Dream Score Studios

Dream Score Studios Cinematic music composition and reflective writing.

Serialized book projects, scripture, and story-driven work exploring rest, memory, faith, and the human journey.

02/24/2026

Creep

02/19/2026

You

01/31/2026

Chapter 5 - THE CODEBOOK

Before this chapter begins, I need to tell you something.

When I crossed from the music world of the Philippines into the unseen world of America, I started speaking a different language.

Not Tagalog.
Not English.

Codes.

Everyone in that life had one:
names, places, even emotions.

Not because it was cute,
but because it was safer.

Some of these codes were jokes.
Some were armor.
Some were shortcuts.
Some were warnings.

But they all meant something.

For the sake of the stories that follow —
and because NDAs are real, binding, and occasionally enforced by men with excellent posture —
I’ll be using the same codes here.

If you know, you know.
If you don’t, just enjoy the ride.

Here’s your translation sheet:

MI6 — the headquarters
Bond — the man at the top
M — the woman who ran the world behind him
Mogul — the son
No. 4 — the eldest daughter
No. 5 — the youngest daughter

These aren’t fictional nicknames invented for this book.
These were the actual codes used in the field —
the language we used in the cars, in the radios, during operations,
and during nights when things got too close, too real, or too dangerous to say plainly.

The Philippines had names.
America had codes.

From this point forward, you’re entering the coded side of my life.
Read carefully, and trust your instincts.
The people who matter will recognize themselves.
The rest will just feel the electricity.

Nothing here violates an NDA.
Everything here honors the truth.

The Inner Orbit

The first time I met the family, it wasn’t at MI6.
It wasn’t at the Tower, the office, or anything with a badge or a boardroom.
It was at the Four Seasons.

They were still new to Los Angeles then, staying at the hotel while a realtor showed them potential homes. I arrived with the SUV, thinking the man standing beside the realtor—shorter, casually dressed, unbothered—was just another assistant. Maybe even the realtor’s driver. It wasn’t until they slid into the car and he started giving quiet, precise instructions that I realized who he was.

Bond didn’t carry power the way most powerful men did.
He didn’t display it.
He didn’t announce it.
He didn’t decorate it.

He wore it, the way some men wear a scar—something earned, not polished.

He moved like someone who already understood the room before he entered it. Sharp. Calm. Dangerous in a way that didn’t need volume. That was my first impression: a killer hiding in plain sight.

M was different.
Still British, still refined, but in a softer, more deliberate way.
Elegance without effort. Grace without performance. There was a quiet strength to her, the kind that didn’t require raising her voice or raising an eyebrow. You felt it simply by standing near her. Later I learned she came from one of London’s older, quieter billionaire families. It made sense. She carried generational steel behind a gentle surface.

Then there was Mogul.
Sixteen.
Restless.
Smirking even when nothing was funny. The kind of energy that fills a room before he does. I knew, instantly, this was the type of kid who could start a wildfire in a marble room and somehow make you believe the match lit itself. Not a bad kid—just a powerful one who didn’t yet know his own reach.

No. 4 entered next. The stepdaughter. Twenty-two at the time. Pretty. Polished. Lovely even. But beneath that, something… different. A frequency just a millimeter off the station. Not wrong, not broken, just tuned to a wavelength the rest of the room couldn’t quite catch at first. She was kind to me—remarkably so—but there was a depth behind her eyes that didn’t match her calm.

And then No. 5.
Barely ten.
If Mogul was trouble, she was the catastrophe waiting for applause. A tiny hurricane in a dress. She had the kind of presence a fairy-tale villain has before they know they’re destined for villainy—sharp, spoiled, fearless. The type of kid who could burn down a ballroom because the dessert wasn’t right, and then blame the flames for starting themselves.

That was the family.
Beautiful. Complicated. Explosive in their own ways.

And me?
I wasn’t just meeting them.
I was inheriting them.

Because serving a household like this wasn’t about security.
It was about managing an ecosystem:
tensions, moods, unspoken rules, silent battles, shifting alliances, and storms no one else could see.

Bond was the sun—steady, burning, shaping the rhythm of every room.
M was the moon—quiet but pulling tides.
Mogul was the storm on the horizon.
No. 4 was the shadow in the doorway.
No. 5 was the match looking for friction.

And I was the wall between all of it.

The buffer.
The operator.
The one who protected not just their lives—but their dynamics, their explosions, their collisions.

Years later, people would see the titles, the promotions, the curated photos and spotless moments.
But this—this Four Seasons arrival, this first orbit—was where the real story began.

Where survival meant reading people faster than they could read themselves.
Where loyalty became a currency.
Where exhaustion and elegance lived in the same house.

This was the inner orbit.

And stepping into it meant stepping into a world no training school, no badge, no handbook could ever prepare you for.

01/03/2026

CHAPTER 4 - THE WORLD BEHIND THE VELVET ROPE (Part 2)

THE TRAINING — The Art of Violence, Silence, and the Spoken Blade

I wasn’t trained to fight.
I was trained to end things quickly.

The people who built me weren’t the loud, tactical-vest Instagram heroes.
They were the quiet ones —
the men who could fold you into the floor before you finished your sentence
and go back to drinking their coffee like nothing happened.

Close-quarters came first.

Not martial arts with pretty poses.
Not kata.
Not spinning kicks.

Just the ugly stuff:
the science of breaking momentum,
the geometry of leverage,
the timing between inhale and exhale where a man is weakest.

How to shut down an attack in one heartbeat.
How to make a wrist go numb.
How to redirect a blade without turning it into a movie scene.
How to use someone’s aggression as the rope that hangs them.

Movements so small you could miss them if you blinked.

Then came the control work — the part nobody glamorizes:

How to lock someone up without looking like you’re locking them up.
How to guide a violent person away from a principal
using only one hand and a calm face.
How to turn fear into directions
they obey without realizing you never raised your voice.

That was the invisible discipline —
the verbal blade.

Most people think conflict is won through fists.
Real operators know it usually ends ten seconds before the first punch —
in the way you speak,
the tone you choose,
the space you leave between your words.

How to de-escalate a drunk VIP.
How to shut down an entitled stranger.
How to check a threat using sentences instead of strikes.
How to break a man’s will without touching him.

Threat management through language —
the art of folding someone with words,
leaving them convinced it was their idea to back down.

And when words failed?

We trained for that too.

Not martial-arts choreography —
the raw, bone-on-bone contact meant for hallways, elevators, loading docks,
and backstage corridors where space was tight and stakes were high.

Elbows.
Shoulders.
Hips.
Pressure points.

Grips that take the fight out of someone
before they realize it started.

Efficiency over elegance.
Survival over style.

Vehicle work came after.

J-turns.
Evasive acceleration.
Breaking out of a boxed-in gridlock.
Driving fast without looking like you’re driving fast.
Keeping a principal calm while every cell in your body calculated
threats, exits, timing, speed.

Then weapons —
not as toys,
but as responsibilities.

How to fire under adrenaline.
How to handle a malfunction under pressure.
How to control your breathing
when everything else around you wanted you to lose it.

People liked to joke I was the real James Bond.

But Bond has plot armor.
I had training.

Training sharpened in the shadows of private jets and backstage doors —
in places where the cost of failure wasn’t a bruised ego
but a ruined life.

I wasn’t military.
I wasn’t law enforcement.
I wasn’t a spy.

I was something harder to define:

A private-sector operator sharpened for the world behind the velvet rope —
the world where danger doesn’t announce itself,
and the only thing more powerful than your fist
is the calm voice you use right before it.

⸻

THE AIRPORT MOMENT — The CIA Question

Once, during an airport unload,
a baggage handler looked me up and down and asked:

“CIA?”

I said the only truthful thing:

“Well… if I were, I wouldn’t tell you.”

He froze —
not sure whether I confessed or denied.

That’s the thing about this world:
once you start resembling the job,
the job follows you everywhere.

01/03/2026

CHAPTER 4 — THE WORLD BEHIND THE VELVET ROPE (Part 1)

VIP YEARS — The Men Who Built the Modern World

Before the music industry ever gave me a title,
America put me in rooms with people whose ideas built the modern world.

I won’t name them —
NDAs exist for a reason,
and I’m not planning to break mine for a paragraph —
but you’d recognize them instantly.

One of them changed the way the world holds a phone.
Another rewired how we store data and what we do with it.
Another stood one election away from running the free world.

I wasn’t their peer.
I wasn’t their guest.
But I was close enough to watch how giants move:

The stillness.
The certainty.
The silence before they make a decision that shakes the market.

Those encounters never end up in biographies,
but they changed my calibration.
They stretched my world.
They taught me the difference between being talented
and being inevitable.

And without knowing it,
that was my first step into the world of operators.

⸻

ROYAL INTERLUDE — Power Wrapped in Silk and Steel

Then came the royals.

Not the fairy-tale kind —
the kind whose names make oil prices shift,
whose security teams never blink,
whose movements are scheduled down to the millisecond
because the world watches their footsteps.

I won’t say which kingdom,
but let’s just say their family tree controls
a significant portion of the planet’s oxygen, oil, or both.

I spent time protecting two of them —
not “the son and the daughter,”
but two branches very close to the trunk.
Close enough that their shadows carried weight.

Again —
no names.
No flags.
No crests.

Those NDAs weren’t written on paper —
they were practically etched in stone.

Break them and you don’t just lose a job —
you wake up one day with a lawyer, a diplomat,
and possibly a very polite man with a British accent
asking you to “step into the vehicle, sir.”

But here’s what I can say:

That world introduced me to
Secret Service agents, SAS operators, diplomatic protection units,
and the kind of quiet professionals who never raise their voices
because they don’t need to.

They moved like ghosts —
no wasted motion,
no ego,
no YouTube-tutorial techniques pretending to be expertise.

Watching them work
was like watching time slow down.

Every breath had intention.
Every step had meaning.
Every silence held more information
than most conversations.

That chapter became the bridge
to the one job where all of this would matter —

the world behind the velvet rope.

— to be continued (Part 2)

12/28/2025

I dont give ….a mother father!

12/28/2025

Chapter 3 - The Studio That Smelled Like Sin (Part 2)

Then came Samantha Chavez — Golden Kite champion.
My first real artist under Universal.

We were mid-session when the real Samantha moment happened.

I stopped the recording —
not because she was bad,
but because something in the take wasn’t landing,
and I had to correct her.

She kept her headset on,
looked at me through the glass, and asked:

“Jade… how old are you?”

Not angry.
Not dramatic.
Just genuinely confused —
like the question had been sitting in her chest since the first take.

I already knew why she was asking.

I looked too young to be producing her.
Too new.
Too provincial.
Too unproven.

If I said nineteen, the illusion might crack.

So I deflected.

“What do you think?”

She studied me.

“Twenty-seven.”

I took the number that felt safest —
the age of someone who might have earned the right
to correct a Golden Kite winner —
and handed it back to her.

“Yeah,” I said. “Twenty-seven.”

She nodded, relieved.
“Thought so. You’re young.”

Session saved.
Illusion preserved.
Career barely held together by confidence I didn’t have.

The song we were recording — “Nagkataon, Nagkatagpo” —
would later become the movie theme for a film starring
Rudy Fernandez and Maricel Soriano,
and win Best Movie Theme Song of the Year at the Awit Awards.

A nineteen-year-old kid, lying about his age in the booth,
quietly recording an award-winning theme song
he didn’t yet believe he deserved.

The moment I became part of Samantha’s world
was the moment I realized:

I wasn’t just pretending anymore.
I was moving.

From a rusty bike…
to Spanish bread…
to choir impostor…
to Tondo studios…
to Universal.

⸻

Then came Ariel Rivera.

Before Universal.
Under BMG.
The moment the industry first took me seriously.

My song wasn’t the single.
It wasn’t the favorite.
It was a filler.

But that filler paid ₱80,000 —
and in the ’90s, that was real money.

More than I had ever held in my hands
without a bicycle attached to it.

If a filler could do that…

what would a hit do?

That one filler cracked the door wide open.

It led to a world I used to only see on movie posters:

Rudy Fernandez.
Maricel Soriano.

Icons.

Soon, I found myself contributing music to multiple films tied to their names —
five in total —
each one quietly solidifying my place in the industry.

And while “Nagkataon, Nagkatagpo” had already carved its own history,
another theme, “Hindi Ko Kaya,”
sung by Geneva Cruz for Maricel Soriano’s film Soltera,
earned a FAMAS Best Movie Theme Song award.

For a kid who once lip-synced in choir and faked reading notes,
wrapping songs around names like Rudy and Maricel
felt like scribbling my signature on a national myth.

The industry noticed.

Awit Award nominations started coming in —
not once, but year after year.

Then came the calls asking me
to judge the very awards
I once dreamed of winning.

The same rooms that once made me feel five-foot-one
were now asking for my opinion.

⸻

Then came SKY Records.

I left Universal and formed SKY with my friend Christian Martinez.
We were Universal boys — hungry, stubborn,
stupid enough to believe we could build something of our own.

I was VP for OPM Production.
Christian was the President and handled A&R.

And that’s when it happened:

I refused payola.

Not because I was righteous —
but because I had a hit.

“Minahal Kita” by Michael Laygo.

Enough heat for me to believe
I didn’t need bribes.

Radio stations disagreed.

They banned me.

As in:
“Don’t play his songs.
Don’t accept his calls.
Don’t mention his name.”

Career over.

Until Bella — again — said,
“Not yet.”

She brought me back to Universal.
Walked me into radio stations herself.
And dropped the nuclear bomb:

“Do you want exclusive interviews for Britney Spears?”

They nodded like choirboys.

“Then you deal with him.”

Career resurrected.

Rumors followed.

People whispered I was sleeping with the boss.

Because in the Philippines,
if you rise fast,
people assume you rose horizontally.

No one imagines hard work.
No one imagines discipline.
No one imagines instinct.

They imagine beds.

I ignored it.
I was too busy trying not to drown.

⸻

Let me say it plainly:

The industry didn’t let me in because I was gifted.

I was average — maybe slightly above.
Good ear.
Decent voice.
Strong instincts.
Nothing extraordinary.

What I had was:

Fear
Insecurity
Stubbornness
Work ethic
Luck
Timing
Delusion
And the thought:
I refuse to waste this chance.

The same formula that got me into UST…
got me into Universal…
got me into SKY Records…
got me banned…
got me resurrected…
got me into studios thick with w**d, alcohol, sweat,
and that sharp chemical edge you don’t ask about…
got me into rooms with legends…
got me into songs that won awards…
got me into everything that came next.

Every time someone opened a door for me,
I entered the room feeling like a fraud…
and left feeling like a survivor.

⸻

If Chapter 1 was the rusty bike,
and Chapter 2 was the choir I lip-synced through,
then this chapter —
the studio that smelled like sin —
was the moment my life shifted gears.

12/26/2025

CHAPTER 3 — The Studio That Smelled Like Sin (Part 1)

There are rooms in life that shrink you the moment you enter.

For some people, it’s a courtroom.
For others, a hospital.
For me, it was the lobby of a professional recording studio — the first real one I ever stepped into.

I was still tall on paper — six foot two, long limbs, the frame of someone who could look confident if he wanted to.

But walking into that studio?

I felt five-foot-one.

Every insecurity I had — childhood poverty, fake-reading notes in choir, heartbreak I tried to turn into music — all of it stood at the door before me, whispering:

What are you doing here?
This isn’t your world.
You don’t belong.

The legends were there.
The faces I’d seen on cassette covers.
The voices I grew up listening to.

Men with ci******es hanging from their lips like punctuation marks.
Women with voices that could crack glass and egos that already had.

And the smell…

God, the smell.

Not the sanitized scent of the acoustic rooms later generations would post on Instagram.

No — this was the real thing.

W**d.
Cigarette smoke.
Hard chemical smoke in the corners.
Whiskey seeping from the carpet.
Aircon cold enough to make the sweat on your back freeze.
Old amps running hot.
Decades of hits soaked into the walls.
Decades of failures, too.

You could get high just standing there.

I wasn’t the first kid from a wooden house in Angeles City to dream big…
but I was the first one stupid enough to walk into this world without armor.

I was there because Universal hired me.
Or more accurately: Universal bet on me.

Maybe they saw something.
Maybe they were desperate.
Maybe they thought: He’s cheap. Let’s see.

But Bella Tan — may her name always be spoken with respect — she saw more.

She listened to my demo the way a jeweler inspects a stone:
tilting it, checking angles, not sure if it was real but curious enough to keep looking.

She didn’t hire me as a singer right away.
Maybe I was too skinny.
Not commercial-looking.
Maybe she sensed I didn’t want it.
(And she was right — I didn’t.)

She put me in publishing first.

Yes — I was the guy who transcribed lyrics for karaoke.
The English ones you sang wrong?
That was probably me.

But that job was a blessing disguised as humiliation.

I was forced to dissect genres I never listened to.
Country.
Rock.
Folk.
Bubblegum pop.
Soul.
Power ballads with key changes strong enough to injure a tenor.

It was a crash course in the entire music industry —
through the back door.

Then came the Universal Motion Dancers.

Bella asked,
“You studied voice in UST, right? Can you train them?”

I lied.

“Of course.”

They were already a hit dance group — idols for an entire generation who copied their moves in front of boxy TVs.

Less than a week of lessons later, she signed them.

Suddenly I was coaching them, prepping them, doing voice-overs for their concerts.
It became a side hustle — emceeing in malls, hosting.

I even landed two songs on their album.
Not singles.
Maybe out of pity.

Didn’t matter — it was still another slice of the pie.

Then came Samantha Chavez.

And the moment I realized:

I wasn’t just pretending anymore.

I was moving.

— to be continued (Part 2)

12/25/2025

John 13:7

12/20/2025

CHAPTER 2 — The Choirboy Who Couldn’t Read a Note (Part 2)

The 8×8 “Luxury” Prison

People romanticize first apartments.
Only people who never lived in one do that.

Mine was an 8×8 box shared with three older roommates —
a room so cramped that if one guy took a deep breath,
the other three had to exhale to keep the walls from expanding.

The bunk beds shook if someone thought about turning over.
My mattress wasn’t a real mattress —
it was a folded slice of bread pretending to be bedding.
If you sneezed, it might’ve floated off the frame.

The walls were so thin
you knew every fight, every secret,
every questionable life choice happening next door.

But for me?

It was freedom with a sense of humor.

We split rent,
but their parents supplied food —
bags of meat, vegetables, mountains of rice.
That tiny kitchen became my first real training ground.

I cooked.
They were supposed to wash dishes.
“Supposed to” was doing a lot of heavy lifting.

Which is why my revenge was small, petty, and perfect:

I slipped clean plates back into the dirty pile.
A quiet form of terrorism only roommates understand.

Then came the chilis.

Little green assassins.
Cute. Harmless-looking.
Spicy enough to make grown men question God.

I hid them inside the beans
like perfectly camouflaged landmines.

The best part was the moment of contact —
a roommate mid-bite, mid-sentence, mid-flirting-rehearsal —
freezing as the chili detonated in his mouth.

Eyes widening.
Air escaping.
Soul exiting through the top of his head.

All from something smaller than a thumb.

Meanwhile, they drenched themselves in Drakkar Noir —
a cologne so strong it could kill a mosquito
and possibly a small dog from across the hall.

They flirted with girls using confidence
entirely funded by their parents’ allowances.

I had none of that.

But I had quiet fire.

Some days, that was the only luxury that room ever had.

⸻

Failing Out of School

While they flirted, I failed.

Sight-reading? Failed.
Theory? Failed.
Everything with paper? Struggle.

Summer classes kept me afloat,
but the truth was simple:

I was drowning.

I quit the choir after Michael died.
I couldn’t pretend anymore.

Seven years to finish the degree?
Impossible.

So I left.

⸻

The Tondo Gamble

Someone told me about an arranger in Tondo —
Manila’s most notorious neighborhood.

A place where even sunlight needed protection.
Where alleyways whispered danger.
Where anything could happen and usually did.

And in some corners,
even the stray dogs stared at you
like you owed them money.

I went anyway.

His “studio” was barely a room —
just enough space for a chair, a keyboard, and a dream.

But he was the first person
to take my music seriously.

He arranged my first song.
We recorded it.
He made it real.

⸻

The Midnight Radio Bet

One night, maybe 3 a.m.,
a radio commercial said:

“If you have a song you want us to play… bring it in.”

So I did.

The station manager listened.
Then asked:

“Who’s singing?”

“…me.”

“We’ll play YOU.”

Just like that — doors opened.

Record labels called.
Opportunities came.
I dropped out completely.

The boy who lip-synced in choir
ended up writing songs played nationwide.

Life is strange.

Sometimes the doors you’re scared to open
are the only ones that lead anywhere.

Address

Los Angeles, CA

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