BANGKOK MANILA SOUND CRASH Live Broadcast from RADIO ZUDRANGMA, with Djs Maft sai & Minister zero

http://www.zudrangmarecords.com/index.php?option=com_content&view=article&id=85&Itemid=3">



Tracklist:

MINISTER ZERO

1. PLEASE PLEASE TRINA : D'SWOONERS
2. EL DUBI : DAKILA
3. STAY : TILT DOWN MEN
4. LONG GONE : THE GRANDELLS
5. THE GHETTO : KIKO
6. BAHAY YUGYUGAN : THE BLACK OPINION
7. UMPUKAN : THE ADVISORS
9. FUNKY BEAT : SOLID BAND
10. HAPPENING SA GAPO : WE INC.
11. ON THE AIR : EDDIE WARNER
12. VERSION 78 STYLE : GLENMORE BROWN
13. ORDINARY GUY : JOE BATAAN
14. REQUIEM FOR A HEAD : JUAN DE LA CRUZ BAND

MAFT SAI

15. ROOB LOH TOM PAI : BUPPHA SAICHON
16. YAI PERNG : KANGWANPRAI LUKPETCH
17. LUK? ARAI : WIPOD PETCHSUPHAN
18. JAI TEN : RIAM DARANOY
19. CHAN YUNG RAAK TUR YOO : NOOM MUANGPRAI
20. WASSANA NONG PONG : SORNPETCH PINYO
21. AUNG YANG : NIMNUAL DUANGPORN
22. HAAM JAI MAI YOO : HONGTHONG DAO U-DON
23. UPPAKORN LANG HUA TAPE ONPA : COMMERCIAL SPOT

Expansions Secret Projection" E.S.P. Compilation coming out soon.

The Brave new world of Ethnic Faces

Ethnic
Faces.
An amalgam of talent that paved the way for other bands to follow. Born
out of two pioneering Brave New World bands, The Zoo, later renamed
Ocean Zoo, to avoid confusion with an Australian band of
the same
name, and The Lost Boys, Ethnic Faces was a band that fearlessly tread
where other bands cowered and buckled. But before Ethnic Faces, there
were then two.

The Zoo. Guitarist Jolt. Edgrr 5, their keyboardist/bassist, drummer Zebra and singer
frontman
Jack B. Quick played barebones punkish keyboard-driven poppy un-chong
New Wave. The first of their kind, in more ways than one. No other band
looked like The Zoo. No other band had stage presence like The Zoo..
and no other band played like The Zoo.
They were also one of the first to have released an independently produced 7" EP entitled Animal Party. Resplendent in its hot pink sleeve and cartoon cover drawn by singer Jack's nephew Ari, Animal Party
was a first. Yes, local punk band Chaos, later renamed Third World
Chaos, also produced and released an equally independent single, The
Zoo was different. The Zoo took Punk's raw energy, re-channelled it and
spit it right back with a New Wave angst that fit right into the
predominantly Punk Brave New World underground movement


Though its tumultous history and rumored infighting seemed to overshadow its very existence, Ethnic Faces weathered the times, through numerous line-up changes and stylistic variations. They managed to release a now-rare, out-of-print single of Within Tribes b/w Back Home Shangri-La. They also saw two of their now-classic cuts from the local late 80's New Wave compilation Ten Of Another Kind, Balikbayan and Golden Boy, even managing a major label album Dekada under the now-defunct Octoarts Intl. label in 1995. ETHNIC faces even started alternative, long before the term Alternative was coined." and supringsingly kids nowadays doesnt have any idea that these kind of bands exists way before they discovered the term punk or indie which is now a uniform trend & a market for consumerism. even some popular rock bands nowadays are trying to imitate jack sikats raw energy and attitude on stage but no one can duplicate the original for sure.. these group is way beyond there time and theyre timeless in essence

Bridging the Spirits* Homage to the wisdom of Roberto Villanueva (1947-1995)

Roberto Villanueva was born in 1947 in Olongapo, Zambales, the Philippines. After graduating in 1973 with a Bachelor in Fine Arts from the University of Santo Tomas he taught at the Philippine Women's University. He began his artistic career as a surrealist, but was gradually drawn into the film medium. In 1983 he became a member of the Board of Directors of the United Filmmakers Organization. He has won several awards in documentary film.

When Roberto Villanueva moved to the northern highlands of Baguio in 1980 he was inspired to create art build from the basic materials of the environment. His art acquired a shamanic aura, the source of its powerful energy drawn from ancient but continuing community symbols, rituals and traditions among the animist ethnic groups. He won critical recognition for Archetypes: Cordillera Labyrinth set up on the Cultural Center of the Philippines (CCP) grounds in the summer of 1989. Forty-five metres in diameter and 600 metres in length, the installation consisted of a spiral labyrinth made of bamboo and reeds. Its centre was covered with rocks from a river bed, creating a sacred space peopled with spirit figures from which life power emanates.

Another installation was Atang ti Kararua (Soul Offerings) consisting of three bamboo floats carrying offerings on a lake for the souls of those who perished in the big Baguio earthquake. The artists also conducted a ceremony with a shaman to pacify the spirit of Mount Pinatubo.

Roberto Villanueava tries to restore the communal function of art and the priminitve life force it originally possessed but which still survives in Cordillera mountain culture. He also seeks to recover and understand the animistic strain in the heart of Philippine culture.

In 1990 he was invited to New York as Artist-In-Residence of the New York State Council of the Arts and in 1992 won the CCP Thirteen Artists Award. there he performs his shamanic rituals wearing his traditional bahag on a freezing snow chanting in the streets,business districts monuments & subways of new york.

A recent work, Bridge Across Cultures, which the artist did in Saitama-ku, Japan, shows his preference for setting up water installations to symbolize migration routes linking different cultures. His work acquires an anthropological aspect, calling to mind the celebrated sea voyage of the Kon-Tiki across the Pacific.

With his use of organic materials and natural locations, together with community interaction, Roberto Villanueva creates an art that is integrated with the life of the people.

Check out his documentary showman shaman" by asiasis rica & egay navarro

EXPANSIONS IS NOW!

INDIGENOUS RESISTANCE TO U.S. COLONIAL INVASION SA PINAS

On this, the 103rd Anniversary of the U.S. Occupation Forces' execution of General MACARIO SAKAY, Freedom Fighter & President of the Tagalog Republic,
here are some notes from Paul Flores about "the Barber who stopped cutting his hair" (Sakay's Freedom Fighters would often let their hair grow to signify how long they had been committed to the armed struggle against the invaders:)

"Contrary to popular belief, Philippine resistance to American rule did not end with the capture of Emilio Aguinaldo in 1901. There were numerous resistance forces fighting for Philippine independence until the year 1910. One of these forces was led by Macario Sakay who established the Tagalog Republic.

Born in 1870 in Tondo, Macario Sakay had a working-class background. He started out as an apprentice in a calesa manufacturing shop. He was also a tailor, a barber, and an actor in comedias and moro-moros. His participation in Tagalog dramas exposed him to the world of love, courage, and discipline.

In 1894, Sakay joined the Dapitan, Manila branch of the Katipunan. Due to his exemplary work, he became head of the branch. His nightly activities as an actor in comedias camouflaged his involvement with the Katipunan. Sakay assisted in the operation of the Katipunan press. During the early days of the Katipunan, Sakay worked with Andres Bonifacio and Emilio Jacinto. He fought side by side with Bonifacio in the hills of Morong (now Rizal) Province.

During the initial stages of the Filipino-American war, Sakay was jailed for his seditious activities. He had been caught forming several Katipunan chapters and preaching its ideals from town to town...

GUERRILLA TACTICS

In late 1904, Sakay and his men took military offensive against the enemy. They were successful in seizing ammunition and firearms in their raids in Cavite and Batangas. Disguised in Philippine Constabulary uniforms, they captured the U.S. military garrison in Parañaque and ran away with a large amount of revolvers, carbines, and ammunition. Sakay's men often employed these uniforms to confuse the enemy.

Using guerrilla warfare, Sakay would look for a chance to use a large number of his men against a small band of the enemy. They usually attacked at night when most of the enemy was looking for relaxation. Sakay severely punished and often liquidated suspected collaborators.

The Tagalog Republic enjoyed the support of the Filipino masses in the areas of Morong, Laguna, Batangas, and Cavite. Lower class people and those living in barrios contributed food, money, and other supplies to the movement. The people also helped Sakay's men evade military checkpoints. They collected information on the whereabouts of the American troops and passed them on. Muchachos working for the Americans stole ammunition and guns for the use of Sakay's men..."


Sakays parting words:
"Death comes to all of us sooner or later, so I will face the Lord Almighty calmly. But I want to tell you that we were not bandits and robbers, as the Americans have accused us, but members of the revolutionary force that defended our mother country, Filipinas! Farewell! Long live the republic and may our independence be born in the future! Farewell! Long live Filipinas!"


~ Last words of Katipunero, Revolutionary General & President of Katagulugan (The Tagalog Republic) MACARIO SAKAY, after he and fellow freedom fighter LUCIO DE VEGA were captured through the treachery of the U.S. invaders and their henchmen in the Philippines, accused of banditry by the U.S. puppet regime. SAKAY had his anting-anting (protective amulet, pictured here) taken by his captors. SAKAY and DE VEGA were executed on September 13th, 1907. This was over 5 years after the U.S. President (Teddy Roosevelt) had claimed that the Philippine-American War was over, and fighting continued in other areas until at least 1910. (cf- G.W. Bush's declaration of "Mission accomplished" in Iraq)

THE WAY OUT'