If you could, my bonny John Wilson, imagine me wearing a maria clara (like great-grandmother Aberin below) and you wearing a barong, I’d be singing you this song:
Sa buhay ko’y labis Ang hirap at pasakit, ng pusong umiibig Mandi’y wala ng langit At ng lumigaya, hinango mo sa dusa Tanging ikaw sinta, ang aking pag-asa. Dahil sa iyo, nais kong mabuhay Dahil sa iyo, hanggang mamatay Dapat mong tantuin, wala ng ibang giliw Puso ko’y tanungin, ikaw at ikaw rin Dahil sa iyo, ako’y lumigaya Pagmamahal, ay alayan ka Kung tunay man ako, ay alipinin mo Ang lahat sa buhay ko, dahil sa iyo
“Dahil Sa Iyo”
Mike Velarde Jr music (1938), Tom Spinoza, lyrics
Cora and Santos Beloy, vocalists
Tri-World Records (1964)
My mother’s lola, my great-grandmother, the spitting image of my mother the way Georgiana Drew is the spitting image of Drew Barrymore and I’m the spitting image of my dad. I have no documentation for my assertion—my gran’s house and possessions were completely destroyed during the Japanese Occupation. But whenever we came across this picture in the media—in an article in Time, for example—my mom would always point her out and tell me the story of how my great-grandfather came over from Ireland and, upon discovering he was meeting fellow Catholics in a sea of Asians, stayed, changed his name from O’Brien to Abérin, and married the local beauty. How Van Camp found her is anybody’s guess.
Above: Above Soames played by Eric Porter—The Man of Property, Noted Art Collector, and about as Mr Wrong as you can get—who mistook his wife for a soulless mannequin and, in novelist John Galsworthy’s sardonic words, “asserted his marital rights and acted like a man” in this scene, in which the BBC made shocking good use of Nyree Dawn Porter’s lovely embonpoint: My gorgeous, wondrous John Wilson leads the BBC Philharmonic in Coates’s 
I thoroughly enjoy watching John conduct the works of Eric Coates as he seems to have taken a personal delight in this particular composer—
Above: Nadine Benjamin sings 
Of Porgy and Bess’s premiere, composer-critic Virgil Thomson wrote: “Gershwin’s lack of understanding of all the major problems of form, of continuity, and of serious or direct expression is not surprising in view of the impurity of his musical sources and his frank acceptance of the same. The material is straight from the melting pot. At best it is a piquant but highly unsavory stirring-up together of Israel, Africa and the Gaelic Isles… I do not like fake folklore, nor bittersweet harmony, nor six-part choruses, nor fidgety accompaniments, nor 
I will never understand the English tradition of drag. Now, the American tradition of drag, like future husband 
John my love, if conducting this incredibly hot number (
Above the man of my desire: 
Stephen Maddock, CEO of the City of Birmingham Symphony Orchestra, who manages to insert the word 
"I'll Be Dead Before You Break My Heart" 