Tube Magazine

THE GREAT MINDS BEHIND TUBE 2010 table of contents

The 4th AMP Recital: Are You Ready?

Compromising Christianity

Rebolusyonaryo

Waking Up

TUBE Gallery

AMP Business

p. 3-5

p. 6-7

p. 8-10

p. 11-14

p. 15-17

p. 18-20

Writers: Mary Anne Collantes, Juliann Savard, Job de Leon, Anthony M. Libre

Artwork: Pia Lina

Photographers: Gino Limcumpao, Jason Mariposa, Ain Amor, Tata Yap, Mary Anne Collantes, Monica Santos

Ateneo Musicians’ Pool President: Pia Lina

Project Head: Zachary Riskin:

Layout and Design: Tata L. Yap

Stock Photos: http://feel.zeroexposure.net/ http://depairfactor.deviantart.com

THE 4TH AMP RECITAL :

ARE YOUREADY?by Mary Anne Collantes

photos from Tala-arawan 2009by Tata Yap, Monica Santos, Jason Mariposaand Ain Amor

Three nighTs of music, creativity and entertainment - that is how the past three AMP recitals are remembered to be. Since its birth in 2007, the AMP recital has proven itself a great suc-cess. It has become a big and important part of AMP’s yearly projects; it is usually the event that closes the school year with a bang. As the end of SY 09-10 draws near, so does the arrival of the fourth AMP recital. Before we delve into that, let us first take time to look at how it all began.

It all started from a question, an idea, if you may. The idea was this: “If all these AMP artists are put together to make one big project, what would happen?” Having artists with diverse, unique styles all working together on a show had the potential to birth something interesting. Everyone, not just members from the Artist Management or AM department, was invited

to contribute in writing a creative script for a two-hour recital. That was how the first AMP recital, “AMPretty Sure I’m In Love”, was created. True enough, the night offered an assorted selection of music. The different chapters serenaded everyone with lovely songs from musical acts such as Rage Against the Machine (lovely indeed), the Spice Girls, Mr.Big and Led Zep-pelin, along with originals from the AMP bands. A drumline, a three-guitar and bass duel, a choir, piano and strings - name it, it was all there. There was certainly everything for everyone. Truly, by the end of the night, everyone was in love.

In the next couple of years, two more recitals were held: “Nag-Iisang Buwan” in 2008 and “Tala-Arawan” in 2009. Each year, the level of creativity was brought up a notch higher. This year in March, the fourth AMP recital is making its big entrance. It will be everything that the past three were: only more - a whole lot more.

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It will be happening in two nights instead of one, March 5 and 6. Instead of gunning for a big theater like the Henry Lee Irwin, this year’s recital is going to be held in a smaller and more intimate venue – the Dulaang Sibol theater in the Ateneo High School. The place itself has a great sentimental value to the organization because it is where the first official AMP gig was held, back in March 1996. It will be a night that will give tribute to music from the past decade to today, with several of the top hits will be played by the AMP bands. I was told that an alumni super group will be performing, but the identities of the performers will remain a secret, but they assure me that it will be grand. I guess we’ll all have to sit tight and wait! So thirteen years and numerous songs, members and projects later, AMP will again grace the Dulaang Sibol stage to do what it does best: create, share and celebrate music.

COMPROMISINGCHRISTIANITYby Juliann Savard

“I’m not gonna compromise my Christianity”- Destiny’s Child’s Survivor

Is what they said, but it’s funny to see even Beyonce’, the now world-renowned top-billing female artist of the century, at the 2009 MTV Video Music Awards shaking her bootylicious figure to the beat of her number one single, Single Ladies, in a tight- fitting, somewhat revealing, leotard get-up, treating a sneak peek to all the single men drooling in front. It’s something that can easily be looked over, but can anyone recall what she mentioned during her speech before giving it over to first-time, Kanye West-slapped awardee of the night, Taylor Swift? I be-lieve it went something like this:

“I remember when I was 17 and Destiny’s Child won their first award…”

Yes, Beyonce’ was seventeen sometime ago, and yes it’s been that long, but that’s not the point I’m trying to get at here. We’re not bashing anyone, we’re merely analyzing what most artists and bands were proud to say before and are now ashamed of.

Acceptable. But what happens when the way you dress, the things you say, and the music you make reflects a different side of your belief, the side that betrayed the one who got you where you are in the first place? I’m sure the Big Man Upstairs must not be that proud when you go from singing in a church choir (Britney Spears, Christina Aguilera) to singing about sex and getting Dirrty. The once Mickey Mouse Club Mousekeeters seem to have no problem at all getting hitched to an old friend

“Yes, we’re Christian, but we’re not a Christian band” – Paramore

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for fifty-four hours, going completely bald or wrestling in a box-ing ring wearing… a thong.

But that’s old news. Of course we care more about the just branded artists of today, you know, the more interesting ones; the likes of Paramore, Katy Perry, and Miley Cyrus. Now, let’s take a closer look.

Paramore, the prodigy of rock bands with cute and cool female front liners, was once predicted to be the next big thing, and with the release of their new album, Brand New Eyes, they have become just that. Anyone with the slightest taste in good music would know that Paramore has come a long way from the Tennessee-based teenagers who just wanted to play music. But anyone fortunate enough to have a musical ear can hear behind the sold out tours and Platinum records; the use of Post-modernism and questionable lyrics. “The truth never set me free, so I did it myself…” – Careful, “To see perfection in the pride, to see nothing in the light…” – Turn It Off, and those are just a few of the more obvious. Not only have the once al-ways worn purity rings of vocalist Hayley Williams disappeared, she also seemed to have acquired a very serious case of bad mouth.

Having two parents who are pastors, a gospel album at fifteen, posting skanky pictures and thanking your Almighty Father after a raunchy performance at the TEEN Awards, would make some doubt the very infamous singers, Katy Perry and Miley Cyrus. Here, however, I would be a hypocrite to say that I dislike either two, seeing as - you have to admit it - they are talented (well, at least Katy is). It just makes you wonder, what went wrong? Was it a free ticket to fame to shed your innocence? Or do you follow in the footsteps of the ones who influenced you in the first place because they’ve made it big?

It’s one thing to say you believe in Jesus and then backstab Him by reversing Bible verses and kissing girls left and right, but to go around acting holier than thou while little boys and girls copy you, thinking it’s the correct thing to do is another. Whoever said keeping true to your faith was going to shun you from the spotlight? It’s those who stay pure to their art that leave a legend. But face it: once you’re a star, you become a model for others, whether you like it or not. It’s your job to set an example. We’re not asking for perfection here, just that you stop doing one thing: compromising Christianity.

MUlA noong bata ako, idinidiin sa akin ng mga nakakatanda na mag-aral nang mabuti. Kapag tinanong ko sila kung bakit, iisa lang ang tugon nilang hindi nagbabago: makakuha ka ng magandang trabaho, para mamasukan ka sa opisina sa ika-tatlumpung palapag sa isa sa mga tore ng bakal at salamin sa Ortigas. O kaya naman sa Buendia, o sa Ayala, o sa Libis. Kung tatanungin mo pa ulit, tila magagalit pa sila sa iyo, tila ang tanga mo naman dahil hindi ka naka-intindi. Sabi raw nila kail-angan ito para tiyak ang aking kinabukasan. Eh kung seguridad, katiyakan, at pasulong na daan pala ang kailangan mo sa buhay eh ‘di sumakay ka nalang ng tren. Maraming sikyu na magha-halungkat at mang-aabala sa ngalan ng batas. Tiyak ang iyong daan, mula Recto hanggang Santolan o kaya Baclaran hanggang Monumento. Puwede mo pang isipin na ikaw si Superman, lumilipad sa himpapawid sa ibabaw ng lungsod.

Masarap maging superhero ngunit hindi iyon ang gusto kong trabaho. Bihirang pinasasalamatan, madalas pa nga’y itinataboy

ng lipunan. Naisip mo ba kung paano sumusuweldo ang mga superhero? Lagi nalang ipinapalagay na may pera sila, pambili ng bagong teknolohiya laban sa kasamaan. Tingnan mo sina Bruce Wayne at Tony Stark, mga bilyonaryong playboy na solb na, tulad ng sabi ng Energy FM: For Life! Eh paano na-man sina Peter Parker at Clark Kent, na sa diyaryo lang ang trabaho? Sapat na ba ang sahod doon pang-deyt kina Lois Lane at Mary Jane Watson? Kapag napunit ang spandex, magpapatahi nanaman sila. Buti naman may healing pow-ers si Spidey, at buti naman bihira lang ang kryptonite rito o kaya madalas silang magpapa-ospital. Puwede silang maging bagong endorser ng Clusivol kasi bawal talaga silang magka-sakit. Ayun, may pera na sila. Ngayong may pera sila, puwede silang singilin kapag may nagibang gusali o nawasak na kotse habang nakikipaglaban. Milyun-milyon din siguro ang halaga ng mga demanda sa kanila. Pero alam ko bawal magdemanda kung ang pinsala ay galing sa force of nature o acts of God. Hindi naman siguro kasalanan ni Colossus na ipinanganak

rebolusyonaryoby Job de Leon

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siya na gawa sa bakal at nadudurog ang semento habang siya’y naglalakad diba? Ganyan siya ginawa ni God, natural lang sa kanya ‘yan.

Sinabi sa akin na sa tren o bus, dapat magpaupo ng mga babae. Bakit? Wala ba silang mga paa? Mga diyosa ba silang dapat sambahin? Aba, kung diyosa sila eh di dapat may kapangyari-han silang lumipad o mag-teleport o may hukbo ng mga alagad na puwedeng maghatid sa kanila. Huwag na sila magpasikip pa sa tren. Maliban kung matanda, bata, o may kapansanan, hindi ko isusuko ang aking upuan. Pare-pareho lang tayong mga nag-mamadali, pagod, at may problema. Dapat maghintay; unahan at tsambahan lang ang pagkuha ng upuan, darating rin ang pa-nahon mo. Huwag niyo husgahan ang taong hindi nagpapaupo. Malay mo, kalilibing lang niya sa alaga niyang pagong. Malay mo, katatakbo lang sa Milo 10k Marathon. Malay mo, taeng-tae

na siya. At kahit na walang katotohanan sa mga palusot na ito, pabayaan mo na. Akala mo makasarili sila, pero hindi ba ikaw din ang makasarili dahil pinipilit mong makaupo? Hindi lahat ng lalaki ay dapat asahang maging superhero. Miss, maaari lamang kumapit sa safety straps o bars habang gumagalaw ang train. Maraming salamat po.

Kapag ika’y nakaupo, mas madaling magmuni at sagutin ang mga importanteng tanong ng ating henerasyon. Tinatanong sa akin ni Gatorade: Is IT in you? Ang IT ba ay Information Tech-nology? Huwag mo ako tanungin diyan, bumagsak ako noong unang semestre sa Ma18. Gusto ko na rin tanungin sina Angel, Piolo, Kim, at Gerald kung ano nga ba ang Me na Me. Ipina-palagay nila na alam natin ang nababagay sa ating indibidwal na pagkakakilanlan, pero kung tumingin ka sa labas maraming taong hindi kilala ang sarili, kung sila ba ay emo/punk/goth/

gangsta/thug/frat/soro/preppy/sporty/kikay/pulitiko/relihiyoso/tagapagligtas ng mundo. Teka, ano nga ba ang paki ko? Bahala sila sa buhay nila.

Ganyan talaga sa tren, walang pakiramay sa kapwa. Gusto ng lahat na kumumpol sa may pintuan kahit na may lugar pa sa looban. Walang may paki kung hindi ayos ang buto-buto sa bigat ng bag mo kahit maghapong kumakanta si Willie Revil-lame sa tren. Lahat kasi ng mga taong kabiyahe ko ay nasa sariling mundo ng kanilang iPod o iba pang MP3 players. Ha-bang sila’y nakikinig kay Sarah Geronimo at Christian Bautista, rakrakan ang tugtugin ko kasama ang Dicta License, isa sa mga paborito kong lokal na banda. Siguro 6CycleMind ang trip ng mga tao rito, ang bandang ayaw mamatay kahit galon-galon na ang kanilang nilaklak na Tanduay. Pero isipin nalang natin na

nakikikinig rin sila sa Dicta dahil napapa-head bang rin sila sa alog ng biyahe. Tingnan mo o, swak na swak sa tugtugin ng Dicta License. Sila’y taas-kamay sa pagrerebelde sa mga anom-alya ng gobyerno at lipunan. Pero anong klaseng pag-aaklas ito kung ang mga tao’y tahimik at nakayuko? Marahil marami ritong gustong magpatumba kay Gloria. Mayroon ring gustong magwelga para sa hustisya, karapatan, at katotohanan. Siguro libu-libo pa ang nagdadasal para sa karagdagang suweldo at rollback sa mga bilihin at matrikula. Pero kahit anong pag-aklas nila sa kalooban, sila’y tahimik sa labas. Sila’y nakakapit lang at nakikisakay sa riles na binayaran at inilatag ng gobyerno. Iyan ang problema sa inyo, malakas umangal pero nakikisakay rin lang. Ibaba niyo na ang inyong mga peace sign, rock on sign, at mga kamao. Hindi niyo ba alam na ang pag-upo ang bagong postura ng rebolusyonaryo?

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illustrations by Pia Lina

We’re living in a miserable world—almost. What’s true, though, is that we’re heavily submerged in a culture of medi-ocrity and wastage. We’ve become sedated by the manifesta-tions of negativity in the media and languid standards of our peers. If I may go as far as to say that more appropriately, we’re in the thick of a space-out way of life. Almost nobody bothers because changing seems too hard to do.I said almost nobody, which means there are those who still have hope in today and do what they can to make a difference. For the rest, it’s a matter of snapping out of a daze—of wak-ing up. Waking up doesn’t just happen, though. It may take a startling jolt, a cheer, or inspiration.

Speaking of this “awakening,” I believe art has the power to do just that—to transform the community. Let’s talk about music—more specifically, alternative rock music. Apart from the mainstream (and overused) themes of love and partying, a number of bands have decided to dedicate their work to open-ing our eyes and saving the world we live in. Of those, I have chosen three: Muse, Rivermaya and Switchfoot. Despite the diversity of their musical and lyrical techniques, their message

ness revisits as the chorus rings forth and the song is suitably closed by the Mid-eastern scale played in enraged unison.

The title of the song is in reference to the Butterfly Effect of Edward Lorenz’s Chaos Theory, where the wind caused by the flapping of each butterfly’s wings contributes to the force of a hurricane. Put that in the context of a person changing and its implications on society—see the parallelism? This song is a cry to take one’s own chance in beating the tremendous odds to help change the world. Unsettling? Well, wake up. That’s Muse for you.

Call to Arms: “Liwanag sa Dilim,” by RivermayaMy classmates and I were mad about this song back in high school. Most of us were beginners at playing the guitar and it was something we were dying to learn. I didn’t really get to fully appreciate this song until recently.

The song begins with an acoustic guitar playing, which seg-ues into the main bright riff that gives the song its anthemic dynamics. Rico’s voice enters, beckoning one to take up the

WAKING UP by Anthony M. Libre

is essentially the same:Wake up and do something.

The Apocalypse: “Butterflies & Hurricanes,” by MuseMuse is well-known for their apocalypse-themed songs and epic arrangements. “Butterflies & Hurricanes” is no exception. It opens with an ominously silent bass-tap which conditions listeners to Matthew Bellamy’s gripping voice, singing “Change everything you are … revenge will surely come/your hard times are ahead… you’ve got to change the world.” A Queen-like vocal harmony enters in a crescendo, summoning a bold Middle-eastern scale played in unison by the piano and bass backed by a flurry of furious drum beats. The verse repeats and resumes—Matt sings an octave and flare above those of the former with the instruments seething underneath. On to the bridge, the chaos recedes into the sole notes of a piano arpeggio, introducing a rest. This silence is shattered by the glorious explosion of chords and scales colliding, reminiscent of history’s greatest symphonic climaxes. Afterward emerges the apocalyptic essence of the lyrics, “Don’t let yourself down/Don’t let yourself go/Your last chance has arrived.” The mad-

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role of a savior, “Ituring an iyong sariling tagahawi ng ulap sa kalangitang kulimlim…” The chorus bursts with the lyrics vic-toriously singing, “Isigaw mo sa hangin/tumindig at magsilbing liwanag/liwanag sa dilim!” Lyrical development ensues as the next verse is played atop a groundwork of tom-based drum-ming, audaciously exposing influences of Philippine traditional-folk music—a nod to patriotism. The song is electrified by Mike Elgar’s animating guitar solo. The outbreak of notes resolves with two bars worth of a soaring note and another two for a clinching wave of feedback. An alternative chord progression is used in the last choruses to signify a break from the earlier form—a dauntless forward motion.In stark contrast to Muse’s unforgiving perspective, Rivermaya takes a very upbeat approach in prodding listeners to challenge the world and conquer its darkness with light. Nowadays, we can’t be all gloom and doom—we have to be optimists too.

Second Chances: “Dare You to Move,” by Switchfoot One thing I admire about Switchfoot is their ability to write songs about change, spirituality, etc. without being preachy or annoying. Their lyrics are profound and the music

amplifies the message. It’s so sad that I missed their concert here, in Manila. I would’ve wanted to hear them play my favor-ite songs, one of them being “Dare You to Move.” The rock ballad begins with two recurring fourth-interval chords, bathing in washes of distortion and the constant ring of a bright-toned acoustic guitar in the back. Jonathan Foreman’s voice enters peacefully, crooning “Welcome to the planet/welcome to existence/everyone’s here…” The closest I can compare the feel to is a haven, with the sincerity and security of Jon’s voice meshing with the instruments. The sound of the bass drum rhythmically thumping below effectively gives the impression of a heartbeat—life at the brink of living again. Next, this chorus is the part that people frequently mock-sing in answer when I ask if they know the song—trust me. I know. I think it’s because the message just shines—“I dare you to move/I dare you to lift yourself up off the floor… like today never happened before…” The second verse arrives with a movement in plot—the revelation of conflict, aptly comple-mented by the musical arrangement. After each line is sung, the guitars fiercely respond in minor-scale riffs and octave

jumps, suggesting retaliation. The feel is heavier as the reality of pain and failure is inducted. The significance of the song is completed as the bridge ends—the line “Salvation is here,” is sung in a lingering falsetto, followed by a guitar solo that leads to—incidentally—the dramatic awakening of the unconscious surfer kid in the music video. It’s the rousing motion in the song. The subsequent chorus is played with a renewed passion that surges through until the end.

This is the middle ground of the first two songs I’ve discussed. It’s the redemptive side to “Butterflies & Hurricanes” and a more realistic take on the heroics of “Liwanag sa Dilim.” Switchfoot has done an exceptional job in crafting this song, whose lyrics are coaxing and music is effortlessly flexible. Here’s a product of art that doesn’t have to go about the sound and fury of revenge or the missions of a messiah to awaken an absent-minded world.

I’ve cited three songs by three of today’s biggest bands that can help us transform society—from “how it is to how it should be.” We’ve been frightened out of our wits, dubbed as heroes, and spurred to rise above and beyond ourselves. The

music is dead if the ears are deaf, however. We’ve been spac-ing out for too long, with senses numb and idle trying. There’s nobody else to rescue the world but ourselves, and we can’t do it in this static collective state of mind. It’s about time we snapped out of our daydream—to wake up and do something before it’s too late.

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tube

gallerya set of notebook doodles

by Pia Lina &

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AMPBUSINESS

ChrisTMAs BreAk draws to a close and 2010 begins. Folks, it’s back to business...

...AMP business, that is. :P

The year 2010 arrives with an onslaught of fresh goals, opened Christmas gifts, and, yes, new offerings from some of your AMP bands. Mentioned below are some of the albums you should look forward to listening to.

enjoy the music!

Klieg Lights’ “Pikit” (2009)

Klieg Lights is Len on Keys & Vocals, Kokoy on Vocals & Guitar, Mikko

on Guitar, Stevo on Bass, and Mark on Drums.

Released just before the recent Christmas break, the album

“Pikit” displays how Klieg Lights brings their live sound right into

the studio. The mix of different electronic piano passages with both

heavy and ambient guitar works seem to set the tone of the band for

the album. The song “Krimina. Most of all, Len’s “smooth-sounding”

voice tops the mix all the time, and even stands out on its own. The

band has very good dynamics. Well, what else can I say? “Guilty/I’m

breaking free...”l” features an interesting four-on-the-floor drum play-

ing at times with the bass holding everything together

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Hansom (EP 2009)

Hansom is Ton on Guitar and Lead Vocals, Gino on Bass and Vocals ,

and Aldo on Drums and Vocals. Yes, they’re all brothers. And the band

is called, Hansom. Mmmm... ...yeah that’s it.

Hansom would seem to be a which band you listen to for fun, or,

as the band of brothers says so on their Myspace page, when you

simply “need a breather.” Their 6-track EP was just released last year.

Hansom can play old school punk rock to, simply put, rock, and they

rock while doing so... Anyway, evidences of Ton’s very tongue-in-

cheek writing are their songs “Kaawangawang Pangarap” and “Landi,”.

From the titles alone, you can already get an idea of what these songs

are. The laid-back part of “Kaawangawang” goes something like,

“Ako’y ginagamit ng mga kaibigan ko/ para makakuha ng... ...chicks.”

“Mamatay Ka Na” has received a lot of praise in NU 107, where they’ve

been interviewed (naks, sikat naman). To sum it up, these guys are a

great live rock band, fun to watch, and easy to listen to.

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Kuwago (self-titled album released 2009)

Kuwago is Pao on Vocals, Enzo and Lex on Guitars, Joma on Bass,

and Marb on Drums.

Kuwago’s music is pure mayhem, something you can headbang

to all night. Songs such as “Relic” and “Senseless Drama” contain

musical passages that go from light progressive, experimental, to

screaming metal. Technically, these guys have definitely got it go-

ing on. The guitarists make complimenting heavy passages, bass

included. Marb’s drum playing goes from a la Lars Ulrich to Pete

Townsend in “Relics”. Despite everything that happens in a song,

Pao’s voice and scream stand out nonetheless and lead the songs

with ferocity and passion. Yes, this band is intense.

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Don’t Forget Clementine’s “Grace, and Her Dragging Wings” (2009)

Don’t Forget Clementine is Enzo, Marvin and Paolo on Guitars, Argee

on Bass, Mark on Drums, and Mike and Miguel on Sampler Synths and

Keyboard Synths, respectively. ...Ang dami.

An instrumental/experimental band, Don’t Forget Clementine’s

music is an experience to be remembered. With the guitarists’ indi-

vidual progressions mashing up together with the synth, it sounds very

orchestra-esque, with the bassist and drummer bringing the rock feel.

“Meet Me in Mantauk” seems to be heavy and classical at the same

time. “Waiting for Rain” offers interesting dynamic changes as well.

These guys really make an art out of the music. I guess I’m being

redundant, but, Don’t Forget Clementine is an experience. ‘Nuf said.

4Hidden Nikki (to be released 2010)

Hidden Nikki is Gilbert Asuque on Drums, Aaron Gonzales on Guitar

and Vocals, Jason Conanan on Bass, and Juan de la Cruz on Piano/

Keyboards.

Hidden Nikki is easy on the ears and the head, and that’s a very

good thing. Their official website states that, “their music is a fusion

of vintage classic swing beats and modern grooves... ...[resulting in] a

distinct chill kind of vibe.” I must say, this band is tight. The drummer

and bassist are spot-on. The piano and clean semi-hollow guitar pro-

vide the main course while the vocals complete the experience. “Over

the Same Side” (featured in Amplitunes) is an example of the “fusion

of classic swing beats and modern grooves.” Melody and tightness as

a band are two things I really look for in a song. I found both without

really having to “look” or “feel” it. It’s all there for the listening.

This is a very good year for AMP bands, and we hope to share our

musical advancements with you.

Be sure to check out our CD, Amplitunes, soon!

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21 22photo by Mary Ann Collantes

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