CORD MUSIC MAGAZINE October 2012

CORD Music Magazine Oct 2012 1

CORDOct 2012

BILLY JOELNUMBER ONE

SWITCHFOOT

CORD BEST 5

2 CORD Music Magazine Oct 2012


5 Cord Hits/ 21 Cord Artists/ 28 Cord Images/ 30 Musical Review/32 Music+Current/ 34 Haikus/ 35 Fiction/ 38 Best of Blotfree/ 39 Good Laugh/ 40 Kim & El/ 40 Mr Jeydi’s Witdom/ 41 Film Reviews

Sections

FeaturesCONTENTS

Switchfoot - 10

CORD Best 5: Billy Joel - 14

Missing Filemon - 24 Andy Williams - 26

Shana Llorando - 22


OBG is the band that I am currently involved in, and we’ve been doing some gigs that allow us not just to sing songs that we love, but also, introduce original materials that we’ve created.

No, we’re not out to become famous; we are just happy seeing people smile as we perform, and on occasions be able to help the less fortunate who become victims of disasters.

In August we played before nearly 200 people in GigAlive-Tabang Manila; and in September jammed to raise dona-

tions for a cancer-stricken lady in the Philippines.

The steps toward performing on stage are many: from creating a song list to fa-miliarizing with the music, from rehearsing to critiquing, from coordinating with gig organizers to dealing with technical/stage people, from actually performing to work-ing the audience. It’s not that easy especially if you’re got a day-job for most of the week.

But when you love what you are doing, it doesn’t become a burden, rather it is fun and that fun rubs on the audience.

I guess that is how we must live our lives. We must enjoy the good that we do, for God is in our presence. “You will fill me with joy in your presence” (Psalm 16:11).

Let us have fun in our togetherness. “Be joyful at your festival—you, your sons and daughters, your male and female servants, and the Levites, the foreigners, the fa-therless and the widows who live in your towns. For seven days celebrate the fes-tival to the Lord your God at the place the Lord will choose. For the Lord your God will bless you in all your harvest and in all the work of your hands, and your joy will be complete.” (Deuteronomy 16:14-15)

As I researched on why I seem to find heavenly bliss as I play with the band, I stumbled upon the answer: “Sing to the Lord a new song; play skillfully, and shout for joy!” (Psalm 33:3)

MEL B LIBREEditor in Chief

From the Editor

Editor in Chief: Mel Libre Creative Director: Mel Elijan Libre Contributors: KAL


C O R D H I T S

(Capo 3)

INTRO: Em - D - G/B - C

VERSE 1Em D Raindrops rolling off my brimG/B C Streetlights got the pavement glisteningEm D Touchdown, I fall into Your armsG/BRight where I belong CYour everlasting arms

PRE-CHORUSEm D And where would I be G/B Cwithout You?

CHORUS Em DI’d be packing my bags when I need to stay G CI’d be chasing every breeze that blows my way Em D G/BI’d be building my kingdom just to watch it fade away CIt’s true

Em DThat’s me without You - ou - ou - ou - ou - ou G CThat’s me without You - ou - ou - ou - ou - ou Em DThat’s me without You - ou - ou - ou - ou - ou G/B CDon’t know where I’d be without You

INTERLUDE: Em - D - G/B - C

VERSE 2Em D Flashback, step into the sceneG/B C There’s You and there’s a very different meEm D Touchdown, You had me at believe G/B CYou had me at believe, You did

PRE-CHORUSEm D And where would I be G/BWithout You? CWithout You

CHORUS Em DI’d be packing my bags when I need to stay

ME WITHOUT YOUToby Machttp://www.youtube.com/watch?v=8qGa5rIOB28


G CI’d be chasing every breeze that blows my way Em D G/BI’d be building my kingdom just to watch it fade away CIt’s true Em DThat’s me without You - ou - ou - ou - ou - ou G CThat’s me without You - ou - ou - ou - ou - ou Em DThat’s me without You - ou - ou - ou - ou - ou G/B CDon’t know where I’d be without You

BRIDgE Em D G(I was in Deep, So incomplete ‘til You rescued Cme. Yeah, You rescued me) Em DYou rescued me G CNow You are mine and I am Yours Em DYou rescued me G CAnd I am Yours forever Em DYou saved me, remade meG CWhere would I be?

CHORUS Em DI’d be packing my bags when I need to stay G CI’d be chasing every breeze that blows my way Em D G/BI’d be building my kingdom just to watch it fade away CIt’s true Em DThat I’d be packing my bags when I need to stay G CI’d be chasing every breeze that blows my way

(Capo 1)

VERSE 1EI can’t believe what she saidI can’t believe what he did AOh, don’t they know it’s wrongDon’t they know it’s wrongEWell maybe there’s something I missed

Em D G/BI’d be building my kingdom just to watch it fade away CIt’s true Em DThat’s me without You - ou - ou - ou - ou - ou G CThat’s me without You - ou - ou - ou - ou - ou Em DThat’s me without You - ou - ou - ou - ou - ou G/B CDon’t know where I’d be without You Em DThat’s me without You G CThat’s me without You Em DThat’s me without You G/B CDon’t know where I’d be without You

LOSINGTenth Avenue Northhttp://www.youtube.com/watch?v=uvgILBGcavQ


FORGIVENESSMatthew West

INTRO: C F C F CIt’s the hardest thing to give away CAnd the last thing on your mind today FIt always goes to those that don’t deserve CIt’s the opposite of how you feel CWhen the pain they caused is just to real FIt takes everything you have just to say the word C FForgiveness, Forgiveness

http://www.godtube.com/watch/?v=WLPKY7NX

But how could they treat me like this AIt’s wearing out my heartThe way they disregard

PRE-CHORUSB AThis is love or this is hate... EWe all have a choice to make

CHORUSB AOh, Father wont You forgive them EThey don’t know what they’ve been doin’ (oh no)B AOh Father, give me grace to forgive them ECause I feel like the one losin’

VERSE 2EWell it’s only the dead that can liveBut still I wrestle with this ATo lose the pain that’s mineSeventy times seven timesECause Lord it doesn’t feel rightFor me to turn a blind eye AThough I guess it’s not that muchWhen I think of what You’ve done.Pre-ChorusChorus

BRIDgED AWhy do we think that our hate’s gonna breakA hard heartD GWe’re rippin arms over wars that don’t need to be foughtDCause pride wont let us lay our weapons on the groundA

We build our bridges up but it’s just to burn them downD AWe think our pain is own apologies and get them to stopD GWell truth be told it doesn’t matter if their sorry or notDCause freedom comes when we surrender to the soundAOf Your mercy and Your grace, Father, send Your angels down

CHORUS (2x)


CIt flies in the face of all your pride CIt moves away the mad inside FIt’s always anger’s own worst enemyCEven when the jury and the judge CSay you gotta right to hold a grudge FIt’s the whisper in your ear saying ‘Set It Free’ C FForgiveness, Forgiveness Am GForgiveness, Forgiveness

CShow me how to love the unlovable FShow me how to reach the unreachable DmHelp me now to do the impossible C FForgiveness, Forgiveness Dm FHelp me now to do the impossible CForgiveness CIt’ll clear the bitterness away CIt can even set a prisoner free FThere is no end to what it’s power can do Am So, let it go and be amazed Am By what you see through eyes of grace FThe prisoner that it really frees is you C FForgiveness, Forgiveness Am GForgiveness, Forgiveness CShow me how to love the unlovable FShow me how to reach the unreachable

Dm FHelp me now to do the impossible CForgivenessCI want to finally set it free

THE PROOF OF YOUR LOVEFor King and Country

INTRO: C F C F(Capo 3)

INTRO: Dm Am C F x2

VERSE 1 Dm Am If I sing but don’t have love C FI waste my breath with every song Dm Am C FI bring an empty voice, a hollow noise. Dm AmIf I speak with a silver tongue C FConvince a crowd but don’t have love Dm Am C FI leave a bitter taste with every word I say CHORUS Dm Am C GSo let my life be the proof, The proof of Your loveDm Am C GLet my love look like You and what You’re made ofDm Am C GHow You lived, how You died Love is sacrifice

http://www.youtube.com/watch?v=pr9YVD05x8M


Dm Am C GSo let my life be the proof, The proof of Your love

INSTRUMENTAL BREAK: Dm Am C F x2

VERSE 2 Dm AmIf I give to a needy soul C FBut don’t have love then who is poor? Dm Am C FIt seems all the poverty is found in me

CHORUS

BRIDgE F C Am GWhoa-oh-oh-oh-oh-ooh; When it’s all said and doneF C Am GWhoa-oh-oh-oh-oh-ooh; When we sing our final songF GOnly love remains. Only love remains INSTRUMENTAL BREAK: Dm Am C F x2CHORUSENDINg: Dm Am C F x2

10,000 REASONSMatt Redmanhttp://www.youtube.com/watch?v=9jYLTn4fKYQ

C G Dsus4 DWorship His holy name. C EmSing like never before,C D Em0 my soul. C D C/G G C/G G I'll worship Your holy name.

VERSE 1 C G D EmThe sun comes up, it's a new day dawning;C G D EmIt's time to sing Your song again.C G D EmWhatever may pass, and whatever lies before me,C2 G Dsus4 D G Gsus4 GLet me be singing when the even- ing comes.

[CHORUS]

VERSE 2 C G D EmYou're rich in love, and You're slow to anger. C G D EmYour name is great, and Your heart is kind. C G D EmFor all Your goodness, I will keep on singing;C2 G Dsus4 D G Gsus4 G [to Chorus]Ten thousand reasons for my heart to find.

VERSE 3 C G D EmAnd on that day when my strength is failing, C G D EmThe end draws near, and my time has come;C G D EmStill my soul will sing Your praise unending:C2 G Dsus4 D G Gsus4 G [to Chorus]Ten thousand years and then fore - - vermore!

Em C D EmI'll worship Your holy name. C D GYes, I'll worship Your holy name.

CHORUS C GBless the Lord, O my soul,D/F# EmO my soul,


switchfoot is not among the top 10 Christian Rock bands in most available lists. The band is no. 15 in the-top-tens.com and no. 16 in REACH Youth Ministry. For CORD International Music Magazine,

Switchfoot is no. 1.

Just listen to their award winning song, Dark Horses: “We’re singing hey, you can’t count us out/ We’ve been running up against the crowd/ Yeah, we are the dark horses/We’re singing wait, it’s not over now/We’ve been

down but we’ve never been out/Yeah, we are the dark horses.”

As dark horses, the five brethren who com-pose Switchfoot have come a long way from their Christian rock roots in San Diego, Cali-fornia to becoming stadium attractions, main-stream artists and music awards favorites.

Formed in 1996 by brothers Jon and Tim Foreman and Chad Butler, Switchfoot re-leased their first three albums under Sparrow Records that marketed the band exclusively

switchfoot IS NUMBER ONE


to Christian radio.

If the band had its way, it would have wanted to be called a rock band without the Christian label. Because of the band being pigeon-holed as a Christian rock band, Jon Foreman once said, “half of who we were was lost.” He explained this further, “For us, it’s a faith, not a genre. We’ve always been very open and honest about where the songs are coming from. For us, these songs are for everyone. Calling us ‘Christian rock’ tends to be a box that closes some people out and excludes them, and that’s not what we’re trying to do. Music has always opened my mind—and that’s what we want.”

But their music could not be con-tained. In 2002, the band’s music made it to the soundtrack of the movie, “A Walk to Remem-ber” with the band’s tune, “Only Hope” sang by lead ac-tress Mandy Moore. That breakthrough got them a major label release, “The Beautiful Letdown” that went on to sell 2.6 million copies. The album brought in Filipino-American Jerome Fontamillas who contributed rhythm guitar and keyboard. In 2005 lead guitarist Drew Shirley joined the band full-time to further establish its edgy rock sound.

The band has proven its artistic integrity through recognitions not just in their home ground through the San Diego Music Awards (from 1997 as Best New Artist to 2011 as Art-ist of the Year), but among peers in Christian Music in the GMA Dove Awards (from 2004 as Rock Song of the Year, “Ammunition” to 2012, Rock Album of the Year, “Vice Verses”). The band earned their first Grammy in 2011 for Best Rock or Rap Gospel Album - Hello Hurricane.

So why is Switchfoot number one for CORD? More than their music, it is their intention.

While Switchfoot has made inroads in their mainstream rock journey, the band has real-ized that their core fans are Christians. They have made themselves available in Christian music festivals (including the Parachute 2013 in New Zealand), after a few years hiatus.

But what makes Switchfoot genuine is their commitment to causes for humanity. Says Jon Foreman, “What happens onstage is important. What happens offstage is a para-mount.” Offstage means the Keep A Breast Foundation, Habitat for Humanity, Invisible Children and To Write Love on Her Arms. For their love surfing (that where the word “switchfoot’ comes from), they founded the Switchfoot Bro-Am Surf Contest to raise

funds for home-less kids in San Diego. In Bro Am 2012 over 12,000 people on the beach at-tended the epic event.

If he had some-one tell God

about what the band is doing, Jon would want the messenger to say: “As we continue to seek the peace that passes all of our under-standing, please have words with our Father about my band: that we would be a part of a revolution bigger than rock & roll.”

So why is Switchfoot number one for CORD? More than their music, it is their intention. As Jon shared: “Music is what I do; Christ is why I do it.”


E AWelcome to the planetE AWelcome to existenceF#m Everyone's hereBEveryone's hereE AEverybody's watching you nowE AEverybody waits for you nowF#mWhat happens next?BWhat happens next?

CHORUSE I dare you to moveBI dare you to moveA BI dare you to lift yourself up off the floorEI dare you to moveBI dare you to moveALike today never happenedBToday never happened before

C#m B AWelcome to the falloutC#m B AWelcome to resistenceF#mThe tension is hereB The tension is hereC#m B ABetween who you are and you could be

F#m BBetween how it is and how it should be... yeah

CHORUSE I dare you to moveBI dare you to moveA BI dare you to lift yourself up off the floorEI dare you to moveBI dare you to moveALike today never happenedBToday never happened before

E AMaybe redemption has stories to tellE AMaybe forgiveness is right where you fellC#m AWhere can you run to escape from yourself?F#mWhere you gonna go?BWhere you gonna go?ESalvation is here

Repeat Chorus

DARE YOU TO MOVESwitchfoothttp://www.youtube.com/watch?v=yBkxm7XVrRs



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BILLY JOELBEST5CORD :


BILLY JOEL

Bb-Bbm-F#maj7-F7

V1Bb Eb F Dm7If you search for tenderness it isn’t hard to findEb Gm Am Cm7-F-F7 You can have the love you need to liveBb C F DAnd if you look for truthfulness you might just as well be blind Eb A DIt always seems to be so hard to give

CHORUSEbmaj7 F7 D Gm7 FHonest- y is such a lonely wordEb F Bb DEveryone is so untrueEbmaj7 F7 D Gm7Honest- y is hardly ever heardEb F Bb F9susBut mostly what I need from you

V2Bb Eb F Dm7I can always find someone to say they sympa-thizeEb Gm Am Cm7-F-F7If I wear my heart out on my sleeveBb C F DBut I don’t want some pretty face to tell me pretty liesEb A DAll I want is someone to believe

CHORUSEbmaj7 F7 D Gm7 FHonest- y is such a lonely wordEb F Bb DEveryone is so untrueEbmaj7 F7 D Gm7Honest- y is hardly ever heardEb F Bb F9susBut mostly what I need from you

V3Gm DI can find a lover, I can find a friendF7 CI can have security until the bitter endEb F F7 Eb BbAnyone can comfort me with promises again C7 F D-Eb-F9susI know, I know

V4Bb Eb F DmWhen I’m deep inside of me, don’t be too con-cernedEb Bb Am Cm7-F-F7 I won’t ask for nothing while I’m goneBb C F A DmWhen I want sincerity tell me where else can I Turn? Eb A7 D7Cause you’re the one that I depend upon

CODA: Bb-Bbm-F#maj7-F7-Ebm#7-F6-F7-Bb

HONESTY5


Intro: D Dsus D A D Dsus D

I. A7 DShe can kill with a smile A7 DShe can wound with her eyes D7 G D GShe can ruin your faith with her casual lies A7 D A7 F# And she only reveals what she wants you to see Bm EmShe hides like a child G A7 DBut she’s always a woman to me

II. A7 DShe can lead you to love A7 DShe can take you or leave you D7 GShe can ask for the truth D GBut she’ll never believe A7 D A7 F#And shell take what you give her, as long as its free Bm EmShe steals like a thief G A7 D ~D7But she’s always a woman to me

CHORUSBm E E7 A DM7Ohhh.. she takes care of herself G EmShe can wait if she wants A7 D D7She’s ahead of her timeDM7 G7 C AmOhhh.. and she never gives out Bb EAnd she never gives in

E7 A A7She just changes her mind

III. A7 DAnd she’ll promise you more A7 DThan the Garden of Eden D7 GThen she’ll carelessly cut you D GAnd laugh while you’re bleedin’ A7 DBut she’ll bring out the best A7 F#And the worst you can be Bm EmBlame it all on yourself G A7 DCause she’s always a woman to me

A7 D A7 F# Bm Em G A7 D ( D7 ) [CHORUS]

IV. A7 DShe is frequently kind A7 D D7And she’s suddenly cruel GShe can do as she pleases D GShes nobody’s fool A7 DBut she cant be convicted A7 F#She’s earned her degree Bm EmAnd the most she will do G BmIs throw shadows at you G A7 DBut shes always a woman to me

SHE’S ALWAYS A WOMAN4


SHE’S ALWAYS A WOMANC E7 Am7 Gm7 CSome folks like to get away, take a holiday from the neighborhoodF A7 Dm BbHop a flight to Miami Beach or to HollywoodC E7 Am7 Cmaj7 F C D7But I’m taking a Greyhound on the Hudson River lineFmaj7 G/F Am D7 Am G F/GI’m in a New York state of mind

C E7 Am7 Gm7 CI seen all the movie stars in their fancy cars and their limousinesF A7 Dm BbBeen high in the Rockies under the evergreensC E7 Am7 Cmaj7 F C D7But I know what I’m needing and I don’t want to waste more timeFmaj7 F/G Am D9 Am G E7I’m in a New York state of mind

CHORUSAm7 D7 Gmaj7 GIt was so easy living day by dayGm7 C7 Fmaj7Out of touch with the rhythm and bluesBm7 E7 Amaj7Well, now I need a little give and take Am7 D7The New York Times Gmaj7 Dm7 G7The Daily News

C E7 Am7 Gm7 CIt comes down to reality and it’s fine with me cause I’ve let it slideF A7 Dm BbDon’t care if it’s Chinatown or on RiversideC E7 Am7 Cmaj7 F C D7I don’t have any reasons, I’ve left them all be-

hindFmaj7 F/G Am D9 Am G F/GI’m in a New York state of mind

SOLO: C E7 Am7 Gm7 C F A7 Dm Bb C E7 Am7 Cmaj7 F C D7 Fmaj7 F/G Am D7 Am G E7

CHORUSAm7 D7 Gmaj7 -- GIt was so easy living day by dayGm7 C7 Fmaj7Out of touch with the rhythm and bluesBm7 E7 Amaj7Well, now I need a little give and take Am7 D7The New York Times Gmaj7 Dm7 F/G G7The Daily News

C E7 Am7 Gm7 CIt comes down to reality and it’s fine with me cause I’ve let it slideF A7 Dm BbDon’t care if it’s Chinatown or on RiversideC E7 Am7 Cmaj7 F C D7I don’t have any reasons, I’ve left them all be-hindFmaj7 F/G Am D7 Am GI’m in a New York state of mindC E7 Am7 Cmaj7 F C D7I’m just taking a Greyhound on the Hudson River lineFmaj7Cos I’m in aF/GI’m in a New York...state of...C E7 Am7 BbMind

OUTRO: Eb6 Ab C/D Db13#11 D/C

NEW YORK STATE OF MIND3


INTRO: C, Em, Am, C/G

C Em AmIt’s nine o clock on a saturdayC/G F C/E D7The regular crowd shuffles inG C Em Am C/GThere’s an old man sitting next to meC/G F G11 C F Cmaj7 G11Makin’ love to his tonic and ginG11 C Em Am C/GHe says “son can you play me a memory?”C/G F C/E D7 G I’m not really sure how it goesG C Em Am C/G But it’s sad and its sweet and I knew it completeC/G F G11 CWhen I wore a younger mans clothes

PRE-CHORUSAm Am/G D7/F# F AmDa da da de de da Da daAm/G D7/F# D7 G G/F C/E G7/D de de da da da

CHORUSC Em Am C/GSing us a song, you’re the piano man F C/E D7Sing us a song to-night G C Em Am well, we’re all in the mood for a melody C/G F G11 C F Cmaj7 and you’ve got us feelin’ al-right

C Em Am Now john at the bar is a friend of mineC/G F C/E D7He gets me my drinks for freeG C Em Am C/GAnd hes quick with a joke or to light up your smokeC/G F G11 C F Cmaj7 But theres someplace that he’d rather beG11 C/E Em AmHe says, bill, I be-lieve this is killing me.

C/G F C/E D7As a smile ran a-way from his faceG C Em Am C/G Well Im sure that I could be a movie starC/G F G11 CIf I could get out of this place

[PRECHORUS] [CHORUS]

C Em Am Now paul is a real estate novelistC/G F C/E D7 GWho never had time for a wifeG C Em Am C/GAnd hes talkin with davy whos still in the navyC/G F G11 C F Cmaj7 And probably will be for life G11 C Em Am And the waitress is practicing politicsC/G F C/E D7As the businessmen slowly get stonedG C Em Am C/GYes, theyre sharing a drink they call loneli-nessC/G F G11 CBut its better than drinkin a-lone


C Em AmIts a pretty good crowd for a saturdayC/G F C/E D7 GAnd the manager gives me a smileG C Em Am C/Gcause he knows that its me they’ve been comin to seeC/G F G11 C F Cmaj7 To for-get about life for a whileG11 C Em Am C/G And the piano sounds like a carnivalC/G F C/E D7And the microphone smells like a beerG C Em Am C/GAnd they sit at the bar and put bread in my jarC/G F G11 CAnd say, man, what are you doin’ here?


PIANO MAN2


PIANO MAND Bm6 G Bm Don’t go changin’ to try to please me.G Gm DYou never let me down before.Am D7 G Gm D BmMmmmmm I don’t imagine, you’re too familiarE E7 A7 And I don’t see you anymoreD Bm6 G BmI would not leave you, in times of troubleG Gm DWe never could have come this farAm D7 G Gm D BmMmmmmm I took the good times, I’ll take the bad timesEm7 A7 I’ll take you just the way you are

D Bm6 G BmDon’t go trying, some new fashionG Gm DDon’t change the color of your hairAm D7 G Gm D BmMmmmmm You always have my, unspoken passionE E7 A7 Although I might not seem to careD Bm6 G BmI don’t want clever conversationG Gm DI never want to work that hardAm D7 G Gm D Bm

Mmmmmm I just want someone that I can talk toEm7 A7 D I want you just the way you are

G A F#m B7I need to know that you will always beEm7 A7 D D7The same old someone that I knew Gm C7 Am7 D7What will it take till you believe in meGm C A7sus4The way that I believe in youD Bm6 G BmI said I love you and that’s forever

G Gm DAnd this I promise from the heartAm D7 G Gm D BmMmmmmm I couldn’t love you any betterEm7 A7 I love you just the way you areD Bm6 G BmI don’t want clever, conversationG Gm DI never want to work that hardAm D7 G Gm D BmMmmmmm I just want someone that I can talk toEm7 A7 I want you just the way you are

JUST THE WAY YOU ARE1


KEEP IT gOINg BILLY D BmMan, the Big Apple loves you,Em A7With your New York State of Mind F#m GThough you may have grown old Gm DWe love you just the way you are

D BmYou love rock n’ roll musicEm A7As you do the blues and soul F#m GYou sure blew our minds away Gm D-D7When you jammed with good ol Ray

REFRAIN GKeep it going, Billy DYou play with such honesty BmYou are always the piano manG A7Me, I’m your number one fan D BmUptown, downtown, all the worldEm A7 From Leningrad to Saigon F#m GYour songs have spread like fire Gm D-D7They’ll stick with us for the longest time

REFRAIN (2x)

Billy Joel Tribute by OBg


Ubaldo SchiaviBorn in Rome in 1966, bass master Ubaldo is the son of artists. His mother sang with "Le voci blu" and "La Grande Famiglia", while his father was a singer/ songwriter whoreleased 2 albums and 4 singles.

At 9 years old, Ubaldo started studying classi-cal guitar, pursuing later piano and then bass. In 1985 he graduated as a sound engineer at the State Institute of Cinema and Television and worked as a sound engineer for several major Italian artists including Paola Turci, Bungaro, Gino Paoli, Vox Populi, M° Beppe Vessicchio as well as DerekWilson, M° Adriano Pennino, Vittorio Riva and Massimo Berni, among others. He played bass for reggae band Evolution time, 80MHz and Aris-tofunky.

He followed up his first EP “The early records” with the 11-track CD “LEVEL 1: BEGINNER”. The compositions are adorable and technically superior. These songs pay reverence to the age of modern jazz, with traces of Lee Ritenour and The Crusaders. Ubaldo though gives pop sense to his materials, nurtured from years of doing covers in the bar scene. Listen to two of his most appealing pieces “Mister G” and “Dream Holi-day”.

Secret LiePedro Silva, violin and producer; Claudio Nunes, cello and keyboards; Tó Pica, electric guitar; Adelino, electric guitar and voice; Sara Madeira, voice; Nuno Correia, bass; Tiago Ramos, drums.

Portugal based, Secret Lie was formed in June 2011 and started playing live in May 2012. Their gigs include: 19 May @Golegã; 18 July @ Lisbon, Estádio da Luz; 6 August @ Azenhas do mar; 14 September @ Amadora; 29 September @ Gancaria; 6 October @ car-naxide; 19 October @ Almada; and 20 October @ Benfica.

Secret Lie is a rock ensemble with a differ-ence. Producer Pedro Silva injects the violin and Claudio Nunes adds his cello creating a neo-rock sound. Lead vocalist Sara Madeira possesses not just a beautiful face, but also a captivating voice. The song, “My Blood” has the ingredients of a hit song, as Sara’s sure, yet innocent vocals is complimented by the well-arranged music , with a sweet adlib of the violin and cello. I can only imagine when the band plays live with spotlights and smoke all over, what a transcendental experience it should be. It’s about time that we whisper about the truth about the good stuff emanating from Secret Lie.http://www.ubaldoschiavi.com/http://secretlieband.com/

CORD ARTISTS


SHANA LLORANDO

A young and talented singer/song-writer, Shana captures audiences with her soulful vocals and heartfelt tunes. A lover of music and per-forming from a very early age, she is known for her catchy melodies,

and sincere, honest lyrics that always come from the heart.

In July 2009, she won the Westfield 5 Minutes of Fame national competition, giving her the chance to perform her original song, Natural at Westfield Style Pasifika with Ben Lummis and the Mt Roskill Ukulele Orchestra, at Auckland’s Vec-tor Arena.

On the same year, she was the first person to win the University of Auckland Songwriting Competi-tion for Secondary Students and recorded her single, Going Nowhere through her winnings.

With determination and great passion for her music, she submitted an application for a 2010 AMP Scholarship, and she proved she could hold her own among applicants, by winning the first AMP Scholarship for High School Students.

She has pursued her love for music wherever it takes her performing in gigs, joining songwriting competitions, recording new songs and hanging out with fellow musicians.

It seems like the sky is the limit for this gifted songstress, but wherever her road may take her, it’s all about doing what she loves and doing it well. That certainly means well be hearing more of her!


How long have you been a musician?

I've been singing since I can remember, but have really pursued music since I was 15 years old.

What was your first compo-sition? How did you come out with it?

The first full song I wrote was called Breathe, and it came out of nowhere! It was in the early

stages of learning how to play guitar and I was just playing around and sung a melody with the chords I was playing.

Did you have difficulty in introducing your original songs to an audience?

It was very scary, because I didn't know how people would take my songs. I've been lucky in that I have had quite positive feedback so far, but no matter what, it is going to be difficult to share what you've written. That shouldn't stop anyone from writing though!

How long have you been playing the uke-lele?

I've been playing for about 4 years

Has formal study in music expanded your creativity as a musician?

It definitely has! I've learnt so much from only one year in my course (Bachelor of Music in Popular Music). The lec-turers push my bound-aries and challenge me

TOMORROWVeRse 1Sitting in the corner, like some-one’s justLeaving me out to drySinking in the carpet like some awfulSpill from the glass of…Why should I pick up where I began, again?Like tomorrow will wake me up singing…

CHORusOh, I love the way you areSinging oh, I’ll help you when you fallThere’s tomorrowSo I’ll just keep hanging onHanging on

VeRse 2I’ll go from glad to pessimis-tic marblesScattered across the floorConstructive criticism turns me doubtfulLeaving me so un…Sure I missed, but I’m so blessed ‘cause I get to wakeTo tomorrow, who’ll wake me up singing…

http://soundcloud.com/shana-llorando/tomorrow

to use different skills I never would have if I didn't study music. It has especially helped me with guitar...no longer us-ing the usual four chords!

How has your musical jour-ney so far?

It has been a challenging, tumultuous and crazy one. But it has been fun! God will-ing, this journey will go on for longer!

Working on an album?

That's always something I'm working towards, but my pri-ority is writing as many great songs as I can, so I am able to have flexibility with my per-formances. Then I can take the best of them and hope-fully record an album.

Your dreams and aspira-tions?

Being able to share music to as many people as possible, to travel and to make a living out of music

SHANA LLORANDO talks exclusively to CORD Music Magazine


IN THE1990’S, New Cebu Music was at its peak, proven by a jam-packed Cebu Coliseum where the every important Cebu-based music artists and musi-cians performed their original Cebuano

materials. The solo artists included Etu, Yo Emperado and Libre, while bands had 40, BTU, Ledger Line, The Ire and the Sikatuna Rappers. Their songs got intensive airplay in Y101 thanks to legendary station manager Johnny Kawa.

But when everyone thought that the revolu-tion had been won, radio support instead waned, and most of the bands simply drifted away from using the Visayan language as lyrics to their songs. A few dared, most notably, Budoy Marabiles (Ako si M-16); but it was Missing Filemon that achieved the distinction of producing a successful album of 100% Cebuano rock songs.

Formed in 2003, the original lineup consisted of Lorenzo "Insoy" Niñal on guitars and vocals, Arni Aclao (of The Ire) on bass, and Eimer Tabasa on drums. Gumer Entero of Happy Days and Ritz Ariba of Frank jammed with the band in some sessions.

After the release of their first album, they disappeared from the Cebuano music scene, returning in 2005 with some changes: Cocoy Hermoso of Beverage for guitars and Ron Capio of Curious Blossoms for bass.

In 2012, the band released its third album, at a time when BisRock seems to have lost momentum. Hopefully, the effort will revive interest in the genre.


MISSING FILEMON exlusive interview with Insoy Ninal fromCORD

CORD: What inspired you to come out with this new album?Insoy: It's been seven years since the release of our second album, the Sinesine album, so we thought it was the best time to come out with another one. Besides, the Bisaya rock scene had been silent for a while, it's good to offer our listeners new materials.

CORD: Have your songs been played on the radio?Insoy: Yes, our songs enjoy generous airplay in several local stations since our first album ten years ago.

CORD: What makes your new album differ-ent from the previous ones?Insoy: This third album is different in that there's plenty of collaboration happening here. We invited artists from other genres to contrib-ute to our music in instrumentation and even in lyrics writing. A couple of songs were also writ-ten as a tribute to the classic Visayan songs that we grew up with. One song is a tribute to the ukelele. The album is generally a salute to the Bisaya music.

CORD: Do you think there is a future in rock songs in Bisaya?Insoy: Yes, there is a future in Bisrock. The Bisaya bands were able to prove that Cebua-nos and people from other Bisaya-speaking regions love Cebuano songs as long as these are written well. If Bisaya bands today continue to write well-written songs, there is a future in Bisrock.

CORD: Any tours in your agenda?Insoy: We have been invited as endorser of Fighter Wine. Fighter Wine is arranging a ma-jor tour for the band in Mindanao. We will start the tour this month in several areas in Bukid-non and Cagayan. Other venues are being arranged.


FACT SHEET: ANDY WILLIAMS

Name: Howard Andrew Williams

Date of Birth: December 3, 1927

Died: September 25, 2012 (aged 84)

Place of Birth: Wall Lake, Iowa, US

Genres: Traditional pop, jazz, country

Occupations: Singer, songwriter, actor,

record producer


C Am Fmaj7 C

Moon River, wider than a mile

Fmaj7 C Bm7-5 E7

I’m crossing you in style some day

Am C7/G

You dream maker

F Fm

You heartbreaker

Am7 D7

Wherever you’re going

Dm7 G7

I’m going your way

Two drifters off to see the world

There’s such a lot of world to see

Am Am7/G D7/F# Fm C

We’re after the same rainbow’s end

F C

Waitin’ round the bend

F C

My Huckleberry friend

Am Dm7 G7 C

Moon River and me

MOON RIVERhttp://www.youtube.com/watch?v=flm4xcOyiCo

PHOTOgRAPHY: JYNMEYER


Bob Lim makes a study on Gerard Pareja, one of the most original personalities in Cebu. Gerard is a poet, author, photographer, publisher and just everything in the bag. It must have been easy for him to transform to the images shown in the photos exclusively featured in this issue of CORD.

CORD IMAGES

THE CAMERA IS A LONELY HUNTER — AT LEON KILAT STREET.

TAKINg A SHOT AT STARDOM: THE ACT OF TURNINg A NECKTIE INTO A SNAKE.


INSPIRED BY PAUL gAUgUIN'S USE OF COLOR AND FLORAL IMAgERY


CONCERT REVIEW

“I don’t know how I end-ed up performing here in middle earth,” said Chris-tian singer-songwriter Arnel de Pano during his one-night only concert in Auckland. The musician is best known as the com-poser of the mass hymn favorite, “Lead Me Lord”; but little did I know that he performs as well.

ARNEL DE PANOAuckland, NZ - July 7

Arnel easily persuaded the nearly 200 audience to be part of his gig by start-ing off with a sing-along of Don Moen standards. “Let’s clap for ourselves, let’s clap for the Lord,” he told the warmed up crowd, as he segued into his second set featuring popular Filipino Christian songs including “Lipad ng Pangarap”, a song he wrote purposely for Overseas Filipino Workers, whom he referred to as new heroes of our time. He then pulled out people in the audience to sing Original Pilipino Music (OPM) hits. Luckily or unluckily, I got picked up and had to sing Jose Mari Chan’s “Beautiful Girl”. Hmm, did I hear the spectators clap?

In his final set, Arnel said he could not resist playing the grand piano at the center of the stage, so he did. And did he display his prowess on the keyboards accom-panying himself in “Kailan Man” and “Take me out of the Dark” and “Send Me”. Guess what, he naturally saved the best for last, as he performed his signature song.

To answer Arnel’s question how he ended up in Auckland that inspiring night, well, the Lord led him, and we are grateful. Amen.


We Need YouTawagAwit invites you to help in spreading

God’s Word through music and other acts of love.

You can be a: (1) member; (2) supporter or (3) organizer

A member is one who can attend to the regular activities of the Ministry. The minimum participation are: attendance during practice sessions of songs, usually once a week or once every two weeks AND singing with the group during the assigned mass usually once a month or once every two months.

A supporter is one who can donate services or resources to the Ministry. There are special events that TawagAwit organizes and the events need finances or helping hands.

An organizer is one who initiates the formation of a chapter in a parish. The Ministry will provide all the assistance within its means to help in the vital task.

Email: [email protected] for more information


TobyMac has made career history with his latest project, EYE ON IT, entering the Billboard top 200 at No. 1, selling nearly 70,000 units and marking the first time in 15 years an artist in the CCM genre has accomplished such. EYE ON IT released August 28 to an overwhelming response, with the album topping the Overall iTunes® Chart just hours after its release, and continuing to reign there throughout the week. This amazing debut comes as his sin-gle, “Me Without You,” continues to hold onto No. 1 on the CHR and AC Indicator charts. “It’s my honor to write songs and even a further privilege that people choose to listen and make them part of their lives,” TobyMac reflected upon hearing the news of the

debut. “My hope has always been that these songs would somehow re-mind people that though we are all flawed God offers us love, hope and refuge. If this week or these num-bers is any indication of that, I am thankful”… Audio Adrenaline heads for Las Vegas For The Rock n’ Roll Marathon December 2 To Run For The Hands & Feet Project. Audio Adrenaline’s Will McGinniss, Kevin Max, Dave Ghazarian, Jared Byers, and Jason Walker along with Mark Stuart are all slated to run the race, and they will be joined by Brock Gill and Gotee re-cording artists Stephanie Smith and House of He-

roes’ Tim Skipper .… Steven Curtis Chapman releases a brand new Christmas project, Joy, on Oct. 16. Joy will showcase seven new, original Christmas songs penned by Chapman and six classics. The lead single is “Christ-mas Time Again.” This Christmas CD is particularly meaningful to Chapman: “Many know that the last few years have been a difficult journey for my family and me following the loss of our daughter Maria,” says Chapman. “So many have prayed for us and encouraged us, and hav-

ing the opportunity to write, record and share this new music really feels like the beginning of a new sea-son ... a season of joy”… After the August release of the critically-acclaimed album Wait For the Si-ren (which debuted at #7 on Billboard’s Hard Rock Chart, #118 overall, and peaked at #3 on the iTunes rock chart), Project 86 is celebrating their #1 sin-gle, “Fall, Goliath, Fall,” which topped the Billboard Christian rock chart for 3 consecutive weeks. The

band just wrapped a busy summer tour run (which included stops at Kingdom Bound, Uprise

MUSIC + CURRENT

CORD Music Magazine Oct 2012 33Lahug, Cebu

Festival, Soulfest, Spirit West Coast, Purple Door, Lifest, Joshua Fest, Creation East and West, Jesus Fest, etc.). P86 is also incorporating a canned food drive during their 12 Nights Of Project

86 Tour, with the goal of stocking some church food pantries for Thanksgiving and Christmas. Featuring special guests I am Empire, the Wedding, and the Overseer, the tour happens through Novem-ber and December. …. THE STORY TOUR, presented by World Vision, will feature Casting Crowns lead singer/songwriter Mark Hall, Jeremy Camp, Natalie Grant, Matthew West, Nichole Norde-man, Selah and Rawsrvnt, along with special guest author/speaker Randy Frazee and musical director Bernie Herms. A fully-produced multi-media expe rience with the artists, along with a full choir and orchestra, performing the multi-artist album of the same name in its entirety. The production includes stunning visuals and live-action video to accompa-

ny every song, projected on a massive screen encompassing the entire stage. Based on 2012’s Dove Award-winning Special Event Album of the Year [(Music Inspired By) The Story], THE STORY TOUR debuted last Christmas to multiple sell-out performances in front of more than 45,000 people. This year’s events will again include performances of favorite Christmas carols along with a musical journey from Genesis to Revela-tion. The 2-CD album set have sold over 75 million albums…Three-time Dove Award winner Chris August is currently on the road for his first headlining tour, “The Upside of Down Tour,” which kicked off on Sept. 14 in Franklin, Indianapolis and wrapped on Sept. 30 Beginning Oct. 4 in Dallas, he joins the “Eye On It Tour” with TobyMac and Jamie Grace

for a 10-show run, finishing up in St. Louis on Oct. 27… Multi-Dove Award-winning singer/songwriter Cindy Morgan and critically-praised singer/songwriter Andrew Greer have joined forces for the “Hymns for Hunger” Tour. Presented by Food for the Hungry, Mor-gan and Greer will showcase selections from their respective acclaimed hymns recordings, while helping raise awareness and resources for lo-cal and international hunger relief organizations at tour stops around the country. The “Hymns for Hunger” Tour kicked-off September 16 in Boise, Idaho. “’Hymns for Hunger’ is more than a concert of hymns,” says Greer. “It is a night of music purposed to meet the needs of our neighbors across the world with audiences’ help. We partner each night with a relief organization in the local community to raise awareness,

funds and tangible goods-whether filling a food pantry, raising money to repair a homeless shel-ter or literally feeding the hungry. Internationally, Cindy and I are partnering with Food for the Hungry to help complete their community development projects in Nicaragua, eliminating pov-erty and providing spiritual hope through child sponsorship”... Dove Awards’ “Artist of the Year,” Francesca Battistelli was presented with a gold album for her debut release My Paper Heart. This marks the first debut album from a CCM artist in nearly a decade to receive RIAA-certified Gold status for sales in excess of 500,000 units. “I was totally overcome with emotion,” said Battistelli. “I feel so incredibly blessed and will remember this night forever!”


By M Batulan

In Ronald’s play placeChildren run, climb, slide and laughShow a funny face. Laughter sounds the sameThough the chatter is foreignWhat is in a name? The cry of the whaleStranded in the rocky shoreHelp comes without fail Marley is jammingThough he is long dead and goneI hear you humming Heavenly voicesIn the empty cathedralAngel disguises There is little timeTo live in this troubled worldSing life’s songs and rhymes Blank piece of paperTurns into a canvass of artComposed of ink smear

HAIKUS

PHOTOgRAPHY: ACSCOM

CORD Music Magazine Oct 2012 35PHOTOgRAPHY: ACSCOM

PART II. CONFUSED SOUL

Nilo was preparing to leave the office at 5:00 that Wednesday afternoon, thinking about meeting Lisa at the town wet market to buy their favourite Lapulapu fish and talangka for dinner, when he was called by their Office Administrator to inform him of the telephone call requesting him to go to the San Francisco project site.

“The specific instruction was for you to be there early morning tomorrow. The trip would take four hours, so I suggest you take the 1 am bus. You will be fetched right at the bus terminal and conducted to the project site”.

“Was it the provincial engineer himself who called?” Nilo asked. “No, the voice was unfamiliar, maybe some new guy in the office. They must have been impressed of the progress we have made with our own project under your supervision”, the administrator quipped.

Nilo wanted to protest. He knew that it wasn’t a problem of engineering that has stalled the proj-ect operation. “They should have invited a conflict management expert, not an engineer, who can settle disputes between the politicians, technical people and the rebels”. Nilo told himself. The thought of the latter group gave him a shudder.

The bus ride actually took more than four hours. There were portions of the road which were smooth and well paved and there were long stretches which were bumpy. In those towns it was presumed that the bumpy parts were in barangays whose political leaders were not allies of the administration. And this was where insurgency thrived.

It was still a bit dark when the bus reached the terminal. Nilo tried to look for the familiar green official NIA vehicle that would fetch him. Just then, a man in brown jacket approached him and said, “I am Zaldy, the new driver of NIA. I am sorry, but the NIA vehicle broke down yesterday, and we will use this jeep instead.” The man said, pointing to an old, rugged, blue Willy’s jeep. “This may be old but still very reliable”, he added.

Zaldy was about Nilo’s height and built. He didn’t talk much and Nilo saw almost a melancholic countenance. Or maybe an anguish look – the kind that he saw in bidas in local movies, trying to get back at some people who had such a great price to pay.

“Is the project site still far away?” Nilo asked as the vehicle traversed a very rough road and into streams, and made a continuous uphill climb into a forest. He wondered why NIA should build dikes and dam in the forest, far from the lowland fields.

“Not really,” came the brief reply. “We are not going directly to the project site. I have instruc-tions to take you to the watershed area. The Provincial Engineer and some friends have camped

Claws of Lifeby Vedasto


in the middle of the forest and they want to meet you there to discuss about another big project of the municipality on watershed conservation. I’ve heard that a European-funded non-government organization will handle the project”. Zaldy explained.

When the road no longer allowed the vehicle to go any further, Zaldy said, “We have to get down and walk to the camp site. Don’t worry, you will enjoy it”. Nilo started to feel uneasy. There was something about this man which he could not understand – the eyes, the deep, penetrating look, the anguish. They walked a further kilometre up but there was no sign of a camp. Then he saw a small wooden hut, standing amidst the tall narra and lauan trees.

“Where are they?” Nilo protested. Zaldy did not answer, and instead said, “Please get inside”.

Filled with doubt and apprehension, Nilo backed out and said, “No, I am not getting inside”. Nilo has had some lessons in martial arts and he thought his skills will come in handy, if necessary.

“Yes, you will get inside” Zaldy said, this time holding a 0.45 calibre pistol which he drew from inside his jacket. He pointed it to Nilo and without a word signaled him to get inside the hut, then into a very small room which would become his prison cell. Once inside he heard the click of a


padlock locking. The cell had walls, floor and roof made of large timber posts and he thought even the strongest man could not destroy it.

In between the timber posts, he could see Zaldy pacing back and forth and talking, almost like making a monologue.

“Those corrupt government officials who bleed the people dry, whose only concern is to fatten their bellies – the crooks, the cheaters - they have no place in this world. Don’t you know that I have the record number of executions? Kumander Zaldy. Ever heard of that name”?

To Nilo, the name did ring a bell. So it was him. He had imagined a rough, burly man – not this decent, neat looking chap. And the fact that he had some physical semblance to himself made Nilo shiver.

Loudly, Nilo asked, “Why me?” I am not a crook, neither am I a politician!”

“I have been observing you for quite some time now – at the project site in Sta Lucia with your men, and at the beach with your family. You have a beautiful wife and a lovely son. I wonder how it feels to have a family like yours. I never had any family. Never saw my Mom”.

“This man is insane”. Nilo thought, as he surveyed around the room. Save for the gaps in between timber posts and a small hole the size of a fist where a curved post was used below the padlock, there was no opening through which he can escape.

“And oh I forgot. It’s time you forgot about all your belongings”. Pointing the gun to Nilo, he ordered him to back out, opened the door and threw a black overall. “Now strip. That overall will suit you better”. Zaldy ordered and left.

Alone, Nilo wondered what Zaldy was up to. He wondered what he will do to his wife and son. Was he planning to kill him and steal Lisa and Oliver from him? Anxiety and fear filled him and somehow, he thought he should find a way to escape. Not far away, he heard voices. He could fig-ure out Zaldy’s but there was another one.

Soon, it was dark, and sleep and wakefulness alternately came upon him. In his sleep, he dreamed of Lisa, Oliver and Zaldy having fun together. He had wanted to shout and tell Lisa of the danger with Zaldy around, but could not find his voice. Nor can he move. And Lisa could not see him and is unaware of the danger that lurked behind. On waking up, he found himself profusely sweat-ing and breathing hard.

In the morning, he found a piece of boiled sweet potato and water on small plastic container in his cell. Under it was a note written on a cigarette wrapper which read: “Get rid of any trace of these stuff as soon as you can”. He crouched at the corner of the cell, and gazed at the stream of sunlight which had filtered through the canopies of the tall trees around and reaching his cell through the gaps between the posts. He wondered whether help was near or whether he was doomed to be in the cell forever… TO BE CONTINUED...


BEST OF BLOTFREEby Mel B Libre

The great Michael PhelpsOn August 5, 2012, swimmer Michael Phelps earned his 22nd and final Olympic medal, as part of the United States’ 400-meter medley relay. On the same day, FINA, the international govern-ing body of swimming, gave him a statue with the inscription, “The Greatest Olympic Athlete of All Time.”

Phelps had reached the summit of an illustrious sports career, having earned eight medals in Ath-ens – 6 gold, 2 bronze – as a teenager (19) in 2004; eight gold in Beijing in 2008; and six more in London – 4 gold, 2 silver.

While finishing the final lap in the 400-meter medley relay would be “the Kodak moment”, Phelps gave the world a more memorable image – as he stepped into the stands, he embraced his white-haired coach for 15 years Bob Bowman, telling the latter, “I love you….We did it.”

What makes an individual great is not just doing one’s personal best it is also in acknowledging those who helped you along the way. While belief in one’s self is the key to success, someone’s belief in you drives one to reach greater heights. Albert Schweitzer said, “At times our own light goes out and is rekindled by a spark from another person. Each of us has cause to think with deep gratitude of those who have lighted the flame within us.”

At all times, Jesus Christ acknowledged God the Father in all His work. Thus St Paul wrote, “May the God who gives endurance and encouragement give you a spirit of unity among yourselves as you follow Christ Jesus.” (Roman 15:5)

The athletic greatness of Phelps was seen in the water, but his greatness in character was shown that day outside the pool. And it is likely he will achieve greater things. “It’s just time to move on. There are other things I want to do in my life. I’m not sure staring at a black line for four hours a day is one of them.” Take a bow, Michael

http://www.blotfree.com


GOOD LAUGHA doctor says to his patient, “I have bad news and worse news”.“Oh dear, what’s the bad news?” asks the pa-tient.The doctor replies, “You only have 24 hours to live.”“That’s terrible”, said the patient. “How can the news possibly be worse?”The doctor replies, “I’ve been trying to contact you since yesterday.” Patient responds, “Don’t worry doc, my watch is out-of-order.”

***A friend is such a terrible musician. The other day he asked his sister if she had heard his last recital. She replied: “I hope it happens soon.”

***Two mothers were comparing notes about their sons.Mother 1: My son is very well behaved. He has never gone to prison.Mother 2: Well, mine was imprisoned for 5 years, and got out after 1 year because of good behavior.

***The navy ship noticed a smoke coming from one of three huts on an uncharted island. Upon arriving at the shore they were met by a shipwreck survivor. He said, “I’m so glad you’re here! I’ve been alone on this island for more than five years!” The captain replied, “If you’re all alone on the island why do I see three huts.” The survivor said, “Oh. We’ll, I live in one, and go to church in another.” “What about the third hut?” asked the captain.

“Oh, I don’t go to that church anymore.”

***Q: Do you know what one wall told the other?A: Let’s meet up in the corner.

Q: Why do cows wear bells?A: As a precautionary measure should their horns not work.

Q: What is black and white and black and white and black and white and black and white and black and white and black and white?A: A panda rolling downhill.

Q: What’s black and white and laughing?A: The panda that pushed him.

Q: What’s the difference between the two icons, Neil Armstrong and Michael Jackson?A: Neil Armstrong walked on the moon, and Michael Jackson moon walked.

PHOTOgRAPHY: gINIMINIgI


KIM & EL

MR JEYDI’S WITDOM


I thought “12 Monkeys” was one of the most brilliant time-travel films of all time with Bruce Willis playing a character James Cole, a convict sent back to the past to obtain information on a terrorist group known as the Army of the Twelve Monkeys that allegedly released a virus that nearly wiped out humanity.

“Looper” is as intriguing as “12 Monkeys”, though darker and more violent. The story revolves around Joe (Joseph Gordon-Levitt), an assassin (“looper”) who is hired to kill targets sent back by a criminal syndicate of the future. The suspense builds up when the person sent back to be killed turns out to be an older Joe (Bruce Willis). While the younger Joe is a loose ball, his older ver-

sion is a man on a mission: to save his wife of the future from death, he must kill the child, Cid (Pierce Gagnon), who is to become the crime boss in the future. The old-er Joe escapes from being killed by his younger self, and pursues his plan, only to be brought to a dilemma as there are three chil-dren who were born on the same date as Cid.

The younger Joe has taken refuge in a farmhouse where Cid and his mother Sara (Emily Blunt) live. When he finds out that the child is Cid, younger Joe decides to kill the boy who runs away. But with the appeal of Sara, younger Joe changes his mind. The older Joe after having eliminated the present day Looper organization arrives to complete his mission which is

meant to fail, that would cause the future to happen. The movie ends with the unconceivable leaving the audience in total silence.

I would have stood up to applaud the beauty of the conclusion, but had to control myself. This film is as brilliant as “12 Monkeys”. Willis portrayed the older Joe character, like fish in water, while Gordon-Levitt nearly perfects the younger Joe version. Blunt is the gem in the film, portraying a character that has toughness, sexiness and motherly love. Gagnon is effective as a vulnerable/smart/angry child.

There is never a lull in the 118 minutes feature. Writer-director Ryan Craig Johnson should be proud of this work. Well done.

FILM REVIEWS

Looper


It is often a gamble to put out a sequel to a good film; and insane making a trilogy, unless you’ve fig-ured out everything from the very beginning. An example of such disaster was Tim Burton’s Batman and Batman Returns, and the sub-sequent Joel Schumacher’s Batman Forever and Batman & Robin. But then Christopher Nolan rebooted the Batman franchise to becoming one of the most successful film-trilogy.Jeffrey Katzenberg of Dream Works in 2008 after “Madagascar” and “Madagascar: Escape 2 Africa” made their successful runs, de-clared, “There is at least one more chapter. We ultimately want to see the characters make it back to New York.” In 2009, in reply to a ques-tion, said, “Yes, we are making a Madagascar 3 now, and it will be out in the summer of 2012.” Kat-zenberg kept his promise; and in a grand manner gave it a world premiere in the 2012 Cannes Film Festival.

It is a homecoming film, and the journey back to New York turns out to be a fun-filled circus act complete with clowns, flying tra-peze and other crazy animal char-acters. Amusing as it may look, the

villain in this last take about the wild pack is a homo sapien, Mona-co Animal Control officer Captain Chantel DuBois who is out to get the head of the trophy: Alex.

Incredibly, while we get to laugh out loud; there are a lot of life les-sons to be learned out of this ani-mated film. It is the ending though that is most touching, when Alex & company finally returned home to their zoo, they realized that home isn’t really a place. Home is where your heart is, where those close to you are, where you find meaning in your being. What a masterpiece conclusion to an epic comic tril-ogy. (CORD)

The Bourne Legacy (TBL) was up against the successful Bourne fran-chise that starred Matt Damon and directed by Paul Greengrass. More so that the last Damon-Greengrass partnership in The Bourne Ultima-tum won three Oscars - Best Film Editing, Best Sound Mixing, and Best Sound Editing - at the 80th Academy Awards.

With a new lead character, a new actor and a new director, TBL pales in the thrill aspect, but wins in the action sequences. With Tony Gilroy directing, TBL satisfacto-

Madagascar 3

Bourne Legacy

rily connects to the three previous films, thanks to Gilroy’s co-screen-writer role in the past.

The movie revolves around Aaron Cross a CIA agent enhanced by pills referred to as “chems” and or-dered eliminated together with the rest of similar agents, as the next generation programs have been put in place. Jeremy Renner (The Hurt Locker and The Avengers) was able to create a character outside of the shadow of Jason Bourne. Ra-chel Weisz, as geneticist Dr. Marta Shearing, is credible as the neces-sary “side-kick”, most especially during the Manila sequence of the film. Edward Norton (The Fight Club and The Incredible Hulk) is under-utilized, but then again he isn’t the lead star.

While we’re awed at the beauty of nature as Cross meets up with Out-come operative 3 in Alaska (filmed in Canada), we see in contrast the disarray and poverty of Manila as the motion picture goes on full ac-tion gear. The high-octane chase in the slums and streets of Manila was a creative breakthrough, though it would have been more credible if they got an operative from Manila instead of one from Thailand as the assassin; just a minor slip maybe. But it wasn’t all bad for the Philip-pines though, with the Good Sa-maritan deed of the boatman and the scenic view of El Nido, as the film ends.

Surely, the Bourne series cannot simply end here. Either you add one more adventure for Aaron Cross or concoct more thrill and bigger action with Jason Bourne and Cross joining forces. The lat-


Pitch Perfect

Once

simple, yet heart moving. When the two lead characters get to play at the music store, you can feel the emotional attraction they have for each other.

It also is a story of a father who wants his son to continue with the family business of repairing vac-uum cleaners, yet the son wants to pursue a music career. When Guy finally completes the album and asks his father to listen, the latter realizes the great talent of his son, that he gives him money so he can fulfill his dream.

The process of recording the songs is another interesting epi-sode in the film. The ending is not your typical “and they lived happily ever after”. It is the kind of closure that makes you reflect, long after you’ve seen the film.

What makes this film even more interesting is how it took so long to make because of financing problems. When it was finally completed, it became a favorite in the independent film rounds and made money. (Cost: US$160,000 Box office earning: $20,710,513) The story does not end there.

It was adopted as a stage musi-cal first in the New York Theater Workshop in 2011 and later in Broadway in 2012 where it gained eleven 2012 Tony Award nomi-nations, and won eight of those awards including Best Musical, Best Actor, and Best Book.

The lesson from this film is that dreams can come true, though it may take some time, through un-expected paths. (CORD)

“Pitch Perfect” is a film about Beca (played by Anna Kendrick), an as-piring DJ, who joins The Bellas, an all-girls acapella group that aims to win the national competition, after a disastrous performance the previ-ous year. Labelled as a musical comedy, the film though funny at times (thanks to Rebel Wilson’s Fat Amy char-acter), struggles, with uninspir-ing song numbers and a mediocre story. There is that part of the film where good fellow Jesse (Skylair As-tin is a natural) gets a knock at his door, as Beca comes to apologize for her conduct, with Jesse telling her something like, “I don’t know where you’re going with your life.” It doesn’t make much sense that Beca wants to be a top DJ, yet when she gets to be one in the campus radio, there isn’t much of a thrill in her de-meanour. She becomes more melo-dramatic when it comes to her ex-tracurricular involvement with The Bellas. I guess the problem with this film is that it has everything borrowed: it’s partly “Glee”, partly “Bridesmaids”, partly “Step Up” and partly “Grease”. It even got the girls’ group name af-ter the main character in “Twilight”.

I got to view this film on DVD, thinking that it was one of those cheap indie films without clear direction. Though the story is quite simple, guy falls for girl, girl likes guy but then she is married , both guy and girl love music and write songs, they collaborate and put together an album, he goes to London, while girl reunites with her husband.

This movie charming as the stars are real life singer-composers Glen Hansard and Marketa Ir-glova. They actually wrote the soundtrack of the film. One of the songs, “Falling Slowly” was even recognized as the Oscar Award for Best Original Song in 2007 and the soundtrack nomi-nated in the Grammy Awards.

The actors are natural as they pursue learning the songs and recording these with other musi-cians. The film at times is funny, yet there are scenes that seem so

While Kendrick may have done a worthy portrayal in “Up in the Air” where she was nominated for an Oscar as Best Supporting Actress; she is a total miscast here. TV musical fares, Glee and Smash, are far superior from this film not of note, but of naught. (CORD)

ter alternative would be like putting two rogue 007s into one film. C’mon Matt Damon, sign up! (CORD)



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CORD MUSIC MAGAZINE October 2012