The Meaning of Christmas

Levy Abad Jr.

Nov. 28, 2011 (The Diversity Times, Dec 2016, Vol.5 No.12 )

courtesy of parol

Everytime Christmas approaches, it immediately reminds me of the birth of Jesus (Yeshua), the Messiah. Of course, we grew up with the idea that he was born on the 25^th of December. But let us look at what David H. Stern's Jewish New Testament Commentary says regarding the matter. “The Bible does not say when Yeshua was born, perhaps as a prophylactic against our worshipping the day instead of the One who is worthy. But it is interesting that the early believers in the Messiah apparently saw a link between Chanukkah and the birth day of the Messiah: the one is concerned with an earthly building, the other with the living Temple of God who came down from Heaven----for Yeshua himself made the comparison when he said,``Destroy this temple, and in three days I will raise it up again”(John 2:19). So, since the end of the third century, December 25, the Roman calendar date corresponding to Kislev 25, has been the generally accepted date for Christmas in the Western churches (the Greek Orthodox observe January 6, the Armenians January 19). Kislev is the third month of the civil and the 9^th of the religious year, usually coinciding with parts of November and December (Oxforddictionary.com). Anyway, the date of the birth of the Messiah, whether found in the scripture or not, is not my main concern. My focus is on the nature of the Messiah. In the New Testament (Brit Chadashah), Jesus always addresses YHVH (I Am That I Am ) as Abba or Father countless times. All of us believers grew up with the basic catechism that YHVH is indeed the Father of Jesus and that Mary (Miriam) conceived him through the power of the Holy Spirit (Luke 1:28,30-35, 37-38). This spiritual and historical event is uplifting for the fundamental reason that the Father of Jesus is the God who liberated and redeemed the ancient Israelites from their Egyptian captivity through the Exodus, and up to the struggle led by Joshua to reach Canaan or Promised Land. The Father of Jesus is the creator of the world, a Liberator and a Redeemer. Liberator, because God made his manifestations in history and led the Israelites out of bondage or slavery, and Redeemer, because God made the event sacred to be remembered forever as a sign of his Grace and Faithfulness. This act of God the father in history is a paradigm of deliverance through the Israelites and to the nations alike as promised to Abraham.

 The story of Mary shows her reverence to God. Most Christians do realize that when the Angel of the Lord appeared to Mary to announce, “Hail, Mary, full of grace the Lord is with you” and also “Blessed is the fruit of your womb, Jesus,” she was overwhelmed and was initially confused, but wholeheartedly accepted her role with the deepest obedience. It was at this instance that Mary joyfully recited the Magnificat as her song of praise: “My soul magnifies the Lord, and my spirit rejoices in God my saviour, for he has looked on the humble estate of his servant. For behold, from now on, all generations will call me blessed; for he who is mighty has done great things for me, and holy is his name. And his mercy for those who fear him from generation to generation. He has shown strength with his arm; he has scattered the proud in the thoughts of their hearts; he has brought down the mighty from their thrones and exalted those of humble estate; he has filled the hungry with good things, and the rich he has sent away empty. He has helped his servant Israel, in remembrance of his mercy, as he spoke to our fathers, to Abraham and to his offspring forever” (Luke1:46-55 ESV). Surely, this prayer is engrained in the heart of Mary and the liberating and redeeming ideas contained in this prayer were told by Mary to his son Jesus, the Messiah, who will eventually be crucified out of his obedience to the Father.  

In discussing the life of Jesus, we cannot fail to mention Joseph. Joseph, son of David, the husband of Mary, became the father of Jesus in his temporal existence. Jesus grew up knowing Joseph, his father, as an ordinary carpenter by trade. One of the greatest characters of Joseph is his obedience to what the angel of the Lord told him to do, as written in Matthew 1:20-25, “But after he had considered this, an angel of the Lord appeared to him in a dream and said, “Joseph son of David, do not be afraid to take Mary home as your wife, because what is conceived in her is from the Holy Spirit. 21 She will give birth to a son, and you are to give him the name Jesus (Yeshua). Because he will save his people from their sins.” 22 All this took place to fulfill what the Lord had said through the prophet: 23 “The virgin will conceive and give birth to a son, and they will call him Immanuel” (which means “God with us”). 24 When Joseph woke up, he did what the angel of the Lord had commanded him and took Mary home as his wife. 25 but he did not consummate their marriage until she gave birth to a son. And he gave him the name Jesus” (NIV).

Finally, we come to the nature of the Messiah, and compare it with some of the great scriptural themes that characterize his roots (Mary and Joseph) and his spiritual origin, God. In Luke 4: 18-19, Jesus reads from the scroll of Isaiah in the synagogue of Capernaum: The Spirit of the Lord is upon me, because he has anointed me to proclaim good news to the poor. He has sent me to proclaim liberty to captives and recovering of sight to the blind, to set at liberty those who are oppressed, to proclaim the year of the Lord’s favour (ESV). This quotation from Isaiah, if read with the Exodus in mind, the activities of Jesus during his ministry from healings to his prophetic pronouncements, with the history of the struggle for freedom of peoples at heart, sets the tone for its correct definition. Any deliverance from God, as far as the Scripture is concerned, occurs in the world as his divine milieu. Deliverance is always liberative and redemptive. The radical obedience up to the Crucifixion of Jesus is the culmination of his obedience and subversive activity. Subversive in the sense that in due time, the Roman Empire will crumble when the seeds that Jesus sowed grew and bore fruit.  Posing the idea that He is the way, the truth and life or the Scripture incarnate, constitutes the ultimate act of obedience by initiating the will of God “on earth as it is in Heaven” thus turning asunder the rule of darkness .

Hence, reflecting on the faithfulness of God, the obedience of Mary  and Joseph to the plan of God to tabernacle in history and also to the millennial process of sowing the seeds of  love, hope, justice , mercy and compassion towards building the “new earth and new heaven” with its concomitant demands of forgetting oneself through radical obedience as Jesus did, I humble and criticize myself for all the times that I placed my interest first instead of wholeheartedly waging struggles for justice against the spiritual and social structures of evil in this world. This for me is the meaning of Christmas. To my family, relatives and friends, Merry Christmas!

Theology in the Darkness of Empire

November 14, 2012
The Diversity Times ,Nov. 2016 Vol.5 No.11

By: Levy Abad

courtesy of  jonathanturley

One of my favorite passages in the New Testament is Luke 4:18-19 which states, “The Spirit of the Lord is upon me, because he anointed me to preach the gospel to the poor. He has sent me to proclaim release to the captives, and recovery of sight to the blind, to set free those who are oppressed, to proclaim the favourable year of the Lord.” The Lord Jesus read this when he came to Nazareth in a synagogue on the Sabbath. This passage is read by Jesus from the book of the prophet Isaiah. Reflecting on this biblical passage made me realize its seditious nature. To premise the prophetic activity of Jesus on this passage during the Reign of the Roman Empire is to subvert it.

Related to this point, we must not neglect the historical context of slavery to be able to grasp the comprehensive meaning of a given passage. The dominant mode of production during this period is based the owning of slaves, while later modes would be based on feudal ownership or eventually the ownership of Capital. Missing the context will lead one to spiritualize the biblical event. The subversive nature of the midrash (allegory, homily, exegesis) of Jesus no wonder attracted a lot of the Zealots to his side. With these as premise, the next thing to do is to look into the radical passages in the Hebrew Gospel of Matthew like, “The Scribes and the Pharisees have seated themselves in the chair of Moses; therefore all that they tell you, do and observe, but do not do according to their deeds; for they say things and do not do them. They tie up the heavy burdens and lay them on men`s shoulders, but they themselves are unwilling to move them with so much as a finger.” For how could the Pharisees, Sadducees and Scribes do the right thing when they are already compromised? So Jesus one time asked one of them to show him a Denarius to which a Pharisee right away did. That’s it! What duplicity! How could they be parushim/ set apart in holiness, if the dirty denarius is in their pocket?

As for me, I can only say Kyrie Eleison, Kyrie Eleison, Kyrie Eleison.

It is also interesting to note the Eight Woes from Matthew 23:13-39, of which I’m going to quote some verses: 14. Woe to you scribes and Pharisees, hypocrites, because you devour widows’ houses, and for a pretense you make long prayers; therefore you will receive greater condemnation. Moving to verse 23.“Woe to you scribes and Pharisees, hypocrites! For you tithe mint and dill and cumin, and have neglected the weightier provisions of the law: justice and mercy and faithfulness; but these are the things you should have done without neglecting the others. 24. You blind guides, who strain out a gnat and swallow a camel! 25. “Woe to you scribes and Pharisees, hypocrites! For you clean the outside of the cup and of the dish, but inside they are full of robbery and self- indulgence. 29. Woe to you.... for you build the tombs of the prophets and adorn the monuments of the righteous, 30. And say, “if we had been living in the days of our fathers, we would not have been partners with them in shedding the blood of the prophets”. There are still many verses of the same justice tenor that I would not include just to save space, such as the Eight woes that constitute a radical critique of the theocratic leadership during the second temple period, leadership who served as puppets of the Roman Empire. When Jesus addressed the Pharisees, the Sadducees and the Scribes, he was not trying to be cute or nice, but was exposing the corrupt theocrats of his time when there was no separation of powers yet. These eight woes are proof that Jesus is not a passive actor in the stage of History. The Messiahs pronouncements are denunciations of the existing social relations engendered by the Empire. No wonder with his firm stand, he was acutely aware of the logical outcome of persecution/ Crucifixion. These Eight woes owe its relevance to the historical context of oppression without which such pronouncements has no meaning.

Even the name of the Lord Jesus/Yeshuah (My God Saves) illuminates and glows with brightness in the darkness of Imperial oppression. The best proof of this is the persecution of the Messianic movement (that eventually became Christianity) in the early centuries of its growth. Sadly, nowadays in most instances it is no longer a movement but a petrified institution possessed by Greed. Truly, even from the days of old, the Gospel is good news for the poor/oppressed and bad news for the oppressor, though it intends to save them too.

In my studies, I noticed that Theology of Liberation given its weaknesses in practice, is rooted in the exodus and essentially faithful to the social context of the century that encompasses the activity of Jesus, while other theologies with its literal tendency, ignore the context leading them to supra historical and spiritualized/ escapist and reactionary conclusions. In my interaction with some literalists’ grassroot theologians, I have always sensed the disinterestedness in engaging in socially transformative movements. They have this tendency to focus on individualistic prayers, but are quick to spiritualize social movements that triumph, as part of an answered prayer glossing over the struggles that conditioned such social changes. Even with the ideology that they embrace, they close their eyes to the violence of it, but are in all praises when it benefits them. “Hypocrites all!” Jesus said. They are quick to accuse reformers and revolutionaries of Atheism etc., but when this changes lead to a better life, which is essentially theistic, they are the first ones to get fattened by it to their hearts glee. Lest I be accused of promoting anti- Semitism, my mention of the Pharisees here pertains only to the ruling clique of the Sanhedrin that manoeuvred to execute Jesus while in cahoots with Rome in promoting peace based on Injustice. There are also individuals in the scripture and groups of Pharisees who supported Jesus like Nicodemus, Joseph of Arimathea (Ramatayim), while others did it in a clandestine way. There are biblical attestations and extra biblical sources that support this point. Noteworthy to mention, the concept of resurrection of the dead is just a borrowed concept from the Pharisees. Robert Eisenman’s books, like “James the brother of Jesus” and the “New Testament Code” are good references for this. John P. Meier’s, “A Marginal Jew” Volumes 1 to 3, books of Geza Vermes, Flavius Josephus and countless others.

Luke 4: 18-19, as read by Jesus in a Synagogue, is a laying down of his Social Agenda. It will put into practice the Kingdom of God as an Ideology and a Vision towards the World to Come or the “Olam haba” (the future age). Luke 4:18-19 breaks down into details the  commandment of “loving thy neighbour as thyself “ in the areas of attitude towards persons and the social system. Putting into practice the Kingdom of God subverts the rule of Rome. It counter poses the values of the Kingdom like faith ,hope, love, justice and liberation to that of the Roman Empire based on Slavery. I noticed even in present times, those who succumbed to fear of liberation dilute the sharp message of Jesus to justify the status quo or the Empire. I have seen this in the intensity of the struggle. I have seen those brought up in the womb of the empire vacillate and get confused when confronted with the issue of counting the cost of preferential option for the poor and clinging on to a gnostic, escapist / otherworldly theology. The parting of ways at times and the breaking of theological ties most of the time occur not because of right or wrong, but because of the intensity of social pressure, conditioned by the tension or dialectics between Empire and Liberation and unfortunately only a few are conscious of this. Luke 4: 18-19 compels one to undergo the garden of Gethsemane Experience of choosing Self or the Kingdom of God, a theological to be or not to be.

In the Month of October , we were led by our Pastor in studying the Exodus. The exodus is the story of Liberation/deliverance of the Israelites out of Egyptian captivity. This Liberation is a paradigm not just for the ancient Israelites but for all peoples. The Liberation experience of the Israelites is a Menorah that will light the world during the dark period of the Roman Empire and even up to now in the world to come/a world that came to be, if viewed from the perspective of the second temple period. The exodus paved the way for the arrival of Jesus the Messiah in the world stage where he takes unto himself the Menorah and becomes it. The exodus reminds one of Moses, when he rejected a future as part of an empire, but instead, opted to sacrifice everything and lead the oppressed out of Slavery. Moses, in a simple way, points to the tabernacling of the Messiah in History, by being born into the world of oppression to bring light into the Darkness of Empire. Hence, without the Exodus, Luke 4:18-19 will be empty.

Lolita Carbon: Gising na Kaibigan Ko

Levy Abad

Lolita Carbon at Canton Buffet 

Another awesome night of Lolita Carbon’s performance at the Canton Buffet restaurant (1111 Logan).  Indeed, she rocked the night by singing songs that touched the hearts of listeners by taking them “back in time and to places and embraces that they thought they left behind” – one of the lines from Kenny Loggins’ song, Your Heart Will Lead You Home. The place was packed with people wanting to be with an artist who shaped the musical taste of folks from 1978 up to the present. As for me, as I’ve mentioned in my previous article Lolita Carbon : Pagbabalik, I started learning to play the guitar with the song Masdan mo ang Kapaligiran.-( https://www.blogger.com/blogger.g?blogID=6911373698588055422#editor/target=post;postID=6987261598158523200;onPublishedMenu=overview;onClosedMenu=overview;postNum=1;src=postname )

Thanks a lot to Jhayzon Paredes, concert organizer, for taking time to personally invite me to come and watch. I was really happy to be there and saw a lot of friends enjoying folk rock songs of Lolita Carbon. I saw Raffy Ramiro and Bernie Carlos performing on stage and doing some covers like Hotel California of the Eagles. Raffy was really a great sessionist. He is a versatile musician. He plays the saxophone, lead guitar and sometimes he even plays the drums.

The highlight of the night was of course, Lolita Carbon. She started with the song Masdan mo ang Kapaligiran, which is an ASIN classic song. Although the group has many hit songs to their credit, the song that I really like is Gising na Kaibigan ko, which calls on people to wake up from slumber. The song starts with some philosophical questions like "Nakita mo na ba ang mga bagay na dapat mong makita? Nagawa mo na ba ang mga bagay na dapat mong ginawa?  Then the next line calls for action, "Kalagan na ang tali sa paa, imulat na ang iyong mga mata, kaysarap mabuhay lalo nat alam mo kung saan papunta." What an amazing song made even more meaningful by the songwriting skills of putting tomes of Philosophy in a verse.

People started singing along with "Gising na kaibigan ko! Ganda ng buhay ay nasa sa iyo. Ang oras daw ay ginto, kinakalawang lang pag ginamit mo.” This song really compels one to think and reflect on life and its purpose. I love it when Lolita Carbon said that she lived her life to the fullest, by sharing her talent and the positive message of her songs. In the diaspora, migrants often think of life, endure uncertainties, face the challenges of living so far away from the old country and overcoming obstacles. I’m sure some of the folks shed tears while listening to this song. I remember back in the days of the dictatorship in the 80s, Gising na Kaibigan ko took on a different meaning of urging people to move and fight for freedom.

Another song that struck a chord with the listeners was Pagbabalik, where the lyrics says "Sa gitna ng dilim ako ay nakatanaw, ng ilaw na kay panglaw halos do ko makita, tulungan mo ako ituro ang daan, sapagkat ako’y sabik sa aking pinag-mulan."  Then Lolita belts out with the crowd in unison" Bayan ko nahan ka? Ako ngayo’y nag-iisa, nais kong magbalik, sa iyo Bayan ko, patawarin mo ako, kung ako’y nagkamali, sa landas na aking tinahak."  The songs really gave me goose bumps since I haven’t been home for years now. Listening to this song seems to stop time and brings me back to my high school campus in Laguna. In the Philippines this songs has a different effect to its audience. It inspires you to move and serve the country, but here in the diaspora, it makes you miss family friends, home town and motherland even more.

I was trying to absorb the impact of the songs in silence in one corner of Canton Buffet when Kuya Felix Pao, the owner of the place greeted me and asked, “Are you performing?” I told him I was just there to reminisce and support Ate Nene or Lolita Carbon.  I am happy for Kuya Felix and Ate Evelyn for a successful event that saw a lot of people supporting the concert. One thing I cannot forget though was when Ate Nene announced before she performed "Levy, thanks for writing an article about the first event." I never saw that coming. Her sensitivity is intense. All along, I never thought that she would bother remembering it in the midst of her busy work. Well, Ate Nene, now I know the reason why you are capable of creating great songs.  It comes from your strong empathy. You are blessed indeed.

In the event gave me an opportunity to hang out with some of the pioneers in the community like Kuya Jerry Bueno, Arman Reyes- Musician, Maxie, my writing buddy Alfie Mella (Alfie just published a book titled, ”Can You Hear the Sound of a Falling Leaf?”),  Mar Mance, who  sang the song Balita with Lolita on stage, Jun Avila, siblings Florence and Evita Lammawin of the BIBAK community and many more.  After Lolita Carbon’s performance, I hang out a bit to listen to the “last act” by the Transfusion band comprised of the following Arwin Bautista-vocals, Pedong Santos- drums, Mark Sibomet-bass, Giboy Trillana-keyboard and Al Federis -guitar . I congratulated Kuya Bernie Carlos for a successful night, bid farewell to Raffy Ramiro, then headed home to write this article.

Well, Ate Nene, thanks a lot for making our brothers and sisters in the Manitoba diaspora remember who we are, for bringing back memories and making everybody happy. I wish you the best and God bless. Hanggang sa Muli!

Lolita Carbon: Ang Pagbabalik 

Levy Abad

What a great performance rendered by the Filipino Folk Rock legend Lolita Carbon of the group Asin (Salt of the Earth) at the Pampanga Restaurant Banquet Hall on October 14, 2016. Hundreds of members of the Filipino community came to enjoy and have fun listening and singing their favourite songs with Lolita and her group of great sessionists like Raffy Ramiro on lead guitar and saxophone, Bernie Carlos (2^nd lead), Jhayzon Paredes (bass) and one of the organizers, and Rod Dizon (drums). John Baptiste (violinist), who is a buddy of my friend, Manny Araullo, another folksinger, also sessioned in the song Himig ng Pag ibig. Not to be outdone, the front acts composed of Jerylyn Bulaong, Shery-lyn Padua, Paul Kevin Ong, Fuzzmado and Fhamathou, also did a good job in their performances.

As of this writing, there will be another gig on October 16th at the Canton Buffet Restaurant (1111 Logan Avenue) where hundreds of people are expected to attend and watch Lolita Carbon rock the place with her great songs. So guys see you there!

Courtesy of Anthony Lapuz Photography

Coming home tired from work, I rushed to  watch some live streaming (Jhayzon Paredes and Rodge Lopez) last night to watch Lolita sing some of the classic hits of Asin like Himig ng Pag Ibig  (Song of Love), Masdan Mo Ang Kapaligiran (Look at the Environment), Usok (Smoke), Pagbabalik /Bayan Ko (Coming Home), Biyaheng Langit (Journey to Heaven), Ang Buhay Ko (My Life ), Cebuanong Dako  and Gising na Kaibigan Ko (Wake up my Friend), to name a few.  When I met Lolita at La Merage, I asked her how many times she performed here in Winnipeg and what were the songs that she wrote? She said three times, 2005 (organized by Roland Bertumen ), 2009 and 2016 and then she enumerated the following songs: Pagbabalik, Himig ng Pag Ibig, Usok and Ganyan Lang, Kahapon at Pag ibig.  These are some of the songs that take me back to the early 80s when I was trying to learn how to strum the guitar and play their greatest hit Masdan Mo Ang Kapaligiran, a song that calls for the protection of the environment in the midst of neo-colonial, semi-feudal plunder during the time of the dictatorship. Fortunately, the Rodrigo Duterte presidency ushered in some changes. I recall songs like Magnanakaw (Robber), which was considered subversive back in the days as it implies bureaucratic corruption of the puppets of the dictatorship or the song Tuldok (People are mere dots and so should always be humble ), which evokes myriad of meaning against the arrogance of the powers that be. 

Going back to my surprise meeting with Lolita at La Merage Restaurant on the chilly morning of October 11^th, where I hang- out with members of the Breakfast Club, Lolita was with Kuya Bernie (“The Chief” as Lolita fondly refers to him) and Alma Carlos (promoter of the concert), Raffy Ramiro (sessionist par excellance from BC and owner of R’s Bar), and Ardie Gervacio, a friend and concert organizer and Kuya Frank Rano (producer).  I met Ate Lolit and some friends again at La Merage on October 13^th.  Out of curiosity, I asked Lolita why she calls Bernie, the Chief. She explained that they were contemporaries and that Bernie was a pioneer Rock Star of the Filipino-Canadian diaspora from the late 70s up to the mid 80s. He was a member of the heavy metal group called Sye Band that produced a couple of great albums back in the days.

I had the chance of driving Raffy Ramiro and Kuya Bernie Carlos to Long and McQuade to buy guitar strings. Kuya Bernie even gave me me a set of Martin Strings as a treat. Our next stop was Virgin Mobile booth at Polo Park for Raffy’s phone upgrade. While driving, we talked about how people meet in mysterious ways and other stuff that only artists dig. Traversing  Wall St. I recall my Mississauga days when I performed as a front act in a couple of events with Lolita and The Boys, Kaye Viray, Ananias "Boy" Militar, and Boboy Doromal ( sessionists). I can’t help but feel amazed for having that chance of performing with Lolita Carbon, Mike Hanopol and Banyuhay ni Heber in Ontario. They represent the historical groups that stirred the people’s soul to resist the dictatorship. Back in the 80s whenever they sing, people would always find a chance to raise their clenched fist as a show of defiance.  Sure, Lolita sings a variety of songs, but thru the years, back in my student activist days until now, her involvement with cultural activism has not wavered. When I mentioned to Lolita during our meeting that our group is having a Just Peace event on the 22nd of October (49 Euclid), she immediately replied, ”That’s good, the struggle for peace is good and must go on.”

When Saro Banares, a lead member and main songwriter of Asin was shot in the 1993, I

Me with Lolita Carbon , Willy Fernandez and Alma Canto 

wrote a song titled, Awit Sa Bayani. I was overwhelmed by the news of his tragic death that I finished writing the song in a matter of minutes. In the chorus of that song, I wrote,”Marami pang dapat imulat kasama, Lipuna’y puno ng problema, Sa paghinto ng tibok ng puso mo, Kami ang magpapatuloy.”  Eventually, Awit sa Bayani (available on YouTube) was used as a tribute for Ka Crispin Beltran, one of the great leaders produced by the Philippine working class movement better known as Kilusang Mo Uno (May First Movement). I also remember Leo Valdez, a leader of Bayan Laguna, a patriotic organization, who is also a friend telling me that Pendong Aban, one of the members of Asin, was his childhood buddy.  These coincidences or call it happenstance leave me wondering all the time. I never thought that one day I will meet them and be friends with them, people who influenced me to play the guitar and write songs about society and revolution. 

Their inspiration ignited something in my young soul, 35 years ago, to follow their path and be a part of a cultural movement, singing people’s  music and songs, both when I was still in the old country and in the diaspora. The seeds that they sowed in my heart led me to producing four albums of socially critical pieces. These albums do not include the songs that I wrote in the Philippines as part of Tambisan sa Sining (Interaction in Arts), a workers’ cultural group and later Musikang Bayan (People’s Music), like Awit ng Pag-asa (Song of Hope) and Sana (My Wish) and many more. Here in Canada, I opted to produce an album with songs that touch the heart of migrants like Na-shock Ako (I was Shocked), Para kay Ellen, Jocelyn, Sol and Juana (Story of abused Live-in Caregivers) Canadian Experience and Dito sa Winnipeg (Here in Winnipeg).

At the August 14, 2009 Mississauga concert, dubbed as Papuring Awit at Musikahan, held at the World Vision Centre, where Lolita performed, you can feel the excitement of the crowd when she sang all the hit songs of Asin. Almost everybody was singing along with her, especially when she performed Himig ng Pag-ibig and Bayan Ko with lines like “Bayan ko nahan ka? Ako ngayo’y nag-iisa. Nais kong magbalik sa iyo Bayan Ko. Patawarin mo ako, kung ako’y nagkamali sa landas na aking tinahak.” What a heartwarming performance!

Allan Cabato Photo 

Recently, I learned that there this new organization launched in the Philippines called LAPIS or League of Authors of Public Interest Songs. Lapis is an “organization of composers and musicians who seek to articulate through music issues that Filipinos face in their everyday lives.” Lolita Carbon is a Member of the Board of this organization and is much involved with its production of socially relevant albums. Ate Lolit is also a part of InterAksyon #Martial LawMemory Project, MGA AWIT NG PAGKAMULAT, where she sang Balita, a famous Asin song where a line that goes, “Dinggin niyo ang mga sigaw ng mga puso ng taong una niyong dadamhing kabilang sa inyo” or a more expressive one like “Mula ng makita ko ang lupang ito, nakita ko rin ang munting apoy sa puso ng tao, ginatungan ng mga kabulukan hanggang sa lumago, ngayon ang puso’y may takot sa lupang ipinangako.” Aside from this, Lolita is also a part of a group called Tres Marias, together with Bayang Barrios and Cooky Chua.

Having known Lolita Carbon, I can say that she is a humble and down to earth artist worth emulating. She easily blends in with any crowd and shows them warmth, as if she already knows them for a long time, But the most important thing about her is commitment and consistency of singing socially relevant songs through the years.

Ate (older sister) Lolit, thanks for serving our people through the years by sowing the seeds of hope, love and the struggle for a just peace through songs, whether in the motherland or in our diaspora. Mabuhay Ka! (Long Live!) 

Asia Band (1979 to 1981)

Levy Abad, Singer Songwriter

Evangeline "Baby" Igonia Asia's Singer

At about the same time when the original Jade band of 1978 was making waves in the city, there was another band known as the Asia band, comprising mostly of the same members of the Jade band.  The members of the Asia band were the following:  Robin Morrier on drums and band leader, Tony Igonia  on bass guitar, Evangeline ”Baby” Igonia on vocals, Conrado Cordoviz on lead guitar, Oscar Lopez on guitar ( according to Tony Igonia ), Gerry Atwell on keyboards.  One will notice that some of the members of Asia were also members of Jade band like Conrad, Robin,Oscar and Gerry Atwell. “Baby” Igonia recalls that before she went solo with Art Rivera, a pianist, she went to Hawaii to visit her mom who was ill for a month and so Gigi Zapata shortly became the band's singer .

I asked Tony Igonia where Asia band was formed and he said that it was at the house of Robin Morrier where it all started.  Robin is a Singaporean married to a Filipina nurse. According to Tony , Robin was working as a  jail guard at that time and had a spacious house. It was at the basement of this house where they practiced. Tony commented that Robin has a complete set of instruments that they used. Tony remembers that even Cobra and  Jade band used to practice at the basement of Robin Morrier.

Jade band  gigs as Asia Band too  in 1979-80

According to Tony Igonia  in the 70, he went to Vietnam to play with a band and that was where he met “Baby” Javier.  Baby was a known soloist in the Philippines. She sang in a famous noon time show of ABS CBN, known   then as DZAQ-TV. She used to host one of the events of  Stop, Look and Listen,  a Philippine variety show from 1968 to 1972.  Tony Igonia added that Baby performed at a top supper club in front of the US Embassy. She was an accomplished singer and friends with the composer of the songs of Imelda Papin. If she never went abroad back in '71 and '72, she could have ended up singing some the songs of Imelda Papin.

Baby, better known in the Philippines as Dulce Romualdez, sent  me a detailed  description of her singing  history where she said, and I quote, “Philippine Photography was the one that gave me the name Dulce after they sponsored me to be a one of the contestants for Miss Philippines. I used to be a singer and a model for Volks Vagen, together with Maggie De la Riva. I modeled for La Germania and Westinghouse, etc. I sang at all the night clubs along the Dewey Blvd.  Benny Villapando  Orchestra was the one who arranged the pieces that I sang. I did not sing with a band at Dewey, it was all Orchestra, except for the one at the Flame. Just like all the singers during that time, I was discovered at Luisa and Sons. I was in the limelight of my career when I left with Tony for Canada in 1974”(Facebook message September 18,2016).

In a another Facebook message, Baby Igonia said, "We were happy back then, we played in tough areas and I felt safe. My bandmates where protective” (Sep 18,2016). When I relayed this idea of tough gigs, Gerry Atwell  added, "we did Savoy Hotel on Higgins and Main which gave us regular work  and even did a New Years Eve gig at this  venue. Main street had a tough reputation but we loved playing there and loved the staff and the patrons, many of whom were indigenous folks."

Gerry clearly recalls an incident in one of their gigs. "We played at the Moncalm Hotel in Pembina and one night, a huge fight broke out between  a small group of Filipino young men who’d come to see us and the predominantly mainstream patrons of the bar. One of the Filipino men pulled out a serpentine dagger and used it to back off the mob that had circled him and his friends. They backed out of the bar, but in the parking lot, one Montcalm patron was struck in the head with a hammer and another was stabbed causing him to lose his spleen. We still had to play there the following night." Gerry continued,“We also played the Dakota Hangar 22 near the airport, the Balmoral, the bar at Marion and Archibald, the Chalet” (Gerry Atwell, Sept 20, 2016 FB message). Thanks a lot Gerry for helping out with some of the songs, places and events that you shared that shaped the memories of both members of your band and those who enjoyed your music.

Evangeline “Baby" Igonia also remembers  that  Gerry Atwell was a great singer of soul music. Baby used to be the back up of Gerry whenever the latter sings. I called Tony and asked about the repertoire of Asia and here is what he told me. They played Sting, Queen's “Another One Bites The Dust,” which was released in 1980. A lot of Pat Benatar (Hit Me With Your Best Shot, September 1980) and Blondie, Eric Clapton's song Coccaine (released 1976) and Bruce Springsteen.  I told Tony Igonia that the songs of the Queen are tenor songs  and he shared that it was Conrado Cordoviz and Baby who sang some of the songs. Gerry Atwell, in a Facebook message relayed that they used to cover the songs of John Lennon’s last  album, Double Fantasy, with hit songs like,"Just Like Starting Over,” “Woman” and “Watching The Wheels” that was released in 1980.

Tony Igonia Asia's bass guitarist

Tony Igonia stayed with the Asia Band only for a short time as he had a full time job and he cannot play for a whole week, unlike the rest of the band who were full time musicians during that time. Eventually, Tony and  Baby left the group.  In the case of Baby, she went solo, performing, for instance, at the Polo Park Inn, singing mostly standard songs and ballads with a back up pianist Art Rivera. Tony, on the pother hand, went low profile and played with the Carribean community every Saturday and Sunday, learning bass with  Reggae music for Caribbean parties. He also played western music with mainstream Canadian group and even polka with a Polish band that performs at Legions community centres.

Presently, the members of Asia band are based in other provinces, but most of them are still performing. Gerry Atwell still performs regularly. Oscar Lopez, the famous Chilean guitarist who is known Canada-wide, is now residing in Calgary. He still performs professionally. Conrado Cordoviz is still performing with the praise band of St. Edwards Church for 16 years now. According to a Facebook friend, Robin Morrier, from time to time, still plays the drums. Robin now resides in BC, just like Baby and Tony Igonia who still plays music occasionally. With all the stories shared by these music legends,  I guess the message they want to impart is “Keep on Rocking!”

Jade band ,Moosomin Saskatchewan

Jade Band 1978 to 1981
Levy Abad, September 2016

Researching on the Live band scene of Winnipegs Filipino community led me to Mario Tuazon who provided me the details of Jade Band which was formed in 1978 and lasted up to 1981. The members of the band were Conrado Cordoviz (second lead guitar), Mario Tuazon (bass guitar), Oscar Lopez, the awesome Chilean guitar man who plays 1st lead and Gerry Atwell who plays the keyboard.  Mario described Oscar, over the phone, as really talented, but stayed only with the band for a short time. Other members included Gigi Zapata, one of the singers of the band and who was a professional singer in Japan before coming to Winnipeg; Danny Zapata (brother of Gigi) played the keyboard too. The drummer of the band, according to Conrado “Conrad “ Cordoviz, was Robin Morrier who was the former drummer of Cobra Band . The band performed in different hotels in Winnipeg and also outside the city like Saskatoon. “We were a travelling band. During this time Levy, there were still no disc jockeys and karaoke was non- existent.  Live band was really big back in the days,” Mario Tuazon explained over the phone.

Curious about the songs that they performed  from 78 to 80's , I gave Conrad Cordoviz a call to ask for a short list and he said that as far as he can recall they played Rock and Roll songs  from Eric Clapton's cover of Cocaine by J.J Cale, which was released in 1976. Gigi Zapata sung Pat Benatar's ,"Hit me with your best shot", "My Funny Valentine" and  hard rock " Hell is for Children" of the album "Crimes of Passion" back in the 80s. Gerry Atwell also shared that Oscar Lopez also sings Spanish songs. They also covered some John Lennon songs in the album "Double Fantasy" which was released in the 1980's too. Well. usually a band , just to remain competitive has to cover the popular songs of the time. I remember when I was still singing at bars as a folk singer in the early 90s in the Philippines , you have to sing what the people want to remain in business.

During our September 10, 2016 conversation, Mario mentioned some events that transpired during that time. He explained to me that in the 70 s and early 80s, the music scene was really tough as there were a lot of great bands in the city doing it professionally.  He explained that bands that play in hotels were really good because they have to undergo auditions.

Conrad Cordoviz and Mario Tuazon

Conrado Cordoviz ,Jade Band 1978 

Most of the information shared by Mario Tuazon was confirmed by Conrad Cordovis when I finally met him at the wake of Henry Catoliko (Clarinet player for St. Edwards Praise Band), September 15, 2016  at Glen Eden where I found most of the senior musicians of the 70s. Conrad Cordovis said that he was also a member of Cobra band just like Robin Morrier who now resides in British Columbia. He also confirmed all the bands members and places where they  gigged, as relayed by Butch Jularbal and Mario Tuazon. After my interview with Conrad, I texted Butch Jularbal the new information and he replied that, indeed, Conrad and him go way back when they were both in Baguio City, not only as fellow musicians, but also as friends.  Anyway, Conrad Cordoviz was also a member of the St. Edwards Praise Band for almost 17 years now. He shared that when he left Rockestra / Offshore Express, he started devoting his time with the Church.

Searching Facebook and checking out with some friends in the Chilean community by posting an old picture given to me by Conrad Cordovis of him and a certain Oscar the Chilean guitar player, I got a response that the guy was Oscar Lopez who is now considered a Latino guitar legend here in Canada. Immediately, I browsed the Facebook account of Oscar and saw a photo posted with Gerry Atwell's caption of a later version of the Jade band with Gigi Zapata, Frank "Bambi" Holder, Oscar Lopez, Robin Morrier and Gerry Atwell sometime in the summer of 1980 and in Gerry's caption it also says, "This is how I earned my tuition for the next term at U of M."

Excitedly, I sent a message to Gerry Atwell about the Jade band and right away, Gerry added me as a friend. Gerry told me that he was 20 to 21 years old during the time. I asked him what can he say about his Filipino rock and roll buddies and he replied,"Those were great times with beautiful people." Gerry texted me that he was not only with Jade, but also with Asia band and Offshore Express. These bands were mostly comprised of Filipino members and  Gerry was at home with them. Out of appreciation for his help with naming members in the old pictures, I searched online for something to described  Gerry Atwell and here is what I found: "Gerry Atwell has performed on keyboards and vocals in some of Winnipeg's favourite bands including Ministers of Cool, Rockalypso and Eagle and Hawk with whom he won a Juno award. Gerry studied Theatre with University of Manitoba's  Black Hole Company and has written and produced stage plays, films and radio drama. Ring of Fire is Gerry's first appearance at Rainbow Stage as a performer" (www.rainbowstage.ca).

Front Gigi, Conrad, Robin,Mario,Gerry,Danny and  Oscar 80s

I got some messages from musicians who met some of the old guards of the Filipino rock and roll scene and they shared that Jade was organized sometime in 1983-84, but according to Mario Tuazon, Jade started in 1978 and lasted until Rockestra emerged in 1982. I strongly believed that the name of the band was revived later. I was hoping to get more information. Unfortunately, there are no documents or even pictures to confirm this. I have to rely on oral narratives. This is not surprising, because during this time, no one really bothers about community bands that perform at hotels and bars. This is the reason why bands and the events where they played remain only in the minds of artists and the audience who witnessed their performances.

The Roots: Filipino Rockers and Musicians of Winnipeg  (1974-1982)

Levy Abad , Singer-Songwriter -September, 2016
Published on  September 18,2016  , http://www.philippinecanadiannews.com/ Sept 18,2016

Introduction

Jade Band 80s

Cobra band 1970s

There are a lot of musicians in Winnipeg and their presence goes back to the time the first wave of Filipinos arrived in the early 60s. Filipinos love music and along with this is the desire to learn instruments like the piano or guitar. This thing made me wonder if there is a book about the history of Winnipeg’s Rock and Roll scene. I did some research and found none. There are books written about the Filipino community’s presence like the one written by Gemma Dalayoan, Leah Enverga-Magsino and Leonnie Castillo Bailon (The First Filipino Immigrants in Manitoba, 1959-1975, but none focusing on musicians. In writing this article, I am just attempting to put the oral narrative online and on print hoping to trigger curiosity, conversation or create tiny ripples that may affect and effect the future of Filipino community’s music scene. So friends, here is my tiny contribution and hoping you will enjoy the narrative. 

Songwriter's curiosity

Alex Oyas , folk and country singer

With a songwriter’s curiosity, I phoned Manong (Elder) Alex Oyas of BIBAk on September 2 to ask him about the history of bands in Winnipeg. I told Manong Alex that a friend referred him to me as one of those who were active in the music scene in the Filipino Community in the 70s. Manong Alex Oyas is also a musician. I have heard him sing and he is good. He played the piano and guitar at BIBAK’s events. He relayed to me that he used to be invited by the aboriginal community called the Western Hour program of Channel 11- CTV back in 1975 and 1976 to sing some songs. He was known as the Winnipeg Filipino Cowboy or the Benguet Cowboy.  Manong Alex listed some songs that he played on television during that time, songs like Boggie Blues, Pitong Gatang, Devil Woman, Chime Bells and a song called Tatlong Baraha (Three Cards).  This station was somewhere in Logan and Salter, where the old Aboriginal Friendship Centre building was located.  In pursuing the issue of the first bands in Winnipeg’s Filipino community,  Manong Alex suggested that I should contact Manong Mario Tuazon, who is presently working with UMAC .  I was able to get hold of Manong Mario Tuazon.

Sta. Cruz Band

Celso Bueno

Before I proceed with the account given to me by Manong Mario Tuazon about the Cobra band, I
would like to mention that the earliest band formed was the Sta. Cruz band.  This information was given to me by Manong Butch Jularbal in a phone conversation (September 12, 2016, 10:58 a.m.), with whom I had a nice chat about his music days in the Peg. He mentioned that he actually played with a three piece band, together with Calso Bueno who plays bass  and Ricky Hibi on drums.. Sta. Cruz band was an experimental band that was formed in  early 1974.  The band Mikrobyo, would come later that year with new members like  Tony Igonia, Eric Lucas , Reno Clement,Teo Mance and Jessie Opina.  Later on, Butch Jularbal became a regular member of Cobra band in 1975-76 and so Sta Cruz band faded from the scene.

Butch of Sta Cruz Band early 1974

In my conversation with Tony Igonia, he explained to me carefully that Sta Cruz band was the first band in the Filipino community of Winnipeg and is really famous during that time.He said these three guys , Butch Jularbal, Celso Bueno and Ricky Hibi were regularly performing in different venues. Tony admiringly stressed that Butch Jularbal, during that time, was the best guitar player in the Filipino community . He remembers that whenever there is an event and the Sta Cruz band is performing they would selflessly call on the members of Mikrobyo band who were just beginning  to come up and jam  .This is probably why  there was confusion as to membership of Celso and Butch.  

Celso Bueno with friends

Reflecting on these accounts makes me feel a bit disappointed for(source: Ardie Sarao). These accounts about Celso were confirmed by by his younger brother Jerry Bueno who also sent me pictures for this tribute article.
not having met the late Celso Bueno who is from Nagcarlan, Laguna, same province where I came from. But as a consolation, I am glad to know that he was one of the pioneers in the Winnipeg Filipino music scene. It is interesting to note that Celso Bueno also lent his establishment for the bands to hang out and also employed them as musicians for years until he passed away. 

Mikrobyo Band (1974)

Tony Igonia Bassist of  Mikrobyo

Mikrobyo band was formed sometime in 1974. The band was composed of Tony Igonia ,rhythm guitar, Eric Lucas on bass, Reno Clement ( Filipino ) on drums , Teo Mance - on guitar and Jessie Opina who joined the band briefly.  I got the membership of Mikrobyo from Tony Igonia .( September 18,2016 ) Tony said  over the phone that the asset of Mikrobyo was the presence of Teo "Phil" Mance who was really loved by the community because of his cool and warm tenor voice, especially when he sings "Feelings,"   the hit song of Morris Albert . Another asset of the group was Eric Lucas who was great with the bass guitar. Tony also added that they covered songs of Doors , Nights in White Satin by the Moody Blues, Juan Dela Cruz songs and many more.

An article by Leigh Ann Sommers that appeared on Filipino Journal in the late 80s , reaffirms that in 1974, Teo Mance, the famous folk singer in the Winnipeg Filipino community, was a member of Mikrobyo band until he left to go solo and eventually moved to BC. This story was also repeated by Mar Tuazon of  Jade band (1978 ) in a phone conversation.  Mikrobyo band played at different lounges and hotel bars.  Jojo Yso  of Traffikk Jamm (2016 ) told me that they were legends in the community back in the mid 70s up to the late 80s. I asked Butch Jularbal as to why a lot of his friends thought that he was a member of Mikrobyo ? He explained that during the time, he went around playing with different groups to find the best one.

My interview with Tony Igonia gave me an insight of Mikrobyo band.  I ask him about Celso Bueno and he said that Celso never became a member of Mikrobyo. Celso was a member of the first band in Winnipeg . The reason people got confused  was because the group of Celso during that time, would always call on Mikrobyo members to perform with them at wedding socials etc.

 Tony Igonia  vividly remembers how they came up with the name Mikrobyo. With gusto , he told me that he, together with  Erik Lucas and Reno Clement watched a movie titled Andromeda Strain and the conversation afterwards was to use the title of the movie as their band name. Somebody said it was too long or folks wouldn't get it. Eventually, someone suggested "Mikrobyo" instead,  everybody agreed and so it came to be the bands name..

 My interview with Ardie Sarao on September 3, 2016, he said that he met the members of Mikrobyo band and learned to play the guitar with their guidance. Ardie added that he became a“saling pusa” (hang out) of Mikrobyo sometime in  the early 80s with Tony Igonia and the rest of the band.

Cobra Band 1975-76: Playing during the Disco Era

Robin Morrier, Conrad Cordoviz, Butch Jularbal and Brian Paul

Butch Jularbal  of  Cobra band  1975

Cobra Band (1975-early 80s) Manong (elder) Mario Tuazon told me that the famous band back in the 70s, between 1975 to early 80s,  was the Cobra Band .The  leader of this band was Butch Jularbal, who arrived in Winnipeg in 1972 . Butch himself was famous in Baguio with DZWT of St. Louise and a member of the band Vagabonds (September 12 conversation with Butch Jularbal).  Vagabonds played in places like Camp Wallace in San Fernando La Union, Cresta Ola Beach Resort in Bauang, La Union (late 60s) and also abroad in Vietnam.

Butch Jularbal was the lead guitarist of Cobra.  Mario Tuazon (the best man at Butch Jularbal’s wedding) also shared that Cobra played at the Grant Motor Hotel, Canadian Motor Hotel, Hanger 22 Hotel and Paddle Wheel. In a text message of  Butch (September 12, 3:42 p.m.), he wrote,“Cobra band was the first band to play at Pubs Montcalm near University of Manitoba back in the late 70s.....We have agents who  booked us in different parts of Manitoba.” These places were again mentioned by  Butch Jularbal in his other text message (Sept. 12, 2016,10:41 a.m.).

Cobra Band  mid 70s

                                

Other members of the band were Eric Lucas (bass guitar), Danny Zapata (organ), Brian Paul (Keyboards) and Robin Morrier (drums) and Conrado “Conrad” Cordoviz who plays lead and bass from time to time. Conrad Cordovis said that he joined the band by mid-1977. The band’s repertoire includes Rock and Roll, Blues, Top 40, Bee Gees and Disco (text message of Butch Jularbal, Sept 12, 2016,10:44 a.m.). According to Butch Jularbal, the band Cobra disbanded sometime in the early part of 1979. By 1980 and 81, Butch  left for Calgary and Edmonton, Alberta with Cliff Ho whose band South East movement had just disbanded. They performed in the best venues in Alberta like the Banff Hotel for example. Cliff, by the way, was the original bass player of Juan De la Cruz and was also the keyboard player of the South East Movement Band.  In the seventies, some bands that performed in Winnipeg were from Calgary.

Butch Jularbal on right 

Butch Jularbal explained to me that playing music was fun but it was tough too.  He said, “I could tell you many trials and tribulation being a musician in the Peg. It’s hard but we managed.” He continued, “Yeah with great difficulties and politics, we managed with the 3 Ps: Patience, Persistence and Perseverance.”

The musical influences that they brought with them from the Philippines were different from the Rock n Roll of Winnipeg, which, during that time, was Rolling Stones and ZZ Top an American rock band that formed in 1969 in Houston Texas performing Blues rock, Boogie rock and Hard rock. He remembers Cobra playing Bee Gees and Earth Wind and Fire songs, which were kind of unacceptable during that time.  He shared that one time they performed in one border town called St. Piere where there was a mix group of people who were really happy with Disco music. Back in the 70s and 80s, Butch added that Winnipeg was not into Disco.

My research on Butch Jularbal on Facebook led me to a posting by Willie Posadas (July 27, 2010) where it says that he recently viewed the DVD movie (2009) “Driven to Kill” of Steven Segal. Butch Jularbal played the music “Butch Blues” in this movie, and also has other music credits/soundtrack in two other movies, “The Silencer” and “For a Few Lousy Dollars.”  Butch is indeed a very talented musician and former “Vagabond” from Bagiuo. He now lives in Vancouver. Wow, seeing this post on Facebook just proves the stories that I heard from Mar Tuazon and other old time musicians in the Peg that Butch Jularbal is really good in his craft.

When I contacted Jose “Jun“ Pacifico, I asked him about what he can remember about the group Cobra and he told me that he was able to listen to them and session with them once. He recalls Cobra band covering the songs of STYX like Babe.  Jun noted that Cobra also covered Top 40s and danceable songs. “The band has to cover popular songs to survive the music scene or the management hires another that can satisfy the likes of the clientele,” Jun explained.

I am grateful and I really appreciate Butch Jularbal’s willingness to share some information and the musical atmosphere of the time.  Even with the stature he has reached,  Butch is so humble and devoid of primadonna attitude, which just confirms what Kuya (Elder) Mar Javier told me that the Jularbals are good folks and humble.  Mario Javier is one of the seniors who became the President of Health Sciences Union and had known the parents of Butch Jularbal. 

Butch has been in BC for several years now and he is still playing with a band. My FB friend, Leo Orpilla Cunanan, told me that he performed with Manong Butch with a band named “Butch and the Sundance Kids” from 1984 to 1992. Butch Jularbal is also the band leader of another band called "Catch 22" and performs at a place called Stefanos in BC. He is also writing his journey as a musician and I am just happy to cover a bit of his artist’s narrative back in the 70s up to the time that he left for British Columbia.