Machine Messiah

Yesterday I discovered the first 3 albums from Karimata, finally available on CD! I instantly bought them all: Pasti (1984), Lima (1986), and Biting (1988). This legendary jazz fusion band from Indonesia, was a mjor influence during their heydays. I think no 80’s didn’t know Karimata. Unfortunately their 4th album, self titled released in 1990, hasn’t seen a light of day on CD. It was recorded by Aquarius Musikindo, and another legendary saxophonist Dave Valentin appeared in some tracks. Their last and perhaps their best album, Jezz (1991), was avaiable in store for quite some track (with some bonus tracks not available in the cassette format).

I remember my highschool days, when jazz fusion was the most loved genre. Since Casiopea, another jazz-fusion band from Japan, was a major success. Their Jakarta live in concert in 1984 was a-sold out. I was fortunate to see these guys. Apparently their success ignited some local musicians to explore the same genre. Especially when jazz already had its ground in Indonesia. Karimata was one of them, along with other acts like Bhaskara, Krakatau, GIF (Gilang Indra Fariz), Black Fantasy, etc. Karimata was always the pioneer.

My most favourite album perhaps was their last, Jezz (1991). It blended jazz-fusion with traditional/ ethnic Indonesian music. In my opinion, that album was still the best jazz/ ethnic-fuison album to date. You’ll find ethnic music from Minang, Bali, West and Central Java, among others and they all merged with the modern jazz music. International acts like Bob James, Phil Perry and Lee Ritenour paid their contribution in Jezz.

From their early albums, my favourtie was defintiely Lima (1986). The songs Masa Kecil (sung by Ruth Sahanaya) and Rintangan (sung by Dian Pramana Poetra and Lydia Noorsaid) were among fans favourties. Masa Kecil has fun lyrics, where Ruth Sahanaya asked us to remember our childhood days. While the song Rintangan, was an important theme for unfortunate lovers. The lyric was about two lovers, with different religion, had to separate. They loved each other, but still they didn’t understand why their beliefs had to tore them apart. Oh it was a very romantic and touching song! The duet also hurt anyone’s feeling, especially if they experienced the same situation.

Another fave song was Lintas Melawai, from the album Biting (1988). For those who lived in South-Jakarta in the 80’s must remember that legendary street. After school, many students hang out in that area, and it was a perfect place to meet girls from other schools. I even met many childhood friends there. Sometimes students from different schools fight there (you know, youngblood). It was also the place for important 80’s movies. They screened and took pictures there. If you’re lucky, you’re captured on screen.

Other song from Lima that I loved was of course the last track, Di Atas Batas. It’s energetic, dynamic, upbeat tempo, and all instruments appeared with harmony. This intrumental song became my personal anthem.

I listened to the three CDs all day yesterday. Even my wife was excited to hear those gems. It’s been a long time since we last heard these albums. Yes, I still have the original tapes. But the quality is not good, since I played it many times.

I personally have to send my highest gratitude to my mentor and best friend, Seno M. Hardjo (the producer of Target Pop label company). A year ago I asked when Karimata albums will ever get released on CD. Then he asked me list all Karimata best works. He’ll try to propose to ProSound and Aquarius, he said. Some months have passed, and in November 2005 Seno M. Hardjo told me that ProSound decided to released all three albums as single CDs. Oh how I was excited!!!!!

Unfortunately they disbanded after Jezz. Candra Darusman went to established an organization for intellectual rights in music. Erwin Gutawa built his orchestra and was a success in arranging Chrisye’s Badai Pasti Berlalu (2000) and Tribute to Koe Plus/ Koes Bersaudara (2004). Aminoto Kosin, Denny TR, and Uce Haryono, often played for Erwin Gutawa. Aldy is still playing with various musicians. Budhy Haryono played with Gigi for a long time.

Thank you Karimata, ProSound, and especially Seno M. Hardjo, for these gems. One more album to go!

Remembering the 80’s should’ve include Level 42 in every 80’s alumni. No radio airplay in this world didn’t list songs such as Love Games, Lessons In Love, Something About You, Hot Water, etc those days. Even an archipelago country like Indonesia was introduced to Level 42 since their early days. Did you remember when Elshinta Radio Jakarta crowned Love Games as their #1 hit in Elshinta 13 top chart back in 1982? That song became an anthem everywhere and soon this British band became one of the most influenced band in every youngsters heart.

In 2000 Universal Music through its subsidiary, Polydor Ltd., released their Level 42 remaster series. All 8 first albums and one live concert were 24-bit digitally remastered with additional bonus tracks, plus extensive linear notes. Each jewel case has two albums seperated in two discs. Each disc added several demo, live and never before released tracks. Surprisingly, all 9 albums never appeared on any CD store in Jakarta. Perhaps I was mistaken, but I almost went to music stores every week and usually they always called whenever something new arrived.

Back in 2001 I bought the first 4 albums: The Early Tapes, Level 42, The Pursuit of Accidents and Standing In The Light. I was definitely overwhelmed hearing the sound quality. It was superb! You can hear all the details, better than their previous version CDs (the non-digitally remastered). It really brought back beautiful memories to my younger days. The most favourite album for me was definitely The Pursuit of Accidents (1982). I had precious memories with this album. The song Weave Your Spell and Last Chance filled my every-days. Tight arrangements and outstanding drums playing from Phil Gould almost made wanted to be a drummer. Oh how I admired his playing very much!

A few years earlier, when Love Games crowned all airplay, I wasn’t in love with Level 42. Yes I agree it was a monumental hit. But I searched for more. When I discovered they have an earlier album, The Early Years, I instantly fell in love with Autumn (Paradise Is Free). Now this is the song I’ve been looking for! I loved Autumn (Paradise Is Free) more than any other Level 42 songs. Although later they produced hits like Hot Water, Weave Your Spell, Last Chance, Lessons In Love, Heaven In My Hands, etc, the song Autumn was always on my top favourite list.

Around 2 years ago, I made contact with some Level 42 fans in the UK. Some of them were generously provided me some live materials that were exclusively available for fansclub. Oh how I admired these gems! I could hear Level 42 in their early days on stage! They were absolutely awesome! I even got some DVDs which has some videoclips and live performance on television. Oh goody, goody…

Recently I finally decided to buy the other remaining albums: True Colors, World Machine, Running In The Family, and Staring At The Sun, plus their timeless performance in Physical Presence album. Whew! I finally have all 8 albums and one live CDs. It took me four years to made up my mind and completed them. Even The Physical Presence gave you the last song, which was not included in the original CD release. Staring At The Sun album also included the song Three Words, which was a B-side single.

Now I can play Level 42 all day…

Bahasa version originally published in Kompas, August 2nd 2003 as part of pre-Indonesian concert coverage

“Hearing…hearing your wonderous stories…hearing your wonderous stories…”, Rick Wakeman’s magical fingers played the grand piano following a bunch of fans’ amateur choir at a hotel lobby in Jakarta. The fans were so enthusiatic reaching notes in this once in a livetime moment. Imagine! To sing along maestro pianist/ keyboardist of the legendary progressive rock band, YES. After several songs, Rick Wakeman took pictures with the members of Indonesian Progressive Society (IPS). That was a scene showing the close relationship between a YES-man with his fans, the day after Rick Wakeman’s show in Jakarta early 2002. There were no formal gap between them and with joy Rick Wakeman responded to any question and request to take pictures together.

Sept 23rd 2003, Rick Wakeman will return to Jakarta. This time he’s coming with his friends of YES. For the first time Indonesia is honored to be in YES Asia-Pasific Full Circle Tour 2003. The British band founded in 1968 will come with their most loving formation: Jon Anderson (vocals, guitars, harp), Chris Squire (bass, vocals), Steve Howe (guitars, vocals), Alan White (drums) and Rick Wakeman (keyboards). The fans have long dreamt the best performance of this formation. It’s been 35 years they became a living legend in progressive rock scene. History recorded YES never stopped playing, although through many changes. All of them are still active in music, or in other interests.

OFF-YES ACTIVITY
Apart from YES, all members were very creative with marvelous achievement. Not just as a musician, but also in environment, sport, education, movie, etc. Jon Anderson is a religious person and love to paint, photography, and with his environment organization, Opioworld. Anderson even included a sample of Balinese gamelan in his album Animation (1982). Steve Howe is active delivering guitar workshops, collected hundreds of unique and antique guitars, and wrote a book with a CD-Rom about guitar techniques. Chris Squire collaborated with Billy Sherwood (former YES). Rick Wakeman (the only YES personnel who is not a vegetarian), listed more than 90 solo albums. Now Rick Wakeman is active with his own band, the New English Rock Ensemble, while financing golf tournaments. Alan White often collaborated with contemporary musicians.

Former YES-men are busy as well. Bill Bruford is playing regularly with his jazz band, Bill Bruford’s Earthworks. Patrick Moraz often played piano and keyboards for charity. Trevor Horn chose recording industry and became a world-class producer. He produced YES’ 90125 album (1983) and the single Owner of a Lonely Heart, and both became the first #1 YES album and single in almost every corner of the world. It also reached multi-platinum. His collaboration with Seal also received several Grammy Awards. Geoff Downes is still active playing music and world tour with his band Asia. Trevor Rabin currently known as original scorer for many box-office movies (the movie Armageddon was one of them). Other former YES-men such as Peter Banks, Tony Kaye, Billy Sherwood and Igor Khoroshev still played music and wrote an autobiography. All YES-men activities give the best example that age doesn’t limit creativity. You don’t have to be creative excusively in music, but in other art forms as well. This achievement should inspire Indonesian musicians.

YES AND FANS: A BROTHERHOOD
YES career in 35 years should gratitude its loyal fans and the advanced technology of internet. Since 1991 a newsletter Notes From The Edge (http://www.nfte.org) with activity news and interviews with YES members, Q&A with fans, communication media with the fans, etc. The website managed by Mike Tiano, a long time YES-fan, became the most favourite site for YES-fans. Since the beginning of internet, YES also used it to established Yesworld (http://www.yesworld.com). In this official YES homepage, all official news of YES, its members, and former members were announced. New releases, concert schedule, fans reviews, boook launching, soundclips, video and DVD releases, and other exciting news could be found in this site.

We can also find other interesting YES-sites. Soundchaser (http://www.soundchaser.org) became a forum where fans communicate, including unofficial news. YES-fans worldwide also made a forum to exchange valuable information, including progressive rock-related. Yesservices (http://www.zenponies.com/yes) provide us with latest information related to future gigs and meet-and-greet between YES and its fans druign world tour. Indonesia is listed as the only South East Asia recommended country for travelling info in this region. In those sites mentioned above, don’t be surprised if YES-men stop by sometimes and chat with you. They answer directly your question. YES-men are well known in close relationship with its fans.

There are also hundreds of private sites dedicated by YES-fans worldwide. Don’t forget there are many mailists and forums had important role in YES (and progressive rock in general). Indonesia has mailists such as prog-rock@yahoogroups.com and m-claro@yahoogroups.com which became the information center for progressive rock listeners.

YES loving relationship with the fans, in both physical and virtual world) proved that artist-fans relationship is no more as a seller-buyer thing. It already evolved into a brotherhood. YES visit to Indonesia in Sept 2003, is not about entertainment commodity. It has become a loving meeting between family.

Topographicly yours,
Surjorimba Suroto
YES fan from Indonesia

Bahasa version originally published in Koran Tempo, as part of Tintin’s 75th Anniversary coverage, January 18th 2004

“…and I’m just completing plans for a nuclear-powered rocket in which I propose to land ON THE MOON…”, Professor Calculus explained to his best friends Tintin and Captain Haddock. “Hahahah The Moon! Old Calculus on the Moon! Hahaha… I haven’t laughed so much for years! Here’s to you! Passengers for the Moon, all aboard the bus! Sorry, the rocket!…You are taking passengers, I hope?”, asked Captain Haddock laughing to tears, while Tintin was still awed. Professor Calculus answered with no guilty feeling, “Of course! Why else do you think I asked you to join me?” (Destination Moon, 1953)

Fans must remember the monumental moments in one of Tintin and friends adventures: Destination Moon. The red-white cigar shpaed rocket, which carried Tintin and co, became an icon identical with Tintin. Herge (Tintin creator) succeeded delivering Tintin to became the first man to step on the Moon (Explorers on the Moon, 1954). Moreover, Tintin landed on The Moon 16 years before Neil Armstrong! Georges Remi, Herge’s real name, sent Tintin, his dog Snowy, his friends Captain Haddock, Prof. Calculus, the Thom(p)sons, and others to almost all places in the world. Since the first adventure to Soviet, Congo, America, China, the depth of Southern America, the tops of Himalaya, Northpole, the Red Sea, Sahara, even paid a short visit to Jakarta, Indonesia (Flight 714, 1967).

The whole world on January 10th 2004 celebrated Tintin’s 75th adventure. The world remembers the historical moment 75 years ago when Tintin and Snowy went to Soviet as the Le Petit Vingtieme reporter, Belgium. Since then it seemed Tintin (and Snowy) adventures neverlasted. They both travelled to almost every place where no youngsters ever gone before (although Tintin’s real age was never disclosed). Wherever they went, they got new friends and foes. Seemed not enough, various situations often endangered their lives.

All Tintin adventures brought admiration to his fans. Not just the modest illustration, but the artistic perfection as well. Not just Tintin’s simple life, but also his character which was very “without common superhero ability”. Most people didn’t know that most of his life Herge never travelled abroad! Everything in the books referred to various sources from literatures, magazines, newspapers, photos, encyclopedia, etc. It was not hard for Herge acquired those materials as he worked in a newspaper publisher. All references such as essays and photos became the sources of inspiration. Even some transportation, machines, buildings, constructions, traditional clothes, historical and ethnic objects were drawn exactly as the original. Herge made serious observation and research before beginning any Tintin adventure. One thing that probably nowadays artist did not do.

Herge was a humble person. The same as his “only son” Tintin. However Herge had more concern on the world around him. His stand against communism was explicitly described on Tintin in the Land of the Soviets (1929). His sympathy for the native Indians when they were removed from their own land, could be seen on Tintin in America (1932). His friendship with Chang Chong-chen was reflected in the China adventures The Blue Lotus (!934). His hate on Nazi invasion to Europe could be experienced in King Ottokar’s Sceptre (1938). His concern to psychotropica drugs was reflected on Cigars fo the Pharaoh (1932). His interest in supernatural world was seen in The Seven Crystal Balls (1943), The Shooting Star (1941) and Tintin in Tibet (1958). Multiple “propaganda” Herge often made international community doubt his principles. Whose side were Herge stand? People became more confused when Herge inclined to took side on colonialism and wild animals slaying in Tintin in the Congo (1930). Apart from all Herge stand to defend the minors, and more important than that, the truth.

Perfect illustration with superb script writing and cinematic approach. Herge was known admiring Alfred Hitchcock movies. The script and illustation techniques Herge used in Tintin in America, The Black Island (1937), King Ottokar’s Sceptre, The Calculus Affair, and The Castafiore Emerald (1961), had the Hitchcock common approach used in cinematography. Tintin’s role which was more a detective than a reporter, made Herge works on par with Hitchcock in comic world.

Herge’s seriousness to full-comprehend in multiple cultures and technology advances made fans adored Herge and Tintin. Tintin comics, translated into more than 50 languages, blend with our lives. American Indians, Peruvian Indians, and Chinese hugged Herge as their family. Madame Chiang Kai-shek (wife of Taiwan ruler, Chiang Kai-shek) invited Herge to visit Taiwan as her gratitude on what Herge fight for Taiwanese. International community admired Herge which was always one step ahead in techology. USSR and USA were not the only ones defeated (in Moon expedition). Herge even advanced in creating coloured television using the hands of Prof. Calculus!

Health declining made Herge decreased his activity. His last Tintin work, Tintin and Alph-Art, left unfinished. Herge passed away on March 3rd 1983. A foundation was established to continue the spirit legacy he left to the world, Herge Foundation. An operational unit was established to manage any kind of products related to Tintin, Moulinsart. European community even crowned Herge as the father of European comicscene. A museum was built and merchandise outlets spread worldwide. Fanny, Herge widow, as the result of fans requirement published Tintin and Alph-Art in 1986. Just like Herge left it when he died. Unfortunately the work was left unfinished and we kept on guessing the end of Tintin final ultimate adventure.

Herge last will was to not anyone continue Tintin. “There are some things my colleagues can do without my presence and many of them do better than me. But to bring life to Tintin, Haddock, Calculus, the Thom(p)sons and others, only I can do. Tintin is me. It’s my most precious personal work. If others are willing to continue Tintin, they may do better, may be not. One thing is for sure, they will do it differently and it’s not Tintin anymore!”

Happy 75th anniversary, Tintin (and Snowy)!

Surjorimba Suroto
Indonesian Tintin Community
tintin_id@yahoogroups.com

Bahasa version originally published in Sequen Magazine #01, 2006

“No, Godam! I don’t want to break my oath! I don’t to tell you my real name! You should know me just as Gundala! Enough!”, Gundala said when he heard Godam, his best friend, voluntarily wanted to disclose his real identity. Though Godam was certain this was to made things easier and based on mutual trust,”It’s ok, Gundala. Trust me. I will tell you my real identity. My real name is Aw…”(Godam: Mata Sinar X, Wid NS, Prasidha, 1973)

Godam couldn’t finish his sentence because he was summoned by The Father of Truth. He was sentenced for trying to break his oath. Godam will lost one of his powers, which was invulnarability, after he got struck by a ray of light. The real disaster had just begun…

The adventure of Godam, started when Wid NS (born in Sept 17th 1938, died in Dec 26th 2003) created him in 1969. He first appeared in Dr. Setan, facing Roh Setan which will be his archenemy. Godam’s origin was explained back then. It was said that he was super being, could fly and invulnarable to any kinds of weapons. His alter ego was Awang, a freelancer with no expertise (although he was trusted often as a driver). Awang has an honest soul and this was the main reason he was trusted by a supernatural being called Father of Truth. He gave Awang a ring which would turn him into Godam, whenever we wore it.

In his early adventures, Godam encountered many enemies (apart of Roh Setan). Started with a bunch of giants (Raksasa Colosy, 1970), a super villainess (Kaum Teroris, 1969), a fake Godam (Godam Gadungan, 1969), Awang possessed by Roh Setan (Mencari Jejak Mayat, 1970), and a robot from other galaxy (Robot Penakluk, 1972). But Roh Setan was unique. His true profile was never visualized until the last book Setan, 1980. Roh Setan was described as pure evil, intangible, able to possessed a weak mind and soul, through a media called The Necklace. Wid NS imagination was special as the pure evil concept was introduced in the West by its groundbreaking movie, Star Wars (1977). Furthermore the exact identical concept actually started in Star Wars paperback and comicbooks in the early 90’s.

Unfortunately there was no information why Godam was dehumanized. With the lost of his main special power, Godam was not absolutely invincible. Aware he could be harm by just a slice of a knife, Godam realized he was just a normal person like other people. His life was in danger any moment. Considering this concept was introduced in 1972, we ought to salute Wid NS.

Why so? In the West, there was also an invincible character: Wolverine (Marvel Comics). He had a skeleton laced with adamantium, which made his body stronger than steel. He even survived when a jet fighter strucked him. Wolverine also had a healing factor in his blood cell, which made him able to heal himself in no time, including slowing his aging process. In short, Wolverine couldn’t die and won’t be defeated. Wolverine was dehumanized in 1993 by ‘seperating’ the adamantium from his skeleton. Depending only with his healing factor, Wolverine was not immortal. In principal Godam experienced the same. The difference? Wid NS innovated it 25 years before Marvel Comics.

Above paragraphs showed how brilliant was a Wid NS. He advanced his time. Wid NS realized if Godam was that superior, his adventure would not be interesting. He must dehumanized Godam, so his story would vary and readers would stay loyal. It was a major decision as Godam became more popular. With the quality in storytelling and perfect illustration, until the last book Setan (1980), proved that Wid NS was undoubtly directing to perfection. Wid NS was able to visualized imaginary landscape and architecture into each Godam pages. The smooth lines were also reflected in his fiction characters, especially the beauty of woman’s body.

One of Wid NS’son, Sungging, admitted that his father was attracted to supernatural and mystical themes, although it was reflected only in his works such as:

1. Bocah Atlantis (1975) was about a little boy, the last survivor of Atlantis myth. The extraordinaire boy developed the art of magic of his race and tried to rule the world.

2. Black Magic (1975) brought Godam and Aquanus (another character by Wid NS) to a mysterious island in the Indonesia archipelago. The island was occupied by a wizard. Godam couldn’t defeat her with super powers. He was forced to kill her with magical assistance.

3. Panik (1976) Dr. Setan returned with his magic. Again Godam would be defeated, if not for the help of magic. In this book, Awang played a major role in the first part of the book.

4. G.A.S. (1978) Godam with a dozen superhero desperatedly survived from a major defeat. The Gang Anti Superhero (G.A.S) equipped themselves with mystical-martial art.

It was hard to say Godam was a pure superhero or his adventures could fall into science fiction. His origin, his archfoe, his mentor, most of his adventures, etc were more mystical than scientific. From the whole backcatalog post Mata Sinar X, perhaps only Sang Kolektor (1978) had no magic, mystical or supernatural touch. The last two episodes of Godam, Tirani Biru Di Negeri Godam (1980) and Setan (1980) proved Wid NS had reached the top of his performance in blending reality, mystical and science fiction into one story. Unfortunately the stories that was supposed to be a trilogy couldn’t be completed. Ujian Buat Awang only reached several completed pages, when Wid NS died in Dec 26th 2006.

A few months ago KomikIndonesia.com and Wid NS family made a joint-production to re-release all Godam titles. At this moment, Godam Gadungan was published every Sunday in Koran Tempo. The lux edition of Mata Sinar X was published two months ago. Again Godam will conquer Indonesia’s horizon.

Surjorimba Suroto
www.KomikIndonesia.com

Bahasa version originally published in Prog Magazine #02, Indonesian Progressive Society, 2006

Most of the times we thought progressive rock artists/ bands definitely always produced progressive works. If not in progressivity, at least the works could be categorized as progressive. Though we all knew that it was not always true. Many progressive rock artists were not always.

What if we found the opposite? Did pop artists/ bands never produce progressive works? Did Madonna, Christina Aquilera or Coldplay never made progressive music? The answer might be yes and no. Of course it’d ignite controvertion. But let’s all see (and listen) more wisely.

What are the criteria a music can be categorized progressive? Find it to any dictionary and I guarantee you’ll never find the answer. You can ask to anyone, as a listener or as a musician. The answer is various. One time a discussion forum in an English-based progressive rock mailist, the members exchanged opinions. The result was a consensus. Yes, this consensus has never been formally declared, but at least we could use it as guidance.

Based on the consensus, music could be said progressive if included one or more criteria:

1. The average running time exceeded than single format songs (mostly above 5 minutes)

2. General themes were myth, science fiction, God Almighty, social critics, etc other than romance.

3. The song was divided into several movements, where each movement might consist different melodies, and or emotional stress, and or different tempo, and or unrelated themes.

4. Tempo most likely not in 4/4

5. Sometimes blended more than one musical genre

6. Sometimes with highlighted instrumental virtuoso

7. Improvisation became firm structure, so whenever the music was played the improvisation became a undivided part.

8. Human voice sometimes did not became the harmony, but became an live instrument

9. Different parts of a song were arranged as one theme

After considering above consensus, we’d think about our previous understanding. Did those non-progressive artists never made progressive music? Let’s rewind several decades back.

When the Beatles released their album Sgt. Pepper’s Lonely Hearts Club Band and the single Strawberry Fields Forever (both in 1967), many fans and journalists were shocked with the innovation Beatles made. It was an achievement to dismantle rock ‘n roll tradition. These Liverpool quartet succeeded in making a concept album, combined several music genre into one song (or into the whole album), uncommon themes, and the most important issue was the advanced technology in recording. It was a monumental leap, which they started before with the album Rubber Soul (1965) and Revolver (1966). Their US arch-rivals, The Beach Boys, tried to compete with their phenomenal Pet Sounds (1966), which was also full with innovations. Unfortunately industry accepted Rubber Soul far more superior than Pet Sounds.

After Beatles and Beach Boys, many artists were encouraged to ‘play-progressive’. Some of them innovated, while the others continued what Beatles and Beach Boys started. Since 1967, music industry treated progressive music as a goldmine. If there was innovation, whatever the form was, it would sell million copies. It was on this period many progressive rock artists were born: The Nice, Pink Floyd, Procol Harum, Moody Blues, and King Crimson, among others.

What happened to the non-progressive rock artists? Many of them followed their predecessors. Who wouldn’t want to be creative and innovative? But the situation was different. Apparently they found it hard, or couldn’t fully commited, or not recommended by their producer or label companies, to change their identity becoming a progressive rock artist. However those days a progressive work became a trend in music industry. During the 70’s progressive rock bands like Jethrotull, Yes and ELP sold million copies for each album and their concert almost always sold-out.

The non-progressive artists included one or two progressive songs in their pop album. Artists such as Billy Joel, Elton John, ABBA (album The Visitor), the Move, Supertramp, Chris de Burgh, Kayak, Cat Stevens, Split Enz, Gino Vannelli (songs Brother to Brother and Where Am I Going?), Bee Gees, Rush (album 2112, Hemispheres and Farewell to Kings), David Bowie, Klaatu (album Klaatu and Hope), Crosby Stills & Nash (song Suite: Judy Blue Eyes), Deep Purple (song Child in Time), Chicago (song Byblos), Ambrosia (first two albums), Styx (song Suite Madame Blue), Uriah Heep (song Salisbury), Kate Bush (song Wuthering Heights), The Who (album Quadrophenia), etc. Among them of course the most successful works were Led Zeppelin’s Stairway to Heaven and Kashmir, along with Queen’s Bohemian Rhapsody. These last honorable three songs have almost all criteria to called progressive rock.

In the 80’s the tradition to include one or two progressive compositions still could be found, although not as many as in the 70’s. During the 80’s progressive rock reached their lowest career and almost all major progressive rock bands disbanded. Back then disco, punk, new wave and new romantic dominated the charts. We could still found several progressive epics such as Rush (song Subdivisions and Manhattan Project), Toto (songs Child’s Anthem, Hydra, and Home of the Brave), Madonna (song Like a Prayer), and Ton Scherpenzeel (song Heart of the Universe). By then only progressive acts like Pink Floyd, Peter Gabriel, Steve Hackett, Marillion, Saga, Alan Parsons Project, and Magma still existed and received high recognisiton.

In the 90’s we still found progressive works like Tears For Fears (song Sowing the Seeds of Love), Madonna (song Frozen), several tunes from Bela Fleck and the Flecktones, Queen (song Innuendo), Joe Jackson, and several Ben Folds Five albums. During these days many giants returned to scene, delivering a new and fresh perspective of progressive rock. But they never reached the popularity as in their golden days.

What about post 2000? We found artists with ‘grey progressive’. They were not progressive artists, but they did have progressive atmosphere. Bands like Keane, Coldplay, Starsailor, RPWL, were among these. Their works entered mainstream scene and they built their own fansbase.

What about Indonesia? Since the history of modern music, we found similar situation. Many mainstream artists with progressive minds included one or two works in their albums. They never declared themselves as progressive musicians. Let’s say bands like Wow! (song Di Batas Kemerdekaan, 1983), Symphony (songs Astoria and 1/32, 1982), Chrisye (song Percik Pesona, 1980), God Bless (with their plagiarism progressive works), Fariz RM (song Panggung Perak, 1981), Keenan Nasution (song Negeriku Cintaku, 1978), Karimata (album Jezz, 1991), or Adi Adrian (song Satrya, 2003).

By listening to many progressive songs produced by non-progressive artists, our mindsets were opened. A progressive work didn’t have to be borned from a non-progressive artist. You didn’t have to declare yourself as a progressive artist, to make a progressive song. Listeners should widen their horizon to explore progressive works from non-progressive artists.

Surjorimba Suroto

Indonesian Progresive Society

Dec 9-18 2005 I was a very busy and exhausted (and perhaps many moviefreaks as well). JIFFEST 2005 was really the ultimate film festival in Indonesia (at least after the famous annual Indonesian Film Festival). I almost saw three screenings a day! Luckily I had to cancel some of them and here are my thoughts of the movies I attended.

LE GRAND VOYAGE (France)
Its synopsis is everywhere and I won’t fill you with more. For me the movie was not too bad. Hard to say it’s outstanding. The father role for me was average. His lines were also average, except some which have very deep philosophy. What I thought best was the son role. His attitude, his opinion, etc were the ones we should give serious attention. He didn’t understand why his father must go to Hajj/ Mecca, and why they must travel by car. Cinematography for me was average. Even some angles were poorly taken and could’ve had a better angle.

YASMIN (UK)
This is a movie you must see, especially if you’re a Moslem. Living in a place with a not-so-popular religion sometimes is not convenience. The Sept 11th tragedy really made life uncomfortable. I kept imagining what it’d be like to be Yasmin or her relatives living in a non-Moslem society.

OLD BOY (South Korea)
One of the most violence movie I ever see. Ever. There were some scenes I thought went overblown. I suggest you see this movie. It’s also the kind of movie you should see one more time for better understanding.

VITAL (Japan)
The director attended the screening and I was prepared to be ‘confused’ during the show. Apparently the movie was not that complex as the director mentioned earlier. Even JIFFEST’s synopsis was not that convincing. I compared it with some animation movies such as Perfect Blue or Millenium Actress (both were screened on previous JIFFESTs) where they made us confused. Which one was reality and which one was our imagination? The leading actor (he played in last year’s JIFFEST, Last Life in the Universe) played almost identical with Last Life…. Cold, emotionless, mysterious, don’t do much talking, etc. I thought his character could developed better in other ways. His character lost his memory, but his development should be lead to another direction. Especially in the ending scene, where suddenly he cried watching his girlfriend’s body cremated. He got hysterical and melancholic. C’mon man! You’re supposed to be cold and emotionless!

THE PRESIDENT’S BARBER (South Korea)
A very typical Korean comedy movie with sitcoms and funny dialogues. This movie was outstanding & I really recommend this. It was a very touching movie.

KONTROLL (Hungary)
Many people said this movie sucks. The story was getting nowehere. For me the movie was very good. From beginning to end, the movie took places only on subways/ underground MRTs. The story itself focused on the life of its inhabitants. They almost spent their entire life underground. The director was clever to developed their psychology and social interaction. The murder (yes, there was a murder) wasn’t solved, but for me that wasn’t important. The true story was about their daily life.

SCHIZO (Kazakhstan)
The only movie I regretted and actually I left before it ended. The movie talked about a boy who lived in a ….. not sure. It wasn’t a village nor a city. Not even isolated. He followed his mother’s boyfriend profession as a talent scout/ brooker for illegal boxing. It had been an hour when I realized I couldn’t follow what to be expected from this movie. So I went home.

WONDERFUL DAYS (South Korea)
I have this movie on DVD, but you must know that to watch an animated movie on screen is a-MUST! It was the only long-animation movie this JIFFEST. The movie was absolutely wonderful, especially it combined 2Ds and 3Ds. The story itself was average: a future world which environment was polluted. The director attended the show and he’s a very funny person.

BIG BROTHER IN THE MIDDLE EAST (Netherlands)
A documentary movie of a show like Penghuni Terakhir. Six boys and six girls from different Islamic countries were casted to be the last survivor. It was scheduled for a 30 or 40 days quaratined living inside an isolated house. Of course girls and boys rooms were separated. Each room had a CCTV, including bathrooms (for security purposes).

The longest scene was the casting scene. Every candidate was inteviewed for many issues. You could see that Islamic culture was very different in each Islamic country. It was obvious the producers’ knowledge (I think they were French, although their homebase was in Lebanon) about Islam was minimum. It was also recorded their opinion about Islam and its culture. Other interesting parts were the reaction of the society, parliament, government, etc on this Big Brother tv program.

OUTFOXED: RUPERT MURDOCH (USA)
It was a very good movie. The essence of this movie was to know how effective a media could be to support a political campaign. They could influenced people.

THE STORY OF A WEEPING CAMEL
It was a boring documentary. It was about a Mongolian tribe breeding camels and goats. The whole film showed their daily life and concentrate on their effort to help a camel labor.

DEAR FRANKIE (UK)
Perhaps the best movie in this JIFFEST 2005. Since the beginning I had trouble. There were no subtitles. It was supposed to be ok. It was in English, but with Scottich accent! I needed around 20 minutes to make myself tuned-in.

2046 (China)
I’ve this on DVD, but I wanted to see on screen. For me, it prequel (In the Mood For Love) was better. In that movie the main characters were Tony Leung and Maggie Cheung (oh how I admired her =). In 2046 the story was a bit more complex and there were too many leading and supporting characters (including Gong Li and Zhang Zi Yi).

BROKEN FLOWERS (USA)
The movie was good, but the ending sucks. The father still couldn’t find his son. But the father never intended to look for his son seriously. The movie was full with humour, although it wasn’t a comedy movie.

I cancelled SPRING SUMMER FALL…because I was very tired. I also had to withdraw THE CONSTANT GARDENER (later I got the dvd). Some movies I already had on dvd, but didn’t have the time to watch.

So what about you guys and gals! See ya all at JIFFEST 2006!

The 70’s was the 2^nd golden age of Indonesian comicbook history. It was in this decade. Legendary cartoonist achived their hightest masterpieces. Comicbook industry in Indonesia back then was a goldmine. Since the first appearance in 1977, HAI magazine made comics as one of the main menu. Those days HAI magazine published translated European comics, along with short-romance stories and other teenage materials.

The released of #29 edition in 1977 marked the first episode of Mahesa Rani: Pendekar Atap Dunia, the woman warrior from Majapahit (the largest empire in Indonesian history, dated in 13^th century). The fruit of legendary cartoonist, Teguh Santosa, instantly received high applause. It was rare to find a female as the main character. The size of A4 made Teguh Santosa able to explored the space and the result was maximum. Not only the close up fights could be seen, but Teguh Santosa completed it with the perfection of topography, Javanese architecture, traditional and noble clothes, and Mongolian troops uniform. Mahesa Rani was truly Teguh Santosa’s masterpiece.

Setting on Singasari and Majapahit empire in 13^th century, Mahesa Rani played a major part in the fall of Singasari and the rise of Majapahit. Born from a father called Mahesa Rangkah (her mother was never mentioned), Mahesa Rani must spent her childhood as an orphan. Her father was sentenced to death by King Kertangegara of Singasari, as the act of corrpuction in 1268. Mahesa Rani studied martial art for years with only one purposes: to kill King Kertanegara.

Her obsession never got fulfilled as King Kertanegara was murdered when a small kingdom, Kediri, ambushed Singasari in 1292. The royal army wasn’t prepared and Mahesa Rani was the sole survivor who witnessed the assanination, although she was badly injured. When she recovered, Mahesa Rani joined the remaining Singasarians led by Raden Wijaya. Together they defeated Kediri and later Mongolian army sent by Kublai Khan (he wanted to crushed Singasari). It was with Raden Wijaya, she built Majapahit empire. It was Mahesa Rani to took care and trained a young boy who would someday became a legend in Majapahit history, Gajah Mada.

Mahesa Rani’s adventure carried on. She had to left Raden Wijaya, when the romance strated to built it way. She didn’t want to be the the king’s mistress nor the queen. She wanted to be independent. She went to different places including Mongolia and Campa. Her character was described a very beautiful woman, good shape, stubborn, high nationalism, and mastered martial arts. Her main weapon was a sheet of selendang, which could became as hard as diamond and as sharp as the sword. Her obsession for vengeance vanished when she saw Singasari fell at the hands of a traitor. Because of her patriotism, she joined Raden Wijaya to bring Kediri to justice. It was Mahesa Rani who persuade Raden Wijaya to made alliance with Mongolian army (they arrived in Java with only one purpose: to bring Kertanegara’s head to Kublai Khan). Her manouver in politics and solving coup d’tat by a traitor were shown in Klika Cendana (1978) and Persekutuan Pegat Nyawa (1978). She even sacrificed her love for Raden Wijaya so Majapahit would be united.

Mahesa Rani’s sacrifice to her country was endless. It was definitely a heroic figure we should idol, although he was a fictious character. Unfortunately Mahesa Rani’s adventures had to end after she returned to Majapahit from Campa. HAI magazine published her last adventure, Harimau Dari Campa, in 1981. Eight chapters in five years, Mahesa Rani spent in Hai magazine. Coincidently the end of Mahesa Rani marked the end of Indonesian comics in HAI magazine. Soon after Indonesian comics dissapeared from HAI magazine’s pages. At the very same time, Indonesian comicbook industry arrived at their lowest point in the history ever.

(Balai Pustaka, 1997, ISBN 979-666-159-4)

KECOA was created by four incredible cartoonists: Yudi, Taddie, Eri and Arief (yes, only their first names were stated), and this comicbook won 1^st prize in a comicbook competition sponsored by Education and Cultural Ministry, 1997. I don’t know if these guys are still active these days. But this b/w comicbook is truly a gem.

The story was about the life of Kaprawi, a young man in his early 20’s and very afraid of cockroaches. Set during the revolutionary Indonesian war against the Japanese invasion (circa 1945), the story became a milestone in today’s comicbook scene. Although revolution for independency was a common theme in the golden age of Indonesian comicbook history, we don’t find them exposed these days. Young cartoonists perhaps find the particular theme uninteresting and rather find other themes. But KECOA proved that war-fiction could be developed into a story with a million messages.

Kaprawi was very afraid of everything. He’s not a coward. He just didn’t have the confidence to act. He wanted to fight with his friends, but he couldn’t have the guts to pull the trigger. He’d seen his country suffered from Dutch and Japanese occupancy. He’d seen innocent people died. He’d seen hs country torn apart. Kaprawi wanted to do something.

Everything changed when Tagor, his best friend, sacrificed his life in saving Kaprawi. That incident was the turning point. Kaprawi disguised whenever he joined the war. He was afraid his won’t have faith from his band (he dissapointed his team many times). People then started to talk of this mysterious ally. Who was he? Why he didn’t want to reveal his identity?

There came a time when all his friends were cornered. Ammo won’t last much longer and only one grenade left. Kaprawi, still in disguised, voluntarily asked for the grenade and sneaked closer to the Jap’s last standing. Although the Indonesian soldiers tried to back him up, Kaprawi still got hit. Injured badly, Kaprawi gave everything he still had to be closer to Jap’s post. With his last strength, Kaprawi threw the granade and everything was over….

His friends celebrated the victory and rushed to aid, only to be shocked to discover who the mysterious person was. It was Kaprawi. The young man they always called the chicken heart. The cockroach. He risked his life.

I had tears in my eyes when I closed the book. Kaprawi was a kind of man who tried to kill the demon in him. He tried to defeat his fear. He tried to replace his best friend who gave his life for him. He wanted to pay all the doubts his team had on him. In the end he succeeded.

Bahasa version originally published in KORAN TEMPO, RUANG BACA DESEMBER 2005 (KomikIndonesia.com & Kelompok Penggemar Gina, 2005, ISBN: 979-25-1352-3)

In October 2005, KomikIndonesia.com celeberated its 1st birthday. This celebration became special with the superhero comicbook relaunched, GODAM, with the title Mata Sinar X. The monumental masterwork from the late Widodo Noor Slamet (Wid NS) was reprenited in exclusive packaging in hardcase box. The objective was to make this as an admired collector’s edition. But this was not the only book that celebrated its return. One of Indonesia’s legendary cartoonist is back from his 20-years of meditation. Gerdi WK returned with his magical girl, Gina.

GINA (2005) was the latest book by Gerdi Wiratakusuma (Gerdi WK’s real name). It started to fill his long holidays, Gerdi WK was motivated to support and contributed KomikIndonesia.com’s vision. The best support, in his opinion, was to create a new adventure for Gina. Ï wanted to GINA to a new generation, as to reached old readers for nostalgia purposes,”Gerdi WK said on some occasion. “In the old days, GINA’s adventures were set in Persia (1001 Arabian Nights). But now GINA takes place in Indonesia, 21st century. Although not explisitly disclosed in this first book, the new GINA can be said as the reincarnation or descendant of the old GINA.”

The GINA serials started in 1972 with the title Gina vs Siluman Ular dan it runs for 19 titles until 1985 with the last adventure, Rahasia Istana Es. Gina’s book that were considered masterpiece by her fans are Gurun Gobi (1975), Teratai Merah (1976) and Vampire-vampire Laut Kuning (1976) trilogy. As usual in the first book, Gina’s origin was explained in Gina vs Siluman Ular. The animated movie version was published as Gina vs Ratu Ular in 2002 (illustrated by Masnjur Daman, widely known with his comicbook serial, Mandala).

GINA was not just a nostalgia. Gerdi WK wanted to reached young readers by giving a leading 19-20 years old leading character’s adventure. Many problems in youngsters life, while helping humankind with her magical ability. Gerdi WK’s hard effort was represented by the life of Dina. She was a nice young woman with casual appearance. She didn’t have a costume (at least in the 1st book), like her ancestor Gina. This new book also proved that Gerdi WK was getting close to perfection. Historically Gerdi WK reached his highest performance in late 1970’s. But GINA (2005) proved that his illustrations were much more perfect, compared to his past works. The body language and visual expression of the characters were very ‘álive’. Gina appeared in the past, back and forth, in this book as well as appeared in Dina’s subconsciousness. She indirectly assisted Dina. The long narration that was Gerdi WK’s trademark in the past is now gone, replaced into short and effective words.

Visual perfection was the result of Gerdi’s continuous activity in graphic design. Apart from work as an illustrator, he was also a regular illustration contributor in many children books and magazines. He was the illustrator of Wali Songo serialbook (Departemen Pendidikan dan Kebudayaan, 1993), Folklore serialbook (Grasindo, 1997) dan made comics for Majalah Ananda (early 1990). He also published comicbooks Sangkuriang, Si Kabayan, plus Si Kabayan and Iteung Tersayang (Grasindo, 1998 and 1999).

“The new Gina will focus on Dina’s effort in accepting her destiny as Gina’s heir. She will also learn on how to control her super/ magical ability. I was thinking to bring old characters from Gina’s past to present. I also have some ideas, although not written yet. One thing’s for sure I wanted to show the society that Indonesian comic is more than alive. It’s been too long our children consumed imported comicbooks. I really hope GINA (2005) will have a descent place in the heart of old and new fans. I also hope that young cartoonists are encouraged to be productive and all of us rebuild the world of Indonesian comic.”

Surjorimba Suroto www.komikindonesia.com