Jelliclisms on a Jellicle Blog

Ang pasko daw para lang sa bagets. Kasi, ito ung season ng pagkain, laruan, pamasko, bagong damit, StarCity, Enchanted Kingdom, two-week vacation, at paputok. Pero pag matanda ka na, unti-unti mo ng narerealize na di na bagay sayo ang Pasko. Habang patanda ka na ng patanda, dahan-dahan ng nawawala ung kulay ng season ng kapaskuhan. Napapaltan na lang ng paunti-unting Kris Kingle dito, konting additional beso dun, at nakakain na lang walang humpay na "Merry Christmas!" na lang ang dating bonggang mapalamuting okasyon.

Sabi ng pari, huwag daw kalimutan si Kristo kapag pasko. Hello?! E simba lang ang katapat n'yan! Isang sermon lang ng pari at isang masigabong pagkampana, e nawawala na rin ang Christian Concept ng pasko pag balik natin sa bahay. Aminin natin yan! Ayoko ng self-righteous!

Pero inisip ko rin: ano na nga ba ang pasko para sa 'kin? Is it still as colorful as my early years? If not, how can this be so different?

May mga nagbago for sure,. Pero ung mga pagbabago bagay na sa katulad ko. Wala na ngang pamasko na tig-bebente pesos pero may 13th month naman! Wala na nga namang StarCity moments, pero may sarili na 'kong Christmas shopping - ung tipong nabibili ko kung ano ba talagang gusto ko. Hindi man ako ang namamasko ngayon, at least ako na ngayon ang nagreregalo sa sarili ko.

Inisa-isa ko ang mga nagawa at gagawin ko this Christmas na hindi ko nagawa nung bata pa 'ko. May keri, may bongga, may laloz:

 

- Nagagalit na ko sa tunog ng paputok. Masakit sa tenga, at nakakawala ng poise pag nagugulat ako.

- Naiimberna na rin ako sa traffic. Aksaya na sa gasolina, aksaya pa sa oras

- Bumili ako ng dalawang pares ng tsinelas, ung mamahalin. Katumbas ng isa, e isa ng pair ng white shoes sa Aldo. Ang problema naman, nanghihinayang akong apakan, kasi nga mahal!

- Niregaluhan ako ng mga taong hindi ko inaasahang magreregalo sa akin. Masama kasi ugali ko, alam ko hindi ako appreciated ng lahat.

- Kaya kong hindi kumain ng sobra, para ma-maintain ang 29 ko na bewang! Kasi nung bata ako, nun ang masarap ang pagkain, kaya kain ako ng kain!

- I'll have an out-of-town trip with bebe. Ung kaming dalawa lang. Problema nga lang, wala kaming photographer na kasama. Sayang ang mga photoshoot opportunities.

- Natanggap ko ang nakakalulang 13th month pay. Hindi lang kaluluwa ang pwedeng bilhin. Pati puso!

 

Nagbabago nga ang pasko. Un e para sa 'kin. It may not keep getting better, but it stays better nonetheless. Kaya 'merry' pa rin!

Maligayang Pasko!

Ang hindi ko maintindihan sa mga Katoliko eh madalas hindi sila consistent. Laging nagbabago. Laging ginagawa kung anung convinient. Buti na lang, hindi na ko Katoliko. Kasi, kung nagkataon, eh kung kelan matanda na ko, saka ako maghahagilap ng bagong faith.

Ng minsang dumaan ako sa Gb5 nung isang linggo, me misa sa Greenbelt church. Ang alam ko, kahit inayos na ng todo ng mga Ayalas ang Greenbelt strip, ang hindi nila nagawan ng ayos e ung church nilang kasing luma pa ni Marcos. Siguro concept kung concept - siguro ibig nilang sabihin: binabago ng panahon ang lahat pero ang pananampalataya hindi. Bongga sana, kasi un consistent ang tingin sa relihiyon, di nagbabago.

Pero nung araw na dumaan ako, parang di ata tama sa hulog ang konsepto. Naglakad kasi ako along Gb4, dun sa pathwalk na malapit sa mga windows ng Ferregamo na me katapat na lagoon. While walking, I heard the priest intructing a congregation to "nod" the sign of peace. "May misa pala!" Sabi ko. Tumingin ako sa loob ng church, and true enough, may gig nga si father.

Di ganong puno ang simbahan, siempre Thursday un, hapon pa, either nasa work ang tao o nagshoshopping for Christmas. May mga vacant seats saka malakas ang dating ng mga speakers. Ang hindi ko lang ma-comprehend, e kung bakit sa labas eh may mga tao rin na wari mo'y nagsisimba din. Hindi lang actually sa labas, malayo from the entrance, nakasandal halos dun sa mga windows ng Gb2. Nakatayo, nakaharap sa chapel saka super solemn ng dating.

I would understand if the chapel was at an SRO status. E hindi naman. Madaming pwedeng upuan, madaming chances na mas makita ang kulay ng Christmas displays sa loob, at higit sa lahat - mas OK ang view para silayan si father. Pero andun sila sa labas. Iba't ibang klase: may mag jowa (straight magjowas naman), may mukhang galing office, may naka-casual, may family, may baklang pa-mhin, may bata (naglalaro pa) at may Senior Citizens.

Duda ko kung naririnig pa nila ung instructions ni Father. Kung narinig man, duda pa rin ako kung magagawa nila effectvely ung "nodding" ng peace kasi magkakalayo sila dahil nga mas malawak sa labas. Hindi rin ako sure kung mas nafi-feel nila ung ambiance ng samba, kasi ang daming dumadaan, mas maingay, mas makalat.

Ang lalong hindi ko mainitindihan, e kung bakit nauso yung ganun.

Malakas ba signal ng Diyos?

Alam naman natin na para sa mga naniniwala nga may Diyos, e talagang talo pa ng Globe at Smart ang signal Niya. Kahit nasaan ka, sabi sa Good Book, nandun siya. So hindi lang signal ang pinag-uusapan, Presence. Kasi pag signal lang - connection ang drama. Alam mo na, kahit wala, andun pa rin. Pero kapag presence,andun talaga! As in talagang andun!

Pero ung nakita ko sa Greenbelt Chapel last week, hindi naman un ang isyu. Para sa akin, simba ang pinunta nila dun. Hindi naman Diyos. Dahil kung Diyos talaga, e di sana, kahit sa bahay na lang o kahit sa Baywalk, keri na. Kung Diyos naman ang pinunta nila, bakit nandun sila sa malayo sa altar? Kasi andun din ang Diyos? Kung sabagay, nandun nga rin Siya, pero mas nandun din ang Demonyo. Ung mga naglalakad, ung ingay, ung mga naglalaro, ung mga kalat. Kung nasa loob siguro, mas konti ang Kaaway. Mas konti ang Kaaway, kasi nandun ang ambiance.

To each is own 'ika nga. Pero parang unfair naman sa pinaniniwalaan mong Diyos kung sa panunuod mo ng Batman sa Gb3 e pinipili mo pa ung 'da best na upuan; un bang nasa gitnang row sa gitnang aisle. Ung iba nagpapareserve pa. Sa pagbili mo ng ticket ng concert ni Regine, gusto mo bongga ang upuan mo kahit mahal. Hindi ka naman kukuha ng ticket sa labas ng Araneta at makikinig nalang mula sa Farmer's diba?

Bakit un hindi magawa para sa Diyos? Un ang talagang di ko maintidihan. Hindi yan uso sa ibang sekta. Sa ibang sekta, unahan pa sila ng pagkuha ng upuan every Sunday morning. Mas malapit sa pulpit, the better! Ung mga Muslim, maayos ang arrangements bago sila maglulumuhod at a certain hour. Walang bakante, all kneeling areas taken. Pero ang Katoliko, laging kung anung convinient, kung anong mas komportable dun sila!

Dati, ang pagkain ng karne e bawal pag nagsimula nang pahiran ng abo ang noo ng mga gustong magsisi at magtikal. Ilang buwan din un. Gulay at isda lang ang pwedeng kariring lutuin ng mga nanay natin, tapos kung sakaling bigla kang makakain ng kahit isang kapiranggot na meat, e fly ka na agad kay father to confess. Pero nabago na naman un. Sa holy week na lang daw. Holy Monday to Black Saturday na lang bawal. Kung gusto mo raw talagang malinis ang mga kasalanan mo, e mag-fasting ka at karirin ung lumang tradisyon, kung di mo keri, keri pa rin naman kung gagawin mo ang penetensya sa holy week. Tapos, nabago na naman. Starting Holy Wednesday na lang daw. Mukhang nahirapan ung iba sa haba ng holy week. Mas malakas yata ang tawag ni Jollibee kesa kay Christ.

Ngayon, wala na. Di na siya cumpolsary. Kung feel mo na lang. Kung bet mong i-deprive ang sarili mo from burgers, adobong baboy, kaldereta, sisig at bopiz, keri na rin. Kung mag-oouting ka at balak mong mag-ihaw ng liempo sa beach, keri na. Di na naman cumpolsary eh. Kanya kanya na lang.

Dati, ang Simbang Gabi umaga...as in umagang umaga. Ung tipong di pa natilaok ang manok kasi masarap matulog sa ginaw, at di mo pa maidilat ang mata mo sa dami ng morning glory eh naka-sapatos na si father para sa early morning show niya. Siguro naman, natataandaan mo na dito nauuso ulit ang Bibingka at Puto Bumbong. May Christmas song pa nga 'to na Tagalog eh. Sabi ng song, ito raw ang "simula ng Pasko sa puso ng lahing Pilipino." Kasi tuwing madalaing araw, ang mga attendees daw ay "gumigising, sa tugtog ng kampanang walang tigil."

Penetence daw 'to. Sabi ng iba, pag nakumpleto mo raw ang siyam na misa e sa araw ng Christmas, eh pwede ka na raw mag-wish. Dito ko narealize, na sa Katoliko, di libre ang mangarap, kelangan, magpaka-puyat ka muna bago ka mag-ilusyon. Bongga no? Kayang kaya 'to ng mga call center agents!

Pero ngayon, iba na ang mga Simbang Gabi, 6 pm na. Gabi na talaga! Meron pa rin daw mga madaling araw na versions, pero pareho rin daw ang sermon ng nakaraang gabi. Nasaan na ung penance? Nasaan na ung tradisyon ng "lahing Pilipino?" May Puto Bumbong din ba kapag evening edition na? Pwede ka pa bang mag-wish kung ung 6pm ang nakumpleto mo?

Ang daming isyu, ang daming pwedeng pagusapan. Ganyan ang Katoliko, ganyan ang isip nila. Yun eh, sa pananaw ko lang. Nababago ang tradisyon kasi hindi na convinient sa kanila. Lumalawak ang maliliit na simbahan, habang nagiging extension ng chapel ang bakod at gate tuwing misa. Umiikli at nawawala ang times of penance kasi mahirap naman talagang gawin. Nababago ang oras ng nakasanayang tradiyson dahil impossibleng maka-attend ang mga taga-call center na graveyard ang shift.

Minsan, napapakamot na lang ako ng ulo. It's very hard to understand how some of these self-righteous people will bend rules just to adjust everything to their convinience. Hindi na Diyos ang mahalaga, ung oras nila at comfort. Un ang mas importante. Makakapaghintay naman siguro ung imaheng nakapako. Ung Diyos na naging tao at ginive up ung sarili n'yang convinience para maligtas tayo.

Un lang naman.

I

When you get to manage a party for beauty queens in a cruise ship, probably near the coastlines of Manila in the early 80s, you get the feel of an era long-lost gone. Amidst the exagerrated dance grooves, you will be reminded that fun is such an easy thing to achieve in a time when dictators rule the land.

But when the cruise catches fire in the middle of the bay (or should I say) somewhere in the South China Sea, amazing things happen all at once...First, it was as if no one died. Second, all the beauty queens manage to survive. Third, all of them coincidentally drift ashore to a lone desert island somewhere in the country (God knows where). And fourth, they still look stunningly beautiful!

Jessica Zafra's essay on Joey Gosengfiao's Temptation Island started the hullabaloo in the early 90s on this early 80s sexy-fantasy-comedy film. Though a box-office hit during the time when Marcos was on the verge of establishing a moralistic crusade againsts Bomba films, the movie was relatively disregarded if not ignored by critics of the time.

Understandably enough, Temptation was regarded as a qualified candidtate in a line-up of promising films at the start of the Philippine Cinema's second Golden Age. A roughly plotted story of four (4) beauty contestants who got stuck in an desert island, with a man for each of the three and a maid for one would have simply pulled it off. But as argued in a a Brocka-regime, the film's large element of artifice and exaggerated ironies pulled it out from the list of potential classics and study. As viewed during its time, this sexy, almost like the 90s' pito-pitos, was obviously another Monteverde revenue project that will assure her profit goals for 1980.

Since Zafra's article, many followers expressed their own thoughts right after. Noel Vera tags it as a third-world Pedro Almodovar "only funnier and stranger." Lawyer-Critic Francis Cruz describes it as "a bizarre and absurd sexual romp where genre elements merge into a hodgepodge that is surprisingly effective and hilarious." As the years pass, this cinematic trash has been proving its greatness in its subtle themes, motifs and craft.

With the many reviewes and immediate reactions from new-young viewers, what seems to be lacking is a technical standpoint that will defend the film and director's ingenuity. Though it is understandable that Camp as a genre, is only meant to be enoyed and not studied thouroughly, there is still a need for defense to comprehend its innocent depth and hilarious bliss.

Susan Sontag, in her 1964 essay Notes on "Camp" will be the main resource for this analysis. Sontag's views on has drafted a clearer definition of this 18th century-old genre. Her views on this artform has more complex syntheses, and by analyzing Gosengfiao's greatest work from a campy, yet theoretical perspective, will be more appropriate, as the film has been regarded as the best example of camp in the history of Philipine Cinema.

II

Temptation Island has a mixture of the needed elements of Camp in films. Its clear exhibition of basic Camp elements from sheer theatricalization, outrageous sensiblity, to exaggeration, - integrated with a subtle revolutionary idea has made it to a genre so hard to achieve, that even Joel Lamangan still finds it hard to make one.

Theatricalization:

Gosengfiao viewed acting as a mere tool to exhibit creative aspects of his actors. Even as early as Katorse, the too timid Dina Bonnavie was made to splurge and cry hysterically in the middle of the street, too dusty you see some particles moving from her hair to her face. Who can forget Alma Moreno's hand-on-waist-while-standing-on-an-irrigation-stream with mud all over her upper body asking: "bakit ako mahihiya?" These too campy theatrical movements are evident in almost all the scenes in Temptation. Who would not raise an eyebrow when you see Dina (Bonnavie) throwing sticcomitatic lines to Alfredo (Alfie Anido) during a rough confrontation after the former learned that the latter slept with Suzanne (Jennifer Cortez). Apparently these lines would have been appropriate in a scene delicately prepared for such romantic quarrel. But finding the players in the middle a god-forsaken desert, with no food and water (that most of them just decided to dance instead) makes the theatrical effect more out of placed and out of

context.

Sontag's description of too dramatic representations of reality in Camp has been cleared extensively enought to delegate appropriate utilization of such in the genre. These playful exhibition of an artform (in this respect - acting) has been clearly manifested in almost every possible opportunities in Temptation. Despite the too obvious inappropriate setting and time for such dramtizations, the characters continually put their best foot forward in confronational, fashionistic, climatic and denoumatic scences. I cannot say that the performances were dry. I think that's the magic of the genre. But the surrealistic undertones mixed with a fantastical mood leaves the viewer laughing with both disbelief and acceptance.

III

Outrageous Sensibilities

Another point to regard on the film's plot is its regard on sexuality, gender and self-discovery. As early as the first few scenes, we see the characters establish their subplot that will eventually contribute to their developments as the story progresses. We see characters viewing themselves as winners in a chosen field...Azineth (Azineth Tobias) as a triumphant crook able to win a beauty contest for the prize money; Dina, a self-neglected-only-daughter who will prove her brothers that -yes - she can buy a car of her own once she wins the contest; Bambi (Bambi Arambulo) as an ex-runner-up from previous pageant aiming to get the throne this time, and; Suzanne a socialite with a maid (Deborah Sun) who's only goal is to win the pageant to prove to everyone that she's the rightful owner of the throne!

In the argument of sensibility, Gosengfiao did not dare dismissed the concept of affection, betrayal, and sex through  a candid twist of transposing this basic instinct to another realm made each intial goal look funny and pathetic. Even in a setting that will force human beings to focus on self-preservation, Gosengfiao geared these basic human emotions and linked it to the latter. Who would have thought that love and sex are also part of self-preservation, and that these emotional coping mechanismns can be good as food in a place of drought and death?  

Indeed, the Campiest part in terms of sensibility lies in a revolutionary tone when Joshua (Jonas Sebastian), the lone gay character, died amidsts straight people who fornicated to compensate the lack of food and water. Maria, despite the want of a partner, simply danced the whole night to compensate her need, and yes, she survived.

This sensible point proves that in a society filled with prejudice will eventually kill, or if not, eradicate, the unwanted - the unloved if not properly filled.

 

IV 

Exaggeration

Camp style has been evident in other forms of the genre. From the too elaborate Tiffany lamps to Visconti's direction of 'Tis Pity She's a Whore, one requirement for this post-modern approach is inevitable concept of drama-dramahan.

One thing that is noticable are the unintended exaggerations in Temptation. Most critics would argue that some of the scenes were a bit messy in terms of line-flow and blocking, but I think that's simply the point! Under-blocks like Azineth's jumpy dance groves while sitting down and talking to Alfredo about being

 a crook (a damn good crooook) was unintentionally made unstable and unrealistic. But think again, don't most beauty queens move this way? What about the scene when Alfie rolled over a hill after Dina pushed him away? We see that the hill wasn't so inclined and that the character can simply stand up and sit to resist the fall. But the fall was obviously choreographed, you just can't avoid raising an eyebrow.

What I consider most hilarious, in terms of blocking is Azineth's orgasmic position on the beach. This too exaggerated pose could pass for a White Castle photograph in the 70s, but think again, wasn't the lighting and angles just too perfect enough? This unrealistic positionings were amiably accepted and unquestioned. But then again, you get the POINT, you get THEIR point!

Oscar Wilde wrote: "The more we study about art, the less we care about Nature." I think this only goes to show that Gosengfiao's infatuation with the cinema and art direction was greatly exhibited in this masterpiece. Much as we want to believe that the director intentionally made these ridiculous dances and poses, our subcounsious tells us that this was created with a clean motive. It whispers that everything was done in good faith, without the intention of making it look as bad as it was for higher taste.

In the process we accept Azineth's vanity poses and Bambi's girlish moods. We smile when we see Dina and Alfredo run along the deserted shorlines, shot in landscape and played via slow motion. We laugh when we see Maria (Deborah Sun) requests for more panty hoses for more fish, and relate when Suzanne worries that she might get sunburned.

In this respect, Camp succeeds here.  

V

Subltle Revolution

Now comes the most challeging area in the genre - revolution. When Gosengfiao encased four beauty queens, three men, a homosexual and a maid in an island without help from the outside world, what formula can you think of that may pull off a socio-political idea, thinking that you're making a sexy film?

Amidsts the many flaws and imperfection, we feel the subtle undertones of a socio-political struggle in Temptation. Among the stem-pillared huts and screaming temperatures, we are presented with Marx's social triangle. Each main character represented a social class that interacts between and among the other classes. This political perspective presented an unintentional microcosm prevalent in the universal society. However, a natural twist managed turn this traingle upside down towards the middle of the film to its end.

We see the triangle with the two Marxist classes: The Bourgeoisie (Suzanne, Joshua and Dina) and The Proletariat (Azineth, Maria, Bambi Ricardo and Umberto).

 

The members of the upper classes are stylish, manipulative and idle. Despite the natural demands of the island, they continue to live out their class, even added artificial expectations from the others. Dina, on one hand, managed to conform with the members of the other class. Her character eventually shifted from a bourgeoisie perspective to a laborer after realizing the need for manual labor to survive. Suzanne, on the other hand, consistently lived her class. Tagging along her maid, Maria, anywhere she goes, scolding her for each petty mistake and making her tell lies for her own motives.

The characters in the lower class were also members of the same class even before they came to the island. Umberto, a waiter is the most useful character for the others. His survival skills were extremely utilized. Ricardo, a male-prostitute, made use of his strategic surviving skills - though some of his thoughts were a bit off and hilarious. Azineth the crook, gave the other girls the nerve to use common sense and style to survive each scorching-starve-filled day.

As the plot progresses, we notice the shift of focus from the upper class to the lower class. Joshua the socialite died and eventually got eaten by the group. Suzanne eventually gave up her bitchy tactics to manipulate others and eventually gave in to help the others to find food. Moreso, Maria's payoff scene where she went on top her lying and helpless Senorita demanding respect and equality is the final compensatory climax for this revoulutionary idea.

In the interim, the lower class eventually became the leaders in the island. This revolutionary concept gave way to

the film, in consideration of a post-modern genre, will have to take time to ripe and conform to the development of taste. Viewing it from the 21st century perspective, will allow the young new viewers to see new dimensions in the film that has been disregarded in the 80s. Further, as Camp is relatively hard to achieve, Gosengfiao, was able to create a timeless example of a film that can represent such.

 

 

 What shout do you hear on the streets of Malate on a late afternoon in December? What else? Diversity and Freedom!

This year's Pride March tagged Project Equality as their goal for next year. Aiming a higher level of acceptance from the society, the different social groups participating in this year's event joined together in shouting feats for love and diversity!

Though this year's event may not be as fun and organized as the previous marches in the past years, this was still a venue for a reunion of the many gay and lesbian groups who have been shouting in the street and fighting againsts discrimination and prejudice.

 

 

Let's start off with the juices, queens and queers! See the Raging Divas in the jeepney-carried float.

 

One Fairy Queen shwishing her hair in front of rallying Christian Fundamentalists shouting Bible passages to Pride participants.

 

 

 

The streets packed with duchesses in their own costumes and styles.

 

The upcoming divas with their men on a float. Too bad their masks covered most of their features!

 

Dancing queers on masks...

 

Rallying men and womyn crying equality this year! What a shout!

And most of all, two hearts shouting freedom, equal rights, acceptance and diversity!

 

Long live Pride!!!

Got a copy of Stephanie Meyer's 1st installment in her Twilight series. A continuing saga about a vampire and mortal in a more contemporary setting has been raved not just by some critics but by fans worldwide. I do not know if this is

worth the try but the movie version and the unbelievable out-of-stockings in Powerbooks and Fully Booked led me to develop the interest to give it a bite.

Let's see where this will lead me. I'll tell you more about it after the swallowing...

It ALL started with an extreme close-up of a computer-generated drawing of the Statue of Liberty...too close you'll see

the cemented lines as the camera zoomed down, fast enough toward the New York coastline in a matter of seconds.

Flying across the city the camera travels above a colorful array of rooftops, penthouses, dark and well-lighted windows. The flow will allow you to see a panoramic view of the cityscape interspersed throughout the first few seconds of the Main Titles. As the camera zoomed through a window and the next, you see characters, in independent sexual acts involving self-fellatio (if there is such thing), S&M, and an extreme exhibition of coppulation between two characters in a remotely serene bedroom.

The first few scenes of John Cameron Mitchell's Shortbus deliberately details the initial establishment of a character-driven plot and an exploitation of liberty in a city overlooked by a statue that signifies it all. It explores the adventures of sexuality and gender in a society driven by passion, philosophy, independence and orgasms. It details a frank exhibition of sex in post-9-11 New York among sexual explorers with goals that are a bit too naughty for the conservative mind. It clearly depicts a new exploration of self-thought, experimentation and liberation in search for oneself.

Sofia (Sook-Yin Lee) is married to the attractive, self-centered, yet dumb-witted Rob (Raphael Barker) who looks at his

manhood as a tool to inavertly supress the former's ecstatic satisfaction in sex. Suprisingly, Sofia is pre-orgasmic, and hasn't reached actual orgasm since her first try.

 She eventually comes into contact with two gay couples; James (Paul Dawson) and Jaime (PJ DeBoy) who themselves have been having issues in their relationship as the latter finds it hard to accept the love given by the former while the former has found the need to express his overflowing love for everybody.

 

Enter other supporting characters that will bring spice to this character-driven story: First we are brought to the Shortbus: a Brooklyn "salon for the gifted and challenged." Here get to enter a world of utmost liberty where sex is a common escape from a world dictated by rules and cynicism. Next we see Ceth (Jay Brannan), a former commercial model turned songwriter who met the Jaimes in Shortbus. We also

get to know Severin (Lindsay Beamish), a self-proclaimed lesbian masochist who created a special bond with Sophie as she explores her sexuality to achieve her ultimate sexual goal. Also, we see Caleb (Peter  Stickles) a voyeuristic photographer obssessed with the Jaimes (James and Jaime) who made it a habit to view the couple from their windows through a telescope. We also get introduced to Justin Bond (as himself) the visible alter-ego for our characters and host for the Shortbus guests who shows great traditional cycnicm againsts society and standards, saying: "As my dear departed friend Lotus Weinstock used to say:I used to want to change the world. Now I just wanna leave the room with a little dignity."

Through these characterizations, we see the wheels of the plot revolve through the next hour or so. We get to explore the senses of becoming a female in search for herself and finding an extremely suprising realization. Sophia's journey from being a preserved Couple's Counselor (since she doesn't want to be called a Sex Therapist) to a sexual adventurer exploited new arguements on physical gratifications. The new world, as introduced to her in the Shortbus, created a new perspective on sexual adventure, odessey and exploration of preference. Her absolute negation throughout the entire film againsts the idea of lesbianism served as a key to finally open the door for her lifelong questions and search for meaning. This pre-orgasmic New Yorker learned, through a clear manifestation of lust in room full of people dressed to the nines and others dressed extremely down and making out.

The Jaimes on the other hand, presented a twisted, yet universal picture of a gay-relationship gone bland. James has started seeing that his relationship with Jaime is going nowhere since he started feeling that Jaime's overflowing love

has never penetrated his "skin." Jaime on the other hand, has been finding ways on how to make the relationship work, to the point of managing to include a new party, Ceth, into the relationship making a ménage à trois that explores various sexual experimentations.

 

When James reached the height of his journey to freedom from Jaime, he came across Caleb and ended up looking from the latter's window to their own apartment across the street. This almost fantastical climax paved a new perspective for James in his search for himself as he aimed to finally recieve Jaime's love for him. He viewed the spot, not from his own eyes, but from the eyes of an obsessed photographer who believed in their love for each other, a love that surpasses his limited understanding like a lone role player who would not fully see his own ground. Amidst the dark climatic scene, we see supernatural James looking across the windows, lighted not by flourecent nor incandecent lights, but by plain candlelights sybolically expressing the warmth of first love and the flame of a long forgotten love.

Clearly, this movie could be argued as pornographic. But the Cannes Film Festival did not say so. The depiction of sex in the film was not erotic nor suggestive, as it simply exhibits plain sex among people: Americans or not. The exploration of sexual gratifications is but common among people who see that sex is a part of the physical, psychological and spiritual realm of our being. Our orgasms are not taboos, but an everyday concern especially for those who never had it and that satisfaction cuts across gender, identity and preference. Our freedom to explore our needs, our desires is continuous journey to self-realization. Without motivation to pursue this natural gratification, we will begin to lose our hopes and begin our walk towards decay.

 

 

Why do you make some purchases online and others in-store? 

I tried using ebay.com to purchase my a Sony camera a few months ago. I was introduced to ebay.com.ph by a friend after giving her an inquiry call regarding camera specifications and recommendations. I remember her telling me that I should try checking it in ebay as most of the prices are much lower than those that are in-store.

 

True enough, I got the latest model of Sony's Cybershot at a very low price! It was even delivered to me for free! But the best thing of it all was that when I got this model, it wasn't even released yet in the Philippines!

 

I know that I have caused so much heartache, not just lately, but for the longest time. I have been such a burden to you because I have always thought more about myself, my insecurities and my freedom, thinking that it's just the right thing to do since I'm the one who loved more.

Never did I realized that it was you all the time who has invested more in all of this. I only loved you because you have endured me after all these years, but you - you loved me more even if I have been too self-centered and selfish for the most part. You loved me without question nor prejudice, you gave me everything just to pull me up from my insecurities, offered me both hands just because I stubbornly complained when it was just one.

You did not complain before, but my endless harassment and tantrums gave way to a new nature. You started to level with my cruelty to the point of you asking me to set free.

I assumed you wanted everything to be over, I assumed you wanted to be free. Yet, with every denial, with every disapproval you simply nodded with silent submission. You would hold me again and cry silently while I turn my deaf ear and smile; convincing myself that you were smiling too.

But deep inside I know that it was all over for you. My strength has simply kept you shut, my dominance just over your ego. I kept doing everything that satisfied my confidence, filled my insecurities and weaknesses. Not realizing that truth will eventually unmask itself, and this truth will eventually kill your spirit.

It was inevitable: truth always finds ways of unveiling itself - creatively sometimes - but the inevitability will never be uncalled for by the unfaithful. I hurt you again, extremely. The guilt is so overwhelming that it consumed me slowly, yet with precision, like a worm on a leaf. The idea of losing you, since it was at last your final reason to let me go, was a like a pebble in my shoe.

Yet you came back. You did not humble yourself, no. You made yourself as priceless as a gem in a mountain cold. You still gave you heart to someone as unlovable like me. You gave a gift to someone who doesn't deserve to recieve anything, especially love. A gift, I will always treasure for the rest of my years.

You still love me. I still do too. Not the same as the first few months and years, but much more! You still offered me your faithful love despite my faithlessness and self love. You did not pull back your hands but started looking for other things to offer to seal the deal again.

You simply asked for my affirmations and promises; things that other people who have been through what you have been will not normally ask for. You really do love me. Loving you back will be easier, yet for someone with a guilt-laden shoulder like mine, will be much more of a challenge.

I will love you for the rest of my life.

I will carry you again like I used to. You have proven to me that the years we have spent together, albeit mostly hard and quarrelsome, have impacted you so much that you have treasured them. I

 will be right here with you till the days of youth have withered and the dusk of age crawls through our lives.

I will hold you endlessly and embrace you in times of sun and rain.

I will keep you warm in days of winter and run with you in summer. I

 will sing you songs till fall you deaf through time and age.

I will write you stories to make you remember the olden days when we were young and read them to you in the days when memories have involuntarily crept out of your mind.

And I will assure you, everyday, that your love is repaid, that nothing is wasted, nothing is exhausted.

 

 

I won't stop 'til I get through. I know that with everything that we have just went through, you have covered yourself with an unwanted shield of paranoia and suspicion. But I will find a way.

I will find a way.

While driving, what's your biggest pet peeve?
Submitted by Alexandra

Pedestrians who walk in the middle of the street, and move as if they're on the moon!

 

The third and (ideally) the last installment of Walt Disney's High School Musical came to the Philippines late this week in a relatively extreme anticipation from the age group that screamed "we're all in this together!" practicallly three years ago. When the wait for the final cap of the trilogy (I took the liberty of calling this a trilogy as it was comparable to the hit that was LOTR during its time, however, for a much different age bracket) even 'be and I can't wait to see the launch in theaters.

 

 

Was it worth the wait? I have to say yes!

I remember buying a pirated version of the first installment in MCS after seeing a bunch of DeVeDe salesladies watching the film's finale which was done on a basketball court. I was actually scouting for a new addition to my Criterion list but, the then-over-rated Kenny Ortega choreography caught my attention. Excited to see this contemporary Musical from Disney, I bought a copy and went home immediately for a Sunday afternoon treat.

But as I munch my Nachos in front of the screen and had my second serving of monay for a then 200 lbs tummy, I gulped my Sprite-full mug wishing to have chosen to be skinned alive than to bear this overly sincere and achingly severe rendition of high school production numbers caught on tape! Talk about an MTV musical!

I'm not againsts this new venture. An MTV-like musical is what this generation needs to give them a new choice in the so-limited genres that we have now. I love theater and I adore the movies; but it's the musicals that I am most passionate about. It's just that when I saw Zach Efron achingly sang his "Start of Something New" with an uneven expression of self-adoration venturing towards a narcistic attack of teenage masochism that's too early, yet too timely for someone with his looks and age. And then we have Vanessa Hudgens, who was relatively cute in the first three parts of the movie, but when it came to her rendition of "When There Was Me And You," I know that that was the end of the long tradition of recitative (sung-through) musical theater, or movie at that!

ALBEIT my initial reaction to the first installment was that it was a trash, lots of those that were in immediate enviroment three years ago found it extremely entertaining. Friends started calling; telling me they have seen the best original musical of the decade! Dozens of pinoy TV shows air their own teenage production numbers of the movie's highlights. Stages, a Philippine -based production outfit, even produced its own stage version of the film that ran in Manila for practically four months!

Oh no! It's not only the Pinoy who got caught in this hullabaloo. Many other countries got the HSM fever early on. Since the movie's initial release Disney Theater Productions initialized HSM on Stage! which is still currently on Tour along with HSM2 on Stage!

 

So I said, "Fine! Fine!" you like it, but I still don't. Probably it's because of my upbringing and utmost respect to theatrical tradition that is why I decided to scrap the idea of bearing the next big sequel. 'Be watched the second installment. He said it was not as great as the first, which gave me the impression that it was worse than trash. But despite all of this, the same hullabaloo came right on the bucket the second time to prove once again I was wrong.

They decided to make a film for the final BANG!

It was late August when I saw the stand up ad in MOA. I was with 'be and we developed an initial excitement for it. 'Be for being a follower of the series, and me for finding a musical film to look forward to this year. Besides, Efron showcased a bit of an improvement as Link in the 2007 film version of Hairspray.

 

And so it wasn't  a pain-in-the-ass of a film after all. The movie version was a version indeed. Troy Bolton and Gabriella Montez reprised their high school escapades one last time before deciding which way to go to college.

Sharpay Evans (Ashley Tisdale) came back to prove that she's a pure-blooded decendant of All About Eve's Margo Channing when she hired an exchange British-student as her personal assistant (Jemma McKenzie-Brown) who will eventually prove to be like Eve Harrington in the end! But in this day and age when villains are unconventionally packaged as lovable despite their appearances and views, Tisdale effectively manuvered her fans althroughout the film in making them love her til the end.

 

Ryan Evans (Lucas Gabeel, who have triggered an numerous online discussions about his sexuality due probably to his character portrayal of being a paternal twin to a certified gay icon that is Sharpay Evans) proved once and for all that he's not gay! His continuous links with Kelsi Nielsen (Oleysa Rulin) and their extreme fondness in the arts effectively justifies their connection and forever dismantles any teenage paranoia that the latter is a fag!

 

The songs (as written by David Lawrence, Robbie Nevil, Shankar Mahadevan and Matthew Gerard) were not as campy as the music of the first two films. They have somehow managed to develop a sense of musicality in respect to recitation and dialogue and connected this development to the maturity of both the characters and their target age bracket. Who would have thought that the initially too painful to bear 'Start of Something New" and "Breaking Free" can be well compensated by an almost Sixeen-Going-on-Seventeen-inspired number in "Can I Have this Dance?" On the other hand, Sharpay and Ryan's "I Want it All" may not be as fantabulous as Gene Kelly's "Broadway Melody" nor Jeromme Robbin's "Mambo Sequence," but can be comparably aligned with the onstage version of Laura Bell Bundey's "What You Want."

The design and cinematography was still as campy as the first two films but it was forgivable. Despite the too-clean shower rooms and the dust-free flower garden on the East High rooftop I found it utterly dispensable since it was a musical.

The only thing that I was not very much comfortable with is that the movie theme came a bit too late. Sharpay, Gabby, Troy and the rest of the gang got too busy dancing and singing, that the morale only managed to get into scene after all were tired from the many projects from both Coach Bolton (Bart Johnson) and Ms. Darbus (Alyson Reed), did the story find its way to its very sense of being. Being teenage film, and a Disney project at that, my expectations grew further as to look forward to what the movie has to say this time. I think that the story failed in this aspect.

Nonetheless, it was a delight seeing the once too young cast of an MTV-like musical that was High School Musical. They have indeed grown up to do this film to my delight and hopefully to the delight of the other too-conservative advocates of musical theater. Disney's timely release of this much awaited project for the young is indeed as timely as the pizza delivery knock on your door just after you finished your chores! It was indeed now or never!