LETTER FROM THE EDITOR BEST OF SCOUT: THE HITS, CHAPTER ONE We’ve had a lot of people come by our pages in the last three years, and you know they’re pretty talented. To celebrate our third birthday, we put a collection of our friends in one playlist. James Reid - Cool Down Kiana Valenciano - Does She Know feat. Curtismith BP Valenzuela - bbgirl Manila Magic - In the Night No Rome - Adore Paulo Avelino - Lloydy Eyedress - Manila Ice June Marieezy - All the Other Girls Iñigo Pascual - Binibini Yassi Pressman - Hush feat. Nadine Lustre Album art by Jao San Pedro Celebrate three years of Scout with us and go to our official Spotify profile, Scoutmagph. I feel like I’ve been saying this a lot this entire issue—although there are only two other stories in here where I could possibly mention it—but damn, three years fly by really fast. This July-August issue marks three years of Scout being alive. It also marks three years of me being on the team. Yes, I’m the only one around here now who was part of the original editorial team that started the magazine in 2014. That’s when a guy named Eyedress, a guy good enough to get a look in London, to say the least, was on the cover of a completely different Scout from what you’re holding in your hands right now. Everything back then was a little more cutesy, a little raw, and somewhat unsure of itself. (I look back on that issue in the very last page of this one.) It was a journey that would be both the best and worst in my life. Scout, at times, especially somewhere near the beginning, wasn’t something I always understood. I certainly didn’t always identify with the artsy, collagey incarnation. But the more time I spent with it, the more I grew with it. Over time, I started to get it more, and it definitely helped that I was able to make it partly my own where I didn’t quite have the space to before, to turn it into something I definitely believed would leave a mark somehow on those who picked up a copy. At least, to impact them to the best of all our abilities—we knew, and currently know, we’re far from being perfect. But by God, we’re trying, and we’re learning every day. And before it really hit me, those three years were already in the rear view. Hell, I never even thought I’d get this job, that I’d get this far. So having said that, I’d like to announce that this is my last issue with Scout. It’s been a whole lot of fun. I’m thankful for the places we’ve gotten to go to, everything we’ve been able to try, everyone I’ve met along the way, and the opportunities to tell stories. That’s really all I’ve ever wanted getting into this business: the chance to really live life, and document everything that happens in it. I daresay I’ve gotten way more than I bargained for—sometimes, even way more than I could handle. If there’s anything I learned about our generation in my whole time here, it’s that we don’t take life lying down. I think it’s a lesson we, across all the different Scout teams, have learned making this magazine. With every person we put in each issue, I realize it seems like we’re more determined than other generations to fight for something better, to make another way when everything the world’s offering us just isn’t acceptable. If older people are quaking in their boots with frustration and anger when they deal with us, it’s probably because they’ve always expected it to be normal to stick to the status quo. And Julia Barretto, our cover girl for this third anniversary issue, is growing into a force to be reckoned with. Her greatest career triumph so far came in the form of Vince and Kath and James (VKJ), the entry that seemed out of place in a Metro Manila Film Festival that was highly touted as a much-anticipated departure from the Christmas season money grabs of old. VKJ turned out to be a solid execution of the rom-com formula, proving that what we usually malign could end up being better than we expect, so long as there’s enough willpower for it. Julia seems like a true artist who’s looking for a different approach, and it feels like she’s just waiting to shed the old-fashioned trappings of the system she was born into. Like I said, this generation makes another way. Moving forward, even after I’m gone, you can be sure that Scout will continue shining the spotlight on all the young people whose stories you need to hear. As long as this generation continues to fight and do well, we’ll be here. That’s just the way we’re built, and that’s what we’ve been doing since day one. And for a final request I’d like to make from you, reader of this magazine and this letter right now, it’s to please forgive. We, millennials most especially, are human. We’re not built to be perfect, and we grew up in a flawed world we’re fighting to fix every single day. We will trip up, we will make mistakes whether or not we intend to, just because there’s still a lot of work to be done. I lament that we’re starting to become the generation who doesn’t have it in them to forgive and educate. Yes, a lot of things are evil, but more often than not, people are just misinformed. Be firm, but kind, everyone. Now more than ever, be kind. With that, I leave you all with this issue, which we hope you do enjoy. It’s been absolutely wonderful. Peace. ROMEO
virtual gallery JAPPY AGONCILLO redefines how we experience art on the street and on our screens A VISIT TO Jappy Agoncillo’s Instagram (@jappylemon) instantly lets you appreciate his art. His paintings, illustrations, and murals refine the spaces of Metro Manila with images from our childhood—from candy–colored animals, heroes, to popular celebrities like Sylvester Stallone and Benedict Cumberbatch. The viewer immediately faces his subjects that are mostly pop cult icons and are rendered through bold outlines from comic art, stylized compositions of the street discipline, and coloring with hints of vector illustrations. Unlike other artists, this young muralist didn’t get his big break from mounting art in galleries nor from getting ravishing reviews from established critics. He’s a product of the internet and social media. “There’s a great need to get your art out online because it’s a great new way to share art that cannot be made accessible to many,” he shares. In other words, the internet makes art accessible and nonconforming. Artists no longer need to be anointed by art critics, the legitimacy of art no longer solely at the mercy of their praise. Because out there, the power to identify and claim oneself as an artist—and equally the power to see, interpret, and distribute art—has finally belonged to the people. “People now can discover their talent purely through the use of technology and recreate something they found cool on the internet,” he says. The internet has a transformative effect on artists like him, “You allow yourself to be inspired by others and they let you be inspired by their art all through your phone.” That’s why there’s a personal level of familiarity with his subjects because they’re the images we constantly search online: Aloha girls. Skulls. Wolves. Batman. Tupac. Ninjas. Or Gogo Yubari. Or Pablo Emilio Escobar Gaviria. “With all these [mobile] apps, you have all these places to get inspiration from,” he says. Jappy shares that there are times he would want to watch a street art documentary, or read about art history only to find out that the links lead to a frustrating dead end and a need to pay for the access. But this doesn’t stop Jappy from trawling the internet for inspiration—he’s been able to access content from Netflix and Spotify through his PayMaya, a prepaid reloadable app that provides a virtual Visa or Mastercard to pay online. PayMaya also enables him to receive payments from his clients, whether they’re big businesses or non-government organizations. His work appeals to millennials who see street art as an expression of coolness, of liberal freedom, and of unrestrained creativity. “Street art in Manila has been about bringing color to the gray of the city—both literally and figuratively,” Jappy says. “I’m very lucky to be an artist at a time when street art is so sought-after, not only by corporate entities but by the general public. It’s an amazing time to be an artist now.” For more information on PayMaya, visit www.paymaya.com. Join the conversation online by tagging PayMaya on Facebook, Twitter, and Instagram at @PayMayaOfficial. Get support at @PayMayaCares.■ Jappy Agoncillo is known for his comic book style illustrations. A colorful montage of pop icons led Jappy to breaking the internet with his art. Sun-kissed Jappy working on a dream come true project for a music festival.
BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics.
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