Dio's Pops Stories #3: First Year - First Impressions, Gaining Friends, and The Mighty Rhythm Section

Note: Pops Stories are a series of blogs, depicting my life and times with the DLSU Pops Orchestra.

I began writing this third entry three weeks ago, on April 23, and finished it just today. I got a bit busy with my band and with the happenings here at home in Manila. Plus the fact that I have so many thoughts and stories about my Pops experiences, I admit getting quite lost, not knowing where to begin and what to say next, considering that I got nostalgic at times, reminiscing all the memories, big and small. Anyhow, I'll just continue writing about my Pops stories in detail.

The title of the blog entry says it. And yes, I'm not done yet with my freshman stories. More to come after this...

To fellow Concert Band/Pops peeps... Please correct me if I've posted any wrong information/detail. Thanks!

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23 April - May 11

Dio's Pops Stories #3: First Year - First Impressions, Gaining Friends, and The Mighty Rhythm Section

1996... I remember feeling so happy after I learned that I was accepted as the DLSU Concert Band’s new drummer. After reading my name at the audition results posted outside the Band Room, the door opened and Band members greeted, congratulated and welcomed me. At first, it was overwhelming and a bit embarrassing because there were so many people during that time. But they were so warm, friendly and all smiles. Many told me that the Band Room is from now on my tambayan too. That afternoon was a great way to end a school day. Later that night, I got a call from the girl drummer, Ella Monserrate, who was the head of the rhythm section that year, telling me to attend the general assembly at the Band Room on Wednesday, University break.

When I entered the Band Room for the G.A., I was once again surprised because there were so many people. And it was really crowded this time! The office and the rehearsal area were packed with people, and it was like a party atmosphere. One of the first people who welcomed me was Nat Tan, the Band president that school year. From that moment on, he was like a big brother to me and most of my fellow new members. He’s one of the nicest kuyas we ever had in the Band. The G.A. served as a welcome for new members. There were plenty of rookies that year, because many senior members were graduating that year, or having their thesis, or filed a leave of absence. The energetic and outgoing Marc Yu, a vocalist, violin player and officer, was the host of the G.A. One by one, we new members were asked to stand up, introduce ourselves, and say an adjective that best describes us and it should match the first letter of our name. I can’t remember what adjective I said that time. There were so many new and old Band members; it was so hard remembering names. But it’s alright; it was just my first day.

I admit, during the first few weeks, I was quite lost. I missed rehearsals during Wednesday U. break and Saturday mornings. I even missed the Kapatiran, the infamous and much-anticipated annual initiation party of the Band. I wasn’t adjusted yet to college life during my first month in DLSU. I was quite reckless (pasaway) during those times. Later on, Nat and some of the officers and members reminded me about the ways and norms, and from then on I didn’t miss rehearsals. We had the Freshman Concert scheduled late July at the William Shaw Little Theater, which was then like an annual first term debut concert for new members. And so, I needed to be present on rehearsals and shows, for these were also crucial to our scholarship privileges.

My first few rehearsals were times when I began getting acquainted with fellow Band members. I remember back then, whenever the Band is rehearsing and in the middle of a piece, we cannot enter the rehearsal room coming from the office area. They used to be very strict with this. We have to wait for the Band to stop or finish before we can enter; or before we can stand up and walk around, when we’re inside the rehearsal room. I didn’t know the rule back then. One time, I entered the rehearsal room during the middle of a song; and this trombone player, an uptight-looking dude in loafers, slacks, polo shirt and glasses, and looked mature enough to be mistaken as faculty, halted me. When the music stopped, he gave me a short sermon about the rule, like a teacher scolding a student. I apologized, of course. That’s how I met Jose Cardenas.

There were plenty of interesting personalities in the Band, a lot whom I got to know better as time passed. There’s Mario Aguinaldo, a junior sax player and aspiring lawyer who was serious with rowing (Bandboys would joke with him, “Pare, lumalaki katawan natin a!”). There’s Sharon Lu, the first female sax player I’ve ever met; she looks charmingly pretty and petite, but watch out because she can become very mataray when needed. Colin Dimacali was the vice president back then, and he’s a really fast driver (a typical Bandboy trait). There’s Rheanne Valenzuela and Sannah Custodio, who are both violinists; they’re like my big sisters, and they’re always so nice to me. And there’s clarinet player Claire Chua, a fellow new member who joined the band in her third year; a Fil-Chinese who happened to be my neighbor, and I used to hitch a ride with her numerous times (thanks Claire!). Even Band alumni during those days were already spotted hanging out frequently at the Band Room. There’s the sly Wowie Cruz, a professor that time, who made the Band Room his faculty room. And there was fresh grad Gale Cera, a powerful trumpet player; a tough, big guy who often summoned me for playing too loud.

One thing I appreciated so much with the Band is the fact that I gained so many friends. And my new friends are diverse. Before, most of my friends were peers such as batchmates and those of similar age. But after joining the Band, I made friends who are a bit older than me and are like ates and kuyas to me. I also deeply appreciate the family atmosphere in the Band which Nat somehow introduced to us; and I feel that he did an excellent job of taking care of it. During lunch break at Saturday rehearsals, Sir Eli and most of the Bandmembers, about 90% of us, would eat together. And it was always a blast! We would arrive in herds, and somehow the diner attendants already knew who we were – “Ah, mga taga-Band; mga malalakas kumain!” We would often eat at Kaibigan (which was originally just outside Gokongwei Building; the best sisig in campus), Garahe (an ihaw-ihaw resto at the corner of Agno and Castro that served liempo and barbeque; the Band was credited for making this place popular), and Henry’s (a now-defunct resto just across North Gate; we loved their beef stew), or even take the long walk towards McDo or the University Mall. Just like a family, a band that eats together stays together.

Naturally, being a rhythm section member, I would often hang out with my rhythm section peers and contemporaries. And I remember the 1996-97 rhythm section being an outstanding line-up. Just thinking about that batch, it was somehow an all-star cast by Band/Pops standards. It was a group that humbled and challenged me as a musician, and I feel so lucky to be associated with these great artists. First off is drummer Junjun Regalado, the multi-talented son of legendary session drummer Jun Regalado. When I entered the Band, he filed a leave of absence; he was inactive during the first trimester in order to concentrate on his academics. Senior members used to tell me stories about Junjun and how great he is, and I thought about what huge shoes for us other drummers to fill while Junjun wasn’t around! We were four drummers that year – Junjun, Ella, Comm. Arts student Jolly Feliciano, and I. Though Junjun was on leave, he would hang out at the Band Room every once in a while, often seen and heard practicing. Normally, he would program a click track on the keyboard and play along with it. There were times when he would program Toto’s “Georgy Porgy”, and then he would play along with it, and sing it – with a microphone mounted on a music stand, next to his face! I’m a big fan of Junjun. Whenever he’s playing the drums, practicing or during performance, I would always be somewhere behind him or next to the kit, keeping a close eye and ear on him, trying to pick up and steal his licks. If it wasn’t for him, I wouldn’t have learned how to play the shuffle properly. I consider Junjun as a huge influence.

There were plenty of keyboardists that year. There were Vivien Briones, Ruth Ann Reporen and Jenny Ong, who were excellent sight readers; Francis Bautista, who was graduating that time, and fellow freshman Ryan Almario, who had a very short stint with the Band. For me, the ones who had a significant impact were prodigy Junjun Del Rosario (Downtown, Ascension) who can play almost anything, from classical to contemporary; Henry Abesamis, who used to play with bands like Escape and Skin, and is currently with Shamrock; and my former bandmate, the all-around go-to guy Anthony Mercado (7th Soul). On bass, there’s Dohndi Santos (Sanctuary, Musik Jive, etc.) and Fiel Endaya. Dohndi and I were both from LSGH, we’re both rockers, we’re into Dream Theater, and we both had this huge crush on the same girl haha, that’s why we became good buddies. He’s unstoppable together with his partner in crime, the crazy, flamboyant and multi-talented sax player Pen Mulingbayan. And on guitars were sophomore Barbie Almalbis, my blockmate Mark Casquero, and Raymond “Rann” Golamco (Mojofly, Drip). Mark is awesome on both electric and acoustic guitars. His “Man in the Mirror” interpretation is a hit. Barbie was a fellow new member, and back then, I’ve never seen a girl rock that hard on the electric guitar. She’s the coolest rocker chick I’ve ever met, and she was instant heartthrob material in the Band! I’ve never seen a girl play “Green Tinted Sixties Mind” and other rock anthems with such style and enthusiasm. That year, the Band had the All-Female Band, which played on some campus events and concert intermissions, and Barbie was often the frontwoman, covering Alanis Morrisette tunes. Barbie was only active for one trimester. That time, she was building up the Hungry Young Poets, which was the beginning of her now-fruitful music career.

Regarding Rann Golamco, that time, he was playing for Jett Pangan and Escape. I owe my career to Rann. He is the one person who somehow pushed me into becoming a better musician, then later on priming me into the professional scene. He also referred me to auditions for the drummer’s seat of artists such as Jett Pangan and Kulay, which I humbly failed, yet it was an exposure and a learning experience. Each rhythm section peer has influenced me in many ways. But it was Rann who pushed and challenged me. He made me listen to recordings that were new to my ears back in the day. He introduced me to plenty of contemporary artists. He is the guy who thought me how to play “The Chicken”, which is a staple on rhythm section jams. He made me listen to Toto's instrumental track “Dave’s Gone Skiing”, which I took as a challenge, then played it with the rhythm section at the intermission of the major concert that year. I am forever grateful to Rann for somehow showing me the stepping stones.

The rhythm section's lineage includes some of the "who's who" in the local music scene. Some of these notable artists are: Vic Icasas (keyboardist & musical arranger, Hit Productions); Andy Pinto (drummer, Passage); Mark Escueta (drummer, Rivermaya), Pierre Monserrate (drummer, Orient Pearl; and Ella's kuya); Neil Mison (bassist, Escape); and Overtone members Frank De Castro, Jay Padua & Norby David. (Note: I know there are plenty more; I'll just add them to this list if ever.)

I have plenty of memories inside the Band Room, and many of these were the impromptu jams I had with the rhythm section. Like what I mentioned, I was reckless in my freshman year, and I felt like I was going to school for the Band rather than my academics! After class or whenever it’s my breaktime, I would often rush, sometimes even running, towards the Band Room. I knew that there’s always somebody there whom I can jam with. And those jams were bonding times with anybody who was there. We would usually jam “Chicken”, Toto songs, and some of our favorite rock songs or goof around with our crazy renditions of rock songs. Our most infamous jam is the U2-Rivermaya impromptu medley with Pen and Dohndi. At times, vocalists would sing along with us and it would be like a karaoke session for them. They would request a song for them to sing, and then we’ll play it. There were times when we just stretch out with our instrumental jams. Even Sir Eli would take out his trumpet to play “Feels So Good” with us. There were so many special jam moments. If only the walls of the Band Room could talk and recall those jams, or if only there was a recorder somewhere. For me, this was significant music education.

To be continued...

Dio's Pops Stories #2: My Audition

Note: Pops Stories are a series of blogs, depicting my life and times with the DLSU Pops Orchestra.

In this blog entry, I remember my audition with the DLSU Concert Band, which will be renamed the DLSU Pops Orchestra the following year. I wrote this blog on Saturday April 18.

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18 April

Dio's Pops Stories #2: My Audition

1996... Entering college was an exciting time for me. Frankly, it’s not because I was finally in college and it will mean a lot to my future. For me, college was a time to expose myself, enjoy life to the fullest, and have the chance to grab greater opportunities – musical opportunities, particularly. Since I began playing drums during my first year in high school, I had the dream of becoming a professional musician. Well, it was more of a fantasy. Before, I thought I would be another normal guy who will eventually have a decent job, while music can be something I can do on the side. Anyway, by the time I entered college in 1996, I was a rock drummer who aspired to become a better musician (up to this day, I still want to get better), and I was hoping to find opportunities to play more drums. I wanted to make a mark and establish myself as a musician.

I remember how excited I was during my freshman orientation. Back in the day, the frosh orientation is a one-day affair, with its standard operating procedure of meeting our blockmates, touring the campus, and learning about all things La Salle, like the alma mater song, cheers, and some history and culture (though these weren’t so new to me, since I’m a La Salle Greenhills alumnus). The highlight of that afternoon was the presentation of the performing arts groups, under the DLSU Cultural Arts Office. The show was held at the William Shaw Little Theater (we didn’t have the Yuchengco Theater and the Sports Complex yet). I remember the performance of the DLSU Concert Band (yes, this was ’96, it wasn’t called Pops yet; naabutan ko yon!). The first piece the Band played was David Foster’s instrumental classic, “Winter Games”. I remember seeing Sir Eli for the first time. The drummer was a girl (Ella Monserrate, the first-ever female Band/Pops drummer), the bass player (Dohndi Santos) was wearing a Dream Theater shirt, and the keyboardist (Junjun Del Rosario) was really really good. And coming from an exclusive all-boys' school, for me it was intriguing to see a big band with a good number of female members! Next song, if I remember it right, was Swing Out Sister’s “Am I The Same Girl”, which was sung by former CAO Coordinator Ms. Mary Lyn Driz (I remember back when the old members jokingly teased Sir Eli a lot, linking him to Ms. Lyn hehe!). That was also the first time I saw and heard that great drummer named Junjun Regalado. The Band sounded so beautiful. And that moment, I thought of joining. It may sound corny or cliché, but it felt like destiny. And so, the second week of school was audition week. I searched for the Concert Band’s audition booth, and I quickly signed up.

My ECE blockmate, guitarist Mark Casquero was also interested in joining the Band. That midweek, one afternoon after classes (around 5pm, if I remember it right), we decided to visit the Band Room to inquire further about what to prepare for and expect at the audition. Sir Eli was the only person present inside the Band Room that time. That was the first time I entered the Band Room and talked to Sir Eli. For me, visiting the Bandroom was a chance for me to check out the place and the gear. I saw a nice red Premier XPK drumkit with Zildjian cymbals, set up on one corner of the rehearsal area. The kit looked new that time, and I thought "Ah, nice kit! I'll be alright at the audition."

Audition day was Saturday at the Band Room, which was hidden somewhere at one corner of the Taft campus, beside the school’s ROTC office, near the then-new STRC Building. Back then, there weren’t any preliminary and final auditions and all those special screening and steps. All auditions and interviews were held at the audition day itself (except for non-performing applicants for the PR Committee and the Production Staff). I arrived at the Band Room sometime around 2pm. I went alone, having no companions or upperclassmen contacts and referrals. I didn't know where my blockmate Mark was. I know sophomore sax player Vic Nepomuceno from LSGH Band, but I didn’t know he was a Band member until later. And I knew LSGH batchmate & sax player Oliver Santillan was auditioning too, but we had different schedules (sorry Oliver, I just revealed your real ID number haha!). It was just me, my sticks, and for some reason, I brought along with me my mountable LP Cyclops Tambourine (what was I thinking back then haha!). I remember waiting for my turn at the Band Room’s office area. Also waiting were the La Salle Zobel boys - I recall seeing Patrick Mateo, Ryan Herrera, and Mikmik Sy Qui; and aspiring vocalist, sophomore Jolon Pabiton, who was wearing fatigues fresh from his ROTC session. I even remember what I was wearing that day – a red tie-dyed Batman shirt, jeans, and black Palladium sneakers. And I was attempting to grow my hair long.

The rehearsal room’s glass windows were covered, so that we won’t be able to see what’s happening inside the audition area. Whenever the door opened, we tried to peek in, but there was a huge rolling blackboard which served as a divider. Though I was feeling confident that time, I knew it will be tough the moment they call my name and I begin playing. I was also aware that I wasn’t the only drummer trying out, and I knew this one guy who auditioned, and I heard he’s quite a good drummer. And I also heard that they only needed one new drummer that year. While waiting, we can hear people from the audition area, screaming, applauding, laughing, and reacting to whatever the aspiring applicant played or answered during the interview. Though it was a sign for me that the audition wasn’t so uptight, it still felt scary.

Finally, it was my turn. It was sometime around 3pm. I entered the rehearsal room/audition area. There were plenty of people! The rhythm section area was the stage. In front was a long table, and I assumed that the persons seated there with papers, pens, and lists were the officers. On one side near the window, Sir Eli was seated on his high chair. The rest of the members were scattered around the room. And some rhythm section players were on standby, waiting to play along with Band hopefuls. I remember, it was alumnus Neil Mison on bass and Junjun Del Rosario on keyboard. I smiled the whole time, hoping that it would bring a nice first impression haha! I took a moment to make adjustments on the Band's Premier drumkit. The kit was pretty much new back then. The chrome hardware and the Zildjian A Series cymbals were shiny. When I was all set, Sir Eli told me to play a solo…

I played Temple Of The Dog’s “Pushing Forward Back”. I chose that song because its time signature is in 7, and I thought that it can show them that I can play odd meters. Plus, I think the song is groovy even if it’s in 7. Most of them weren’t aware of what song I was playing along to in my head, but they knew I was playing in 7. They made me stop halfway through, and then Sir Eli told me to jam with the rhythm section. I can’t remember what we played, but we jammed for awhile, and it was fun. Until Sir Eli told us to stop, then he handed me this sheet of music, which I thought will seal my fate in this audition haha! It was “Santorini”, by Greek new age musician Yanni, which was in 7. I never heard of Yanni that time, so deep inside I was like, "Oh no..." haha! They must have thought of giving me that piece because I played an odd-time song earlier. I was used to reading transcriptions from Modern Drummer magazine and the ones I got used to at the LSGH Band, so I had a bit of difficulty reading Sir Eli’s piece, and I was a slow sight reader (even up to this day). At first, I didn’t quite get it. But when Junjun began playing the opening keyboard parts, things became clearer for me. I learned later on that Sir Eli’s drum notations are like patterns/guides, and only the hi-hats were supposed to be played during the opening part of Santorini. Though I was able to nail the accents, I played the song with kick and snare, forming a groove. Some of the guys thought I can’t read haha!

After playing a few bars, they interviewed me and bombarded me with several questions, from standard audition questions like “What’s your reason for joining the Band?”, “Do your parents know that you’re auditioning?”, and various commitment-related questions, to funny inquiries like "Umiinom ka ba?", and “May girlfriend ka na ba?” I think I was sweating more during the interview than on my performance! Those 10 minutes of audition felt longer. After all that, they told me to wait for the results, which will be posted at the Band Room on Monday, 5pm.

Monday afternoon, after my class, I went to the Band Room, together with my blockmate Mark. We ran up the stairs going to the Band Room door, where the final results were posted. Mark made it.

And yes, I made it too.

Dio's Pops Stories #1: Sir Eli

Author's Note, 11 January 2017:

Sir Eliezer San Felipe passed away this morning due to liver complications.  Sir Eli was, and will always be, the heart and soul of the DLSU Concert Band/Pops Orchestra.  He was not only our head, musical director and resident conductor.  He was a dear friend and father figure to many of us, his "children"; his students in La Salle.  Sir Eli contributed and served for LSGH and DLSU for 30 years.

Sir Eli is the man who keeps the Band/Pops family together through all these years, regardless of batch, generation or ID number.  Even until these very last moments of his colorful life, he brought us all together.  As one very big Band/Pops family, regardless of the paths we took after our college years, whether we're here in the country or elsewhere overseas, we're all here to show our utmost love and support.  Thank you very much Sir Eli for the music and the memories.  Thank you for touching our lives.

On a personal note, thank you very much Sir Eli for being my musical mentor and friend. You were like a father and big brother to me and my colleagues. I have become a much better drummer and musician because of your training and motivation. Those years with Pops led me to a career as a professional musician.  Many of the things I learned and developed in DLSU Pops helped me prepare for the professional ranks.  Like what fellow drummer Junjun Regalado said when we visited you the other night, "Ser, dumami ang gigs ko dahil sa yo!"  I can't help but agree, for I feel the same way.

If it wasn't for you Sir Eli and Pops, I wouldn't have met all these amazing and talented people who are now in my network of dear friends and fellow artists.  Many of my lasting, life-long friendships were built within the walls of our fabled Band Room.  And ultimately, without Pops, I wouldn't have met my wife.  Anna and I owe you a lot.  We can never thank you enough.

As a tribute, I wrote this blog entry eight years ago, in time for Sir Eli's birthday that year. This is my humble tribute to the man we Band/Pops people love and revere.  Let this add to our collection of memories in honor of Sir Eli.

We love you very much, Sir Eli.  Rest In Peace (1952-2017).

*****

Pops Stories are a series of blogs, depicting my life and times with the DLSU Pops Orchestra.

My first entry in this series is my humble tribute to Sir Eli San Felipe. I wrote this blog on his birthday Thursday last week, April 16.

*****


16 April 2009

Dio's Pops Stories, #1: Sir Eli

Happy Birthday, Sir Eli!

I feel that it’s appropriate to begin my Pops Stories blog series with a tribute to the one man whose name has become synonymous with the DLSU Pops Orchestra. He is Maestro Eliezer San Felipe. Let me start by sharing some written details about Sir Eli, copied from a newsletter and souvenir programs from past concerts.

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"A loving father? He’s the kind of man who would always listen, laugh at your jokes (maski hindi nakakatawa), and still manages to gain respect. Most of all, he always has a free hand to help us in all our needs (huwag lang sa utangan!).

Through these years, he became the prominent figure of the DLSU Concert Band (DLSU Pops Orchestra). Without him, the band would only be scattered pieces of notes. Sir Eli is the “band” and will always be. This was his dream… and this will always live on! Thank you for the TEN wonderful years which we will always cherish in our hearts! And to Mars Catan, thank you for bringing Sir Eli to us to share his wonderful dream!"

- From The Dream Lives On concert souvenir program (15 March 1997, Tanghalang Aurelio Tolentino of the Cultural Center of The Philippines).
[The Dream Lives On was the 11th Anniversary Major Concert, where the transition from the DLSU Concert Band to the DLSU Pops Orchestra was made. This was my first major concert.]

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"…there is only one person who can actually make things right; there is only one person who inspires each musician and member of the Pops Orchestra… Maestro Sir Eli San Felipe! Dedicated to his work, he chose true love!"

- An excerpt from The King Of Pops, Bandelizing Vol. 1, Issue 2, January-April 1999 (yes, Pops had this humble newsletter/publication back in the day).

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"It was in Cardona, Rizal where the Maestro of the DLSU Pops Orchestra was born. Even in his early years, he was destined not only to become a musician, but also a real artist at heart. Mr. Eliezer San Felipe was first introduced in his town band, Cardona Cinco “Balik Band Champion ‘81” as a trumpet and percussion player. He was also recognized for his excellence in arranging short musical pieces.

Later on, he shared his talents and skills with the Philippine Army Band for twelve years, earning gratitude, admiration, and awards. After which, he continued his expertise at the University of the Philippines for a special course in Music Theory. He graduated with flying colors as he received the Dean UP College of Music Certificate of Merit. And being the topnotcher of his class, he had nowhere to go but to move closer to success.

He has attended numerous seminars in music arranging and conducting. He played with the Metro Manila Symphony Orchestra as a percussionist. He joined La Salle Greenhills in 1983 as an assistant conductor and arranger. He has also been a part of the Metropolitan Brass Choir and acted as an arranger. He is currently one of the Board of Directors of the Philippine School Band Conductors Association. Eventually, he became the resident conductor and arranger of the De La Salle University Concert Band, now known as the DLSU Pops Orchestra.

Sir Eli, as how the members address him, is the most vital and prominent figure of the DLSU Pops Orchestra. A great musician, conductor, and arranger, he has been producing all sorts of quality music ever since the start. Aside from his expertise and capabilities, he has a good sense of humor, wisdom, and sensitivity. He laughs at the corniest jokes and he often pretends that he never hears anything. But contradictory to what everybody is thinking, Sir Eli knows everything about the ins and outs of the Band Room. He can definitely finish the pages of the logbook, from cover to cover, just by writing facts and blind items. He’s the wackiest conductor ever. But what’s conspicuous about Sir Eli is that even if he creates an atmosphere where we’ll all feel comfortable, he still manages to gain the respect he deserves.

In addition, our conductor is always there to give us a helping hand. If we ever need anything, Sir Eli is the person to look for. He’s complete with the things we need in school. Name it and he got it. As long as we are sure to mention what color of scissors, pen, clips, etc. we are borrowing, sor Sir Eli has a wide array of colorful stuff in his drawer. However, he’s not just a walking National Bookstore, but likewise a father, a friend, and an advisor to all of us. He is our motivator, for Sir Eli inspires us to be the best that we can be. From being a caterpillar to a fully-bloomed butterfly, he has shown the greatest and inspires us to strive for the finest. The Maestro has provided for the orchestra for many years now, yet he has not stopped pouring his distinctive music, undying care, and most of all, his unconditional love to the members ad to the whole DLSU Pops Orchestra. He was the man, he is the man, and forever will be the man!

Sir Eli, we’re nothing without you. Thank you and we love you!"

- From the On Cue concert souvenir program (17 March 2001, St. Cecilia's Hall, St. Scholastica's College Manila).

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It’s a pleasure, an honor and a privilege to know Sir Eli.  He is not only a resident conductor, arranger, and overall excellent musician. He is also a friend, father, brother, guardian, mentor, adviser, and drinking buddy to Pops members past and present. I am proud to say that Sir Eli is my mentor and friend.

What amazes me up to this day is even with his greatness, his achievements, and all the wonderful things he did, Sir Eli remains to be a simple, humble, and down-to-earth man. When I was a freshman, auditioning for a drummer spot for the (then) DLSU Concert Band, I was expecting a tough audition with a tense and uptight atmosphere. But as I entered the Band Room’s rehearsal area for my turn to audition, it was far from what I expected. The old members were mostly in a loose and pleasant mood. And I was expecting Sir Eli to be a strict head; but he was not. He was smiling the whole time. I guess Sir Eli has something to do with the pleasantries inside the Band Room.

And so, I got accepted (thank you Lord!).  During my first few weeks, I began learning more about Sir Eli through my new ates and kuyas in the Band. They told me their Sir Eli stories, where I got to know the man better. I began appreciating the environment in the Band Room during non-practice times. It was always fun and cheerful. I notice old members casually hanging out around Sir Eli’s desk, sharing jokes and stories. If Sir Eli’s got the spare time, he would hang out with members during lunch and merienda breaks. When he’s not so busy, he’s just walking around the Band Room, checking on things and observing what the members are doing (yes, Sir Eli is very observant). It’s also funny that Sir Eli keeps various school supplies, coming in assorted colors ("Anong kulay ng gunting gusto mo?"). He is also infamous for his occasional disappearing acts (oftentimes, nobody sees him leave the Band Room). And before he leaves the Band Room, he’s often seen grooming himself, combing his hair, straightening his polo shirt and all that ("May date kayo, Sir?"). I’ve never seen nor met a band leader this cool!

Though Sir Eli can be funny and playful, he takes his music seriously. When he’s working on his music pieces, he does not want to be bothered. Though I think some members can get away with disturbing Sir Eli, even for just a short moment. The Band Room is also our tambayan. People come in and out, to practice and make music (or noise), to study, to rest, to hang out and goof around with friends. It can be a very distracting workplace for a musical genius to work on his music sheets. But somehow, Sir Eli knows how to manage, and he is a very patient and focused man.

It’s a pleasure to witness Sir Eli create a new musical arrangement from scratch. It usually begins with Sir Eli listening to a song he’s planning to write an arrangement for (or a number of songs, if he’s planning to make a medley). While listening, he'll begin writing his notes. Later, he’ll be working on a keyboard. Then, he’ll be writing pieces for every musical instrument. Many times I’ve witnessed the genius at work, and it’s nothing short of inspiring. I wish every Pops member has witnessed Sir Eli create his pieces and arrangements.

When it’s practice time, Sir Eli is also serious, especially when there are tough pieces to nail down. Yet, Sir Eli somehow makes the rehearsal atmosphere loose, with his timely jokes and hirit. And those fingers of his have a life of their own. When Sir Eli calls for somebody’s attention, “Kayong dalawa dyan…”, he’s got like three fingers pointing to somebody else! Sir Eli is really funny. He has this ability to make us laugh even during times when we need to be serious. Yet, we must never forget the two rules.

RULE NO. 1:  The conductor is always right.

RULE NO. 2:   If the conductor is wrong, refer to Rule No. 1.

Sir Eli can be brutally frank at times. When he’s not happy with our performance or with what we’re doing, he’ll let us know about it. I always hear it from him whenever my tempo is off, or when I’m too loud, or when my playing is weak. But of course, it’s not discouragement. Sir Eli wants us to grow and improve into better musicians. He has his ways of pushing, encouraging and motivating us.

Sir Eli’s motivational skills go way beyond the rehearsal room. He’s also an adviser to most members, especially when it comes to love problems! Knowing Sir Eli’s wisdom and his rich experiences in life, many members seek for his advice. Sir Eli is a witness to numerous links and couples that began in the Band Room. And who could forget his famous blind item questions – “Sino ang crush mo sa Band/Pops, at bakit?” Oh yes, those Sino’t Bakit questions which make Pops life so crazy, colorful and interesting!

Though we shared plenty of fun and happy moments, we were also together with Sir Eli during rough times. Sir Eli is human too, and he can feel bad too at times. He loves and cares for Pops so much, he’ll somehow find ways to make things work. Somehow, he has this positive outlook, and he’s a very unselfish person. He’s like, “Whatever happens, don’t worry about me”, as long as Pops is alright. I remember when I was President, and I had some problems during my term, Sir Eli and I talked a lot, and I cherish those times. I bonded more with Sir Eli that year, and I owe him a lot for helping me get up again.

Some of you may not know it, but Sir Eli is originally a drummer. We’re both drummers, maybe that's why somehow we got along pretty well. Anyway, his first instruments are the drums, and he’s really good with it. During my early years with Pops, they used to have this faculty band, where Sir Eli is the drummer and his bandmates are DLSU faculty and staff. They would rehearse at the Band Room every week, after office hours.  Some of us would stay and hang out to watch and listen. It was quite funny because it seems like Sir Eli’s the only real musician there, though it’s understandable that his faculty bandmates play music as a hobby or a part-time thing. There was this one time when the faculty band did an intermission during one of Pops’ shows inside the campus. Sir Eli can lay down a nice, tight groove. I would love to see and hear him play the drums again.

Another highlight was this one weekend when Sir Eli invited us to Cardona, Rizal to watch his hometown band Cardona Cinco's anniversary concert. I went there, together with a good number of Pops members and alumni. Before the concert, Sir Eli invited us to his home for dinner, which was an honor. It’s great to be able to visit the town where he grew up; and his home, where he and his family served us great home-cooked food. Sir Eli showed us his home theater system (which he often talked and bragged about haha back in the day), where he had his monster sound system, and two different disc players – one for originals only and another for pirated discs! We met Sir Eli’s parents and some of his siblings, including Sir Rey, who is a great timpanist and has guested on numerous Pops concerts. While we were there, I tried to find out what year Sir Eli was born by asking his folks (his birth year is a secret). However, they said they can’t remember (nice one, Sir Eli) haha! After dinner, we took a short walk going to the town plaza for the concert, and it was one heck of a musical experience. It sounded huge; there were plenty of brass! And there's these two very young clarinetists (who were not yet in their teens) who played a duet solo.  They were so good that they can already go pro! And their percussionist was killer! He’s the most amazing and most entertaining showman I’ve ever witnessed. And of course, Sir Eli conducted, and he’s brilliant as always.

I can go on and on, and tell more about Sir Eli. Anyway, here are a few more Sir Eli trivia:

• His signature/autograph resembles a G Clef.
• He used to drive a white 1980's Ford Lazer hatchback for many years. I still remember the plate number and some of its details.
• He goes home to Cardona everyday. Imagine his car's mileage, going from Cardona to DLSU-Manila, and back, and doing that almost everyday. Now that's love, hard work, and dedication.
• His future marriage date remains a mystery, and it changes from time to time (!).
• He was often teased and linked with female CAO directors/coordinators, faculty, and other women Pops has worked with.
• He is an outstanding trumpet player. We used to jam "Feels So Good", and the high notes are nothing to him! It's a piece of cake for Sir Eli.
• He is a gadgeteer. Sir Eli keeps all sorts of little gadgets, and he has owned several mobile phones (and had different phone numbers as well).
• During outings, he always wears his famous malong.
• Somehow, he can drink warm beer. And he has his sneaky little tricks so that he won't get drunk fast!

Sir Eli, you are a blessing from God. Thank you very much, and we love you. Happy Birthday! Cheers!!

* Photos grabbed from the DLSU Pops Orchestra's Multiply Group site.

Symbols of Our Alma Mater La Salle

I got this from my friend, fellow Lasallian & DLSU Pops Orchestra alumnus Elmer Medalla. Thanks again for sharing!

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This was taken from another yahoogroup (ONELASALLE). Just sharing it with fellow Archers.  Compliments of our fellow Lasallian, Ernesto "Tito" Carballo.

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Symbols of Our Alma Mater La Salle

SIGNUM FIDEI (Sign of Faith) STAR / Star of Great Hope

The symbol of the Christian Brothers (FSC). It symbolizes Lasallian education for excellence and wisdom for higher things in life. A Lasallian provides a bright and promising future. The star was derived from the Star of Bethlehem on Christmas Eve (hope).

GLORIA ET HONOR LAUREL (GLORY AND HONOR)

The laurel beneath the Signum Fidei Star means that one must aspire to excel, to reach one's star, to attain glory and honor in service of God and country.

GREEN AND WHITE COLORS

The first Christian Brothers who arrived in Manila - the founders of Lasallian education in the country - were IRISH AMERICANS, whose national color is green. Later on, Celtic Green was adopted as the official color. The color white symbolizes the Philippines, which is the Pearl of the Orient Seas.

FSC (FRATRES SCHOLARUM CHRISTIANORUM)

Brothers of Christian Schools. The Religious Order of the De La Salle Christian Brothers. William Tell, a Swiss folk hero, inspired the Christian Brothers to use the Green Archer as its mascot. William Tell and St. John Baptist De La Salle both loved and served the less fortunate.

THE GREEN ARCHER

The Green Archer symbolizes the Lasallian quest to be the best. The Green Archer aims high, straight and true, be it at work, in academics, or in sports. The primary target of a Green Archer is to succeed.

GREEN ARCHER STANCE

Confidence in one's capabilities.

AIM HIGH, STRAIGHT AND TRUE

Aim High: to be the best
Aim Straight: to be disciplined, dedicated and persevering
Aim True: to be goal-oriented

ARROW BLADE

Sharpness of a Lasallian's mind.

ARROW

Strength of a Lasallian (to pierce through challenges).

BOW

The Lasallian Education that propels one to greater height in life.

FEATHER ON THE CAP

Confidence to achieve things.

ARCHER'S DAGGER

Being prepared and equipped to meet challenges.

>>>--- ANIMO LA SALLE! --->