Today, we are so incredibly privileged to sit
down with a true legend. A name synonymous with
talent and artistry in Singapore. In our ongoing
series, Tribute to SG Music Icons, we're turning
the spotlight on a woman whose career spans decades
and whose influence is felt not just on the stage,
but in the hearts of a new generation of performers.
She is a veteran singer, a masterful saxophonist.
In fact, She's celebrated as Asia's first only
female singer -sexophonist and a visionary behind
Academy of Stars. She's an artist who believes
music is a soothing balm and a mentor dedicated
to helping young people stand out and be outstanding.
From her days as a 1980s talent time icon to
the groundbreaking work she's doing today, our
guest is an innovator, an educator, and a constant
source of inspiration. I fell on stage. But the
music went on, the singing went on, we never
missed a beat. And Xiao Chong and Belinda just
looked at me and they went like that to me. And
I went like that back to them. And nobody screamed,
cried, stopped. You know, we just... And that
was a memory. That was a memory the very first
time as a band. And we knew that we just... Don't
stop. And the music goes on. Before we begin
the show, here is an important announcement.
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your purchases. Now, let's start the show. Hi,
everybody. Welcome back to the Chris Hansen conversation.
You've heard my introduction earlier on. I have
her with me in studio. I have the one and the
only Kwapo. Hello, Chris. Hey, KP. Thanks for
coming here, man. Thanks for being in the studio.
Thanks for having me. No, not at all. This is
my tribute to you. Thank you. This is our series,
a tribute to SG Music icons. And you cannot be
forgotten. I refuse to allow that to happen.
Oh, wow. Okay. That's great. It's good to be
remembered. It's been a while. Yeah, it's been
a long while. As a matter of fact, I'm going
to make you feel so old. Because the last time
I saw you perform was really eons ago. I think
I told you this before. in this place called
Where Else in Cane Hill? Well, it's so long ago
that I can't even remember that I performed there.
So, you know that I've been to so many clubs
and venues and yeah, and some of them just like,
some made deeper impressions and some unforgettable.
Really? Where else was forgettable? No, no, actually
it's not, but I somehow can't seem to. remember
that part? Are you sure it's me? And you didn't
get me mixed up with somebody else? 100 % it
was you. Oh, okay. So it might be a guest appearance.
I'm not sure. No, you know, you had this guy,
this real good guitarist on your band. And in
where else? I remember embedded into the walls,
there's this little hollows that, you know, you
can put displays. And this guy was standing inside
that. Playing a guitar that's wireless. And he
was playing. And then you came on right smack.
You came up front with your saxophone. Okay,
if it's a saxophone, it's me. That's right. That's
why. That's only me. It's an indelible memory.
I will not forget it. Yeah, okay. Yeah, it was
definitely you for sure. Okay. Yeah. I think
that I've been very blessed to be performing
with many good. good musicians so yeah I guess
I'm glad you had a good time yeah I did I mean
I didn't forget that you know I mean you're the
veteran singer the sexophonist and also a children's
performing coach yeah voice coach and it's well
that's the new me Well, I can't say new, it's
been about 20 years. That long? Yeah, yeah, yeah.
I started the school 20 years ago. I'm definitely
going to talk more about that later on. It's
three quarters of today is going to be about
that. Absolutely, my passion now. But before
we go there, let's talk about you. Kuopo, the
performer. Kuopo, the person that was on stage,
you know, thrilling audiences. One feeling, one
memory from your journey. in the performing arts
that still give you goosebumps? Well, I was performing
quite a bit in the venues and, you know, I started
off with the Talent Time and that competition.
Yeah. And after that, I did... received quite
a bit of attention and I was performing in the
clubs. And because I played the saxophone and
that was my signature, being the only female
singer saxophonist in the region, I was quite
a staple in the club scene. And I think that
we always look forward to the big Singapore shows
like the National Day, the Singapore Orchard
Road, Big Hoo -ha. Swing Singapore, you mean.
Swing Singapore. And I remember there's one of
me being in a cherry picker. Yeah, yeah, yeah,
yeah. Were you? Yeah. Were you? Performing in
a cherry picker. With a sex? With the sex. I
can't remember with the sex or without the sex,
but I was on the cherry picker. You know, I remember
the cherry pickers, man. Yeah, yeah, yeah. And
then there were some of the big national shows.
And I realized that it's, I really enjoyed that
so much. And to me, performing to 50 ,000 in
a crowd is a lot like, I was really, I was not
nervous. But when I performed to like a very
small. group of diners and I was like oh my god
so I rather the 50 ,000 than 5 people and I remember
telling myself that I said oh my this is really
strange you know and I felt the energy of the
people so that was one performance that I remember
and of course there were many others and most
of them you know with great musicians like with
Ricky Hose, Spencer Goh, Belinda Foo. We were
at Atlantis. This was a club that was brand new
and built. Mr. Dennis Foo. And Mr. Dennis Foo,
my good buddy, Dennis Foo, of course. Oh, wait,
since we're on that topic, I just filmed my season
premiere a couple of days ago. With Dennis. Oh,
really? Dennis and the owner of Mel's Place,
a restaurant and bar. Rosie, Rosalind Brown.
And I told Dennis, I said, guess what, Dennis?
A couple of days time after this shoot, Corpo
is coming to the studio. And he went, oh, please
send her my best. So Dennis, I've done it. I
just sent Corpo your best. I love you, Dennis.
And he told me something interesting. What was
that? Well, first of all, he spoke about Atlantis
and of course, naturally, right? I didn't know
you played Atlantis. You did, huh? Yeah, we're
the first band. Oh! So we were actually formed
for the Atlantis. So the jigsaw is coming together
now for me. Ah, okay. So we were formed for the
Atlantis. So we're called East Wiz. East Wiz,
okay. And I don't know if you remember Xiao Chong.
So he became the male frontliner with myself
and Belinda. And I'll never remember our opening
night because we opened at Peppermint Park because
we were still, you know, in the works for Atlantis
and it wasn't ready yet. And the very first opening,
our debut performance, I fell on stage. But the
music went on, the singing went on, we never
missed a beat. And Xiao Chong and Belinda just...
looked at me and they went like that to me and
I went like that back to them and nobody screamed
cried stopped you know we just and that was a
memory that was a memory the very first time
as a band and we knew that we just don't stop
and the music goes on you improv we yeah no I
mean we didn't need to improv we just carry on
singing but we said I was on the floor yes the
dancing was improv and I was like Sure. It's
part of the act. Could you tell? Yeah. And it's
called levels. You know, now I'm just letting
you know that dance, there's levels. So we had
levels. Yeah. And it was a fabulous time. I had
top notch musicians, Singapore's musicians. And
that was my very first time in the band. And
I. remembered saying to myself well okay i sing
but i need something more and that's when i asked
spencer i said uh so shall i need to play an
instrument can we work on that and that's when
i picked up the saxophone and then um you mean
you only just started picking up a saxophone
then uh no i actually played in school but i
wanted something to rap to kind of like be different
I want to be different. And that's how it became
pop. Your signature, basically. Yeah, signature.
Right. And yeah, I was, I think that that was
pretty, you know, momentous for me to take up
the saxophone the first time and blow. And everybody
was like, whoa, okay, you know, and it worked
very well. So it was with that band in Peppermint
Park when you started playing the sax. Yeah,
yeah. Okay, my timeframe is a little bit like,
but, Yeah, it was that. And I remember going
to KL with the fly baits, with Bani Farooq, who
was the late Bani Farooq, who was already passed.
And I remember working with him on the ribs and
all that. And, yeah. I did some Singapore Tourism
Board, STPB, they called it at the time. To make
your rounds at tours. Because I was playing the
saxophone. So that actually helped me kind of
like, you know, leave a mark in the industry.
Well, you did. Yeah. Thanks. Bloody hell, definitely
you did. I can tell you. And so being, you know,
in that band and also have very, very good musicians,
it kind of helped elevate. You know? my musicianship
and playing and happening and going into Atlantis
which at the time was brand new and the very
first I think it was like a three million dollar
club that was made by people from Disney or something
yeah yeah the guy who designed Pirates of the
Caribbean oh really that's what Dennis told me
oh great so I remember the opening night so Belinda
and I we came out it was the through the fire
oh Shaka Khan wow Right? And then so we came
out after the St. Elmo's Fire introduction by
the band. Wow. And we came out and then we saw
the ceiling. Right? Buzzy and I will remember
this. And we both look at the ceiling like, whoa.
So, of course, I sang and Belinda was singing
the first verse, I think. And she was looking
at the ceiling and she forgot to come in. And
I was like, oi. What was it about the ceiling?
It was beautiful. It's the way the lights went
and there was some effect. I've never been to
Atlantis to be fair. I snuck into Peppermint
Park because it was in Parkway Parade and I was
in St. Patrick's School. Naughty boy. Oh, yeah.
And that story, I think my viewers know because
I talk about it so often. I told Dennis, I revealed
that because I didn't know until just a couple
of days ago that he owned Tavern on the Square.
Oh, okay. As well. And I snuck in there to watch
Gingerbread play. And then I also, you know,
there were tea dancers in Peppermint Park. Were
there? Saturday afternoon. Yes, yes. So that
one I didn't have to sneak in, not to be fair.
It's okay for you. Are you trying to tell me
you're way younger than I am? I am not going
to say whether I'm, okay, I'm definitely younger,
that's for sure, because you were already performing
when I was in school. I'm 55, nothing to hide.
I'll accept that. Yeah, okay. So Atlantis, and
you play with Spencer Gohawk. Hey, Spencer, how
you doing, man? Long time no bloody see. My brother.
And what a guy. Anyway, so Atlantis was something
else, huh? Yeah. Yeah, it was beautiful, beautiful,
very classy. You can definitely know lots of
money went in there. And we were the opening
band, East Wiz. And then there were other bands
that followed us. And they actually, the management
brought in Andy Gibb and a lot of international
guests. So I was, I have to say I'm very privileged
to have experienced all that. Dennis did mention,
he very humbly said that, no, I don't bring in
the A -listers, I bring in the B -listers. And
he mentioned air supply a couple of times. And
he said, Andy Gittman said, what the fuck? How
are they ever B -listers? You can't call them
B -listers, man. You can't. So it was fantastic.
I mean, the venue was beautiful. Very beautiful.
A live venue. Yeah. And you said earlier that
you started playing the saxophone in school.
Let me just, so basically, I would like to start
from just a bit before that. Let's start from
the beginning. Okay, which beginning are you
talking about? Earliest memories of music or
performance. The earliest memory you've got.
How do you start off? Oh, well, I think when
I was in preschool, even, I loved to sing. So
I lived in Sembawang at the time when I was young.
And my mom had a hairdressing shop and it was
just a shop houses, a few rows. And there was
a record shop at the bottom of the street. And
even at preschool, maybe I was five or four,
I would go down to run down to the shop by myself
and I'll pick up an album and I'll tell the shopkeeper,
my mom will come and pay for it later. And so
I just pick up the album. They know me. And then
I'll go home and play on the phonograph. What
do you call it? Yeah, record player. Record player.
And yeah, and sing my heart out. That's something
that I remember. And I had pictures that reminded
me of my love for music. So at the time, I would
sing what my mother would listen to, you know,
Chinese stars and all that. But my... Brothers
and sisters, they'll listen to Led Zeppelin because
they're a lot older than I am. A lot. And Barbra
Streisand. And she became my favorite. So coming
from Sembawang, I mean, I went to Canberra Primary
School. Shout out to my friends, Canberra and
Naval Base Secondary School. So I've always been
music. So in the school band, primary school,
I joined the school band. I remember primary
three. They gave me, we were not even a brass
band, it was a bugle and five band, you know,
five wooden, five band. And I was given the five.
I said, man, this flute is so soft. I cannot
take it. So I said, can I play the drums? Oh,
I got to play the drums. Stand right in front.
You play drums? So then I went, I became a side,
I became a drummer, right? So I was marching
band, became a drummer. So from primary school,
then went to secondary school. Oh, then became
a drum set? No. Then like, oh, somehow I got
the neck. Then my band teacher, the late Mr.
Johari, really, he liked me very much. And then
because I was just sitting there and then just
going for it, right? And then next thing I knew,
I was on the saxophone. And there were only two
saxophones in the band. And Fendi was playing
one and then the drum major was playing the other
one. So when the new saxophone came, he let me
have that. So I learned. the saxophone from there
right from the secondary because that was the
only new saxophone that was given to me handed
over to me so I learned that self -learned and
then after I went to self -learned yeah because
I picked it up very fast like you know the fingering
and all that but of course the you know aperture
and all that not very good wait wait you gotta
explain that to me what's aperture you know like
the way you you I think that's the word. You
mouth over the mouthpiece. Right, right. Like
hold the mouthpiece. So I didn't know I was not
very good at that until I went to pre -U. And
Mr. Ho was a band teacher. Deeper, deeper. I
got my head pushed into the mouthpiece. I was
in NJC. But we were a very good concert band.
And we played until there were blisters on our
lips. That was pre -U. Then when I went into
university, so I was in a school band from, I
guess, from nine years old all the way to I graduated
in a university. So you play the drums as well?
Yeah, not very good, but I can play the drums.
I can coordinate. Okay, but your instrumental
choice eventually became the saxophone, correct?
That's for performance only. I did learn the
piano classically, so I finished my grade my
age. Which is your go -to instrument for you?
Piano now. It's the piano. Not the saxophone.
No, I think I've hung up my saxophone for about
10 years, more than that already. It's just a
decor piece in my house now. Yeah, unfortunately,
I didn't have much time to practice and opportunity
to perform it. So the piano is my go -to instrument.
I just bought myself a baby grand. So that's
my, you know, budget bucket list. And so I do
love. All kinds of instruments. But the piano
is with me all the time when I'm working now.
Yeah. So there's not one instrument that captivates
you the most? No, it's still the piano and the
saxophone. Okay. Yeah, the saxophone does. In
equal measure, you mean, equal measure. Yeah,
yeah. I love, and the voice is an instrument.
Yeah. Okay, let's talk about that then. How did
you end up singing? I mean, how do you realize
that, you know, I'm going to be this lead vocalist?
I think it's just, this journey just took me
naturally onto that. It wasn't like I chose to
be. Okay. It just happened. So when I was in
NUS or when I was secondary school, I like to
take part in whatever competition there is. And
then it went on to university. Form your own,
you know, a lot of things are student led. So
you form your own little band and you just sing.
And I just enjoy being in the front line. You
know, I told you, I picked up the five. I said,
nobody heard me. So I want to play the drums
because then I'm standing right in front and
I kept the scene and it can be heard. Then when
I went on secondary school, I played the saxophone
because it was the only other instrument that
was different and unique. So there's always been
this seed to be different and being in front.
Yeah. Yeah, that was the thing, I guess. The
reason why I like to ask questions like this,
because if people are watching this, who knows?
Budding musicians might be watching this, right?
And what can they actually gain from my guests?
Guests like yourself. What drives someone or
what drove this person into a career? like this
the music career because when you go when you
when you talk to kids and I and I have been I
mean you do of course I'm kind of surprised actually
because most parents don't want their kids to
pursue music as a career um yeah I guess even
to this day, some parents would think that it's
not a very stable career. I went for dinner last
week and this lady whom I've never met before,
they were sitting in the same table and she said,
you're a singing coach. Why would anybody want
to learn how to sing? And I went like, why not?
And I was so appalled by the question, but then
I went, but that question really you know, stayed
in my mind and I reflected upon it and I was
like, yeah, why would someone take up singing
lessons? And why would someone sing? For what
reasons, right? Everybody has their own reasons.
And for me, it's, I just love music and I just
love to sing. I don't know. I just love to sing
since I was like, since I knew how to sing, right?
I told you four years old, I want to pick up
the racket, but it's just why I became professional
singer. It was just a desire. And I told my mom,
At the time, I said, when I graduated from NUS,
I said, look, I graduated. So I did what was
expected of me. I got a degree and so on and
so forth. But I really want to sing. So give
me three years. If I don't get anywhere, I promise
you I'll, you know, get a regular job. And so
I did. I sang three years. I did the clubbing
and then three years came up. True enough, like,
okay, I guess I should try a regular job. And
one of the customers that came to see me, I was
at Brannigan's. So he was from like a money -broking
firm. So I said, what do you do when you go to
work? How do you know what you need to do when
you go to work? What is the agenda for the day?
Is it because I know when I go to work, I need
to plan my set list, right? Then I know what
to sing. So I don't know what people do when
they go to work. How do you know what you need
to do? Right. So anyway, I tried it out. Money
broking. I was broker than I was singing and
I was miserable. And I really, I didn't enjoy
that at all. So my mom said, yeah, fish out of
water, get back into the singing. Right. So I
started teaching. That was when I started teaching.
It caught pivot, pivot. It's not that I wasn't
getting anywhere, but. i just wanted more because
i also got very bored just you know getting my
makeup done going to work going for rehearsal
gigging one thing after another then you get
into this whole mode of like uh oh it's like
same different day you said it i didn't yeah
but um yeah i just wanted more and and things
just happened along the way i wasn't um I wanted
to have my five -year plan, but my five -year
plan never worked out. It's always like there's
a turn and a twist. My life has been very interesting.
Colorful. So I just go with the flow. Okay. So
you went back to music and you started teaching.
Were you still back in music despite the fact
that you were teaching? Yeah, I started teaching.
I remember taking up Yamaha. teaching course
so I took it up and at the same time this these
friends from well I only knew them at the club
at Brannigan's decided to own their own club
their own you know drinking place so they asked
me and another good friend of mine Fiona who
also came to watch me at that time would you
like to run the club for us right so I was like
Oh, okay. That's another aspect of entertainment
venues or being an entertainment that I've not
done before. So after Brannikens, that was what,
yeah, I mean, I still played in a band, but then
I started learning how to teach. Then the same
day that I started my teaching with Yamaha was
the same day the club opened. And it was like,
okay, I cannot do these two things at the same
time. because that is entrepreneur, that's business,
that's like running the club. So I had to pay
back a bond to Yamaha so that I just stayed on
path to just run the business. And that's how
I became an entrepreneur. Okay. You ran that,
what's the name of the place? It's called Java
Jive. It was a very first all English karaoke
pub in Holland Village. I was your customer for
a while. I'm very proud of that. Java Jive, that's
right. That's where Jive Talking came about because
they were the band that we hired and we named
them. Jive Talking. Rafi and Jive? Yeah, it was
Bani Farouk. I reformed the band. So they were
given birth at Java Jive. That's how the name
came about. Yeah, yeah. No, no, no. You mentioned
that. You jogged my memory because the first
time I heard was somebody told me, hey, have
you checked out this place called Java Jive?
I said, I heard about it though. They said, that
belongs to Kopo, you know. Oh, okay. Then we
started going. Yeah. It was good fun, wasn't
it? It was, it was, it was. It was really good
fun. Yeah, now that you jogged my memory, yeah.
So, okay, you ended up into bar management, if
I may say it, or club management. Yeah, club
management. But I was also, I wouldn't, it's
like singing, but I started this concept of spinning
the karaoke songs. Like they were DJ, like I
was a DJ. So microphones would pass around. So
this is a very first pass around. We were not
in a room, it was open singing. And if I didn't
like your singing, your microphone gets really
soft and I'll be singing over you. And if I don't,
and Soldier of Fortune was banned. I hated that
song. So whenever people requested for songs
I don't like, they don't get played. And I would
play with momentum. So like, okay, now all the
fast songs. Then just a couple of slow songs.
Oh, the fast songs. And everybody sang along.
So the atmosphere was always great. Yeah, yeah,
yeah. So that was usually in the weekend. Weekdays,
I'm a bit more lax. How come I don't remember
Jove Talking playing there? They came in much
later because we were only half. a space, 1 ,005,
then we increased to 3 ,000 square foot. That's
when we brought in the live band because we need
to acquire the license for live entertainment.
And being Holland Village, being residential,
that was a little bit difficult. So that came
on much later. So they were our first band and
I formed a band with Barney Farouk. And then
when they moved on to Hard Rock, you know, they
got our blessings to keep the name. So that was
how. Wow. So Boon Chai and all that were part
of it. Oh, yeah, for sure. Boon Chai is coming
on the show. Oh, is he now? Yeah, yeah, yeah.
He played the saxophone. He's my schoolmate.
Really? Yeah. He played the saxophone for some
of my gigs. Yeah, he looks like a Chinese man.
He's the best. I always said this. Excuse me,
I mentioned this to Gabriel from Bellingham.
I said, Boon Chai, Boon Chai. Boon Chai is always
a nerd. He looks like a geek. But when it gets
behind the sex, wow. I know, he's another different
person. So tell me about Devil's Bar. Because
Dennis told me something. Okay, now how did that
come about? In your own words, I heard what he
had to say. You're really going back. You're
really going back, aren't you? Yeah. Okay, Devil's
Bar. So as I was working from JavaJive to after
that, I was also managing artists. Managing.
So Wendy Cole was one of them. Tanya Chua. So
I was managing artists and I formed Cherry Chocolate
Candy that won the grand prize for Talent Time.
That's another story. Cherry Chocolate Candy.
They won the Talent Time. I'm trying to remember.
Yeah. Okay. So back to Wendy Cole and she's a
fabulous performer. Oh, yes, she is. Heaven knows.
Heaven knows. Yeah. So I was managing her and
so negotiated and got her into Europa that, you
know, and Dennis had a new place called Raw.
R -O -A. That was in Cain Hill. Oh, Raw. Yeah,
yeah. So, well, I managed to negotiate for Wendy
to be the resident musician there. So, as we
were talking about Wendy and then he offered
me a job. He says, hey, how would you like to
be, you know, the assistant GM? I said, okay.
And why not? Okay. So, what was your question
again? Devil's Bar. Oh, Devil's Bar. Yeah. And
because we were going to open Devil's Bar. So,
that's how it happened. And he told me that he
asked you to manage Devil's Bar. Yeah. So, I
managed Devil's Bar. You know, started the whole
thing going and all that. Yeah. And we had to,
you know, there was a transition. What happened
to Java Jive then? No, Java Jive was 1990 to
1994. Right. Okay. Then I had Dada, which was
another band in Boat King. Another outlet. Yeah,
that's right. At Bastiani's, it was a wine bar
in Clark Keep. So I was doing that for the 10
years. And then after that, a little bit now,
97, 98. And that's when I started managing artists.
And then year 2000, just before, was it 2099?
That's with, then that was Raw. So I think, I
think. I think Devil's Bar was somewhere around
that period. Why did you shut down Java Jive?
I think in the way it's run its course, well,
it wasn't really we shut down. We kind of like,
there was a change in the ownership and a couple
of my partners basically took it over and turned
it into chaplains, where then the other half
of us went on to Dada. Alan Moore. Chaplains.
Alan Moore. I don't think he was an owner. He
was just running it. Oh, okay. Okay. Okay. So
then I moved on to another unit that was in Boat
Quay. So, yeah. Thanks for bringing up the memories
again. Dada. Yeah. We also know that Quopo. Runs.
Dada. Yeah, yeah. All that good. We're going
around, you know. So that was when I had another
band called Private Collection. That was when
I got Tanya Chua to perform as a frontliner with
the late Amran, who passed away very young. That's
right. Yeah. It was in Dada that he played Amran.
Yeah, he's 33. Yeah. He played with Spencer as
well. Yeah, Spencer. So Private Collection. was
the band that we formed right why private collection
was dada the concept is an art artwork right
it's dadaism that's that's a concept so when
we where we had the band there was a picture
frame a giant picture frame so the band plays
behind the picture frame that's why it's called
private collection right what is cool so i would
sing with the band one set so i had uh i think
Ad was on keyboards. I had really great... Amran
was the lead singer. And then I auditioned. I
went to look at Tanya at the Western and I got
her in. And there was Margaret Chong as well
that was on keyboard. They're great musicians.
We were very good. And I performed like one set
a night. Yeah, that was Dada. And what happened
to Dada? And again, you know, just basically
ran its course. Ran its course. Yeah, ran its
course. I mean, yeah, you know, business. Let
me try to understand this. For any bar club owner
that has, I've heard this a couple of times from
different people and they use the same term,
ran its course. What is the definition of a bar
establishment having run its course? Well, I
think that When it's run as a car, that means
that it has reached its height. And then, you
know, new competition comes along, jumped on
the bandwagon, could be better than what it was.
And perhaps within the management, we decided
to do other stuff. Right. You know, and things
just change. People change. all have different
interests at different times. You know, at the
same, at that time, we may want to do different
things. Right. Yeah. So running its cause could
be, it's seen its heydays. Time to move on. Okay.
Let me go back even further back in time now.
Oh, okay. I think for the better. Testing me.
Yeah. I've had people like Larry Lye on my show.
You know, we go back so many decades. You know,
we talk about way back when. And then I had people
like Mel Ferdinand on the show. And we talk about
talent time. So I want to ask you about the 1980
talent time. Okay. Okay, that time when you participated,
when you took part, what was it like? First of
all, what was it like? How different are things
today because we don't have it anymore? And your
opinion about that? I thought that, I mean, that
was a time where the nation would sit up and
root for the new talents of that era. I think
it was 1984. I knew I was in the last year of
the uni. it was second last year or last year
of the uni when I took part so it wasn't 1980
it was 1984 no absolutely not 1980 there was
an attempt earlier on that I was with a duet
I was with this guy and we were in this duet
but we didn't go very far we were probably in
the first I'm not even sure if we went on TV
or maybe we did. I don't remember that one, but
we went on as a duet and we didn't get very far.
But the one that I reached the finals, I think
that was the year when I was in the university,
probably the third year or the second year, I
think 84. And yeah, it was great. I mean, it's
nothing like the voice or nothing like the...
BGT, AGT. BGT, AGT. You know, we don't have judges
that would... Knock you down. Give us their opinion
live. Yeah. You know, it was just based on your
talent. There was no voting. Yeah. And yeah,
I was very young, very new. Everything was like,
you know, very... How do you say? It's just yourself
and what you have to... Offer. Offer. And there,
I made good friends. I made friends along the
way, but it's just also a competition. I know
that. But I think that Caminaderie was very good.
Yeah. Yeah, I mean, it was great fun. But what
do you think now? It's been gone for a long,
long time. Do you think it would have done us
a lot of good, the music industry, that is? Well,
in general, for the rest of the country, should
it have? Should it were to have continued? Yeah,
it's very sad that it didn't last very much.
It ran its course. There you see. There you see.
But every generation will have a sort of a competition.
And I think that what's really sad now, much
more, I mean, the competitions there are in its
very general different ways. And it's expensive
to run one. I can understand the economics of
it. But what's really sad is there's no variety
show. You know, last time you would like sit
for a variety show. Oh, new singer. Oh, this,
you know. It's like the Rado show, the old POSB
show, the kind of thing, right? Or Rolling Good
Times even. Yeah. We can't even call it recent
anymore. Yeah, I know. Rolling Good Times is
like, like, historical. So, That's really sad
because then you don't know who the new ones
are. Correct. Right? And then you see them on
National Day like, eh, who are these ones? Yeah.
You're scratching your head, right? Eh, who are
these ones? You know, where do you see them?
Yeah. Mel Fernandes, when he was on the show,
he raised this thing. You know, back then, I
don't know if you remember Limsick. Oh, yeah,
of course. Yeah. And way back when, well, even
before TCS, back in the days of the SBC, right?
And you've got bands playing in different bars
in Singapore. And they'll spot a good one and
they'll put them on a variety show. They bring
the band in to perform. And then people, at least
the locals, us, people will know. who these guys
are, you know? And that's where bands were really
popular back then. You know, people knew Flybaits,
you know, Flybaits came on TV so many times.
Yeah, that's right. Gypsy came on TV so many
times, you know? And yeah, and all that's gone.
It's all lost. What do you think? No, that's
exactly what I'm trying to say here because I
don't know when the new ones are. Sorry. I don't
have an opportunity to see them or to be introduced.
to them so it's and I do feel like the new generation
have to fight so hard to be seen on social media
you know which is basically the norm these days
like say you know they appear international day
like who's that but I think it's very important
that every generation's media owners you know,
find a way to find a platform for the new gen
to appear. And that's why, you know, because
I'm running a school and I have these new generation
artists, when they become teenagers, when they
become young adults, and when they decide not
to pursue, it's because there's no outlet here.
There's no platform. Yeah, there's no outlet,
no platform for them to be seen. You know, it
was such a thrill back then when I, you know,
I get on the variety show, Christmas show, whatever
show. There isn't any now. There used to be a
weekly thing, I think, right? A weekly thing
and all that. And I would sit in the studio and
wait the whole day for $30 or $300 like that.
But that's not the money. We know that, right?
It was about being seen on TV. Yeah. Yeah. Yeah.
Do you have any rituals yourself? You know, like
some, you know, many performers have their own
unique rituals or routine to get into the zone
before performance. Do you have any interesting
ones? Oh, no, I think it's modern warmup, lip
thrills. And no, I just sit there and do my makeup.
No, I don't have a ritual. Okay. Absolutely not.
Don't have, huh? No. You know, like, like, for
example, I know for a fact that this is really
weird. This is an MC thing. Really? What is it?
Not me, though. I don't have that issue. Yeah.
But I know a lot of compatriots, before they
have a show, they'll iron their own shirts. Oh.
Iron the shirts. And then they put them on. They
leave it tucked out, you know, and carry the
jacket and have the tie slung around them. And
they just go for the show. and do the sound check.
I've seen that. Yeah. So many people do that,
you know, and then after that, the guys that
is, then they'll tuck in the shirt and then they
put on the tie. Once they've done the sound check
and then on comes the suit, you know, and people
have funny, funny kinds of rituals. So I was
just wondering whether you have any as well.
So we don't have them. Just asking. No. You see,
I have questions I want to ask. Good, let's talk
about it. Don't have to ever mind. Yeah, yeah.
No, I'm just, I mean, since you asked the question,
I'm thinking, is there something that I would
do? I mean, of course, I would like, you know,
warm up my voice. That's it. You know, that's
it. Do my makeup. Yeah, okay. After such a successful
performing career, I mean, then I know you got
into teaching and that was, it's been 20 years,
right? Was there anything that inspired you into
wanting to teach? Was it because there's a legacy
that you want to leave something behind? No,
actually, you know, after running the bars, after
performing, running bars, I was, that was a period
I was, really jaded you know like god i want
to do my life right so uh i remember going away
to australia to take a vacation um but i had
this concept when i came back i i i saw this
uh wait okay this backtrack someone's in australia
and i like to attend the the wine So when I attend
the wine festivals, right, Hunter Valley, wherever,
they always have a jazz band. So I'm like, wow,
very show. You know, so I came back and then
Colin Goh at the time was running Arts House.
Like, you know, hey, I would say, I have a concept.
Then he said, what? I said, I want to run a wine
and jazz festival. And he looked at me, he said,
eh, guopo, very hot lah. this is calling girl
for the rice company yeah hey Colin shout out
to you yeah and then I said hot nah I said yeah
then I went I pick up from my bag a CD that I
just bought downstairs from in the arts house
okay I forgot Encore was a shop or something
I can remember and a CD was jazz for kids jazz
for kids okay so then I reached down my back
there to go okay lah okay lah how about I run
I produced a concert, a jazz concert performed
by children. Then he said, oh, that's good. Let's
do that. I said, okay. That was how it started,
okay? So then I went back and then my nephew,
when he was at P6 at the time, he was showering
and he was always singing Frank Sinatra. Very
weird, right? And he's got a good voice. So I
said, okay, I got to put my nephew. Then I was
staying with my sister. So a lot of children.
So I said, okay, I'm going to audition the children
in the neighborhood, Thompson Grove. And I have
to bribe my nephew. Hey, I buy you an Xbox. If
you perform in my group, then, you know, and
he was P6, right? Wow. So I said, okay, I buy
you an Xbox, but put up there, finish P6. So
I got. auditioned a few children and they were
all in the neighborhood. That was my first batch.
Of students? Yeah, there were eight of them.
They were not even students. They were performers.
They were auditioned to perform. Yeah, so they
auditioned to perform but actually everybody
got in there but they were very good. They were
cute, you know. They were like from eight years
old to 12. The oldest was 13 and then some friends
recommended him there. And I remember working
with them four times a week. uh, three hours,
uh, four times a week, three hours a time at
the, uh, during school holidays. Right. So that
we could perform at the play den for a four to
four back, back to back show. And they were very
new, like nobody, they were just virgin performers,
no? So I had, so I said, okay, how to put them
on stage like this, you know? So I call Hard
Rock Cafe. Hey, Mark. Hey, KP, what do you want?
Uh, I have this group of children performers.
I like them to perform for your, you know, maybe
lunchtime. Oh, how much? I said, no, you don't
have to pay me. You just offer them lunch. Oh,
okay. Anyway, that was very funny. So that was
our debut performance at Hard Rock during lunchtime.
I remember, and one of the girls, Michaela, But
I started crying before we went on stage because
she was so, so nervous. And the other kids just
surrounded her, gave her a hug, you know. And
I was watching this and said, oh, this is really
good. And during the whole time when I was rehearsing
with them, I remembered that they only had one
thing that they wanted. It's just to please me,
to make sure that I like their performance and
I praise them. And that was all they wanted,
you know. That's so cute. Very cute. And well,
I taught them how to dance, the little that I
knew. But basically what I wanted them to be
is to be confident, to be frontliners. So we
did like Route 66. There was this song called
the ABC Scat, which was our opening piece. We
did Tuxedo Junction. We did A -Train. So we did
all these old jazz pieces and Michael ended up
doing the Spider -Man, Spider -Man. And it went
so well because it doesn't appeal just to children.
It appealed to parents and everybody else. And
that was our debut in one of the dads, Montero.
He also owned another outlet and he said, okay,
come, come, come, let's perform. So we got the
practice just, performing very ad hoc at eating
places right and finally our show came and we
did four shows back to back on stage lights and
all that stuff children did fantastic well because
they already kind of like had three or four shows
sort of like you know and then learn how to deal
with the microphones and when we finished the
last show the children bawled cried because it's
over And I cried. We had a good, you know, like
after show parties, right? And then I cried,
cried, like, oh my God. When I realized, wait
a second, this is the best thing ever. You know,
you deal with that artist, children, they don't
do that. They just want to hug you, hug you,
hug you, hug you. Right? So then that was the
last show, went away. And then Colin called me
and then says, okay, come back. Let's do something,
you know, start the school. So because of Colin
and he said, I got space. And that's how I was
wanting to take it. I said, okay, give me a desk,
$15 a month or something like that. Pay a desk,
pay $15, don't know, like $300 for the studio.
And then that's how the school started. Kids
Performing. That was the name of the school.
KP, kids performing. So that was pretty good.
Enjoyed it very well. Yeah, that was the start.
I came back and started the school. So it was
Jazz Kids. That's how we started with Jazz Kids.
Jazz Kids. Kai, did you put up the pic? There
you go. So this is the new generation. This is
the generation that is now. 2003. See the little
chap that's right at the corner? That's my grandnephew.
Oh. Yeah. This is 2023. But the very, very first
batch was 2004. Is this still happening today?
Yeah, they're there. Oh, yeah. I mean, they are
jazz kids when they sing jazz. When they're not
singing jazz kids. So, yeah. What's the difference
between jazz kids and Academy stars? No, it's.
Jazz Kids is a program, right? And then they
had to sing jazz. They only do swing. And then
I had Sinclair Ang, shout out to you, who comes
in to teach them to swing, to dance swing. So
my school is now called Singapore Performing
Arts Academy. It's gone through a few transitions
from kids performing and now it's called Singapore
Performing Arts Academy. Okay. Yeah. Academy
of Stars was somewhere in between, in the middle.
That was 2018. And now, two, zero, two, three
onwards, it's called Singapore Performing Arts
Academy. And I have programs within the school.
And the triple threat talents, what you saw that
group there, they had a six months course where
they actually, delve into jazz just to keep it
alive. There was this thing I've researched on.
I'm trying to understand. You're considered as
a direct school admissions specialist, DSA specialist.
Yeah, that's one of other programs. Yeah, the
DSA specialist. That's right. Okay, DSA into
where? Into what? Into this program or into mainstream
schools? Alamak, DSA is not into a... Performing
Arts Programme, it is going into a secondary
school. Correct, that's what I wanted to know.
So it's mainstream, right? Let me explain to
you. I know what DSA is, just that I need to
understand DSA into where? Into secondary school,
into pre -U. Okay. So it's called direct school
admission, meaning you actually use a talent
to audition into a school of your choice, which
could be a secondary school or... And in this
instance, it's for singing? Or music per se?
Where I'm concerned, I teach singing and acting
preparation and interview skills. Right. Okay.
So as a DSA specialist, you focus on helping
your students stand out and be outstanding. I
see you've done your homework. Beyond technical
skills. What are the key qualities you, do you
aim to instill in them to help them shine? Based
on what I've learned, my journey, I always encourage
them to find something unique about themselves,
to stand out, to say something other people can't
say. This is basically to find something in them
that will kind of, You know, when they go into
the interview to leave a mark behind. I think
it's important to search. I mean, even deep within,
they always say, oh, I got nothing to say. But
there's always something. There's always something.
So that's one of the key strategies that we have.
I think more importantly is like, I just don't
want to teach you to sing. I want to teach you
to be a frontliner. is to have a confident personality,
to stand out as a frontliner and try not to blend.
Is there pedagogy for this? Teaching a kid, okay,
let's not just, let me be fair, let's just do
a hypothesis here, okay? Let's say me. You, yes.
I'm not a kid, of course, obviously. Yeah, you.
I'm an old man, okay? So, if an old guy comes
to you and says, just switch it up, old guy,
yeah? Teach me how to frontline, how to be a
good frontliner. Are there steps? Are there modules?
It's not pedagogy, it's pedagogy for kids, right?
Yeah, pedagogy, yeah. So what would you say?
Just sum it up for me. Don't you think for older
people, I feel it's a lot easier because one
of the main things that they need is... Yeah,
okay. Number one. And like you, you're able to
speak well, right? And being able to stand, posture,
poise. What's that first five seconds of impression
that you set when you walk in? Okay. The way
you hold yourself. When you talk about other
steps, yeah, it starts from inside out. And that's
for me, that's what's important. You know? So
I think that to stand out. when you say an old
guy come to me, I need to kind of like, okay,
what do you do? Let's say you're just a man off
the street, right? It doesn't matter. What did
we say last week? You fake it, you make it, right?
So it's the way you carry yourself. The grooming
is very important. The way you speak is very
important. And what skillset do you have? What
skillset? Are you an expert in something? So
let's say you gather all that information and
you have it in hand. What do you do with that?
Is there a method, a methodology? Yeah, there
is a methodology. However, I need to qualify
that there is no definite definition. for stage
presence if we do research I tried to do that
and everybody has it's that thing that you cannot
define the aura yeah the charisma the X factor
that X factor you can't define it you just know
it when you see it right so there are many front
liners we see many personalities but some have
it more than the others what is it yeah that's
a mystery isn't it that is still a mystery that
is still a mystery is there a methodology I think
that that's what my next research paper is going
to be about. Hey, share that with me, man. No,
I am not going to. I'm actually going to delve
into that a lot more, but focus on kids. It's
to work out a methodology where it's... can be
more defined because you cannot define what is
X factor, but there are steps that you can take
on too. And I think one of the main things, I
mean, for performance is to be very good in the,
in, in the skill. Right. And if you're not that
good, you got to make up, make it up. For example,
if I, I was a singer and how I evaluated myself
is that I'm okay. A singer, I'm not great. You
know, I'm, I like my tone, but I'm not a great
singer. You know, some limitations I have. So
what is it that's going to make me different?
And that's why I pick up the saxophone. Because
that's when I can then carve out a niche for
myself. So be something that nobody else can
be. And that's one way that you can actually
step up. A unique selling point, a USP. Yeah,
USP. Exactly that. Okay. The reason why I use
the example, the hypothesis, of an older person
is because kids should not be watching my show.
I see. Yeah, yeah, yeah. We're pretty well behaved.
I have been very well behaved with you despite
the fact that I probably spewed one or two profanities
earlier on. But that's par for the course as
far as my show is concerned, by the way. But
I've been very, very, very polite, okay? Oh,
yeah, you've been very well behaved. I have been.
Don't know why, maybe you've been teaching kids
so long that I feel like, okay, it's a teacher.
But parents do watch. I mean, parents would want
to watch, right? I would ask them to watch, right?
Yeah, yeah. I kind of realized that how, you
know, like when we started the show, they said,
okay, Chris, hold back. Okay, if you don't hold
back, what would you say? No, I'm just worried
about parents telling you, KP, what are we doing
in this guy's show? He's like, potty mouth okay
I think you're alright so far so far I've really
been very conscious of my language anyway really
yeah yeah you know I don't want to go into linguistic
gymnastics yeah I'm just keeping it as kosher
as I can. I'm really surprised. I have to, I
have to. Thank you for that. I kind of realised
that parents, you know, of the kids you teach
might probably watch, so I better do you some
favours. Okay, COVID -19. When the pandemic was
here, you created, you led the creation of the
If Not For You. It's a song, it's a touching
song. 39 young performers. How did this initiative
come about? Wow. Okay. Thanks for bringing that
up. I write songs occasionally under duress.
So only under duress. So you can only write songs
when you're under duress. Yes. Yes. I wrote a
school theme song, kids performing. The kids
performing theme song. Right. What? I can't remember
the title now, who I want to be, okay? I'm the
dearest because I have a festival. And I said,
oh my God, I have a festival and I don't have
a theme song. So I wrote a theme song. And I
was doing a, they were doing a documentary on
me. And I said, if you don't want to pay for
IP, got any songs? Okay, I write one song. And
that's another song I wrote. And then for this,
of course, and I wanted, I just wanted to, express
myself in a certain way my gratitude and I want
my talents to also somehow contribute and we
were about to be shut down and we I had to rush
the project so I told you under duress and I
quickly had to gather all the kids learn the
song get the music done and the first arranger
went AWOL on me and I had to get another arranger
and yeah and we did that under duress and we
released it the same time Dick also released
the song I think because we were both supported
by MM2 and so Music in Movement no MM2 MM2 okay
who's MM2 sorry MM2 Entertainment Melvin Ang
MM2 yeah okay for sure Because we were part of
the entity. And yeah, we rushed out and the impetus
was basically just wanting to express our gratitude
to the frontliners. And so I wrote the song and
had our kids, we filmed it where our school was.
We were at the yards at the time and got them
to care and did the shoot. Okay, for everyone
to know, we'll be playing that video at the end
of the show for a performance of If Not For You.
So nice, thank you. You're welcome. Then also
tell me about this thing you did. AOS Stay At
Home And Sing Challenge. Yeah, COVID, right?
Yeah. Then go away and sing. You did this now.
Can we play some of it, please? Here we go. So
we stayed home, right? Yeah. We stayed home and
you just had to make sure everyone stayed entertained,
is it? Okay, so this is to get There's no volume.
This is to get my kids to sing. To continue singing
despite the circumstance. So I have to set example,
right? So I sing a song every day. Sometimes
I sing five songs in a row, then I just release
one every day. Then I just need to know, change
my t -shirt, change. 25 days. Hi, this is KP,
and this is day one of the AOS Stay Home and
Sing Challenge. I'd like to kickstart with a
song from The Carpenters. It's all coming on,
okay? Yeah. Sing, sing a song. Sing out loud.
Okay. Sing out strong. So that's day one. Day
one. That's day one. Sing out good things. 25
days. Yeah, I know. You're not playing 25 days.
No, I'm not going to be playing 25 days. No,
no way am I going to be doing that. Otherwise,
we have no time. Okay, guys. Thank you very much.
So that was day one. You went on for 25 days.
Yeah. You know, it's kind of entertaining. I've
got to admit, though. Well, you know, COVID days,
we shut down. We find ways to entertain ourselves
and everybody. But you see, the impetus is that
I need to keep that spirit alive for the kids.
Did the kids do it? Yeah, some of them did that.
Some of them, like, you know, didn't do it for
25 a day. That's cool, man. They still do. And,
you know, my friends look forward to, you know,
the day's broadcast. And I think that's very
important. Just keep going. Keep going. You know
what I do. What did you do? Back then, who knows
about maybe a lot of cinema. That was only like,
what, five years? Oh, believe me, man. I tell
you, in this last five years, it was boom. Well,
anyway, sad story on my part, but never mind.
What we did was I was approached by some guys
from the Star Association who wanted to do something.
Everyone is stuck at home, right? There was a
circuit breaker. So they said, okay, let's do
our first digital online live thing, you know.
In those days, I mean, when it started, right,
it wasn't a thing. It wasn't a thing yet, going
live Facebook and stuff. So I said, good idea.
Okay. So at home, I have these mics, right? Oh,
yeah. Right? The Super 55s. And then put it up,
set it up, got my leather jacket on, got on my
black jeans and tight black jeans and did my
hair up with this. You know? And I didn't have
a studio then. I only had the mic. I had my monitor,
you know, speaker. And I told the wife, okay,
set this up. Set the phone up, you know? And
we just shoot, right? And I sang Elvis Treat
Me Nice, right? And honestly, I don't know why,
for some strange reason, the audio was so damn
good. It was so good. I was like, wow. Closed
my curtains over my balcony, my last house, not
this house. Closed the curtains, you know, and
the gray curtains in the back. And it's kind
of glittery. And it looked really like real legit,
you know. Yeah. Like you're in the studio legit.
And it turned out so well. I got to say, it turned
out really, really well. And this is what I did
for COVID. Don't you think that's like. a good
thing I mean it was you asked us do it now like
oh no no no I look at it like oh yeah you know
just to be able to entertain you know what I
mean that's right I think just about doing something
yeah just to show that you know we are alive
and that we want to be what was that we we Stay
safe. And there was another, like, we share,
we care. One of those things that, yeah, one
of those motos. And I just felt that we, I had
to do something. And that was my impetus to just,
it's actually for the kids. I wasn't expecting
you to be playing it now, but it was for the
kids. Come on, let's just keep singing. Let's
do this. Okay. 35 days. Let's just do 25 days.
The reason why I put it up is because, yeah,
I kind of figured that is the reason why you
launched the 25 day thing. And the reason why
I want to put it up also is to have everyone
know. Look, man, I mean, us musicians, entertainers,
we have soul, you know, right? We have a heart,
you know. No matter what, we'll figure something
out. To do something worth, to do something,
not productive, but do something to raise your
spirits. We're not the only ones who've done
stuff like this, you know, during that period.
Yeah, I think everyone in the world. Yeah, somehow.
Got in to do, okay, your band's coming together,
all Zooming and then doing the recordings and
play songs, you know. It was crazy, but it was
all amazing feats and efforts. And I think because
of those days where we couldn't go out and we
became more creative. And I think that's why
we're doing Vidcast now, podcast. It's more popular
than ever. And, you know, new ideas of... Working
remotely. Yeah. Singing remotely. Yeah. All these
possible. Yeah. Because we had no choice and
then new things were invented. So it was. But
I got to say something. I got to say something,
KP. You know what I love about your voice, your
tone? Oh. It's a happy tone. Nice. Thank you.
No, no. There's something about your tone. First
time someone tell me that. It's a happy tone,
you know. You somehow feel happy. Just your tone.
Ah, nice. Just now, you know, I know it's a happy
song, sing, sing a song. But that tone, it's
something about you. It makes someone feel happy.
Pull a smile. So nice. Thank you. No, really.
I mean, let me tell you, man, I am not one of
those. I would call a spade a spade. I don't
blow sunshine up anyone's behind. I say what
I mean, I mean what I say. I've never heard that
before. Okay, okay. Thanks, Chris. No, not at
all. Good to hear that. No, not at all. But it's
true. You have a very pleasant tone. I'd like
to ask KP about your assessment of the current
state of affairs in nightlife and live entertainment
in Singapore. What excites you? What concerns
you? That's a tough question now. Because frankly,
I have not been out except if there is a good
show on. So I don't go to like a dance. place
because of the dance music uh last week i went
for i was invited to uh watch jerry montero do
his live recording and because i also wanted
to watch sean hong wei on the saxophone so i
did go out um and that was at the blue jazz and
i really had a great time um And I have to say
that I was glad I went out and I thought that
was world -class music. And the atmosphere was
great. A lot of the people, it was full house.
When you have good quality music like that and
it's about really going out there and sharing
it. And of course, Jeremy had a purpose was to
do the live recording, but he was so entertaining,
you know, between the pieces that he played.
And you know that they are all maestros. So,
you know, in the nightlife, we have venues that
support great musicians like that. It's really
amazing. For the younger ones, now they're performing,
where are they? Timber? Where else? Some other
venues? Well, where are they? Mando Pop is really
hitting the streets now, man. I mean, lots of
young people are into the Mando Pop thing and
they're singing, they're performing there. They're
thriving, that one. Yeah, unfortunately, I haven't
been to any of these venues, but I'm just glad.
that there are still some around. Or you asked
me about the scene. It's so different because
I'm not sure about the metal part, but I know
that the English bands or the Western bands,
they don't have residency like we did before
when we have a contract for three months, six
months, a year, whatever. You know, I was always,
you know, on a contract for a certain period.
Not like, oh, Friday I'm here and Saturday I'm
somewhere else. So that concept has been in the
West, Australia or London or America for the
longest time. It's only in the last, what, 10
years that the musicians are getting around and
it's very tough. Actually, more so after COVID.
After COVID? Yeah, more so after COVID. Yeah,
and that's a problem. And of course... have to
be doing very well to support bands of the size
that we had during Dennis Foo's days, right?
So he was doing well, I think. He had two bands
sometimes and it was great fun. So the scene
is so different and musicians now have to promote
themselves through social media. So I don't know.
It's just different. And I'm glad that I was
a musician back then and not now. Really? Because
it's a lot harder today, you think? Is that the
reason why? You got to make a lot of noise to
be heard now, to be really good. Yeah, I'm sorry
I can't answer that question because I haven't
been out. I mean, there are some bands I know
they're really good and I've walked past them
or I've seen them perform some big gigs. And
I know that we have very good musicians, you
know, the new generation. So I hope that, you
know, the venues are able to support them. And
I know they have to work a lot harder to be heard.
Yeah. So the last time I organized the Jazz by
the Cove, Sentosa. basically commissioned me
to put together some musicians, which I brought
in some international jazz musicians. And also
we have some of the local ones. And I also discovered
some new jazz musicians, new singers that's different,
you know? So I think the music will go on, just
different. Okay. Yeah? I've got one last question
for you. Oh, okay. It's been an hour, I think.
Okay? Oh, wow. Okay. Is that like way over? No,
no, don't worry about it. I was, we were, Dennis
and I and Rosie, we were on for an hour and almost
two hours. Okay, because you're older. Yeah,
thanks. I talk a lot. Thank you. Actually, it's
more Dennis. That's because there's a lot of
things to say. Dennis could go on for five hours,
I tell you. Oh, absolutely. I think Dennis would
have a lot of anecdotes. A lot. A lot of stories
because, you know, in the bars, things happen.
Yeah. Yeah, I love working with him. I learned
so much from him and he's a man of details. Yeah.
You know? Oh, Gopo, you think the bass too much,
no? Just the bass. Then one day he told me, eh,
the pool table is so dirty. And I was outside.
It was Christmas. I said, Dennis, I'm the executive
director. You have a GM, a manager in the bar
for a reason. Don't call me about the pool table.
Yeah, that's my darling. Great guy. Yeah, he
loved me. He loved me and I love him back. Okay.
What do you hope? You, your lasting legacy will
be for Singapore's performing arts scene and
the generations of artists to come. My hope,
my hope is that that always be that they have
their dreams of being who they are, fulfilled,
right? And that they can grow up to be decent
human beings. If they choose performing arts,
they need to know that it's not like they have
to work at it. And we always want to be the best
that they need to work at it, not think that
just because I want to do this and things fall
in their lap. So I do hope that we continue to
churn out great artists. internationally renowned
yeah I'm very proud of my students with Pursuit
Musical Theatre Nathaniel Ong for example that's
made it in West End wow so I'm really like in
a hope that I churn out more artists like her
talents like her who's made it and make Singapore
proud and especially when it's their dream then
I've done my job. All right. KP, it's our tribute
to you. Thank you so very much. You're an icon.
Thank you. You are an icon in my eyes and I'm
sure in the eyes of a lot of us. Oh, thank you
so much. And thank you for giving us also your
great bars like, you know, Dada and Java Jive.
I mean, and thank you also for starting Jive
Talk because I still think they're great. Oh,
they're the best. They're very good. Thank you
for having me, Chris. Not at all. My pleasure.
My pleasure. I got to say goodbye now. Thank
you, everybody, for watching this episode of
Season 6 of the Chris Hansen Conversation. I
hope you've been enjoying it so far. More to
come. This is going to be one heck of a long
season. And do make sure you comment, share,
like. And even if you want to say something terrible
to me, please go ahead. I welcome all comments,
okay? Thank you so very much, everyone, for watching.
Stay safe. See you again real soon. Bye -bye.
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