The rhythm is gonna get you
My last piece apparently struck a nerve with readers. I received vicious hate mail in defense of Sitti (the so-called “Queen of Bossa”) who was mentioned in passing in my previous column: “So how much are you paid by Kitchie Nadal? Huh!” and “You think you’re so good? You’ve got a lot to learn, dude.” The two most venomous messages were from a certain Larry Villavicencio, and the other was supposedly written by a Carol Teng. There is no way to authenticate their identities, but allow me to indulge them just the same.
I previously wrote about whom I thought had the nicest voice among the current crop of female singers, prompted by a dare from one of our regular readers. I chose Kitchie, and cited Sitti as not my type.
Let me reiterate that I do not possess any of the albums of these two pretty singers and that I only hear their songs on my car’s FM radio on my way to work. I was explicit enough when I wrote that what sounds good to me may not be to another person’s liking, and vice versa. Different strokes for different folks!
Having said that, let me talk about an alleged open secret in the music business. According to many industry insiders, some major labels scout for “eye candies” or “cheesecakes” — tall, long-legged, slim, fair-skinned and pretty femme fatales — whom they can train to sing. If their finds can already hit a note or two and have memorized several songs, these Svengali-like “operators” (for want of a better word) then dress up their discoveries provocatively, launch them via lounge acts and have them record an album. As in politics, the majors will use their vaunted machinery to sell the album of their “manufactured talent.”
Contrast this scenario with what happens to real artists who are passionate about their craft. They work their way up in the business by accepting gigs no matter how small, and endure backbreaking music sessions even with no bright future in sight. There are those who tread this often circuitous and usually difficult path to musical stardom who will be rewarded for their toils; many more will fail. But that’s life. This is why it is imperative that struggling artists be recognized for their talent and perseverance. Hopefully, the time will come much sooner for these true artists to earn the admiration of their peers and the patronage of the public. Such respect and loyalty can never be bought. Thankfully, many “manufactured talents” prove to be flashes in the pan.
I may be wrong, but I sincerely believe that it won’t be long before these eye candies will be betrayed by the very rhythms their handlers idiotically deemed their talents to have mastered. A pair of trained ears cannot be fooled forever.
Skarlet, formerly Myra Ruaro, front woman of the Put3ska band and then Brownbeat Allstars, wrote to share her own observations: “Most songs recorded by some artists have arrangements copied from the original (which are) then sprinkled with the bossa beat. Some live performances are even worse. Their missteps in the rhythm section and out-of-tune vocals usually give them away. And yet, some of them are still played up in the media as ‘Queen of’ … or ‘King of’ …”
After many years of hard work, it is only recently that Skarlet seems to be getting the right breaks. The album she has just cut for Candid Records, “The Powder Room Stories,” is getting good reviews.
“Independent artists like me (have to) work quadruple hours to be heard, playing our hearts out sometimes in front of only two people in the audience. The good news is we’re getting there,” she says.
I can just imagine the pressure Sitti must feel from having to live up to the title “Queen of Bossa.” There may be other underrated talents out there who are as worthy of the accolade but who do not possess the necessary marketing tools. I have nothing personal against Sitti, and I sincerely wish that she continues to hone her craft. She shouldn’t let the bossa rhythm trip her up.
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For comments or questions, please e-mail me at audioglow@yahoo.com or at vphl@hotmail.com
