Mike Hanopol has often been described as the “Last Juan” by his peers and by a generation raised on his music. As one of the pivotal members of pioneering rock band Juan Dela Cruz, alongside Pepe Smith and Wally Gonzalez, Hanopol would go on to release several solo albums and projects across five decades. He has survived countless shifts in sound and still stands as one of the most important figures of his time. His work continues to be cited by bands like the Eraserheads, Sandwich, and P.O.T., among many others. Hanopol himself often looks back on the moments, from “Laki sa Layaw” to “Balong Malalim,” and even his unexpected role as a composer for disco group Hagibis, most notably on the hit “Katawan.”
Hanopol isn’t one to hold back when describing the songs he’s made. His experience stretches from time spent in Europe to being recruited by Smith into psychedelic band Speed, Glue & Shinki in Japan, before going on to release defining Juan Dela Cruz records like Himig Natin in the Philippines.
His legacy is one for the ages, and hearing him speak feels essential for anyone paying attention to rock history, especially with the kind of anecdotes that only someone who has lived through it can tell. In the latest episode of Rolling Stone Philippines Greatest Hits, Hanopol breaks down the origins of the word “jeproks,” a catchall term that appeared in “Laki sa Layaw” and has since taken on a life of its own.
“‘Yung salitang ‘project’ na binaliktad ‘jeproks,’ galing ‘yan sa dinonate na lupa sa UP Diliman, Teachers Village na pinangalang ‘Project,’” Hanopol tells Rolling Stone Philippines. “Sabi sa eskwelahan, ang salitang ‘jeproks’ ay bagong lengwahe ng Pilipino. Salitang pang-kusina. Majority ng tao ngayon sa mga bahay ‘pag nagluluto, ang topic ay ‘jeproks.’ Ngayon nag-iba ‘yung pangalan, nag-develop, nag-progress ‘yung salitang ‘jeproks.’ Hindi lang salita kundi isda na. Ang pangalan ng isda ay ‘jeproks.’”
Rock N’ Roll Forever
For Hanopol, the way “jeproks” evolved mirrors how Pinoy rock itself continues to change with each generation. He remains hopeful that the current generation continues to engage with the full history of Pinoy rock, whether through younger bands covering Juan Dela Cruz songs or by paying homage to artists like him.
“Maraming musikerong nagtatanong sa sarili nila na ‘Paano gumawa ng ganitong kanta na Pinoy ‘yung tono o feeling?’ Simple lang. Nagkataon na dinanas ko sa buhay, mga experiences ko sa America, Europe, Japan, ginamit ko ‘yung idea ko na tuwing gumagawa ako ng kantang Pinoy na rock na alam ko kayang gayahin pero ‘mauulit pa ba yan?’ ng ganitong klaseng [music]?”
Hanopol has long advised aspiring songwriters that every song should carry a “moral lesson.” In tracks like “Tulungan Natin,” he emphasizes that writers need to understand the meaning behind what they create, whether drawn from personal experience or observation.
“Kailangan [mo] ng sagot sa mga tanong,” he says. “Composer ka e, hindi mo alam ang sagot sa tanong? Malabo ‘yun e. Hindi composer ‘yong ganon e.”
