Heavydirtysouth

Cool Saturday afternoon with no threats of rain. You’d think everyone has already flocked to the malls, but Alabang Town Center (ATC) was met with light foot traffic. But then again, this was Muntinlupa, south of the metro, where the residents are known to take it easy.

At the shopping complex’ activity center, things were a little more interesting. A stage was set up and people gathered by the barricades. A shopper, obviously unaware of what was happening that day, asked the security guard, “Who’s performing?”

To those who had no clue, the baby grand piano might’ve deceived them and made them think that a crooner was dropping by. When the show started at 5 p.m., two masked men took to the stage and amplified the noise that the screaming crowd was making.

It was Twenty One Pilots’ debut performance in the Philippines and they treated the July 18th ATC concert no different than their other shows. Singer Tyler Joseph and drummer Josh Dun have a reputation for outrageous behavior — all in the name of good fun — and they served it up along with their genre-defying songs, which lyrics and inflections the audience knew by heart.

The duo began with Heavydirtysoul, the opening track of their newly released album, “Blurryface.” Tyler sang on a microphone suspended in air, speculated by some fans as representative of a noose; but if you asked us, it was simply a visually appealing arrangement.

As expected, Tyler was all over the place, meaning he sprinted, got atop the piano, jumped down from it and back on it again. By the third number, Tyler dove into the pit and rapped the first few verses of Holding On To You while being carried by the lucky few who were staying where he landed. Josh also got into the action and somersaulted from the piano to the ground (was that piano ever for playing?).

Tyler Joseph scales one of the nearby pillars.

To be honest, a concert at a mall is quite an odd affair. People go there for different reasons and while a public space, aren’t guests entitled to a piece of privacy? Imagine how a customer at the adjacent café, who wanted nothing but to sit in silence, felt when the audience shrieked, “Somebody stole / my car radio / and now I just sit in silence.” For the ticket-holder’s part, it may be unfair that interested passers-by can watch for free. In addition, it must be difficult to head-bang when others are staring.

But Twenty One Pilots and their “Skeleton Clique” were caught in a world of their own, with an understanding that “sometimes quiet is violent” and if music were curative, they’d take it wherever they could find it, onlookers be damned.

In a GIST exclusive interview, Tyler explained that Blurryface is a made-up character symbolizing a person’s insecurities. “People are drawn to music. We say the things they’re afraid to say, we are their outlet,” he shared. A segment of the entertainment scene may communicate empowerment and it’s admirable but, when overdone, is also alienating. We have our inner rockstar, yes, but we also have our inner Blurryface, who, whether we admit it or not, care about what other people think.

And this honesty, which is far from self-deprecation, expressed in rhyme, catchy melody and energetic beats, is why we trust Twenty One Pilots to take us on a musical ride.

It doesn’t hurt that they’re a riot on — and off — stage. Tyler has a habit of climbing whatever he could climb and when we thought this antic wouldn’t be possible in such a family-oriented establishment, the singer scaled one of the nearby pillars.

For the finale, Josh and Tyler each banged on an acoustic drum poured with water — at the mosh pit, above the crowd.

The show only lasted for an hour but everyone had a satisfied look on their face after. Twenty One Pilots brought sixty minutes of madness to an otherwise peaceful south, and we were all the better for it.

—Originally published on GIST.PH

In pursuit of the noble beverage

The men and women behind EDSA Beverage Design Group (EDSA BDG) are an idealistic bunch. They trust that Filipinos are ready for specialty coffee, bottled cocktails, and a startup with a unique business model.

You may have learned about EDSA BDG while going through your Instagram feed and stopping to check out a photo of its now-famous glass door where the words “In pursuit of the noble beverage” are printed.

This shop, which is a few meters from the historic EDSA Shrine, has created a buzz among coffee and cocktails aficionados, as well as lovers of all things artistic; but little do the patrons know that EDSA BDG, for all the coziness it serves, is a business-to-business company.

“We’re really consultants. We help you out with all your beverage needs — from recipes and supplies to trainings,” says EDSA BDG general manager Trissy Perfecto.

“It all started with coffee,” narrates Perfecto. Founders Jericson Co and David Ong used to frequent Craft Coffee Workshop in Quezon City, which is said to be the first specialty coffee retailer in the country. “Coffee brings people together, and true enough, they became friends,” she continues. From there, they put up The Curator in Makati City, a speakeasy that, along with specialty coffee, offers craft cocktails.

Soon after, the friends launched EDSA BDG, bringing a whole new concept in beverage design and service-oriented business. “Our main thrust is to educate Filipinos. We should all start drinking better,” says Perfecto. “The place is really supposed to be education in itself. It introduces new ideas.”

Bags of beans and intimidating contraptions greet visitors upon entrance to the two-storey studio. The ground floor is where the team roasts beans for delivery to clients, while upstairs is what appears to be a retail space, but is in fact a showroom of products and services.

A photo posted by Razel Estrella (@fishpeep) on May 26, 2015 at 4:58am PDT

One remarkable spot is the Honeycomb Co-working Space, where customers can rent seats and work with high-speed Internet while drinking an EDSA BDG beverage to fuel the mind and body. The space is also designed to encourage collaborations.

Perfecto notes that the interiors are mostly made of glass to embody transparency: “We want people to really understand what they’re taking in. We want to be socially responsible.”

For now, coffee is EDSA BDG’s most holistic brand. Aside from supplying coffee beans, they also offer barista training, workshops for enthusiasts, machines, preventive maintenance, and even coffee subscription.

Down the road, they aim to go directly to farmers. “We’re helping a local farm in Davao. They bring harvested beans to us and we roast it ourselves,” shares Perfecto. “We realize there’s high potential there. It’s not specialty grade yet, but it can be. And that’s the goal — not just to bring the [premium coffee] experience to the Filipinos, but also for Filipinos to be known worldwide.”

Within a year since its opening, the company launched “#YKW Roasters Manila” specialty coffee; “Coo” bottled fizzy sodas; TGBG, or Tito Boy’s Ginger Beer; and the “Better Common” bottled cocktails, which takes its name from the promise of producing and consuming better products.

As with any noble pursuit, though, the road can be bumpy. Innovations will always have doubters. Better Common, for example, have been received with a few raised eyebrows, what with cocktails being equated to theatrics and fancy presentation.

There’s also the tough balancing act of pleasing clients and adhering to personal principles. “There’s a fine line between putting up a business to earn profit and putting up a business to educate,” admits Perfecto. “It’s hard to make money because you sacrifice a lot. That for me is a major obstacle in this business model.”

To clients who can’t be convinced and customers who can’t wrap their heads around liquid cuisine, Perfecto invites them to their workshops. Visiting the studio and talking to the staff is a good idea, too, as they’re more than willing to share their knowledge. Education, after all, doesn’t happen overnight. And even the founders continuously travel worldwide to attend food and beverage conventions.

A little over a year old, EDSA BDG has just taken the first step towards becoming the go-to expert in beverage design. Its clientele is turning out to be an impressive list with the likes of Wildflour Café and Bakery, Satchmi, Todd English Food Hall, and SpiceBird Boracay, among others, carrying their creations.

But the ultimate dream is to be known internationally as the product of the Philippines. “It’s a passion project,” says Perfecto. And maybe it’s only fitting that they’ve named the enterprise after a landmark of history-changing revolution and an emblem of Filipino passion. “EDSA is the highway that connects everything,” she adds. “That’s how we see the business growing.”

—Originally published on GIST

Nothing but a feel-good throwback to the ‘80s

A musical adaptation of Bituing Walang Ningning (originally a Nerissa Cabral serialized comics strip made into a movie in 1985 and a TV series in 2006) is somehow inevitable. It tells the story of singers Dorina Pineda and Lavinia Arguelles — the former intent on building a career and the latter, on staying on top. The drama of show business, its spectacle, not to mention the celebrities’ occasional histrionics, can be fully realized in theater.

As such, the creative team behind Bituing Walang Ningning the Musical exploited the medium, creating set pieces where Lavinia (Cris Villonco) and Dorina (Monica Cuenca) can perform like true divas. Particularly memorable was the Pangarap Na Bituin number where Dorina sang solo on center stage, her gown blending with the starry sky backdrop, making it appear as if she herself were among the stars.

It’s amusing that there is some degree of parallelism between lead actors Villonco and Cuenca and their characters (we’re not sure if this was the intention during casting). Villonco has been around in the business as a theater mainstay and has become a darling among theater-goers. But the similarities with Lavinia end there. In an interview, Villonco shared that being the bad guy onstage was unfamiliar territory to her and her angelic face was a liability at first.

And like Dorina, Cuenca is a newcomer who bested hundreds of auditioners vying for the role that Sharon Cuneta popularized in the movie adaption. The musical was her debut on the big stage, but those who didn’t know it might not be able to tell with the way she managed her nerves.
The ladies were joined by Mark Bautista and Ronnie Liang, who played Lavinia’s boyfriend-slash-manager Nico Escobar and composer Garry Diaz, respectively.

But the brightest stars of the show had to be veterans Jon Santos, who was Auntie, Dorina’s aunt and guardian; and Menchu Lauchengco-Yulo, who was Edith, a no-nonsense entertainment journalist. The two took on their roles with ease, allowing the audience the pleasure of seeing characters and not actors.

With a well-known narrative at its disposal, the show banked on the audience’ readiness to go down memory lane. It featured OPM hits of the past (Points of View especially pleasing the crowd); referenced ‘80s fashion, which was marked by big hair and flamboyance; highlighted the emergence of compact disc, which overthrew the cassette; and even brought in a Kuya Germs variety show.

While all these were entertaining, the dimmer spots in its storytelling couldn’t be ignored. The tension between the divas was barely felt. Lavinia was catty but far from conniving, or at least not convincingly; and Dorina’s switch from avid Lavinia fan to worst enemy and back to supporter all happened without an equivalent motivation.

Even the conflict between Nico and Gary, who were both after Dorina’s heart, didn’t have the chance to properly brew.

At best, Bituing Walang Ningning the Musical is a massive feel-good throwback to the ‘80s. Expect to have lots of fun but little empathy towards the characters.

—Originally published on GIST.PH

Up

Up Dharma Down is accessible in many ways. The band plays at least once a week in bars up north all the way down south, and you don’t have to pay an arm and a leg to get in. On social media, they allow the public a peep at their private lives, cat snapshots included. And their music, though distinctive in sound, touches upon the familiar: love, longing, confusion.

On the flip side, theirs is a career anyone with musical aspirations can only dream of — anyone who knows how challenging and, to some extent, discouraging a creative endeavor is. As for artistry, their work gained the admiration of many, including Scottish band The Blue Nile’s Paul Buchanan, who even agreed to lend his voice in a track in their latest album, “Capacities.”

They make heartbreak, because beautifully written, noble and reason for people to commune in a bar, cognac in hand, shouting to someone in particular, “Ba’t di pa sabihin ang hindi mo maamin?” They also make the dancing-averse feel like it’s safe to jig. (What’s the Tagalog word for it? Ah, indak.)

It’s no surprise that in this year’s edition of club series Hennessy Artistry — Philippines, Up Dharma Down has been the brand’s hand-picked artist. Through its run we’ve seen Armi Millare (vocals, keyboards), Paul Yap (bass, synth), Ean Mayor (drums, synth) and Carlos Tanada (guitars, synth) stun strollers at Bonifacio High Street with a surprise show; collaborate with another band, with Armi singing a duet with Yolanda Moon’s Cholo Hermosa; and, in Armi’s words, “make the biggest club in Asia sing to [their] songs.”

Light shower out of beat. #HennessyArtistryPH #GISTPH @hennessyph @uddofficial

A video posted by Razel Estrella (@fishpeep) on Jun 5, 2015 at 12:37pm PDT

Their spirit (and yes, Hennessy) brought us on a high, but how was the experience on their end? Why aren’t they playing in an arena yet? And how’s that new album going?

GIST: What made you say yes to Hennessy Artistry? What is it about the brand and concert series that resonate with your principles as musicians?

UP DHARMA DOWN: Because it’s a good project wherein a corporate brand recognizes the importance of evolution and provides support to artists who are pushing the envelope.

How was the Hennessy gig different from your other gigs — from the crowd to the venues?

Well, it was different in a sense that some of the venues are places we don’t normally play at. It made it possible for us to reach another set of audience.

Which acts impressed you the most during the entire artistry series and what have you learned from them?

We’re definitel y impressed by the growth of Cholo Hermosa of Yolanda Moon. Not because he’s our label mate but, objectively, because of how he’s matured in just a few years as a songwriter and a musician. We can’t wait for Yolanda Moon’s album to come out. It was also a blast to have him sing with us a song of ours and for us to do our version of Yolanda Moon’s track Leaving Soon live!

Armi posted on Instagram after the Valkyrie show, “I never thought we could make the biggest club in Asia sing to our songs because the idea just sounds downright impossible.” After this, will you consider playing in bigger venues?

We have and continue to play in bigger venues side by side the smaller ones. What Armi meant was for a club audience in a dance club, she didn’t expect them to be signing along or reacting the way they did.

Has anyone — a fan or otherwise — asked you to stage a stadium concert? Will we ever see you do one?

That has been suggested many times by fans, promoters and producers; but we don’t think our fan base is that huge yet that we will be able to fill a whole stadium! We’re not opposed to doing such a scale but we’d rather build our audience steadily as we go through the years and we’re more comfortable when the gig is more intimate.

Was there ever a gig where you didn’t perform Oo? How does it feel, seeing fans don’t seem to tire of it and scream like it’s the latest hit on the radio the moment they hear the first few notes of the song?

Yes, there are gigs wherein we don’t perform Oo and there are times when they don’t seem to mind. But for places wherein it’s our first time to perform, we try to play the hits as well as the album favorites. It feels good of course to see and hear people singing your songs, even more when it’s the album cuts and not necessarily the hits.

Describe to us the pressures of creating Album no. 4. If it’s okay to share, your fears when writing an album, especially this one.

There’s always pressure after every album, as we want to better ourselves as musicians and songwriters; and obviously there is no other way but up and we strive to top the previous albums. So yes there is pressure on ourselves, but no pressure from Terno Recordings, who will always just say, “Do what you want to do as long as it’s of quality.”

Give us four words that you associate with the upcoming album.

Celebratory, up, vibrant and colorful.

What’s the best way a fan can show appreciation for your music?

By purchasing the CDs and vinyl and going to the gigs!

If Up Dharma Down were a cocktail, it would be…?

Mint julep — because we would like to give our audience that chill, cool vibe.

—Originally published on GIST.PH

Dislocation

Neither feel safe nor free in my own house.

The world through prism-vision

“We’re going all around the world spreading light,” said Katy Perry on “Vevo Tour Exposed” in describing the Prismatic World Tour, which is in support of her fourth studio album, “Prism.” According to billboard.com, Perry originally intended to make an acoustic record with “depressive shades,” but instead “found inspiration in more positive places.” The site quoted the singer: “All the light hit me and it influenced the songs.”

On May 7, the tour marked its first anniversary and biggest show to date at the Philippine Arena in Bulacan. For two hours, Katy Perry fans, also known as “KatyCats,” were transported into and enraptured by Perry’s Prismatic world.

The show was divided into seven set pieces, each one showcasing Perry’s music and personality. The first part, “Prismatic,” opened with the pop star’s recent #1 single, Roar and immediately raised the room’s energy to stratospheric heights.

Perry came out on stage donning a gladiator-inspired suit, not without a touch of Katy quirkiness — glowing cats eyes on the chest, lights at the seams, and more strands of light flowing from her ponytail. Around her were dancers wielding fluorescent spears.

She was just starting. Next up was the “Egyptian” section where the audience saw their princess riding a mechanical horse around the stage and a giant snake dancing as she sang Dark Horse. At this point, it was difficult not be impressed by the elaborate stage production and be convinced that “more is more.”

After the stormy performances, the playful, campy Katy Perry we knew surfaced, taking on the role of her cat Kitty Purry (or was it the other way around?) in the “Cat-oure” section, which was packed with every visual and aural cat pun and reference — from the theater theme that was reminiscent of the musical, Cats to making a catwalk out of the stage. A highlight within this highlight was Perry sashaying in a glittering fishbone dress to the tune of Madonna’s Vogue. In this part she sang an early hit, Hot N Cold and International Smile, a potential new hit from “Prism.”

The singer displayed both her warmth and sense of humor in the “Acoustic” section, dishing out emotional songs like By the Grace of God and the soaring ballad, Unconditionally. In between she talked to the fans and even asked a die-hard KatyCat to come up on stage and teach her Tagalog.

A video posted by Razel Estrella (@fishpeep) on May 8, 2015 at 12:56pm PDT

“We may have different languages but we both share the love of music. We all came here and went through the traffic because we love music,” she remarked and continued in a more serious tone, “We hope that you come out of this show feeling happier than when you came in.”

The following section, “Throw Back” was all about good ol’ fun. It began with dancers grooving to old-school hip hop beats like Good Vibrations before Perry came back on stage to perform Walking on Air, Last Friday Night and This is How We Do, employing humble props like SUV-sized flying emojis (the poo emoji a crowd favorite) and an inflatable car.

Later on Perry brought the California vibe to the Philippine Arena in “Hyper Neon,” where the audience reveled in Katy classics, Teenage Dream and California Girls. Meanwhile the dancers played with their colorful version of the HOLLYWOOD sign, spelling out words that define our time: YOLO and LOL, among others.

Perry ended the night belting out Firework. Here the audience was encouraged to put on the prism-vision glasses that diffract light — a final kaleidoscopic touch to the spectacle that preceded it.

The Prismatic World Tour had every intention do dazzle and succeeded. It’s a rare concert where one can say, “I’ve never seen anything like it before” alongside “Ah, that’s where my money went.”

It’s one thing to mount a show with a scale as grand as Prismatic’s and quite another to replicate it (from production quality to energy intensity) in 138 cities across different continents. “I’m proud that we never had a major injury or show cancellations,” declared Perry in the middle of the concert. “We get tired, we get homesick, but we show up every single time because we said we will show up.”

On behalf of the 30,000 people who went to the Philippine Arena last Thursday, we thank Katy Perry and her crew, who came over bringing music, humor and, as promised, light.

—Originally published on GIST.PH

Forever 15: Backstreet Boys still make us giddy

Right after their opening songs, Nick Carter, 1/5 of the Backstreet Boys, walked solo on stage and scanned the arena. “Are you guys for real? Are you all Backstreet Boys fans?” he told the audience, who filled the Mall of Asia Arena to the rafters on May 5.

To be honest, I was surprised myself and had to ask the same question. As an early bird, I witnessed the slow arrival of concert-goers. Most of the seats were empty with only a few minutes left till showtime.

But as the lights dimmed, more people started coming in and when the first notes of The Call struck, loud screams reverberated. I looked behind me, saw what Carter saw, and thought, “Wow, The Backstreet Boys’ charm hasn’t waned a bit.”

Nick Carter, Kevin Richardson, AJ McLean, Brian Littrell and Howie Dorough were quick to note that they — no we, them and their fans — are old(er). Right away (and this shall be quoted in all BSB Manila 2015 concert conversations) Carter set two rules: (1) Act crazy and (2) act like 15-year-olds. Later on Richardson commanded, “Party like it’s 1999.”

A photo posted by Razel Estrella (@fishpeep) on May 5, 2015 at 11:11am PDT

The crowd didn’t really need the instructions, but those words fuelled everyone’s desire to go deeper into the whole nostalgia trip, back in the days when we were still collecting copies of Teen Beat and Bop, and praying that song lyrics were included in the sleeve of the cassette tape we saved our meager allowance for.

The entire arena was transformed into a sort of huge karaoke house with everyone singing along with the band for two hours. My only complaint was security wouldn’t allow us to get on our feet — at least not until the party went into full swing. My companion joked, “Of course they’ll put chairs, the fans are oldies.”

In the middle of the show, the five men took a break from dancing and sat down to play acoustic instruments. The moment was easily a highlight because it was refreshing to see them doing something different, but more than that, the acoustic set underscored the fact that we just love belting out their songs.

Over-romantization alert: It was like their way of giving us a chance to shower them with adoration. Yes, after all these years, we still know the words by heart!

A video posted by Razel Estrella (@fishpeep) on May 5, 2015 at 10:43am PDT

Boy bands and pop songs often get a bad rep, the latter pegged as mere feel-good tunes, without aspirations to elevate the spirit. But who doesn’t want to feel good? And on that night, the Backstreet Boys were masters at making us as carefree as bright-eyed teenagers.

I’m no expert but perhaps the reason why they’re still here is that they continue to put out songs we can sing along to, melodies that stick, plain and simple. And it helps that they’ve taken good care of themselves (read: they’re still eye candies).

Backstreet Boys shared that the “In A World Like This Tour” is in celebration of the band’s 20th anniversary. “We’ve been together for 22 years now and we’re still happy to do this,” they said. It didn’t sound that impressive until I made calculations in my head. Because if you were 30 now, that means you’ve been a fan since you were 10. In other words, you’ve been a fan since grade school till you got a job, got fired, put up your own business, right up until you got married and had children.

They’ve got it going on for years and they promise to keep going. “The Backstreet Boys will go back to the studio,” disclosed Bryan towards the show’s end. And before they finally bid their good-byes, they told the all-smiles crowd, “We’ll see you again with a new album and a new tour.”

Okay then. I bet everyone in that room will have another reunion when that time comes, and count me in when the group announces their jubilee concert.

—Originally published on GIST.PH

'The whole of life calls for tears'

I understand breakdowns. When celebrities get mocked for it, I'm sympathetic. Sometimes I ride a cab home and wish it crashes.

We have given up on trying to meet others; we just meet ourselves

Muriel Barbery. The elegance of the hedgehog. Paris: Editions Gallimard, 2006.

Pages 140 – 141:

This is the first time I have met someone who seeks out people and who sees beyond. That may seem trivial but I think it is profound all the same. We never look beyond our assumptions and, what's worse, we have given up trying to meet others; we just meet ourselves. We don't recognise each other because other people have become our permanent mirros. If we actually realized this, if we were to become aware of the fact that we are only ever looking at ourselves in the other person, that we are alone in the wilderness, we would go crazy. When my mother offers macaroons from Ladurée to Madame de Broglie, she is telling herself her own life story and just nibbling at her own flavour; when Papa drinks his coffee and reads his paper, he is comtemplating his own reflection in the mirror, as if practising the Coué method or something; when Colombe talks about Marian's lectures, she is ranting about her own relfection; and when people walk by the concierge, all they see is a void, because she is not from their world. [my emphasis]

As for me, I implore fate to give me the chance to see beyond myself and truly meet someone.

Got around to finishing The Elegance of the Hedgehog—which I received last December as a Christmas gift—this Holy Week. The book is a full home you can live in but that passage is a room washed in sunlight.

I have never thought of knowing another that way.

PS: I lost it on page 306.

Lindsey Stirling's advice to fellow artists

It’s funny how, sometimes, taking comfort in your uniqueness and not pretending to be like everybody else, can lead to hearing things like, “Sorry, the world has no place for you.” Take Lindsey Stirling, for example — a dancing dubstep violinist once deemed “not cool” or “not marketable” enough.

For so long, she has struggled with putting her music out there: “I tried lots of ways, from traditional ones like going to record labels and talking to agencies to joining America’s Got Talent — that didn’t lead to anything,” shares Stirling.

So she took matters into her own hands. “I got sick of waiting for somebody to sign me, for someone to say, ‘Okay, you’re good enough,'” she continues. “So I started making videos, uploading them to Youtube and setting up shows.”

Stirling’s Crystallize became the eighth most-viewed video on Youtube last year with 63 million views and her channel, “Lindseystomp” garnered over 6 million subscribers. That was when record labels, for a change, came knocking on her door.

No.

“I was like, ‘No, I don’t want to be signed,’” says Stirling, who later on sealed a record deal in Asia. “I don’t live here. It’s a different world that’s why I signed with a record label here, but I still act very much as an independent artist,” she adds.

Her new album, “Shatter Me,” might well be a confessional. Far from the “happy-go-lucky” vibe of her debut record, Stirling admits to exposing the darker side of herself in her latest outing. “At that time, I was going through depression and anorexia,” she shares. “But the album is also a celebration of breaking free from whatever it is that haunts us: other people, ourselves, our fears.”

This freedom from fear is best represented in the titular single with a music video that shows a violin-wielding ballerina trapped in a snow globe. “As she starts to express herself (through music and dance), the globe begins to crack,” narrates Stirling. “But she’s afraid of what’s happening. ‘If I break, will there be anything left?’”

It’s difficult to imagine Lindsey Stirling contained in any form of barriers, especially after seeing her perform live. On March 13 she returned to the Philippines to open for Incubus at the Mall of Asia (MOA) Arena and for a moment made us forget about Incubus.

She is always moving — going from one point of the stage to another, involving every part of her body in the performance. And even in her craft, she couldn’t keep still. In “Shatter Me,” Lindsey collaborated with Dia Frampton and Lzzy Hale of Halestorm. Asked if we could expect more from the trio, she said that she wishes to create different sounds in the future and work with different people such as Zedd, Haley Williams, Ellie Goulding, and Ryan Tedder of One Republic to name a few.

Right now, Lindsey is touring, and on the side, writing a book with her sister. Somewhere in the future she hopes to score for a film, work on a video game composition, and maybe squeeze in an acting gig.

Lindsey Stirling with reporters

Following her arena performance in the Philippines, Lindsey got a little closer to her fans and held a small show and a meet and greet at SM North EDSA The Block. As much as the fans were delighted to meet their idol, they were clamoring for a full concert from the dancing violinist. Their plea didn’t escape Lindsey, who told everyone who came, “I’m planning to come back, I’m going to do a full show as soon as I can.”

Later in the afternoon she laid down her bow and picked up a pen to sign copies of “Shatter Me.” But her CD wasn’t the only thing fans wanted autographed; a lot of them brought their own violins and guitars — a reminder that many of Lindsey’s fans are aspiring artists as well. And to them, Lindsey’s biggest message is simply: Don’t give up.

“Artists are so hard on themselves. They are the most critical of themselves,” she says. “Failure is just one of the many steps that comes in the line of being successful, so pick yourself up again and don’t be too hard on yourself.”

—Originally published on GIST.PH

Dancin' and singin' in the rain

The best things about the One Direction concert have little to do with One Direction. Well the entire night wouldn't have happened if not for 1D, but let me talk.

OTRA Day 2 pass

First of all, am no Directioner, just someone who appreciates music. The way I see it, there's ambition and achievement. Louis (my crush), Niall, Harry, Liam, and Zayn aim to be a cute boy band singing singable danceable tunes and they do it well, so I like them. That's why when there was a chance to watch the group live, I grabbed it.

I attended the second night of the On the Road Again Tour – Manila leg. It was fun but not as magical as I hoped it would be. Maybe because I could barely see the boys and maybe because it was 1D sans Zayn.

Anyway, we've already settled at a nice spot in the middle of the concert grounds late in the afternoon. So it was basically a waiting game from then on. By 6pm it started to drizzle. Then rain. Then back to drizzle. Then solid rain. Non-stop rain. That made me anxious and cold.

Our view

Until a DJ KC came out on stage and the next thing you know, I was in the midst of a rave party and loving every second of it. Except when his set finished and the rain stopped as well.

It was as if all the good things I own in the world were taken from me. I was wishing for more rain and dancing.

Instead, there was more waiting.

When One Direction finally showed up, performing song after song, I was simply going through the motions. Humming, swaying, hands up in the air; replying with a howl when they say, 'How are you, Manila', 'We love you, Manila', 'Thank you we wouldn't be here without you'; and taking a couple of photos and videos as keepsakes.


Of course I went wild when they sang my favorites—One Thing, What Makes You Beautiful, and Night Changes.

It was fitting that they closed with Best Song Ever (imagine when you have a song with that title and the melody's crap?). That was a pure moment I had with One Direction coz I was dancing and singing like crazy to the best song that night, which was punctuated by fireworks—their final good-bye.

While fun, the show wasn't as magical as I hoped it would be. Maybe because I could barely see the boys and maybe because it was 1D sans Zayn. Or maybe because I would've liked it for the rain to keep pouring and the band to never stop singing so I may carry on dancing.

In a Sing state of mind

As early as five in the afternoon, people already came in droves at the Mall of Asia (MOA) Arena, chanting, “We want Ed! We want Ed!” They meant Ed Sheeran, the British singer-songwriter who broke into everyone’s music consciousness with hits like 'Lego House' and 'The A Team'. To those who still don’t know him, he’s the artist behind that song you keep hearing everywhere, that song you can’t get out of your head and will probably play on your wedding day — Darling I will / be loving you till / we’re 70. Sheeran brought his Multiply Tour to Manila on March 12 and a couple of hours before taking the stage, we had the chance to sit down with him for an interview.

X memories forever frozen still in digital photographs

“I was expecting a good gig, but I think this might be one of the bests in the tour just based on the reception I’ve got. Everyone is so excited and that makes me more excited,” Sheeran said when asked about his expectations of the show.

We were surprised that he was surprised by his level of popularity in the country, to which he replied, “On social media (you have an idea of your fan base), yes. You can see the amount of tweets that you get but you can never really tell until you step into a country and feel the electricity.”

His doubts must’ve been cleared now as the 16,000-seater arena was filled to the brim, and with how the audience behaved (or misbehaved — blocking aisles to get closer, for example), it felt like there were 30,000 people in the room — which Sheeran effortlessly commanded.

Those who watched the concert fondly speak of how the 24-year-old musician in jeans, polo, and messy hair only needed his voice, guitar, and loop station to rock the night away. Meanwhile, those who were able to meet him, talk non-stop about his kindness and humility.

How can one be a rock star on stage and a grounded human being off stage? (Sheeran once remarked that thank goodness he wasn’t selling albums based on his looks.) The answer, at least for Sheeran, is to separate the musician from the man. “The artist side of me is the one who is successful and the normal side of me is not. You have to separate the two,” he said.

X

Ed Sheeran is the third act featured in MMI Live’s British Invasion 2015 concert series. Before him, The 1975 and The Vamps performed in Manila in January and February respectively, and following him are One Direction on March 21 and 22, and Sam Smith in May.

What is it about British music that resonates so well with the rest of the world?

“I don’t think the invasion ever stopped,” offered Sheeran. “Because before us there was Adele, Coldplay and Mumford & Sons; and before them there was James Blunt, David Gray and Travis,” he continued. “There’ve always been British bands — Oasis, Blur — It’s the same for the Swedish, they’re good at songwriting. England, UK and Ireland just produce good artists.”

Lucky for us they’re now crossing continents so we can watch them perform live. Before we let Sheeran off, we asked which one of his songs best reflects his current state of mind. He paused to think, then said, 'Sing' — the upbeat tune he co-wrote with Pharrell Williams. “I’m having a wonderful time in the Philippines and I just, I feel…” he couldn’t find the words, so maybe he just really felt like singing and letting go. And that he did at the MOA Arena last Thursday.

Sheeran closed his first Manila concert with Sing. Towards the song’s end, he told the audience to sing the song’s hook, O-oh o-oh-oh o-oh-oh o-oh-oh oh-oh… and to “never stop singing” even as he put his guitar down and left the stage. The crowd obliged.

It was, to reiterate and to understate, a memorable night. And in case you’re reading this, we’re still singing, Ed.

—Originally published on GIST.PH

Over the hillside

32. Last year, my theme song was Petshop Boys' 'Being boring'. This year it's The Blue Nile's 'Over the Hillside'.


I tried and tried to make good sense. What's the good to try it all again?

Except that I don't end where the song ends, I continue to try.

Much ado about time: Notes on 'Comet'

Ticket to Comet

Written and directed by Sam Esmail, Comet tells the story of “now” girl Kimberly (Emmy Rossum) and “five minutes from now” guy Dell (Justin Long).

“I don’t like time,” says Kimberly, who finds the whole idea of a beginning, middle, and end restrictive. As someone who lives “in the now,” she enjoys things like paintings, for they are there to be experienced whenever and however she wants. Meanwhile, Dell, who labels himself a “five minutes from now person,” is addled with fear, always pre-empting a disaster that may or may not happen.

The two protagonists’ perspective on time serves as a driving force of the film, which is set in parallel universes. As how Kimberly may have liked it, the story is narrated through a series of time jumps and with changing color palettes, allowing the audience to take in the moment as a fragment that can stand on its own.

We see glimpses of their first meeting, falling out, break-up, reunion and reconciliation, yet never in that order. Fuzzy as a comet, though, the film at some point feels like it’s going in circles.

Putting its soporific tendencies aside, Comet manages to be cute, funny and romantic while it shows the tough, and mostly mundane, realities of a relationship — lies that both sustain and ruin a partnership, dodging commitment, and pure disappointment by the other’s words and actions.

Following a story that bounces back and forth through time is the least of a filmgoer’s concern when watching Comet. It’s following the quick-fire exchanges between Kimberly and Dell that moviegoers should watch out for. They move on to the next clever remark before you get to fully digest the preceding one.

KIMBERLY: You don’t deserve me.
DELL: Good. I want someone I don’t deserve.

* * *

DELL: I like you because you like me… That’s what we want in a relationship. It’s looking for someone who will love you the way you love yourself.

These lines are delivered to perfection by the two leads. Long and Rossum made a convincing pretty girl / awkward guy pair. Their characters’ differences naturally go beyond their looks and how they’ll follow through will keep the audience on their seats. As Kimberly learns (or argues), “It doesn’t have to look good on paper to feel good.”

Despite its references to the celestial and dream-like feel, Comet encourages lovers to take risks and not leave their fate to the stars. It tells you to go ahead and introduce yourself to that beautiful lady alongside her handsome date, spare some time for that weird boy, express love. Grab that chance because if it slips, you might have to travel to another world just to find it again.

—Originally published on GIST.PH

AJ on OS

To “the goth kid whom everyone evades during lunch break, the pack of punks hanging out at the back of the building, or that offbeat kid who, to be honest, just don’t give a shit” — pardon the labels, but if you relate to these personas in any way — OS is for you.

Latin for “bone”, OS is the name, material and mantra of the street accessory brand established three years ago by partners AJ Omandac and Paul Jatayna. “In history, jewelry loosely started with bones as adornments, either as prize for a hunt or even war. We thought it would really be awesome if somehow we make it contemporary,” shares AJ.

The idea, however, of harvesting real bones was a challenge. Not to mention it’s fairly impossible to export or reproduce it in a humane, let alone environmental method.

It wasn’t until AJ and Paul chanced upon artist Leeroy New, who taught them the basics of mould-making and resin casting. “From there we practiced and experimented until we got it right,” he continues. And OS Accessories was born.

Bone is at the core of everything OS. “Bones are naturally dark and beautiful. The OS design philosophy always revolves around that edgy, and sometimes dark aesthetic,” says AJ.

Looking at the pieces, you’ll see exactly what he means and concede that theirs are creations that can rightfully represent a subculture that continues to challenge the norms. “Edgy” is being overused nowadays but OS Accessories may serve as an accurate definition.

One has to wonder, though: How far can you deviate from the norm while still maintaining a lucrative job? How difficult is it for art and business to share the same space?

“I think design is just that: art and business. Design is not successful if it’s just one or the other. It has to be both beautiful and usable, and therefore sellable,” explains AJ. “It’s a tough balancing act, especially in our kind of environment (our country). That’s why we opted to focus more on the international market. In this scenario we can still practice the brand’s design philosophy without so much compromise.”

He adds that another concern, especially in fashion, is the shifting taste of people. “But trusting your instincts and smart actions will always trump these challenges,” he says.

True enough, following their instinct led them closer to the dream of growing into a respectable fashion house. Since OS Accessories entered the fashion scene in 2011, it appeared in editorials in glossies like Harper’s Bazaar China, Dazed and Confused Korea, and Elle Magazine.

The products also featured in international pop acts’ music videos. One of the Bangtan Boys donned the seacage cap in “We Are Bulletproof Pt. 2”, while the ribcage harness was worn in Girls Generation’s “I Got A Boy”.

“Who would have known that our simple idea of bone jewelry would still be running after three years, and worn by people we only dream of in places we’ve never been to?” ends AJ.

—Originally published on GIST

Elegance

Happy new year from the comfort of my apartment.

Last night I was saying that New Year is very much over-rated because we're merely talking about the passage of time. Ten o'clock becoming eleven, Wednesday overtaking Tuesday, and so on.

But I feel like conversing and that first sentence was this occasion's version of Good afternoon how are you?

Me? I'm doing fine. Going back to the first sentence again, I'm living in an apartment now. In my own space since November last year.

It was about the same time I took on a new job in the same company. And that was right after I got my driving license.

And before the year ended, December 30 to be exact, I bought a new phone, which I'm using now to blog this (and which I used to shoot the attached photo).

All these activities, acquired possessions, and changes make me feel, well, good. Not because something's happening in my life but because I am making things happen.

2014's theme is open doors. And because Mel gave me 'The elegance of the hedgehog' as a Christmas gift, am making 2015 all about elegance.

But for now it's just a nice-sounding idea. No concrete plans yet. I think, unlike what many nice, well-meaning people say, I aim to create beauty on the outside so that it will affect me positively on the inside.

I do take care of myself but this time I have to purposefully create who I am. Don't worry, I know that true art conceals itself.

Our stories reframed

“Real conversation with someone means looking into their eyes. When we spend time talking, we see parts of ourselves through the other person; and no matter the differences, we see that we all have something in common,” said Jose Edsel Diego and Biel Sabas, creators of Perceive.

The artwork presents two faces — one dismantled and one in its complete form with eyes made of mirrors — signifying the person underneath the face, the person whom we share the same stories with.

It is one of the art installations that constellate “Reframed,” the latest edition of College of Saint Benilde (CSB) Multimedia Arts Festival (MMAF), held last November 28 – 30 at Green Sun, Makati City.

The annual event is part of the CSB-MMA curriculum and this year, the young artists were asked to bare themselves in their creations. The result is an unapologetically personal portfolio. Walking around the exhibit hall is like walking into a big confessional. Yet instead of shock, contempt, or pity, you feel empathy and a sense that a huge piece of yourself safely belongs here. Just as with “Perceive,” to experience an art installation in “Reframed” is to have a dialogue with one’s self.

“Our story is your story. And vice versa. This is the premise of ‘Reframed’ as a convergence of narratives on lives lived and re-imagined. Multimedia storytelling is at the forefront of these expressions,” noted Karen Ocampo Flores, who curated the exhibit along with Sharon Mapa-Arriola.

“The art that we showcase here is applied media. Functional art,” added exhibit director and adviser Lou Hansel Gonzales. “You can interact with the artworks and the artists are present to share their own perspective, so you’ll know the stories that shaped their art.”

Also telling their stories in a forum dubbed Conversations were creatives in different industries. Among those who generously gave their views on the creative life were comedian and filmmaker Ramon Bautista; wedding videography company Treehouse Story (which team comprises of CSB-MMA graduates); husband-and-wife Wincy Ong and CJ de Silva-Ong; and former Ogilvy & Mather Philippines CEO Peachy Pacquing.

The three-day arts fair culminated with a live performance by Up Dharma Down. Continuing the thread of multimedia narration, CSB-MMA students synced the band’s music with video installations mapped into a 360-degree projection. Needless to say, the project’s ambition was on a grand scale. One of the songs even featured clips from NASA. “It’s a first in the portfolio and I think it’s also a first for Up Dharma Down,” said Gonzales.

The short concert was a perfect celebration of multimedia practice, as the audience was in the midst of a shared experience crafted by various artists in their chosen modes of expression.

“Reframed,” through the mix of artistic and communicative media, from painting and sculpture to motion graphics and augmented reality, reinforces the idea that our stories are both specific and universal. Each of us, despite what our facade narrates, has hidden tales of fear, imprisonment, madness, and ultimately begs to be heard.

—Originally published on GIST

Gained

What follows may undermine the pain of loss, of panghihinayang I suffered after seeing termites devour the spines and edges of my treasured books.

I say treasured, but in truth I didn't treat them as such. Those books were gone even before the pests reached them because (it hurts to say this) I abandoned poetry.

Lost Alice Fulton, Lucie Brock-Broido, Elizabeth Bishop, Luise Gluck, and Edna St Vincent Millay to termites. My fault or the world's?
— Razel Estrella (@fishpeep) November 30, 2014

Two days later, when I accepted that some things are filled with the intent to be lost that their loss is no disaster, this happened:

Knowing very well that trolls, bots, and fake identities are everywhere online, I double-checked if it was indeed Alice Fulton. My research showed it was her. So I followed, and in the same day:

*

Dammit I misspelled Louise. Apologies.

Private

It's easier to get into my pants than inside my mind.

Bag brag

My Hedgren Eveline tote

Excuse me but I just had another fashion breakthrough.

So usually the case is, at least for me I think, you watch runway shows then covet what's being modelled.

Tonight, I saw the Hedgren Eveline tote I bought last August launched in the Hegren Style Fair. They even showcased the same print!

Rawr.

The bag featured in the Hedgren Style Fair