And then, a lull... The next American Idol, season six, seems an eternity away.
In the meantime, ABC 5, having gotten the local franchise of American Idol, is now open in Manila, Cebu and Davao for auditions to the Philippine Idol, which will air in July. The format is the same in some 35 countries worldwide, from the rules for auditions, to the number of judges – as well as the sex of the judges (two males and one female)! – to the various categorizing of songs, etc.
Some Filipinos, however, seem not to be too excited about Philippine Idol. They wonder if the contestants will sing only songs in Filipino or if the competitors will also be required to include American, British, Australian and Spanish/Mexican originals. Or whether Philippine Idol host Ryan Agoncillo will be as witty, quick, humorous and supportive as American Idol anchor Ryan Seacrest.
Will the local judges Ryan Cayabyab, Pilita Corrales and Francis Magalona spark a chemistry similar to that of Randy Jackson, Paula Abdul and Simon Cowell? Will the local version be as fast-paced, entertaining and as rich with talent? Will it showcase as guests the creme de la creme of the Philippine music scene?
Ryan Cayabyab beams with optimism. Philippine Idol, after all, is patterned after American Idol. American Idol, opines Ryan, became a global phenomenon because "the format was really new, and it offers expert opinions... It became a big hit in the US. Psychologically speaking, the kids in the US are overly encouraged. Suddenly, somebody is told, ’You can’t sing.’ At first that offended the Americans, but in the end, tama ang judges."
Continues Ryan: "American Idol is good because it does not show a one-dimensional picture of a person, it’s multi-dimensional. The contestants have stories to tell. The people identify themselves with the contestants. We get to know who are good and which performers are humble, and that’s why we like Taylor Hicks, Elliot Yamin and Chris Daughtry... Their music is direct to the soul."
In a previous interview by another writer, Ryan says that "local singers could learn from this AI crop. There are other ways to perform than just making birit, or belting and screaming."
The judges are there to give constructive criticism. He finds Simon Cowell "so real. His comments are so exact. His gift is that he puts his criticisms in colorful terms... He’s the best, he tells the truth, walang borloloy, walang embellishment."
So, will Ryan Cayabyab do a Simon Cowell? Ryan appears not like a vulture with sharp eyes and sharp fangs, but like a congenial, jolly, soft-spoken, six-foot-something, light-brown teddy bear with salt-and-pepper crown and sturdy shoulders. He seems earth-bound, and although he seems slow in movement, once he’s made his choices in life, he may be firm and even obstinate in pursuing his goals.
"I can’t predict what I will be or what I will do in front of the cameras," states Ryan, "The process may try my patience and turn me into an ogre! But I’m always on the lookout for someone different... I’m sure I’d want to help the contestants improve. I will definitely push and challenge them. If I can get my message across in a fun way, that would be great."
What does he think of the viewers’ texting in their choices and deciding who wins? Doesn’t that turn the competition into a mere popularity contest? "Texting is not fail-safe," replies Ryan, "it’s democracy at work. That’s what television is all about, all this reality blah-blah, it becomes more real than contrived."
Whatever the outcome of Philippine Idol, Cayabyab is a highly-competent judge. He has, after all, garnered several gold medals in various schools for his compositions and innovations of some classics. He has obtained national and international awards as well.
He won, for instance, the grand prize at the First Metro Manila Popular Music Festival for the song he composed, Kay Ganda ng Ating Musika. He has, furthermore, been given the Filipino Academy of Movie Arts and Sciences (FAMAS), the Film Academy of the Philippines (FAP) Award, the Catholic Mass Media Awards (CMMA), and the Mga Manunuri ng Pelikulang Pilipino Gawad Urian for musical scoring of movies such as Karnal (1983), Hihintayin Kita sa Langit (1991), and others.
He received the Awit Awards for Best Composer, Best Record Producer and Best Arranger in 1990. The Cultural Center of the Philippines (CCP) also bestowed on him in 1987 and 1992 the Gawad CCP para sa Sining for his TV program, Ryan, Ryan Musikahan.
Of his numerous awards, Ryan cherishes most his 1978 Ten Outstanding Young Men (TOYM) award because he was then only 24 years old. The other award he treasures best is the one he got at the 2001 Onassis Cultural Competition in Greece. He was the only Asian winner, and he won second prize for original composition for dance. There was no first prize.
Ryan Cayabyab was born on May 4, 1952, in Manila, to Celerina Pujante and Alberto Cayabyab. His father was a government employee, and his mother was an opera singer and a faculty member of the University of the Philippines College of Music. Ryan, the third in a brood of two girls and two boys, was early on discouraged from taking up Music. Thus, Ryan studied Accounting at UP, but quit in order to accept the job of accompanist for the Development Bank of the Philippines Chorale.
"Before my mother died," Ryan relates, "she made my father promise that their children wouldn’t take up Music. She said it was a difficult life." But then, Ryan became friends with singer-composer Jose Mari Chan and composer Nonong Pedero, which led to his working with Cocoy Laurel as musical director/accompanist for Cocoy’s stage and TV performances in the ’70s.
Soon, Cocoy’s father, politician Salvador "Doy" Laurel, asked Ryan why he was taking up Accounting. The Laurels offered Ryan, who was at that time 18 years old, a scholarship in Music. Ryan told his father about the offer, and his father said: "You’re old enough to decide for yourself."
Ryan then obtained his Bachelor of Music, major in Composition, at the UP College of Music in 1983. Throughout the ’70s and ’80s, he had TV appearances and concerts as conductor. He became musical director for Pilita Corrales, Celeste Legaspi, Basil Valdez, Kuh Ledesma, and other singers. He has worked with performers here and abroad, at the Kennedy Center, Lincoln Center, Caesar’s Palace, Carnegie Hall, etc. He also founded and managed groups like Smokey Mountain and 14K.
(To be continued)