Of Myths and Resurrections

Budjette Tan and Ian Sta. Maria on Trese, Skyworld and the revival of the PH comic book industry

Truth be told, I am no comic book fanatic (not in the fangirl sense, anyway).

I did spend a considerable part of my youth reading Archie, Funny Komiks, Pugad Baboy and the comics section of just about every broadsheet; I also have Neil Gaiman’s The Sandman and Neverwhere, a couple of Ranma 1/2’s and some Pugad Baboys sitting on my bookshelf.

However, years spent mingling with comic book aficionados in the UP College of Fine Arts has made it unavoidable to imbibe the culture.

In retrospect, conversations among these graphic novel enthusiasts would’ve made Sheldon Cooper look like an amateur.

And apart from this immersion, I was also taking classes with (who would turn out to be) masters of comic illustration: Elmer Damaso (Culture Crash Comics), Leinil Yu (Marvel Comics) and Ian Sta. Maria (Alamat Comics), to name a few.

Perhaps it’s my fascination for comic art that has somewhat made me an honorary member of the club.

For the life of me, I can never quite illustrate as effortlessly and as impeccably, as these guys could.

Komikspeak

I was introduced to the inner workings of Budjette Tan and Ian Sta. Maria’s minds during my formative years in advertising.

Budjette was a senior copywriter at the time, while Ian and I were junior art directors in Harrison Communications.

Currently, Budjette is Deputy Executive Creative Director of MRM (McCann Worldgroup’s digital division), while Ian is now a creative director in BBDO-Guerrero.

Both are into comic books at a fanboy level, and even though I never really had a téte-a-téte on the topic with them, it was part and parcel of the usual buzz in the workplace — the sort of geekspeak you encounter on a day-to-day.

More than a decade later, I’ve managed to stay in touch with these well-respected komikeros. They are now successful comic book creators themselves — Budjette writes for the Trese series (co-created with and illustrated by Kajo Baldisimo), while Ian illustrates for Skyworld (which he co-created with Mervin Ignacio).  Both Trese and Skyworld are in National Bookstore’s Bestsellers list.

Recently, Trese 4: Last Seen After Midnight was awarded Best Graphic Literature for 2011 in the annual National Book Awards in the Philippines.

Prior to this recognition, Trese 3: Mass Murders also won the same award in 2010.

Gerry Alanguilan, renowned comic book artist and award-winning creator of Elmer had this to say about Trese: “Trese continues to impress and surprise, daring to go where no Filipino comic book dare to go.”

After Trese 4 emerged in National Bookstore’s Bestsellers list, Budjette received an email from Neil Gaiman:  “So ridiculously proud of you! When I came out all those years ago for the first time, that was what I wanted to see happen… I feel like you and all the smart Filipino writers and artists out there are doing something really brave and powerful, making a whole new wave of Filipino art and story. Well done!”

Trese and Skyworld

Via an email interview, I asked Budjette and Ian to explain the ideas behind Trese and Skyworld. Both are from Alamat Comics (where Budjette is founding editor.)

“Trese is an urban fantasy that takes all the monsters and creatures from Philippine myth and folklore and sets them in the modern-city of Manila. So, you’ve got a gang of manananggal running a kidnapping ring in Quiapo; you’ve got tikbalang drag-racing down C-5, and aswang are the most notorious hitmen in the city. When crime takes a turn for the weird, the police call Alexandra Trese. She’s uses magic to solve crimes committed by these supernatural creatures,” Budjette responded.

“Skyworld reveals to us the secret history of the Philippines and shows us how tikbalang and engkanto helped Lapu-Lapu defend Mactan and how Jose Rizal and Andres Bonifacio teamed-up to fight the Queen of Aswang. In that backdrop, we follow Makabo, the Prince of Tikbalang, as he spends over 500 years hunting down the Queen of Aswang. The story also focuses on Andoy, a street urchin who turns out to be part of the Maharlika bloodline that dates back to the time of Lapu-Lapu,” he further elaborated.

In a nutshell, Ian described Trese as the local version of the X-Files. “Skyworld is kind of a mix between all the action adventure films that I loved,” he quipped.

Thought balloons

Asian Journal (AJ): When did you start taking an interest in creating comic books? What/who were your influences/source of inspiration?

Budjette Tan (BT): When I was a kid, my parents would just bring home comic books once in a while. So, there were always comic books lying around the house.

It was in grade school when I met other comic book collectors. We’d sketch out costume designs and make secret origins for our own heroes. Those were the beginning of wanting to write comic book stories. Back in the 80s, I was a big X-Men fan and Chris Claremont fan. I loved the work of John Byrne and George Perez and Marv Wolfman. It was in the 80s when I discovered Frank Miller’s Daredevil, Elektra, and Ronin. Which made me pick up his Dark Knight Returns. Of course, Alan Moore’s Watchmen was the big eye-opener for me, on what can be done with the comic book medium. In college, that’s when I discovered the works of Neil Gaiman and Grant Morrison. In the late 90s, that’s when I became a fan of the works of Warren Ellis. These are the guys that heavily influenced my comic book writing. And I just have to mention that it was in the 90s, when we discovered that Whilce Portacio was Pinoy. To know that a Pinoy was drawing the X-Men was a big source of inspiration for us, made us realize that it is possible to get into Marvel Comics.

Ian Sta. Maria (ISM): Grade school. A Batman comic book with the art of Norm Breyfogle made me want to draw comics.

AJ: When you write/illustrate comic books, do you come from an entirely different place, or would you say that working in advertising influences the kind of ideation/work that you do?

BT: I think that my work in the ad agency has made me a better storyteller. Writing a 30-second TV commercial is like writing a 4-page comic book story.

It made me learn to tell a story better, without the fluff, to keep to the narration, but still be able to give it heart. When given an Advertising Brief, the challenge is always, how to sell this old product in a new and exciting way. That’s how I approach a comic book story. “I want to write about a story featuring star-crossed lovers. How do I make this new and interesting? Maybe I’ll make them vampires and werewolves!”

ISM: Working with advertising helps with comics and vice versa. But more often than not it’s comics that work as a stress reliever.

AJ:  How do you go about the process of creating new stories and conceptualizing illustrations for Trese and Skyworld?

BT: I usually take what is a common known story/urban legend/folklore and see what would happen I make Trese try to solve that mystery. So, it’s taking those old tales and [seeing] how they’d fit in a modern setting.

For example, the old folktales say, if you can find a tikbalang, wrestle it to the ground and get a hair from its mane, you can tame it and command it. But in a modern setting, instead of wrestling the tikbalang in the forest, I set the story along C-5, where you have to defeat the tikbalang in a drag race.

ISM: Tsamba ang Skyworld eh...Originally I just wanted to draw a tikbalang with a sword. Mervin Ignacio and I just threw plotlines around during our inuman sessions. Also, we wanted to showcase the very rich mythology that we have as Filipinos. We just thought everyone was doing too much spandex and superhero-types. So we went the other route, [taking] magic and mythology.

AJ: Any entirely new projects brewing?

BT: Trese Book 6!

ISM: [I’m] now in the middle of finishing two other titles with Russell Molina and David Hontiveros. Plus planning for a Skyworld sequel has started.

AJ: Would you say that social media plays a crucial role in your work? If so, how does it play an important role?

BT: It the best and cheapest way of reaching thousands of readers.

ISM: Social media helps spread the word. It helped A LOT! We had friends of friends of friends sharing our posts! So lakas tsamba!

AJ:  What can you say about prominent Filipino comic book artists in the mainstream? How do they inspire you to create your own?

BT: Every time I hear about a Pinoy who’s doing work for Marvel or DC or any other foreign company, it inspires me to keep doing what I’m doing, and hope that my works will someday reach an international audience.

ISM: I’m always proud to see other Filipino artists or writers, who work with big names like Marvel and DC, get international acclaim,. At the end of the day, that is the dream — to make a living out of a hobby.

AJ: Who are your favorite Pinoy and non-Pinoy comic book writers and artists in the mainstream and why?

BT:  Here’s the reason why they’re my favorites: they are great at their craft. They are great artist, writers, storytellers. They surprise me and blow me away with the visuals they make, and the stories they tell. That’s why I like them and look up to them.[My favorite Pinoy comic book writers and artists include] Gerry Alanguilan, David Hontiveros, Manix Abrera, Mervin Ignacio, Ian Sta. Maria, Paolo Fabregas, Kajo Baldisimo and Carlo Vergara. [Non-Pinoy faves include] Neil Gaiman, Warren Ellis, Scott Snyder, Grant Morrison and Alan Moore.

ISM: Mine’s all Pinoy: Leinil Yu, Gerry Alanguilan and of course, Whilce Portacio. They really made an impact in the mainstream! Talagang sumikat sila!

AJ: Any plans of breaking into the mainstream in the future?

BT: That’s what I’ve been trying to do for the past 20 years. Maybe 2013 will be the year!

ISM: Will see… but in the meantime the local scene is not bad at all.

AJ: How would you describe the comic industry in the Philippines now, compared to what it was in the past?

BT: We had a golden age of komiks back in the 50s and 60s, and maybe all the way up the 70s. Back then, komiks sold in the hundred of thousands, out selling newspapers. Back then komiks stories were the basis of the next Pinoy movie or TV series.  Komiks started to lose readership in the 90s and were almost gone in the 2000s. It was in the 90s when a new generation of comic book creators started to come out. This generation grew up reading Marvel Comics and Funny Komiks. In the 2000s, a generation of comic book creators emerged and they were influenced by manga and anime. It was this new generation that started to release self-published comics and to organize events like Komikon. Today, we have an active and supportive comic book community. We have publishers like Visprint, National Bookstore, Summit Media, Precious Pages and Psicom, who are publishing graphic novels. This is what is needed to make the Filipino comic book industry boom once more. Right now, a “best-selling” graphic novel like Skyworld would be selling in the thousands. So, if we keep this going, I hope that our local comics will start selling in the tens of thousands, hundreds of thousands. Add to this the option of digital distribution, then the opportunity for local work to be read by an international audience, by millions of people, is even more possible.

ISM: BIG CHANGE! Social media helped a whole damn lot. Because of exposure [to] the internet, more and more younger people are creating local comic books and supporting them. The industry grew from little exhibits in Galleria Ortigas or UP Fine Arts in Diliman, to giant conventions at the Bayanihan Center, SM Mall of Asia and Megamall. Now, it’s easier to spread the word around and get people and publishers interested.

AJ: For Ian: Nowadays, technology plays a crucial role in creating visually-arresting comic book illustrations. How do you combine old school techniques with new technology in making your illustrations? 

ISM: Well, I think technology is really just a tool. Nothing beats the basics, but in terms of tight deadlines and turnarounds, Adobe Tools come in really handy. But they are JUST tools. Anyone with the right skill can create visually stunning images, using anything from [crayons], to paint, to Photoshop. Learning the basics is the best. I always sketch straight [to] my computer. It saves on scanning and paper, and I just got used to it since I bring my laptop anywhere. So I guess that’s where traditional meets hi-tech. It’s the artist presenting his work, using these new tools.  So whatever I learned from Fine Arts and Whilce Portacio in drawing traditionally, I put to good use using a pen tab, instead of paper.

AJ: For Budjette: Would you say that writing for comic books has evolved in leaps and bounds for the past ten years? If yes, how so?

BT: Writing a comic book is no different from writing a script for a TVC or an RC. The basics of it are the same. The limitations are the same. So, the basic storytelling structure is the same. 99.99 percent of the comic books out there still tell a story the same way. You divide the page with boxes (called “panels”). Each panel shows a scene, an action and the next panel will show you what happens next. And this keeps on repeating until you are able to tell a whole story. There is the 1 percent that uses this structure in a more creative manner.

For example, Alan Moore wrote a story about people living in an apartment building. Each comic book page was divided into four horizontal panels. Each panel showed what was happening on that particular floor of the building. Each panel was happening in a different decade. So, the top floor was happening in the 1950s. The next floor was set in the 1960s. The third floor was set in the 1970s. And the fourth floor was in the 1980s. So, if he showed a baby in the window on the top floor. On the ground floor, you’d see the baby already in his 30s.

Like I said, the comic book is still told using panels and pages. The experimental use of panels and pages dates back as far as the 1950s. But most writers still opt to just tell their story in a linear manner.

I guess writing for comic book will change, the more we start to play around with telling stories through digital comics. Reading a comic book on an iPad allows the writer to play “movie director,” — meaning, he can play around with the flow of the story. For example, when you read a typical comic book, you open a page and immediately see the pictures and the words.

Mark Waid started to experiment with that and since the story is being told on an iPad, the next page/next scene will only come out when you click or tap the iPad. So, here is what Waid did: when you read the story, you first see the image/opening scene. When you tap the screen, it will zoom into one of the characters. When you tap again, that’s when the words come out and you finally read what the character is saying. But, it’s still being told using panels and pages.

It still means, a writer starts with a pen and paper and he’ll start by writing down:

PAGE 1, Panel 1

It was a dark and stormy night. We see our hero arrive to save the day.

Alive and kicking

After waning in the early 90’s, the comic book industry in the Philippines is back with a vengeance.

In his Inquirer.net article, “Who says Pinoy ‘komiks’ are dead?” Gerry Alanguilan says it was through the perseverance and ingenuity of young comic book fans that the industry managed to survive and thrive once more.

“Without any venues to showcase their work, talented young comic book fans started creating their own comic books. They photocopied the page, stapled them together, and sold the comics themselves. Some even went further by actually going to the printing press and have multiple copies printed.”

“Where did they get the money? Most likely some of them had jobs, some of them probably saved up for it, and some probably borrowed money from their parents. Whatever the case, what resulted was the birth of a unique Filipino independent comics industry driven by young people who created, distributed and sold their own comic books,” Gerry wrote.

The Philippines now has its own version of the Comic-Con: The Pinoy “Komikon,” which is held bi-annually — during the summer and at the end of the year.

“That the growth of Komikon and that of the independent comics industry go hand in hand is worth considering. Most of these creators create, sell and distribute their own comics. With no huge distribution arm at their disposal, they sell their comics at every place they are capable of reaching.”

“They can sell at the various comic book stores across Manila, including Comic Odyssey, which has always been supportive of local comics, and of course, they take full advantage of the local comic book conventions, wherever and whenever they are held,” Gerry further wrote.

With guys like Gerry, Budjette, Kajo, Ian and Mervin watching over the panels, pages and speech balloons, comic book enthusiasts can sleep soundly at night.

Don’t let the tikbalangs and aswangs bite. (AJPress)

The Kiko Factor

“I’ve yet to accomplish being a millionaire from doing all these things. I’m just trying to make an honest living, and that’s all there is to it. I always, always, want to be better at what I’m doing, whatever it may be — even if it’s only for myself and nobody notices the subtle developments.” – Francis S. Reyes

My Balikbayan Magazine story on Francis Reyes.

Francis Florentino Saludo Reyes is a man who needs no lengthy introduction.

In a nutshell, Francis (or Kiko to most of his peers) is a prominent musician, radio host and music writer/blogger. He was a member of high-profile Pinoy bands, The Dawn and Afterimage. He was also the former chief DJ (aka Francis Brew) and musical director of the now-defunct, Home of NU Rock (NU 107).

Yet, with everything that Francis has accomplished, there’s one quality about him that struck me the most — he is just, genuinely, a really nice guy.

Backstory
Flashback to more than a decade ago: I was a twenty-something gig and music junkie, who rattled the racks of Tower Records and Music One in Glorietta and Greenbelt. Of course, it also meant that I sporadically splurged on a couple of CD’s, albeit with my measly salary.

But the highlight of my visits to Tower Records was getting a complimentary copy of Pulp Magazine (which, in reality, was not “free” because there was a minimum purchase requirement.)

It was through the pages of Pulp that I first got acquainted with Francis’ writing. Most were reviews of gigs and albums, or interviews with up and coming local bands. In retrospect, his album reviews influenced most of my purchase decisions.

From his seemingly nonchalant writing style and well-modulated radio voice, I prefigured that he would be one of those snooty, stiff-upper-lip types.

Boy, was I wrong.

N-I-C-E
It never occurred to me that I would be able to meet Francis in person.

He probably doesn’t even remember, but to this day, I still owe him a cup of brew. Along with a common friend, we went for coffee at Robinson’s Galleria. The name of the coffee place now escapes me, but I still remember the look of restrained disbelief on his face, when I mistakenly put sugar and cream in his coffee.

I was so embarrassed and offered to get him another cup, but he declined. “Maybe next time,” he said. That “next time” has not materialized since.

Another incident would validate his admirable qualities even further. We were at Bahay ng Alumni in UP for a gig, when I realized that my cellphone was missing (at that time, losing a cellphone was a big deal). I started walking around and combing the dark sidewalk, hoping and praying that I would eventually find it.

It was at this point when Francis started walking with me (not just within the vicinity of Bahay ng Alumni, but further down) to spots in campus where we’ve been earlier. We never found the phone of course, but being helped by someone who seemed so “up there” was quite comforting.

More than ten years and thousands of miles later, I approach him on Facebook — he’s still the same down-to-earth guy. You’d expect people like Francis to delay a bit, especially because of the time difference and the fact that he’s busy traveling, writing and interviewing foreign music acts/personalities. But he was very prompt in responding and accommodating the interview, though only via social media.

Francis, unplugged
Balikbayan Magazine (BM): What’s a typical day like for Francis Reyes?

Francis Reyes (FR): Nothing particularly exciting. I wake up, have a glass of water, pick up a guitar, make coffee [and] maybe have breakfast and just practice in front of a TV. I eat a lot of corn — everyday almost. Nina (Nina Sandejas is Francis’ long-time girlfriend- Ed.) and I would often run a movie or TV series marathon. I think we finished Full Metal Alchemist in a week. On days when there’s work, it changes a bit but generally I stay home and hold a guitar. When we go out and party a bit, it’s still work-related.

BM: Who would you say are your musical and literary influences?

FR: I have many, many, many, musical influences but Pat Metheny is number one — mostly because of the breadth of his work. He’s a virtuoso jazz guitarist but his compositions cover the entire gamut of musical genres and his melodies are always catchy, regardless of the nature of the pieces. He has a very open attitude with music and I always aspire to that. Unfortunately, I’m nowhere near as smart as him (laughs).

I don’t have any specific literary influences. I mean I do like Alan Lightman, Neil Gaiman and Clive Barker, but I’ll read anything, really. One of my favorite books is Stephen Jay Gould’s I Have Landed and I’ve read many books on Zen and spirituality. I mostly look for biographies; I like having insights on how great people in history lived. You can’t know Miles Davis based on a book, but his music is illuminated a bit more if you understand, or think you understand, how he lived.

BM: It’s been almost two years since NU 107 was reformatted and The Home of NU Rock was removed from the airwaves. Looking back, what are your most fond memories of NU107? What do you think made Francis Brew a special part of the whole NU experience?

FR: Everything about NU is a fond memory…although I’m saying that through the filter of sentimentality (laughs). The pay wasn’t much… and whenever I had to work on the Rock Awards, it was at least three months of stress up — until the very last minute of the show. I never had the time to enjoy the Rock Awards; everything was chaotic backstage but as long as the show ran smoothly on the outside, we felt relieved. Now, I miss that stress and tension. I guess what made me special was…well no matter how dire the situation was in anything we did, I was there, trying my personal best to help make things work. I was a team player. It was family…everyone was special really — except for the people we fired (laughs).

BM: I witnessed the soft launch days of DIG Radio. Some people consider the move as a means to resurrect NU 107. What do you think makes DIG Radio unique? What do you think will make it survive and thrive?

FR: I resigned from DIG/Pinoytuner in December [2011] actually. There were some business decisions that felt very wrong to me and to a lot of other key people who were there, before my team and I came in. The advocacy is noble and honest: support local musicians; present them to the world via the internet. But it is a business… and for a young company, I felt that the business side was being rushed very prematurely. For it to survive, I do believe that they have to accept that making money from internet in a country that suffers from terrible internet infrastructure issues will take a long, long time. Most of us were willing to make it work almost for free and we were willing to invest years into it, because we believed in its potential and we wanted it to be a legitimate platform for music. There are still very creative people in there and content-wise, it’s good. I hope the bosses take care of the talent [that’s] still left in there. We didn’t go in there to resurrect NU; we (the last batch of NU jocks and a couple of associates) just wanted to continue where it left off, in some small way, and the model was NU. And frankly…we just wanted to keep working together and stay in touch. We tried our very best. It was a painful, professional rebound thing.

BM: I read the article you wrote about Cynthia Alexander in OMG! Yahoo and also had the opportunity to view parts of the video. Based on the article, you said that Cynthia’s reason for leaving is that she had very limited support from the music industry in the Philippines. As a musician yourself, do you think this is the reality that Filipino musicians (especially indie bands) are now facing? What do you think were the reasons/causes for it?

FR: I’m pretty sure she has other personal reasons for moving, but based on what she said in interviews and in her farewell gigs (and what she’s told me personally), yes a part of it is support for her music. I got some flak for the “lack of support” statement, but really I was referring to mainstream radio that doesn’t pay her attention. It’s frustrating because her songs (even if some of the musical arrangements may be a bit “exotic” for mainstream ears) are actually intelligent and catchy pop. NU107 knew that, of course, but it’s gone now. These days, unless you’re crass novelty or candy gloss pop, good luck trying to get your song on radio. It’s been dumbed down (radio), but it sells. When times are hard economically, less media outlets take risks. It’s a reality that’s difficult to accept, but easy to understand. I’m not against any form of music, even if it’s extremely commercial American Idol-stuff; I just wish there were other forms of music that would be given some space and offer some balance. I do believe that good music always resonates with people and I know good record company people and good radio people know this. Unfortunately, corporations run everything. If it sells, turn it into a formula. Repeat until massive profit. Commerce has always run the business, let’s be honest. But these days, commerce is absolutely everything. You know what I’m saying?

BM: Most people perceive you as an icon — as Kiko, the awe-inspiring guitarist and Francis Brew, the eloquent DJ and prolific music writer. You were also an integral part of The Dawn, and are currently blogging for OMG! Yahoo Philippines. At this juncture in your career, what else is out there for you to accomplish? What keeps you motivated?

FR: What keeps me motivated is the discomfort I always feel no matter what I do. I’m flattered that you think I’m eloquent, but I can’t agree with it. There’s always someone who does what I do and I always go, “Wow…why didn’t I do it like THAT? Why didn’t I see it like that? Why didn’t I hear it like that?” I mean whenever I submit an article or play guitar in public, it’s always, “… Can I take it back please? ” Because after I’ve achieved a deadline, there is always, “but wait there’s more!” When I’ve submitted something, I guess there’s a detachment, and then you view what you’ve done objectively and you get even more insights and perspectives and realize you haven’t really captured everything in your head. I get lost in my own maze when I’m doing something so I try to take a step back during the process.

I’ve yet to accomplish being a millionaire from doing all these [expletive] things (laughs). I’m just trying to make an honest living, and that’s all there is to it. I always, always, want to be better at what I’m doing, whatever it may be — even if it’s only for myself and nobody notices the subtle developments.

BM: In terms of your music and writing, how much would you say you’ve grown?

FR: Not as much as I’d like. I had serious creative self-esteem issues in my last years with the band. I began to think if whatever I was doing had any value: if they’re not interested, then I must suck. I mean, anything I learned, I would always bring it back to the band. That was home, see? Truthfully, I’m still struggling a bit although when I wrote a few pieces for the soundtrack of Mike Sandejas’ Dinig Sana Kita in 2009, I felt a little more validated. Got a couple awards too; that was nice. Couple that with worrying about NU107’s fate all the way back to ‘99…

I’m feeling really good this year, fortunately. Got a band together with Japs Sergio called Peso Movement. We’re playing original material, and if it works commercially, great. No pressure on that end at all; we just want to play and express ourselves and what happens next is icing [on the cake]. It feels like everybody’s first band…with a lot of experience holding it together. I’ve also made a handful of electronica/rock pieces for my private amusement over the last few years, so maybe I’ll bring them out soon. Hopefully, they don’t suck. (Laughs)

BM: It seems that even at a young age you were already musically inclined (and a persuasive public speaker at that!) How was the challenging journey to success like? How would you encourage those who are still struggling to live their dreams?

FR: Those oratorical/declamation things I did as a kid definitely made me feel comfortable being on a stage…even if the reality is I can be irritatingly shy (well irritating for everybody else) on most normal days. Early on, I had terrible stage fright until I hit the first syllable… and then there is nothing else but doing what you have to do. I used to puke before every gig. Then you hit the first note…boom, you’re on your way. And hopefully, you’re making sense (laughs).

Success is in the mind. I’ve played in front of thousands of people and felt like a total [expletive] up for 90 minutes, and then there’s that gig where there’s just ten people and you feel like you rule the world. In terms of material success, it’s really a lot of work, a lot of getting along well with people you work with, and some luck (or blessings from above if you like). But I don’t aggressively pursue material success; I’ve always been very careful about stepping on other people’s toes so I guess that’s what limits me.

I’m always thankful for whatever comes my way — always. Everything is a blessing, an opportunity to improve, learn [and] get better. I still have a lot of dreams so there’s still a ways to go. And hopefully, it will put a little money in your pocket (laughs) and you save up.

BM: Lastly, what do you want to be your legacy/lasting imprint to society?

FR: I never think of that. There are a lot more people holding more noble positions in society who should have that responsibility. I just want to do what I do honestly, one project at a time. And hopefully, not starve along the way (laughs). (Published in Balikbayan Magazine, October-November 2012 issue. )

 

 

The Lourd of the Word

“ ‘Possibility’ is what art is all about. It is the constant wrestling with forms, styles, and structures. It is the idea that something better is always out there. It is about discontent. It is about discontent with the safe, the middling, the accepted, and the acceptable.” – Lourd De Veyra

My Balikbayan Magazine feature story on Lourd De Veyra

I confess.

Writing about a seasoned writer (and a multi-awarded one at that) is always a nerve wracking and challenging experience for me. It’s like Edward Cullen seeking vampire advice from Le Stat. Or asking Darth Vader what it’s like to be on the dark side.

But I wasn’t going to pass up an opportunity to write about Lourd Ernest Hanopol De Veyra — even if it means being inundated with quips and wisecracks. After all, this is what makes Lourd compelling and fascinating to his fans and admirers.

As our common friend, Chic Nidoy (who got me the email interview with Lourd, by the way) succinctly surmised: “Ugaling Bignay kasi.” In Lourdspeak, this quality probably translates to being “wasak na wasak.”

Lourd’s no-nonsense (and often profanity-laden) quips, lyrics, commentaries and realizations about anything and everything under the sun can make one’s jaw literally drop — whether in utter amazement or dumbfounded repugnance, is up to the reader (or the listener.)

The beauty of Lourd’s rhetoric lies in the grit — brutal truth expressed in a language that cuts across the socio-economic spectrum. Its universal appeal stems from Lourd’s ability to amalgamate brashness, banter and intelligent opinion.

I can go on and on all day with adjectives (and the occasional expletive ) to describe the man who has mastered the art of combining his literary style with kanto speak –turning it into a hybrid of eloquence.  The crux of the matter is, there is some biblical truth to the “Word of the Lourd.”

However, for someone who has written high-octane essays and commentaries on Pinoy politics, religion, social stratification, pop culture, signages, public transportation, public restrooms, annoying actresses, the media, (even something as inane as toilet paper) — when it comes to describing himself, I discovered that Lourd can be as terse as a road sign.

Call it modesty. Call it nonchalance. Call it whatever you want. But despite his downplaying, in my book, Lourd Ernest Hanopol De Veyra is one of the greatest writers (and speakers) of our generation.

Super Panalo qualities

Born on February 11, 1975, the 37-year-old Lourd Ernest Hanopol De Veyra has been described as “a multi-awarded Filipino musician, poet, journalist, broadcast personality and activist who first became famous for being the vocalist of Manila-based jazz rock band Radioactive Sago Project.”

He graduated from the University of Santo Tomas with a Bachelor of Arts degree in Journalism. He is also a four-time Don Carlos Palanca Memorial Awardee.

Lourd cites Beat movement writers, Allen Ginsberg and Jack Kerouac, as his literary influences. He has published three books of poetry: Subterranean Thought Parade, Shadowboxing in Headphones and Insectissimo.

Lourd’s “Consumeresque,” is the  long-winded rant of a starving writer — one who is compelled to pen “dumb, lousy, brainless, inane paragraphs” for a consumerist-driven society, in order to survive. For Radioactive Sago Project fans, it is unavoidable to perceive “Consumeresque” as a lyric poetry. You can almost imagine “punebre”-sque jazz renditions playing in the background.

Lourd  described his inclinations for jazz and poetry best at the 45th UP National Writers Workshop (where he was a fellow):

“What I look for in poetry is an uneasy kind of energy. An energy that is already beyond the configuration of words and then assumes a density that is akin to music. At the heart of it all is jazz. Jazz, the manipulation of breath— the unleashing of breath, the holding of breath, the destruction of breath. The most basic unit of jazz is the swing and the breath. My primary influence is the Beat movement and I think my initial fascination for them was rather hinged on the wrong reasons: the radical visual arrangement of lines on the page, the profanity and the absurdity that struck my mind as a welcome relief from the stultifying archaisms of 17th-century English poetry force-fed on us by high school teachers. Here was, at long last, literature that spoke to me. It was in sympathy with the energy of free jazz and punk rock records that I was listening to at that time. Through the lyrics of punk rock and hardcore records, I had an inkling of how words can be more powerful than a guitar amplifier cranked up all the way to ten. My exposure to the poetry of Ginsberg and Kerouac opened me up to the world of possibilities. And I am obsessed with the idea of ‘possibility.’ ‘Possibility’ is what art is all about. It is the constant wrestling with forms, styles, and structures. It is the idea that something better is always out there. It is about discontent. It is about discontent with the safe, the middling, the accepted, and the acceptable.”

His first novel, SuperPanalo Sounds! ( released in 2011), was lauded by José Victor Z. Torres of Philippine Daily Inquirer : “De Veyra pulled off his debut as a novelist well. Like his poetry and essays where slices of life and social commentaries are presented in bare, stripped-down verses and sentences, the novel is a veritable obra by an artist whose music and words he is famous for mold the very fabric of this full-length fiction…”

Also in 2011, Lourd released a collection of essays from his hit Spot.ph blog, This is A Crazy Planets, which was met (in the words of Lourd) with “mind-boggling” enthusiasm. My personal favorites are: “Umasal Lamang ng Ayon sa Ganda,” “Ang Tunay na Lalake, Walang Abs,” and “Sa Ikaaayos ng Mundo, ‘Wag Mag-sando!”

Reading just one essay from the compilation is bound to give you a triple-dose of endorphins — even make you roll on the floor in raucous, belly-busting laughter. The book is on its second printing and ranks third on National Bookstore’s bestseller list of local publications.

Currently, Lourd is pre-occupied with several shows on TV5: a segment for his brainchild, Word of the Lourd; Aksyon TV (where he is the weather guy) and his own talk show on Aksyon TV 41, Wasak!  He also hosts his own radio show, Chillax Radio:Suwabeng usapan, wasak na tugtugan on 92.3 News FM.

His band, Radioactive Sago Project, has already produced three albums: Radioactive Sago Project (Self-titled, 2000), Urban Gulaman (2004) and Tang— Mo Andaming Nagugutom Sa Mundo Fashionista Ka Pa Rin (2007). A still yet unnamed fourth album is in the works.

To say that Lourd is on a roll, would be an understatement.

The ‘wasak’ interview

Balikbayan Magazine (BM): At age 37, you’ve already accomplished so much, as a well-rounded artist. What keeps you motivated? What else is out there for Lourd De Veyra to accomplish?

Lourd De Veyra (LDV): Motivation? I’m not really sure. Maybe the fact that I am aware of how I used to suck at things. I wasn’t the best poet in campus. I wasn’t the best guitarist within my immediate sphere of co-musicians. It’s probably a toxic-waste product of a lot of insecurities– a sentiment that remains with me hitherto.  But it’s not as if I’m trying to compete with anyone. I just like to work. And the fact that a paycheck awaits at the end of job is an additional motivation.

BM: With all these achievements under your belt, you have become a role model for your generation and for younger generations. What would you say would be your legacy/lasting imprint to society? How do you want Lourd De Veyra to be remembered, or be emulated for?

LDV: I’m not really conscious about these things, truth to tell. I have a job/s to do and I try to do them well. Look, I don’t really believe I’m talented. But I’m a serious worker. Give me something to do and I will research it to death– as long as that job falls within the purview of my interest. Whatever happens after that, well, bahala na si Batman.

BM: Re:The Philippine Independence Day animated video collaboration between Radioactive Sago Project and Arnold Arre. What brought about its inception? Are there any other current collaborations/projects brewing for Radioactive Sago Project?

LDV: The anthem is the idea of Gang Badoy of Rock Ed Philippines. The band’s horn section could actually play the national anthem, even in their sleep — they’re from marching bands in Rizal. They play [in] fiestas, funerals, etc.

BM:  What’s next for you, in terms of writing projects? ‘The Best of This is A Crazy Planets,’ as an initial essay collection, was met with overwhelming response. Should we expect a sequel anytime soon?

LDV: Yes, but I’m a little short on output right now. I’m just thankful for the positive response. It’s already on its second printing and is third on National Bookstore’s bestseller list of local publications. Mind-boggling.

BM: How much have you grown (in terms your writing) from the time you created your first novel, ‘SuperPanalo Sounds!,’ to the present?

LDV: Finishing a novel provided more impetus for me as writer. Look, I’ve never considered myself a fictionist. I’ve never even published a short story in my life. Writing a novel is like running a marathon. As to ‘growth?’ I dunno. I’m still struggling. Writing doesn’t come easy. I think the moment you think it comes easy, you’re in deep sh-t.

BM: What were your thoughts when you were asked to deliver the commencement speech for UP Masscom Class 2012? You seem to have mastered the art of injecting quips and candid opinions in just about any piece you write or speak, whether it’s for a commencement speech, an essay for ‘This is A Crazy Planets,’ or a script for ‘Word of the Lourd.’ Would you call this your trademark as a writer?

LDV: I dunno. I was trying to remember all those keynote speakers I’ve heard throughout my academic life — and I couldn’t even recall a single one. I think the worst crime for any speaker — worse than lying — is to bore the audience to tears. When they first sent an invitation, I didn’t think they were serious. When it came to the actual speech, I tried to rush it— I thought everyone was already hungry. It was close to lunch time.

BM: In your speech, you juxtaposed the irony of being invited to deliver a commencement speech , when you yourself weren’t able to attend your own college graduation. You viewed your future back then with such bleakness — the complete opposite of what you’re experiencing today. What do you think does the future hold for the Filipino youth of today? What message would you like to impart to them?

LDV: Stop tweeting and start working.

BM: You are currently involved with TV5’s ‘Aksyon’ and ‘Wasak!,’ a radio show called ‘Chillax Radio,’ a regular blog in Spot.ph, and are still very much active in your band Radioactive Sago Project. With all these commitments, how do you manage to juggle such a hectic schedule? Are there other projects/commitments that need to be put in the backburner?

LDV: We’re trying to finish the fourth album and I’m trying to start my second novel. It’s about my grandmother though in the end, I want everyone to be abducted by aliens. I’m still figuring out how to go about it.

BM: What are your thoughts on Francis Brew’s blog in Yahoo! Philippines about music icon Cynthia Alexander leaving the country? Do you agree with Alexander’s sentiments about the Philippine music industry? Do you think that there are lesser opportunities/breaks for indie Filipino musicians in the Philippines at present? Or do you think that the medium has just shifted and adapted itself, resorting to a more targeted, online format?

LDV: She’ll be back, don’t worry.

Words of wit-dom

In his commencement speech for the UP MassComm Class of 2012, Lourd delivers McNuggets of wisdom, through witticisms. Here are some excerpts:

“Hindi ko na siguro kailangang sabihin kung gaano kayo kapalad na mapabilang sa henerasyon. Nabubuhay kayo sa mundo na wala ka nang karapatang maging mangmang…Nagtatampisaw tayo sa baha ng impormasyon…”

“Huwag niyo sanang sayangin ang swerte. But speaking of swerte….Tumigil na akong maniwala sa pagpaplano ng buhay. Corny mang pakinggan, mas naniniwala ako sa tadhana. Kung totoo na talino at galing ang sekreto sa tagumpay, dapat wala ako dito ngayon. Hindi ako ang pinakamahusay na manunulat sa aming kolehiyo. At higit na mas marami ang mas magaling mag-isip kesa sa akin. May paborito akong kasabihan mula sa idolo kong nobelistang si Kurt Vonnegut. ‘Unannounced changes in life’s itinerary are like dancing lessons from God.’ Napakagandang ideya. Napaka-akmang metapora. Dancing lesson.”

“Sa dancing lesson, wala kang ibang pwedeng gawin kundi sumunod. Pag hinila ka dito, sunod ka na lang. Pag binaba ka, bumaba ka rin. Pag hinagis ka, magpagaan ka ng katawan. Susugan din ito ng isa pang quote mula kay Voltaire: ‘I refuse to believe in a God who does not know how to dance.’ Ang pagsayaw ay isang ekspresyon ng ligaya, ng laro, ng kalayaan ng katawan at diwa na mayroon pa ring sistema. Pero ako mismo ay literal na hindi marunong sumayaw.”

“…May dahilan kung bakit tinawag itong ‘commencement exercises. Commencement dahil magsisimula pa lang kayo sa biyahe niyo sa buhay. Kaya heto na ang payo portion. Obvious naman: pero kailangan uling sabihin. Mahalin mo ang ginagawa mo. Huwag magtatagal sa isang trabahong hindi mo gusto. Bakit mo naman gagawin yun? Dahil sa salapi? Darating din yan, basta buhos mo lang ang kaya mo, kesyo indie film man yan o isang artikulo tungkol sa pagkain o paglalabada.”

“Basta, keep it real, ika nga ng kasabihan. Minsan sa makabagong mundo, sa virtual na realidad, minsan nakakalimutan natin kung saan tayo nakatungtong, kung saan tayo kumikilos…”

Sincerely unassuming yet thoroughly convincing, Lourd certainly has soliloquy (and colloquy) down pat. George Carlin once said that “language is a tool for concealing the truth,” yet Lourd aims for the exact opposite.

Lourd’s powers of persuasion can give Jordan Chase a run for his money. Yet, the way he views himself can be summed up in Jack Kerouac’s words: “I had nothing to offer anybody, except my own confusion.” (Balikbayan Magazine, August-September 2012 issue)

The Unbearable Lightness of Being Carlos Celdran

“What is unique about the ‘I’ hides itself exactly in what is unimaginable about a person. All we are able to imagine is what makes everyone like everyone else—what people have in common. The individual ‘I’ is what differs from the common stock, that is, what cannot be guessed at or calculated, what must be unveiled, uncovered, conquered.” – Milan Kundera

My Balikbayan Magazine feature story on Carlos Celdran.

Charles P. “Carlos” Celdran defines himself as a cultural activist, a performance artist, a tour guide and a force to reckon with. You’re probably wondering why good ol’ me, who is thousands of miles away, would be writing about him. But someone, who is as ubiquitous (and often controversial) as Carlos, is rarely difficult to miss—especially in social media.

He has piqued my interest, ever since he did his “Damaso performance art” at an ecumenical service in Manila Cathedral in September 2010, to advocate for the passage of the 14-year- old Reproductive Health Bill (amongst priests and clergymen of the Catholic Church, nonetheless). I have become one of his innumerable followers —both in Facebook and Twitter.

Many found his “performance” offensive and distasteful. Others have regarded him as a champion of change.

But beyond the act itself, I found a man who is passionate and bold enough to fight for his principles and cause a stir—even if it cost him a night’s stay in jail, and a still ongoing case at the Manila Regional Trial Court for “offending religious feelings.”

The Tipping Point
In a previous televised interview with Karen Davila in Headstart on ANC, Carlos expressed his views about his “Damaso” act of defiance.

“I was driven by exasperation already and I knew and I just decided to express it the best way I know how—which is through theater and performance art, and through just the way that I know how to express myself, like the way I do during my tours,” Carlos explained.

“I guess my tipping point was when they threatened civil disobedience, and when they threatened ex-communication to the President and I realized that you know, if I don’t speak up in the way that I feel is the most comfortable in my own manner, then I’ll just be delaying the argument for one more week…the proper time and place was right there.The RH Bill has been waiting in Congress for ‘fourteen years.’ If a girl was born by the time that Edsel Lagman filed the bill back fourteen years ago, she could’ve had a kid by now… So when people tell me that you’re out of place, this is not the right time, this is not the right venue—is fourteen years not long enough? And is a parking lot really the venue that you want to keep going for?,” he opined.

“I really felt like Divine Providence brought me to that altar, because of the rain, because of all the circumstances…I just woke up and I was there,” Carlos narrated.

First Encounter
Ultimately, watching Carlos from the sidelines would not be enough. Another incident would finally spark a conversation between me and “the original culture vulture” (albeit only through Facebook).

This time, Carlos found himself embroiled in a situation that he would rather not have gotten into—interrogated by authorities in the midst of his Livin’ La Vida Imelda tour in Art Dubai, due to some content in his script about Islam and Imelda Marcos’ friendship with Muammar Gaddafi (I would rather not to get into the bloody details of what ensued, just read my story at Asianjournal.com).

It gave me the opportunity to get to know another side of Carlos. I discovered that just like the rest of us, he also has his moments of weakness and doubt.

Writing about his unsavory episode in Dubai (with both sides considered, of course) and being able to help alleviate his fears and anxiety, gave me a sense of fulfillment as a journalist.

Perhaps, it was also Divine Providence that moved me to write the story. And to still be able to write about Carlos (on a more personal level) is already a reward in itself.
Of course, the time-distance factor was still a hindrance. I had to make do with the medium that I’ve previously tapped: social media.

The Essence of Being Carlos Celdran
Succinctly, he says this about himself: “I’m a performance artist. I try to change the way Manila looks through the way people look at Manila. My weapon: street theater. [I’ve been] doing my ‘Walk This Way’ performances five times a week for the last ten years, so I guess I can call it a passion, no? Either that or madness.”

When asked how he would describe himself as an icon, a tour guide, a performance artist and a cultural activist, Carlos humbly declines and opts to “leave the descriptions to others.”

“[I’ve] never really been fond of looking for adjectives for myself. But yes, I do believe in cultural activism. I believe that art can be a catalyst for paradigm shifts and social change, and I try to use this philosophy in my performances.”

“Changing the culture of a nation can be best done through the arts—especially if the art can literally be taken to the streets. Not sure if I’ve achieved any success in making social change, but I still try everyday,” he replies.

I then zero in on his sentiments about being ‘the sought-after’ Intramuros tour guide, and how he felt about doing a re-telling of Philippine history in his own words.

“(Laughs) [It] doesn’t really feel like anything, really. I do what I do because I have to do it — being ‘sought after’ never was my objective. I’m too busy telling the story and trying to tell it well to think about things like that,” he responds in jest.

I toss a question about how different he is now from the Carlos Celdran, before the Damaso incident happened. He gives a humble quip: “ [I don’t feel] that different at all. Some people ask to take my picture every now and then because of the Damaso incident, but it’s not like my privacy is invaded to the point of absurdity. I’m not Brangelina. And it’s this nice privacy that I enjoy—[it] makes it easy for [me] to remain as the same Carlos.”

Reading through the details of his biography online, I ask Carlos what his original plans for a career were—if he always envisioned himself as a tour guide/performance artist, or if he had other dreams before then.

“‘Touring’ Manila found me. I didn’t go looking for it. It’s not like I sat down and wrote a business plan for Walk This Way tours. It was organic. Back in 2001, I was a volunteer tour guide for an NGO, called Heritage Conservation Society (HCS). I’d tour HCS members through Manila’s Heritage districts, as part of our outreach program. Later on, when I did tours on my own, my interest in theater, activism, visual arts and performance, found its way into my work. And here we are today.Truth is, what I do really isn’t a tour. It’s a multi-venue, moveable performance piece—using Philippine history as my narrative. It’s a show, more than it is a tour,” he explains.

“[About] my other dreams—as a kid, I wanted to work as a flight attendant for Philippine Airlines. I wanted to see the world, but I didn’t want the hassle of flying the plane. [Being a] flight attendant was the natural alternative to that. Didn’t work out and my interest in art overwhelmed my ambitions. No matter. I didn’t make the height requirement for PAL flight attendants [anyway].”

More Serious Matters
When I make an inquiry regarding his sentiments about the RH Bill still not being put into legislation, Carlos’ tone becomes serious.

“[I am] pissed. Frustrated. We are so close to passing a bill that will finally give women rights over their reproductive life and control our runaway population growth rate…Women are dying everyday because of their lack of reproductive health education and choices. Time, seriously, is running out, when it comes to this social powder keg called population mismanagement in the Philippines. I hope our leaders wake up soon, before it’s too late,” he says.

I veer into the topic of his sexuality (Carlos is bi-sexual). I ask him how it has opened his eyes to the advocacy on reproductive health care, to which Carlos candidly replies: “My sexuality is something that I never want to be singularly defined by, so there isn’t much to say except that I am bi-sexual. Period (laughs).”

“But it was my days living in New York City (NYC) in the mid-1990’s that exposed me to issues of the Lesbian Gay Bisexual Transgender (LGBT) movement and informed me [about] HIV prevention and LGBT rights advocacies. If NYC didn’t open my eyes, I’d probably be a very confused and angry, closeted person.Thank God that I’ve come to terms with that side of myself,” he recounts.

How does he feel about finding himself frequently entangled in controversy? Does it have anything to do with his passions and convictions in life?

“[I’m] constantly surprised. I am not much of an attention seeker—contrary to appearances. I don’t even think it has to do with my convictions or passions. Perhaps the issues that I’m attracted to are relevant issues. Reproductive health, human rights, and the need for art in our society are always in fashion, so [maybe] that’s why it resonates with many.The attention I get is just a side effect of that,” he muses.

Carlos also thinks that everything happens for a reason, when asked about the incident in Art Dubai. Yet, he emphasizes that it has not changed his artistic views and perspectives.

“The only thing that’s changed is that I am much more appreciative of the freedoms we enjoy in the Philippines. I won’t take that for granted anymore,” he says.

Social Media, Performance Art and Keeping Our Confidence
As a netizen, Carlos has this to say about social media and the Internet, as new media for freedoms of speech and expression.

“We should use this new technology responsibly. We can use it to change societies and make the world more connected. We really shouldn’t waste too much time on Plants vs. zombies,” he quips.

I ask him if he envisions that performance art will flourish in the Philippines, and if it has the potential to become a full-blown art genre in the future.

“Performance art is still a fledgling practice [even] abroad. Filipino performance artists (like Bea Camacho and David Medalla) are world-class, and it’s only a matter of time until [Filipino performance art and performance artists] get the attention [that they] deserve.”

For Filipino artists, cultural activists and kababayans in general, he imparts this message: “The Philippines is on the right track. I guess all I have to say is keep your confidence in our country high. We’ll have our moment and it will be soon.” (Balikbayan Magazine, June-July 2012 issue)

Isang Libo’t Isang Tuwa: The phenomenon that is ‘Eat Bulaga!’ (2008)

Now celebrating its 29th year, Eat Bulaga! (EB) is the longest-running noon-time show on Philippine television. It is, without a shadow of doubt, the epitome of Pinoy pop culture.

The name Eat Bulaga! (bulaga is the equivalent of peek-a-boo in Tagalog) was coined by Joey de Leon himself. In a Q&A session with iGMA.tv, Joey shared that he considers this as a monumental achievement.

EB does live up to its name — it’s a crock-full of surprises with an ever-evolving collection of games, jokes and formula song and dance numbers that more than satisfy every giddy Pinoy’s fix for showbiz personalities.

The Bulaga factor
The concept behind EB is the brainchild of Malou Fagar and Tony Tuviera and a production of Television And Production Exponents Inc.(TAPE). The noon time show aired in different networks before it finally settled in GMA-7 in 1995.

The show premiered on July 30, 1979 in Radio Philippines Network (RPN-9). At that time, the comic troika of siblings Tito and Vic Sotto and Joey de Leon was getting rave attention. Together with Chiqui Hollman and Richie Reyes (aka Richie d’ Horsie), the threesome were hired as hosts for the show.

Their co-hosts may have come and gone, but the formidable trio of Tito,Vic and Joey is still going strong. Tito left the show when he was elected to the Senate in 1992 to fulfill his obligations as senator. He did manage to appear on the show in special occasions. Tito served two terms in the senate, from 1992-1998 and 1998-2004. After the last year of his term, he began to stage a comeback on the show on a weekly basis. He has since reverted back to more regular appearances on the show.

The late Helen Vela and Rio Diaz, Tessie Tomas,Coney Reyes, Sharon Cuneta, Pops Fernandez, Plinky Recto, Christine Jacob and Aiza Seguerra were some of EB’s mainstays in the past.

Currently, veterans Jimmy Santos and Ruby Rodriguez; Pia Guanio, Toni Rose Gayda, Anjo Yllana, Michael V, Francis Magalona, Keempee de Leon, Paolo Ballesteros, Allan K, BJ Forbes, Julia Clarete, Pauleen Luna, Jose Manalo, Lougee Basabas and Wally Bayola make up EB’s brady bunch of ‘Dabarkads.’

Because of its out-of-the-box innovations in noon-time show programming, EB has become a template for rival shows. EB earned its share of accolades from both local and international press and other organizations.

Fond memories
EB was an integral part of my childhood years — a fixture on our TV set during the lunch hour. It was an after-school delight that paired well with my dad’s very Pinoy home-cooking.

When I heard that Eat Bulaga! was coming to Los Angeles, the first thing that came to mind was Little Miss Philippines.

I was swept by a rather vivid memory. I remember sitting beside my aunt as she furiously and relentlessly dialed (I think it was) TAPE’s number on the rotary phone at my cousin’s house. She was going to make an inquiry so that my little cousins could join the pageant. All she got was an annoying and resounding toot-toot of a busy line. Apparently, thousands of other callers had the same mindset.

I also remember how EB launched Aiza Seguerra’s lucrative career in showbiz. She was one of the contestants for Little Miss Philippines in 1987. Because of her innate wit and charm, Aiza won the hearts of EB’s viewers and soon became one of the most sought-after child actors of her time. She also became a regular on the show.

Now in her twenties, Aiza has since found a new passion as a recording artist.

Another flagship feature of EB is their game segments. Hands down, I think one of EB’s funniest and most memorable game segments was the Hybrid 5 Cooking Chicken contest. Here, contestants were asked to recite Hybrid 5’s lengthy tagline (it’s funny that it remained stuck in my head all these years) — “Hybrid 5, the cooking chicken, malasa, malaman, makatas, malambot, malusog,“– without faltering, for as many times as they can within a certain time frame . The winner gets a cash prize and moves on to earn even bigger bucks from the final round where, blindfolded, the contestant is placed inside a chicken coop to catch as many live chickens as possible. Each chicken had a monetary value. The amount of winnings was dependent on the total cash value that they obtained from all the chickens that they caught.

Bulagaan is, perhaps, the most enduring segment in the show. Here, Tito, Vic and Joey and their other co-hosts do slapstick comedy sketches. A young and playful Aiza used to do her famous “duck walk” as an intermission between every skit.

EB is also well-known for its dance contests. Not one popular dance tune escaped them, possibly because Joey de Leon began his career as a radio disc jockey and was also a co-host in the now-defunct show, Discorama. He is also a noted composer of songs which are now considered as OPM classics — Ipagpatawad Mo, Awitin Mo, Isasayaw Ko, Boyfriend Kong Baduy and Iskul Bukol.

An archive video from EatBulaga.tv (EB’s official website) features a special presentation from past dance contest winners during EB’s 10th anniversary in 1989. Dance hits as Xanadu (1981), Macho (1980), Breakdance (1984), Rico Mambo (1986) and Supersonic (1988) were all part of the spectacle.

Pageants that cut across genders were another main fare in this ninth wonder of a TV show. Beautiful Girl, Maid in the Philippines Mr. Pogi and Super Si Reyna gave the masses a chance to live their dreams.

Dance and sing-alike contests like Lola Madonna and Doble-Kara opened doors for celebrity fanatics to emulate their idols. EB was (and still is) on a roll in coming up with fresh and crowd-drawing concepts for the show.

In his November 23, 2004 column in Star Bytes, Butch Francisco shared a bit of trivia about EB.

“In the early ’70s, the only performers on TV who wore undershirts colored sandos, actually – were dancers like Lito Calzado (father of the great beauty Iza Calzado). The gentlemen who came out on TV that time wore mostly suits – especially the hosts of talk and variety shows. (Imagine Eddie Ilarde on Student Canteen or Archie Lacson on Penthouse 7). But if they were feeling a bit informal, they donned long-sleeved shirts with or without a tie. Tito, Vic and Joey changed all that.”

“On Eat Bulaga!, they freely wore the very casual collarless T-shirts and jeans. If I picture a scene on Eat Bulaga therefore, the images that come to mind are of T-shirts and jeans – very, very relaxed. Obviously, it took Tito, Vic and Joey to revolutionize the getup on TV,” he added.

Butch also recounted the “endless trailers of movies from Regal Films. Back then, we still enjoyed watching sneak preview of forthcoming films (something we find intolerable now that there are so many of them during intermission in mall theaters). In the early days of Eat Bulaga!, there were hardly any commercials coming in and the show had to accommodate instead films trailers that paid much, much lower than the regular 30-second TV advertisements. The show, however, is eternally grateful to Lily Monteverde for supporting a small program like Eat Bulaga! back then.”

TVJ: TV’s Jokers
Perhaps as equally institutional as EB would be the formidable comic triumvirate of Tito, Vic and Joey (TVJ). Siblings Tito and Vic Sotto went through humble beginnings before striking it big in showbiz. Vic began his career as a folk singer and guitarist. Tito also began with musical roots. Joey started out as a radio disc jockey in the 60’s for top FM stations. He worked for a couple of radio stations and was writing songs and scripts for gag shows on the side.

TVJ’s collaboration officially began in a gag show called OK Lang in IBC-13. Other mainstays of the show included the APO Hiking Society, Val Sotto and Ricky Manalo, Jr.

In 1975, Joey was invited to become a co-host in Discorama, alongside Bobby Ledesma. At that time, the show was getting poor ratings and was on the verge of being axed. Bobby Ledesma went on vacation and asked Joey to take charge of the show. Joey then asked the Sotto brothers (Val, Vic and Tito) to join him, but only Tito and Vic took the offer. The chemistry between the three was undeniable. Comedy newscast segments combined with Joey’s Top 40 hit song parodies gained Discorama new attention from televiewers.

TVJ also became regulars in Student Canteen, a noon-time show hosted by Bobby Ledesma. However, it was their antics in the sitcom Iskul Bukol that fully launched the trio’s career in showbiz and brought them to EB’S door. The rest, they say, is history.

In 1989, TVJ had their first show at the Shrine in Los Angeles entitled The Three Kings of Comedy. Together with their EB crew, Tito, Vic and Joey brought fun and laughter to Pinoys in the city of Angels. The show was produced by Sam Adelan, Lito Ocampo Cruz and Pat Reyes. (AJPress with sources: Wikipedia.com, Philstar, Eatbulaga.tv and iGMA.tv)

The Global Pinoy: A Modern-day Hero (2008)

With the onset of technological advancements and the birth of new industries, the hardworking Juan has learned to broaden his horizons and has become a citizen of the world — a global Pinoy.

There are two kinds of global Pinoys — the immigrants, who have found permanent residence in another country and possibly have become naturalized citizens of the country that they’ve migrated to, and the Overseas Filipino Workers (OFWs) or expatriates. OFWs or expatriates are Pinoys who work with multi-national companies abroad on a temporary (and oftentimes,contractual) basis.

Family always comes first in Filipino culture. This trait does not only apply to immediate family members, but extends to relatives, even relations through affinity as well.

Traveling long distances to work abroad or reside permanently in another country does not make the global Pinoy forget — in fact, it makes him long for home and his family even more. In the midst of homesickness and loneliness, he strives hard to meet his financial goals and provide a better life for his loved ones.

In the beginning of his arduous journey to financial success, he comes across a familiar face, a kababayan, who would help him go through the rudiments of starting a new life in a foreign land.

With his newfound support group, the concepts of family and kababayan become synonymous and synergized for the global Pinoy. He finds reprieve and pays the kindness he receives forward. If his ventures become lucrative enough, he may even be willing to make patriotic investments on the Philippines, either through retirement or business endeavors.

Filipinos never forget their roots and will always find means to visit their home country– thus, the moniker balikbayan (balik means to return and bayan means country). After all, a Pinoy will always remain a Pinoy at heart, no matter what citizenship he has acquired or what new culture he has adapted to.

The OFW
Every year, a considerable population of Overseas Filipino Workers (OFWs) or expatriates seek greener pastures by working in different industries abroad. The spectrum is expanding further, with Pinoy professionals in different fields now working in developing Asian countries as Vietnam, Indonesia and China.

In a 2007 survey conducted by census.gov.ph, the report stated that “the number of OFWs who worked abroad at anytime during the period April to September 2007 was registered at 1.75 million. This represents an increase of 15.3 percent over the estimated 1.52 million OFWs in April to September 2006. Out of the total OFWs during the period April to September 2007, 92.4 percent (1.61 million) were Overseas Contract Workers (OCW) or those with existing work-contact abroad. The number of OCWs in April to September 2007 went up by 16.6 percent over the 1.38 million OCWs estimated for the same months in 2006.”

In the same survey, it was elaborated that “OFWs sent a total remittance of Php110 billion for the period April to September 2007, an increase of Php8 billion (7.7%) from the estimated remittance of Php102 billion for the same months in 2006. Included in the total remittances are cash sent (74.6%) cash brought home (20.7%) and remittances in kind (4.7%). Of the total cash remittance sent for the period April to September 2007, 76.8 percent were sent through the bank, 14 percent were sent through door-to-door and the rest (9.2%) were sent through the agency and or local office, friends or co-workers and other means. OFWs working in Asia, comprising 78.1 percent of all OFWs, sent the biggest cash remittance of Php57.7 billion. Among occupation groups, OFWs working as laborers or unskilled workers posted the highest cash remittance of Php17.6 billion.”

With his intelligence, ingenuity and industry, the Pinoy expatriate has elevated his country’s stature and competence in the global job market. The stigma that was once associated with OFWs has now become a myth. The OFW is no longer deterred nor disheartened by derogatory perceptions, because his sacrifices prove beneficial not only to his family and loved ones, but to his beloved country as well.

The Pinoy immigrant
Filipino immigrants are a common sight around the world — countries as the United States, Canada and Australia are fast-becoming new settlements for migrating Pinoys. In the United States alone, there is already a significant population of Filipino-Americans who have found their place and have adapted to the ways of American culture. The numbers continue to increase, especially with the continuing high demand for medical professionals. Times are changing and opportunities are rising for nurses, physical therapists and doctors.

In an article by Aaron Terrazas from the Migration Policy Institute, it was reported that “the number of Filipino immigrants in the United States tripled between 1980 and 2006, from 501, 440 to 1.6 million, making them the second largest immigrant group in the United States after Mexican immigrants and ahead of the Chinese, Indian and Vietnamese foreign-born.

“Over two-thirds of all Filipino immigrants resided in just five states, although their numbers are growing in places like Nevada, North Carolina, and Texas.”

Other notable facts in migrationinformation.org include: (1) “There were 1.6 million foreign-born from the Philippines residing in the US in 2006. The 1960 census counted 104,843 Filipino immigrants, a number that increased 15.6 times to 1,638,413 Filipino immigrants in 2006. The Filipino-born were the second-largest foreign-born group in the US in 2006 after immigrants from Mexico. (2) Filipino immigrants made up 4.4 percent of all immigrants in 2006. In 1960, Filipino immigrants composed 1.1 percent of all foreign-born in the United States. That share more than tripled to 3.6 percent in 1980 and increased to 4.6 percent in 1990 but decreased slightly to 4.4 percent in 2006.”

From balikbayan to balikbayani
According to Inquirer.net, the United Nations International Fund for Agricultural Development (IFAD) and the Inter-American Development Bank (IDB) announced in October 2007, through a study that was released in Washington DC, that the Philippines ranked fourth in dollar remittances among developing countries with $13.7 billion of global remittance flows in 2006.

In these trying times, The Philippines has found refuge in the new income-generating global Pinoy — the foremost contributor in revving up dollar revenues and boosting the Philippines’ economy. They have become a new breed of heroes – the balikbayanis, instigators of an economic revolution that counters poverty. Global Pinoy Power has become the new People Power, a teeming source of economic stability and empowerment.

Specialized needs
Global Pinoys have become a formidable force to reckon with — a potential market with unique needs. These unique needs necessitated the inception of a new industry — one solely dedicated to ensuring that their exigencies are met with ease and convenience. Remittance centers, balikbayan box companies and travel agencies are all part of this singular group.

Their specialized services have made this industry an indispensable part of global Pinoy culture. They may even be considered as balikbayanis themselves. They are the mediators that turn the global Pinoy’s dreams into reality through balikbayad (remittances), the balikbayan box and of course, the balikbayan.

The balikbayani ecosystem operates with such efficiency and symbiosis. Remittances to the Philippines provide our economy with much needed dollar revenues. Balikbayan boxes sent to the Philippines, not only bring the global Pinoy’s parcel of love home but also generate jobs and provide additional income for our kababayans. Reasonable airfare rates and travel packages attract millions of global Pinoys to come home every year, thus increasing income for the country further through tourism.

Indeed, it’s always a win-win situation in the balikbayani ecosystem — a manifestation of Pinoy’s ingenuity and adaptability wherever in the world he may be. (AJPress)

 

Dolphy: The Divine Comedian (2008)

Sinasabing magaling daw sa drama ang mga comedian. Hindi ko alam kung bakit, wala akong teorya diyan. Basta from my end, naranasan ko na kasi ang lahat — hirap, gutom, ang mga anak na perwisyo’t may bisyo, ang ma-inlove, at ang mahiwalay. Napagdaanan ko na’ng lahat, kaya nasasakyan ko kapag ginagampanan ko na.”

There was no better way to celebrate and immortalize the 80 wonderful years of Dolphy’s life.

Dolphy: Hindi Ko Ito Narating Mag-isa is the heartfelt unfolding of the life of Rodolfo Vera Quizon, better known onscreen as Dolphy, the King of Comedy. The actor celebrated his 80th birthday on July 25 this year and son Eric Quizon, a noted actor and director himself, wanted to mark this milestone in his dad’s life and make it memorable by collaborating with Bibeth Orteza in putting up a fitting biography.

From the title of the book itself, one would already prefigure that the story would be bigger than the subject. It’s probably inconceivable to think that a biography of someone as legendary and magnanimous as Dolphy could be so humbling and unassuming.
Yet, there has never been a more refreshing approach to storytelling. The beauty of Dolphy’s narrative lies in its candid simplicity and sincerity.

It’s also not surprising to find that the book teeming in self-deprecating, tongue-in-cheek humor. The last time I laughed this hard while reading (and seemed, every inch like a fool to unknowing bystanders) was when I was in high school, skimming through the pages of Pol Medina Jr.’s Pugad Baboy Series. Dolphy’s inherent wit and comic sensibilities are sharper than ever, and not even the written word could deter him from showcasing this God-given talent.

But beyond the funnies, Dolphy: Hindi Ko Ito Narating Mag-isa is a bold, poignant and compelling memoir that serves as Dolphy’s indelible and enduring legacy.
In a foreword by Randy David, a professor in the department of sociology in the University of the Philippines, he referred to the book as a script, a screenplay of Mang Dolphy’s life.
“Narito ang kaniyang iskrip — makulay, masalimuot, buong-buo, bukas. Eto si Dolphy ng pelikula’t telebisyon, mapagbiro at masaya. Pero, sa likod nang komedyanteng singkit na nagpatawa sa halos tatlong henerasyon , narito rin ang isang taong matamang lumingon sa kanyang pinagdaanan, inuulit-ulit sa sarili ang mga aral na kanyang natutunan. Walang kimkim na galit o sama ng loob, walang panghihinayang, walang panghuhusga, walang pagyayabang.”

Dolphy: Hindi Ko Ito Narating Mag-isa is indeed, a piece of history told by one of the most celebrated actors from an ordinary man’s perspective. Written in Tagalog, the book captures the flavor of a tumultuous era and the quintessence of being Dolphy — his humble beginnings, his love for family, his first sexual awakening, a hardy life during WWII, his colorful experiences as an OFW in Hong Kong, the numerous women in his life and the struggles he went through in fathering 18 children.

And it wasn’t only Dolphy that made this memoir robust and meaningful. Former wives and lovers, friends, colleagues, and of course, his children, also shared their testimonials and encompassed Dolphy with their gratitude, love and support. Everyone he holds dear, even those who’ve been privy all these years, gave a piece of themselves in words and pictures.
As aptly put by Butch Dalisay, Palanca Hall of Fame awardee and UP Professor in English and Creative Writing, “I haven’t read a biography like this, ever, and the uncensored unmediated first-person accounts strike home with a power and a poignancy you’d be hard put to find in any screen drama.”

If Dolphy’s story were translated into film (or perhaps, a telenovela), it would definitely be a project of epic proportions (and lots and lots of Kleenex).

And speaking of film, here’s what film director Peque Gallaga had to say about the book: “The delight that comes from reading this book is that it nails down a fascinating character who is all at once a baffling combination of grace and dignity, contrariness and mischievous rascality; of one blessed with a gift for careless irreverence and absurdity in the face of adversity, who triumphs over misfortunes and who accepts what can’t be changed. One is never sure if it is the portrait of Dolphy of the Filipino people. Ang problema lang sa libro, pagkatapos mong basahin ay parang gusto mo sana, mas mahaba pa ito.”

My sentiments, exactly. (AJPress)

 

After ‘Censorship’ Incident: Carlos Celdran cancels ‘Imelda’ Tour in Dubai

LOS ANGELES – When it comes to matters pertaining to religion, flamboyant Filipino performance artist Carlos Celdran seems to find himself frequently entangled in controversy — whether he likes it or not.

In October 2010, the outspoken and popular Intramuros tour guide “was arrested and charged with violating Article 133 of the Revised Penal Code after raising a ruckus” at an ecumenical service at the Manila Cathedral, as reported by ABS-CBN.

At the said ecumenical service, Celdran (who is a staunch advocate of the Reproductive Health Bill) reportedly stood up and held a sign that said “Damaso”(in reference to Padre Damaso, the friar villain in Jose Rizal’s Noli Me Tangere) — much to the chagrin of the bishops and priests who were present during the service.

Celdran has since apologized for “the manner of his protest,” but “not the content of his message,” says a previous report from ABS-CBN.

More recently, Celdran found himself in hot water, again — this time for the religious and political content of his one-man “performative” show, Livin’ La Vida Imelda, during his performance in an art event in Dubai.

Livin’ La Vida Imelda’s journey to Art Dubai

Livin’ La Vida Imelda (which is based from the life story of former First Lady Imelda Marcos) was a concept started out by Celdran a decade ago.

“I started this tour ten years ago. I just wanted to do a walking tour about Philippine history, post WW II. But as the years went by, it became more about PH’s position in the cold war and our relationship with the US, as framed by Imelda Marcos’ biography and the architecture of the CCP complex,” Celdran told Asian Journal via Facebook.

According to Celdran, a curator named Savita Apte “came to the Philippines, saw his tour and made him part of their commissioned works in the Art Dubai Projects programme.”

Asian Journal was also able to contact Antonia Carver, Fair Director for Art Dubai (via an email interview), regarding the issue. She explained the process of selecting and commissioning Celdran for the art event.

“Carlos Celdran’s performance was part of Art Dubai Projects, our not-for-profit programme of artists’ commissions, which this year included 40 artists working in performance and site-specific installation and interventions in the fair. We have a particularly dynamic programme of artists’ projects, plus educational activities, at the fair, involving artists from the Middle East and Asia – part of our efforts to support artists and support the growth of the arts community in the UAE. Artists are nominated and considered by a curatorial committee, who evaluate their suitability for taking on such a commission based on their previous work and upcoming ideas. In 2012, the commissioned performances included a very successful experimental Performance Night, featuring poets, musicians, artists and so on, many based in the UAE, plus two commissioned performances, by Carlos Celdran and Koken Ergun. For these performance commissions, artists are asked to respond to the fair itself, and create works that encourage audience participation in the fair,” said Carver.

Series of events

A report by GMA News Online said that on Friday evening (March 23, Dubai Time), Celdran was interrupted by robed authorities in the middle of his performance, after he made a vivacious commentary on the special friendship between Imelda Marcos and late Libyan strongman, Muammar Gaddafi.

Part of ‘Imelda’s’ content is an imaginary conversation between Marcos and Gaddafi, where Marcos tells Gaddafi: “Islam is all about peace, and if you are funding a war in my country that is pitting Filipino against Filipino, you are also pitting Muslim against Muslim. How are you following Mohammed?”

When asked by Asian Journal if the said line was only mentioned at that particular performance, or if it has always been a part of the script, Celdran said: “Yes, this has always been the line in the performance. I never added anything to that part of the performance.”

Asian Journal also inquired if Celdran was briefed by Art Dubai regarding sensitive cultural and religious laws that need to be put into consideration, when he does his performance.

“No briefing at all. I never once worried that I would be questioned about the content of my performance,” Celdran responded.

He then narrated the events which ensued to Asian Journal: “I was interrupted in the second act of his Friday tour, taken away downstairs into the parking lot and was told to keep my topics about the Philippines and not about other nations. After the performance, I was called into their office, [where] I was questioned by over five security officials and released about an hour later. In that office, I had to recount or ‘perform’ the Gaddafi part of my tour to the officials. After the interview, I was advised to tone down or remove parts of my tour. So as my choice, I cancelled.”

“The scariest part of the interrogation was when I was taken away from my companions after the tour, and kept in a closed room. The security people knew [of] my educational background and where I lived in Manila. It was obvious [that] they did a background check on me, before they started questioning [me]. I felt totally violated,” Celdran recounted.

Asked about his reasons for canceling his other shows, Celdran said: “I cancelled, simply because to alter or tone down my content would not make the work true to itself. And if the security of the area would misconstrue my words and intentions, who else might? I just did not feel right nor safe to perform in Art Dubai anymore. It was a little traumatizing. Seriously, I’d really rather forget Art Dubai right now.”

Asian Journal asked Carver if Art Dubai did a review/pre-screening of the content of ‘Imelda,’ for possible sensitive material and about the controversial Marcos-Gaddafi line.

“The performances at Art Dubai are original work, developed specifically for the fair; they are not pre-existing. We discuss works in depth with each artist but do not require them to pre-submit all their potential or predicted words or actions. Carlos chose to develop the material he’s focused on previously, but adapt this for Art Dubai, using seven different works in the fair as a springboard for his commentary. I understood that the line you’re quoting there is actually a quote from a character in his show – it was not Carlos’s words. To be specific, Carlos was not interrogated. The security staff who monitor all major events in the UAE wanted to understand his performance and material better, and questioned him about the content in an office at the fair venue itself,” Carver responded.

When asked if Art Dubai was approached first, before Celdran’s questioning, Carver said that “the directors and curators of the fair were present at all times and discussed the content with the authorities, once they flagged their interest in the content. For further context, they also wanted to discuss the content directly with the artist.”

Asian Journal then asked Carver about Art Dubai’s reaction, after Celdran decided to cancel his show. Did Art Dubai ask him to reconsider his decision?

“No, we did not. When Carlos decided that he wanted to cancel the remaining show, we accepted this decision, of course. We have years of experience of working with artists, and respect their work. On the final day, Carlos decided to do an impromptu performance about his experience and the fact that he had opted to cancel his original performance, and he was not stopped in any way from performing this, either. Before we understood it as a performance, as Carlos had previously informed us that he would not perform, we asked Carlos if he would like to make use of our office at the fair, but once it was understood as a performance, he carried it out in the foyer of the exhibition without interruption,” said Carver.

Eyewitness accounts

An eyewitness told Asian Journal that Friday evening was not Celdran’s first performance of ‘Imelda.’ It had already been going on for two days, before the questioning occurred.

Another witness (whom Asian Journal interviewed via Facebook and whom we have chosen not to identify, for his protection) said: “We knew it was coming. After his (Celdran’s) Gaddafi-Imelda part, some locals in Dishdashas (an ankle-length garment, usually with long sleeves, similar to a robe, says Wikipedia) suddenly began taking videos of him. Then as the tour moved to another venue, more security guards gathered around us. When we moved near the ballroom entrance, they cornered him and began asking questions. Everyone felt nervous, since we knew those topics can get sensitive here. When [Celdran] resumed his performance, it was obvious that he got annoyed. I heard him say that he might cancel his last performance (that afternoon) due to what happened. But he entertained a lot of people for interviews and photo-ops naman.”

“The sad thing is that nobody from the Art Dubai organizers even supported him. Everything was so ‘guerilla’ (even if it’s supposed to be part of the drama). They should have at least provided him with decent audio-video equipment. And most of all, [they should have] briefed the security guards [about] the nature of his performance,” he further stated.

But according to Carver, “this was an artist’s performance: like all the commissioned artists, all requirements were discussed with Carlos in advance, and fully supported; he suggested that he bring the microphone with him and his own equipment, as he is most comfortable with this. The nature of the roving performance meant that he opted to keep the presentation simple.”

When asked what provisions were afforded Celdran during his Art Dubai stint, Carver said: “Like all other commissioned artists, he was given an artist’s fee, per diem, accommodation and flight, and looked after personally by curators and our staff during his stay.”

Asian Journal asked Celdran why it took two days for the authorities to realize that there was some “controversial” content in his show.

“I guess they just did not understand what performance art is about, nor did they listen closely to the content. I guess by Friday, when the group had grown to its largest, I had gotten their attention. I was followed by security already by the beginning of my second act, on Friday. If this is all a misunderstanding on part of security, I advise Art Dubai to give their security forces classes in different kinds of art. Their security forces have to learn as much about art as the people who visit the art fair, in order to make artists feel safe about performing/doing work there,” he replied.

Excerpts from the Q&A with Celdran

Here are some excerpts from Asian Journal’s (AJ) correspondence with Carlos Celdran (CC):

AJ: Your controversial reputation precedes you (with the “Damaso” episode) and you have been perceived as a hero by most Filipinos, who believe that the RH Bill should be implemented. Did you expect that your ‘Imelda’ show would also spark a controversy? Did you expect that “Imelda” would become a touchy issue on foreign soil, especially in the Middle East?

CC: Absolutely not and it should not. I still stand by my content.

AJ: Have the organizers of Art Dubai released a statement regarding the issue? If not, will they be releasing a statement to address the issue soon? Has the Philippine government issued a statement regarding the incident as well?

CC: I don’t want them to. In the beginning, I was so angry and incensed, that I had hoped what had happened to me would be acknowledged. But in the end, forget it. There is too much at stake for them to admit to having an invited artist intimidated at Art Dubai, I’m sure. And they already have enough problems with the other gallery, ArtSpace, who also had artworks censored and taken down. And to be fair, that issue is more serious than mine. Their issue made it to BBC. Mine’s still just on the blogs and on local PH media. And truth be told, I don’t want this to go any further than that. Art Dubai is a good thing. I just wish they could admit their limitations.

AJ: Describe your trip to Dubai in general. What can you say about the culture, especially the art scene? How does it compare to the art scene in the Philippines? What about in terms of censorship and exercising certain rights and freedoms?

CC: We are definitely much more free to express what we want in the Philippine art scene. But we don’t have the money or connections to show off our arts and culture scene to the world, the way that Dubai can. Art fairs are about money, cultural validation, and ego and placing yourself on the map of the world. Dubai will get there. Dubai will go far. They already have.

AJ: Do you have a message to impart to our kababayans in Dubai, especially to those who took time to watch ‘Imelda?’ Also, for our kababayans in the Philippines who continue to give positive feedback and support to ‘Imelda,’ despite the incident?

CC: Thanks for your support, but let’s move on. Freedom of Speech is an issue for Dubai and ALL of the Middle East and let’s leave them to thresh it out on their own. We have our own issues at home and let’s deal with those first. I’m happy here in Manila and here is where I’ll still choose to do my art practice.

Moving on

Despite the incident, Celdran said that he is still “very grateful” to Savita Apte for giving him the opportunity to display his craft in Dubai. He is now back in Manila, after boarding an Emirates flight on Sunday, March 25.

On March 28, Celdran posted this on his Facebook account: “[Carlos Celdran] is thinking and threshing things about @artdubai to @ArtLeaks @GMANews @HowieSeverino. You know, don’t judge all Dubai, @artdubai and The Middle East by my experience. I mean, I was caught in a sandstorm of misunderstanding and miscommunication and it really screwed my perception and experience. But the big picture still holds true. @artdubai and Dubai itself are trying to push forward as a society and for that I commend them and support them. I really do. I hope that clears many things up.”

And to Asian Journal, he gave this final statement: “What happened to me won’t change. I was still scared within an inch of my life. But I think I see the bigger picture now…I think I do.”

Message from Art Dubai

Asked if Art Dubai has a message to impart to Celdran, to the Filipino community in Dubai and to Filipinos in the Philippines, this is what Carver had to say:

“Carlos’ performance was not commissioned as a ‘message.’ Art Dubai is a cultural event. Our performance programme is about taking an innovative approach to engaging audiences, as part of Art Dubai’s extensive community-oriented, not-for-profit programme of events. Of course, given the great Filipino community in the UAE, we were so happy to have the opportunity to engage — just as we reach out to all communities in the UAE. The arts scene in the UAE is opening up year-on-year, and providing great opportunities for artists and young people to engage in debate and art and design production. This is a very isolated incident and naturally, as hosts and curators, we regret any upset to the artist. In general, the fair and our programmes aim to build links between communities, and lead to a greater understanding of the role of art and performance in society.” (AJPress, with reports from GMA News Online, Yahoo! Philippines and ABS-CBN)

Gravitational Pull and the Vortices of Rage (2011)

I’ll be honest.

When I first heard that Rage Against The Machine was going to play at the LA Coliseum and that there’s the possibility that this would be their last gig, I just had to grab tickets right away — no questions asked.

I didn’t know that the whole shebang was going to be a riotous festival. My mind was reeling, just from the thought that I would finally be able to see Rage Against the Machine perform. All the other blurry details didn’t matter.

Of course, the realization dawned on me the day before the concert and the thought of sitting under the baking sun from noon ’til midnight became worrisome. That, and the given fact that the crowd will be as rowdy as hell.

Enduring a 9-hour music festival in the sweltering Southern California summer heat is no easy feat. There are only three things that can happen: you could die from sunstroke, boredom, or worse — a senseless riot.

Yet, LA Rising was, perhaps, the most memorable music festival to hit Los Angeles this summer, especially since it’s a homecoming performance for  Rage Against the Machine (who reunited in 2007 and played a smattering of gigs since then) and it was nothing short of spectacular.

A gathering of this magnitude requires a sizable group of law enforcement at hand. The LAPD wasn’t going to take any chances, and came prepared with a full force of cops, patrol cars and helicopters, which hovered around the venue throughout the festival.

The event began rather unremarkably, with raving and ranting performances from Immortal Technique and El Gran Silencio on immigration, social issues and human rights in America. Yet, no preface would’ve been more pertinent — it was meant to whet the audience’s appetite for the climactic and fervid performances ahead.

If anything, it paid homage to Rage Against the Machine’s “bombastic, fiercely polemical music,” as described by Jason Ankeny of Allmusic.com.

Lauryn Hill was a refreshing break from the seditious word vomit, but still failed to incite enthusiasm from the crowd. Still, Hill’s powerful vocals resonated and the attempt to bring some variety into her setlist (including two covers from Stevie Wonder) didn’t go unnoticed.

Next in the scheme of things was Chicago-based Rise Against — heartily entertaining with their Green Day-ish punk renditions. It was enough to raise decibels and get the crowd going. Their performance signaled the official beginning of rowdiness, as the sun began to set.  The dusky ambiance and cooling temperatures re-energized the audience.

But nothing could be more majestic that evening than Muse, who was an astounding spectacle with Matthew Bellamy’s mellifluous vocals, haunting guitar work and classic rock sensibilities. It’s what a friend of mine refers to as “industrial alternative,” but something that I would describe as “the wailing choir boy” — a cross between Freddie Mercury, Remy Zero, Starsailor and possibly, even Radiohead.

Though I’m not a big fan, I think it’s only fitting to say that Muse has mastered the art of the live performance.

After a rather lengthy process of doing sound checks, Rage Against The Machine began their 90-minute set.  Yet, technical difficulties were still to be had.

It would’ve been completely dramatic — sirens blaring, a bit of pyro show and the lighting of the Olympic torch —  but the first few lines of Testify were muted out by glitches on the microphone.

Bombtrack more than made up for the slight mishap.

All hell couldn’t stop them now, as RATM defied, demonstrated and delivered: People of the Sun, Know Your Enemy, Bulls on Parade, Township Rebellion, Bullet in the Head, Down Rodeo, Guerilla Radio, Calm Like the Bomb, Sleep Now In The Fire — the evening’s setlist gained unrelenting momentum — causing vortices from below to gravitate toward its path of revolution.

There’s something about RATM’s music which brings out  primal aggression and boorish behavior. Mosh pit circles of worship were an expected sight, but a bonfire right smack in the middle of one seemed a tad bit horrifying.

A most fitting encore, Freedom/Killing In the Name was 11 minutes of pure belligerence, amplified further by Tom Morello’s dexterous guitar work.  I found myself mouthing profanities shamelessly: “Fuck you, I won’t do what you tell me.”

While I knew that there were a few minor casualties among those who were looking for trouble on the field, a trip to the concession stand beheld an unexpected sight: a bunch of paramedics wheeled a chunky guy on a gurney,with an oxygen mask on his face. A raven-haired woman walked next to him, in tears as she explained what happened to a cop/paramedic. The poor guy must’ve had a heart attack — whether it’s from the booze or from smoking too much joint, I wasn’t really sure.

Almost Famous (2007)

By Nickee V. de Leon
(Second of two parts)

AS of this writing, Krishtine may already be embarking on her first legit assignment as contributing editor for Rolling Stone magazine.

Krishtine de Leon, a Fil-Am journalism graduate from San Francisco State University and a native of the Bay Area, was chosen among six fledgling journalists who joined MTV’s “I’m From Rolling Stone” to become the next contributing editor for the legendary rock and roll magazine.

Two weeks ago, the Asian Journal had the opportunity to have a phone chat with Rolling Stone’s newest “edition.” At that time, Krishtine(who was then temporarily based in Los Angeles) had not formally spoken with RS regarding her responsibilities as contributing editor, but shared a general idea of how things are going to work.

With RS being more inclined towards rock, alternative and pop music, AJ asked Krishtine how she can integrate a fresh perspective, coming from a background that was more oriented towards hiphop.

“I think that RS is such an institution on rock and roll and there’s no way that I can ever take away from that, but after thirty years now, hiphop has proved itself not to be a passing fad, it’s really a lucrative business right now and it’s huge… in terms of being recognized, it’s old enough as a genre itself.”

“I felt that it was finally time for rock n’ roll as an institution and RS as an institution to recognize hiphop. I thought that there’s a possibility that as contributing editor, hiphop would be my specialty and that they needed that. At the same time, I wanted people to recognize that RS came from San Francisco, and it came off as a sub-culture rock and roll and rock and roll wasn’t taken seriously. I felt that was the same thing about hiphop, I wanted hiphop to be taken more seriously. RS didn’t really have any credibility with the hiphop community either,” she asserted.

She narrated how some journalists she met perceive RS as “a magazine for pop culture and a magazine for old, white folks.” She’s hoping to make RS more relevant to the community of color and to the urban community as well.

With the Fil-Am community finally finding representation in RS, AJ asked Krishtine if she thought that this could be a jumping off point for Filipino American bands to make it to the mainstream as well.

Krishtine gave a hearty laugh. ” I think that with me just being there and being somebody who they trust as an important person, as a peacemaker per se, it’s definitely a chance not only for Fil-Ams but for everybody. It’s hard because I’m coming in there as a representative of my community so people think that now that I’m there I’m takin’ down the bill, which is true.”

“But people have to meet me halfway also because I worked very hard to get where I’m at, just because I’m there doesn’t mean that some Fil-Am band that comes out of nowhere is going to make it to Rolling Stone. They have to work as equally hard as I did. If they get to my level, I will definitely be the first person to pitch. I will pitch it.”

When it comes to writing about more complex issues or issues of social relevance, Krishtine writes with such vividity and eloquence. Her piece on “The Dark Side of Kentucky,” Krishtine’s IFRS national affairs assignment on the Tyson Chicken Houses, is an illuminative combo of factual reporting and palpable imagery that will move you to feel nothing but compassion for the families affected by this eco-disaster.

Asked what inspires her to write with so much poignancy, Krishtine revealed that she finds writing therapeutic. “Growing up, feeling like I was from two cultures, feeling that I was from the Philippines but that I was also from America…the Filipino-American identity is something that is still being shaken.”

“Going to SFSU and learning about my history, that was a huge inspiration for me. Not only Fil-Ams, but people of color in general, the struggles they have made to be recognized in the community. I realized that my problems are so little compared to theirs. I realized that their work made my work possible. I can’t complain about how hard it is because I don’t really know what it’s like.”

“I can imagine how hard it was and I can imagine the perseverance of our people. I still get emotional to this day, thinking how hard it must have been for Filipinos to be recognized.”

“Coming into the situation, my father and mother had to give up their whole life to bring me here and sacrifices are still being made so that I can stay in this very fortunate position. That is my muse, because I’m given this opportunity to have a place and what am I going to do with that voice, am I going to sit there and waste it and not recognize the work that was before me? Or am I going to recognize all the work that has been put in so I could be here in this position and do my best to, not only be myself but to be proud of my culture and also be somebody whose talent is undeniable universally…,” she further added.

Krishtine’s message to aspiring journalists — Don’t worry about anybody else, worry about developing yourself. Use your struggles by taking in the strength and learning about yourself. Always give back at the end of the day. Finally, look at yourself as a representation of your community and as a Filipino, a force to be reckoned with. (AJ)

(Here’s the printed PDF of the article, as it appeared in The Los Angeles Asian Journal: Writing Samples-Krishtine De Leon-Christine De Leon Huld)