa partido!”

Prosperous: “Tama ka! Gamitin na natin ang secret weapon ng ating pinagsanib na puwersa! Mga katropa: Let’s BOLT together!”

Galamaykey: “VOLT, gago!”

Prosperous: “Ahahaha, joke!”

Prosperous: “Pest Control pala, ha?!? Tikman ninyo ngayon ang bangis ng pinagsanib na puwersa ng…”

“Wondertwin Powers – Activate!!!”

“Partido Lakas-Kampi!!!”

Cabring: “Hmm…ano tingin niyo dito?”

Baby Armand: “Ako’ng mag she-shred.”

El Paolo Loco: “Ako’ng papalo.”

Darakstar: “Ombagin na natin. Inom na inom na ko.”

Doc Moel: “Cabs, ala yan. Tingnan mo – Pa’no tayo tatalunin nyan eh, bukod sa di na nga gumagamit ng utak, kulang pa yung paa.”

PaLaKa: “Kok-awkk…!”

Datu’s Tribe: “SUGOD!!!”

Cabring: “Whoa! Pilipinas!” (Whapakkks!!!)

Doc Moel: “Galit Kami sa Baboy at Palaka!” (Tagggadush!!!)

Baby Armand: “Mabuhay ang Metal!” (Tadyakkk!!!)

El Paolo Loco: “May lagari pa ko!” (Isplakkk!!!)

Darakstar: “Orayt, inuman na.”

PaLaKa: “Kok-akkhhh…”

Boses sa Kanan: “Datu’s Tribe! Tutulungan ko kayo!!!”

Datu’s Tribe: “?!?”

Boses sa Kanan: “Ako ang dakilang Transformer na si…

“…Congressman Umalis Biglangsuwerte! But you can call me Bumblebeelis Umalis!”

Umalis: “Tulad ninyo, ako’y kabilang na rin sa Independent scene at narito ako para tulungan kayong sugpuin ang mga puwersa ng pasistang estado ng mga DeceptiCon-Ass! Sinuka ko na ang Cha-Cha – METAL na ko ngayon! Ayus bah?”

“The Transformers…more than meets the eye…”

Umalis: “Teka! Pupunta kayo sa rally sa Makati, di ba? Sandali…!”

SFX: “Oo-ee-aa-oo-ooo…”

SFX: “Oo-ee-aa-oo-ooo-ka-ching, ka-ching!”

Umalis: “Hatid ko na kayo – Bicol Express!”

“The Transformers…robots in disguise…”

Datu’s Tribe: “Garahe na ho kayo, magji-jeep na lang kami.”

(Uncomfortable silence…)

PaLaKa: “Kung di ka umalis, kumpleto sana paa namin! Transformers mo mukha mo, letch! Kainiiis!!!”

\m/ \m/

Not yet…

But THEY WILL.

]]> http://lupitnicabring.wordpress.com/2009/06/03/the-ayes-have-it/feed/ 6 cabring From the cover of "Galit Kami Sa Baboy" (Datu's Tribe's 1995 debut under universal Records) GKSBalt2 http://lupitnicabring.wordpress.com/2009/05/31/rakistang-aktibista-2-rise-of-the-poseurs/ http://lupitnicabring.wordpress.com/2009/05/31/rakistang-aktibista-2-rise-of-the-poseurs/#comments Sat, 30 May 2009 19:06:43 +0000 cabring http://lupitnicabring.wordpress.com/?p=607 ]]> Barely a year left before this decade draws to a close, my “old school” rocker status now burdens me with an Amador Daguio “Old Chief” kind of dread.

Although our Pinoy Rock godfathers and goddessmothers from the 70s and our New Wave/ Pinoi Punk brethren from the 80s do fall under the same general category, “old school” seems to have become a classification that today’s younger set more readily associates with “dekada nobenta” bands, albeit with a quaint naivete.

There are, of course, meatier indicators that can expose a music generation’s (both fans and artists alike) manifest ignorance of and/or contempt for the histories and traditions behind the musics they claim devotion to. While we might all be aware of the saying on how history repeats itself through those who have no appreciation for its lessons, we should be more aware of that implicit possibility embedded in the truism: That ignorants can also end up unfolding an entirely new history replete with epic fails that can surpass even the most idiotic idiocies of screwed-up generations past.

Even as Rock & Roll continues to prove itself the most dynamic and innovative of all musical languages, it also continues to inspire self-delusion in those ill-equipped to deal with its awesomeness. But it’s never too late to shift towards an intelligent “Sex, Drugs, and Rock & Roll” lifestyle (yes, it does exist) for as long as one is inspired enough to dig into history to obtain it.

(WARNING: Clicking on “read more” will activate the “Magical Mirror of Musical Truth and Other Holy Shit” – an “old school” relic that’s been proven deadly hazardous to poseurs.)

THE PAST PROGRESSIVE

The 90s was a watershed era for Pinoy Rock and this is indisputable. When the E-heads started to outsell even the most well-established local pop artists during the first half of that decade, the invasion of industry-marginalized “alternative” rock acts launched a major offensive against conservative mainstream culture.

But the revolution (if one could call it that at all) didn’t last long as the machinery it used to propagate itself and exert dominance over all other musical forms until the closing years of the 90s was none other than the major record label system. Back then, there was hardly any other practical choice: Industry politics, market dynamics, and the absence of affordable and empowering technologies made sure that the only way for any marginalized music artist to reach audiences from archipelagic end-to-end was to get on board the system’s pimped-out ride. And when one consigns one’s artistry to the prostitution industry that is local showbiz, one eventually reaps certain consequences.

Like the ubiquitous shawarma (and later on, the pearl shake), “alternative” music was co-opted, packaged, mass-marketed, and commercialized to death by the corporate gods of the music industry. “Alternative” rock quickly devolved into the newest kid on the pop block and ultimately ended up another spent novelty. But in spite of the downturn, an unexpected legacy did manifest itself with a vengeance, more or less.

Commercialization rocked (pun intended) the cultural sensibilities of the Filipino nation and the “new” music’s overwhelming presence firmly established previously unheard of genres and styles as key players within the market. As the unexpected success proved viability, mass acceptance followed shortly afterwards, effectively wiping out almost all traces of cult status for the underground subculture.

Though one could always argue that we sold ourselves out on an epic scale, I say that the resulting Machiavellian gains made the trade-off worth it: All other bands who’ve flourished since in the wake of our inebriated, drug-influenced, demonically-inspired, scatterbrained dog-paddling in that 90s sea of showbiz shit have never had to contend anymore with puzzled audience looks whenever they’d introduce themselves as “alternative” rockers.

THE PRESENT PERFECT

But where are we headed off to nowadays? “Old School” Pinoy Rock has always had an air of originality whenever it came to matters of style, content, demeanor, and overall cuteness factor. Bands back then may have had the usual (as well as the unusual) variety of foreign influences, but the overwhelming amount of material output still came across as having undeniably distinct Pinoy flavor.

Of course, the local music industry still has the heart of a fickle-minded ravenous pimp and it’s still feeding (and feeding on) the short attention spans of a largely gullible and immature mass consumer base. But it’s not just the business suits responsible for the stagnation and the impending demise of dynamic relevance and groundbreaking originality in local music. Artists also have quite a lot to answer for, especially in the current mess of things where one can almost classify most current bands as either:

1. souped-up or dumbed-down Eraserheads derivatives, or
2. hilariously uninspiring vampiric/suicidal strains of EMO or some other foreign “flavor-of-the-month” virus.

If our kind of music is supposed to be a language of rebellion and non-conformity, falling into a complacent state of dis-inspiring commercial mass-replication surely makes a joke out of the whole point of calling ourselves original, right? The musical style one decides to commit to, even if patently foreign, would be defensible in the context of Rock. But what would be one’s excuse for content?

(Relevance is a key issue. If you’re new here, you can just click on this later.)

THE SIMPLE FUTURE

When I posted my picture here with Bobby and Chickoy (“Bokalistang Raktibista, Dekada Sitenta, Otsenta, Nobenta”) on Facebook, one of my network friends immediately commented that even the symbols we brandished with our hands represented the decades associated with our respective bands: Chickoy’s 70s clenched fist, my 90s “evil horns” sign, and Bobby’s…uhm, fingers holding an imaginary 80s roach (which, I guess, just proves that he’s a true vegetarian).

I couldn’t help but quip that if the current decade had it’s own representative in the picture, his/her hand would probably look like it’s poised to hold either a gaming pad or a fucking Starbucks mug.

If things remain as they are, then the future of Pinoy Rock might well be headed towards a self-negating path that’ll entrench the wrong kinds of creative traditions for future generations of music artists to emulate. Never mind the peddlers of formulaic pop – we’ll never be rid of them anyway unless mediocrity becomes punishable by death. What needs to be addressed is the irony of having a supposedly vibrant rock music scene that seems so unbelievably starved of relevant, meaningful, and truly innovative artistic output in spite of its being populated by a proud plethora of artists.

Robin Rivera, an Art Studies professor/friend from UP, once remarked in a forum we attended together some years back that the only genre that continues to consistently manifest groundbreaking musical innovations is still rock music. I think I need to ask him if he’s since changed his mind.

\m/ \m/

Image Credits:

http://www.babaz.ca/

http://www.zimbio.com/

http://sandiego.indymedia.org/