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January 29th, 2009


04:06 am - Rock of Ages
belated birthday greetings to a dear dear friend! man, it really doesn't seem like 23 years! hehehe :D



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November 12th, 2008


12:48 am - THEMESONGS album review - Manila Times
check it out! :D wahoooo!!!!! :)

THEMESONGS album review - Manila Times



Life & Times Section, Manila Times

Tuesday, November 11, 2008

 

ALBUM REVIEW

Giving you your very own theme song

By Angelique P. Manalad, Contributor
 
Giving you a musical journey that is distinctively Pinoy, Ang Bandang Shirley guarantees everyone who’ll listen will definitely love their music without any exaggeration as they give their first installment Themesongs.

Influenced by local bands and other artists they describe their music as that of Broken Social Scene if they listened to the Eraserheads, a happier Jeff Buckley with Dong Abay’s street smarts, Sugarfree’s heart inside the baby of Radiohead and Feist. But they were able to imbibe their own flavor making it uniquely their own.

Owel Alvero, Selena Salang, Ean Aguila, Joe Fontanilla, Jing Gaddi, Heidi Pascual, Zig Rabara and Kathy Gener makes up the band with Alvero being the chief lyricist together with Gaddi and Aguila. Composed of 11 tracks sure to give you a dose of feel-good vibe, the eight-member band opens the album with the infectious “Kagabi Natulog Si Morrisey Na May Nagmamahal Sa Kanya.” It talks about a common dream for all the loveless out there, making you feel that Morrisey is your real name.

Even the not-so-happy song “Masamang Damo” is delivered in an up-beat manner that will surely make you keep your cool even faced with that person you both hate and love. Bringing that Oh-so-OPM feel are their tracks such as “Patintero/Habulan/Larong Kalye” which transports everyone back to those afternoons playing in the streets with that kababata you secretly had a crush on. “Ang Pag-Ibig Alinsunod Sa Karanasan Ng Isang Pangkaraniwang Jeepney Driver A.K.A Tsuper Duper” is a catchy song where you’ll find yourself singing along with that repetitive line, “Basta driver sweet lover yeah,” there’s definitely a song for everyone.

”Maari ba kitang makasayaw? O di kaya kahit upo lang muna tayo habang inaantay yung ating magiging themesong?”—lines from the title track “Themesong” makes you reminisce that awkward moment of the most awaited night of JS prom or other dances that you’ve been to. Summing up the emotions of uncertainty and the beauty of young innocent love was captured by Alvero.

The comic “Sasamahan Ka Pa Rin” describes the foolish side of love that most people are guiltily of. Most of us experienced those cold Yuletide seasons that Bandang Shirley sympathize with their song “Xmas lights” to expertly describe that longing feeling during those twinkly nights of December.

“Sa Madaling Salita” which was used as the soundtrack of the independent film Endo, a love song that’ll make you swoon with the sincerity overload with the vocal arrangement given by the band. Salang and Alvero were able to blend the contrast of their voices resulting to that harmonious end that love can definitely bring.

“Bato” is a song that talks of that last moment where the clock is ticking towards the end of the relationship making it the perfect selection as the parting track of the album.

Themesongs is made for every Filipino out there who has experienced the joys and sorrows of love, a must-have for anyone searching for that perfect theme song to accompany you at that certain moment of luck or mishap in the game of love.



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November 3rd, 2008


12:03 am - Talo kayo sa Ninong junyee ko...




Derelict Penthouses
by JOSE TENCE RUIZ

and

Siete Pintados
by
LUIS ENANO "Junyee" LEE


Derelict Penthouses fuses painting, sculpture and installation art. Tence Ruiz constructs elaborate vertical structures out of scrap wood coated with resin, attaching them to canvas. The artist reconstructs penthouses, among the preferred abodes of the wealthy and powerful, as architectural and symbolic aberrations and armatures exposed to the elements of decay.

These derelict structures portrayed by Tence Ruiz go beyond formal construction. The symbolic significance of Tence Ruiz's penthouses is echoed in images of political and economic events like the 9-11 attacks on the World Trade Center, the local furor over the contradicting Church-State issues, and the like. He utilizes motifs from industrial and religious architectural structures, such as transmission towers and Gothic cathedrals, to denote these structures as symbols of power and prestige. Yet at the same time, the artist portrays these structures as being in a state of decay: ridden with rust and slowly collapsing under their own weight.

All things considered, Derelict Penthouses is a scathing indictment of the two twin towers of the modern-day dominion: Capital and Church. It is a symbolic testament, as well as a fearless forecast, of the eventual fate to befall the current players of global hegemony. The artist poses the question: All enemies collapse-what do we do in between?

Tence Ruiz also presents in this show his Crux series, a set of alternating representations of the cross, among the oldest and most loaded symbols of civilization. Here, crosses constructed out of wood and resin are mounted on canvas amid the backdrop of blue, carrying with them a litany of contradictory significations: divinity and the crucifixion of Christ, medical relief and fascism, nationalism and spirituality. Dark shades of resin coat the crosses with a patina of decay, as if they were artifacts excavated from a long-delayed site. Seen as a whole, the Crux series is a commentary on the shifting modes of morality prevalent within society.

Derelict Penthouses will open simultaneously with Siete Pintados, a one-man exhibition of recent sculptures in wood by internationally acclaimed sculptor and installation artist Junyee. The two shows, through their respective modes of representation, deliver a collaborative commentary on contradictions within contemporary societies, identities and spaces on the verge of collapse.

Internationally acclaimed sculptor and installation artist Junyee's Siete Pintados are seven life-sized wood sculpture pieces of pre-colonial Filipino males, embellished with colored tattoos sourced from both indigenous and contemporary iconographies. Measuring five feet each, the works and the symbols in these embody what art critic Alice Guillermo calls the "collision of cultures", induced by uneven and transitional spheres of development within the context of Philippine society and culture.

The figures were sculpted from discarded acacia and santol hardwood, reflecting the artist's intentional adherence to the use of indigenous objects in art production. An avowed environmental advocate, the artist intentionally refrains from cutting any live tree and sources out discarded trees felled out of natural causes.

Junyee's Pintados series date back to the past eight years. The first Pintado sculpture created by the artist was exhibited as one of the two Filipino entries to the 7th Havana Biennale in Cuba in 2001: a wooden life-size figure of a tattooed pre-hispanic figure held aloft by natural fibers and hovering above a mirror image of a contemporary Filipino male made out of etched glass. The sceond figure was exhibited at the inauguration of the Ayala Museum in 2004.

The artist made use of composite tattoos as symbol and metaphor for cultural contradictions. The tattoos are sourced from representational traditions: from book illustrations of tattoos worn by pre-colonial Filipinos from the Mountain Province and Leyte Islands and from contemporary tattoos prevalent in popular culture influenced by foreign images, such as the iconography of American hip-hop groups, beatnik culture or the protest movement.

Siete Pintados draws on two periods of Filipino representational heritage as a springboard for creativity, to bring across a personal testimony of how the advancement of modern civilization (and its ills such as development aggression) creates a litany of unexpected and stark impacts for the inhabitants of a Third World country where the majority are left behind. The works articulate apprehension of losing individual and collective identity in this period of transitional trauma.


Both exhibits are open to the public.
November 8 to December 2, 2008
Galleria Duemila, Pasay City


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November 2nd, 2008


11:49 pm - {+/-} Plus/Minus in Manila!!!!!!!


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