Argentina: "And now I pronounce you..."

There are some great images and videos coming my way today from the marriage ceremonies between same-sex couples that have been taking place in Argentina.  From the most recent wedding that took place in Rosario just a couple of hours ago to the first wedding between a gay couple after the marriage equality bill was signed into law which took place yesterday morning, here they are in descending order time-wise...


Rosario, this afternoon: Martín Peretti Scioli y Oscar Marvich were among several couples who took to the courts over the last few years to ask for the right to get marriage.  In their case, a court ruled against them in 2008 but this time they were back with two hundred of their closest friends in what was described as massive scene.   



After the vows, the couple danced a waltz in front of their guests and cut a wedding cake.  The above images were captured during the ceremony by Pablo Czentorycky, who tweeted them at @pablitocz. The video came my way later.



Santa Cruz, this morning: Claudia Baéz and Cristina Medina received their appointment for the civil court for 7:30 in the morning earlier today.  The women became the first lesbians to marry since passage of the law as well as the first couple from the southern Argentinean region of Patagonia.

They had thought about holding a ceremony outdoors, possibly with the imposing beauty of the southernmost point's glaciers as background, but the quick turn around between the marriage license petition and the date for the wedding forced them to arrange a low-key affair.  Jornada says the couples' witnesses included both of the brides' mothers, a close friend of Cristina's and Claudia's son.

The video above shows the absolute joyfulness of their vows and love for each other despite it's low resolution.



Mendoza, a little bit past midnight: Eight days ago, when Giorgio Nocentino and Jaime Zapata visited their local civil court and petitioned for a marriage license, little did they know that they would be granted what was then the first place in line to get married as a gay couple in the entire country.  That date was today, July 31st, although no specific time was indicated at the time.

Briefly, for a few days, the couple became media darlings despite being a bit camera shy. In that respect, it didn't help that both
men were born in Chile and naturalized citizens of Argentina, which drew additional international media attention, including heavy coverage from the Chilean press.  Initially they expressed shock at the attention and said they weren't seeking to be famous nor did they want to become activists.  They said they simply loved each other but, most of all, they wanted to make sure that after 23 years of being together they could finally gain some security as partners.

As the week went along, though, you could see them warm up to being part of history and, when two couples beat them yesterday to the title of first couple to marry, you could sense their disappointment. Up until last night, before their wedding, they were still arguing that theirs was the first legal marriage between two people of the same sex (there has been a muted debate in media as to whether yesterday's weddings were, indeed, valid, as most had reported that couples could only start getting married today, on the 31st).

As you can tell by the video, most of that was forgotten and the ceremony was pure emotion. An employee of the court decided to surprise the men by singing a song before the vows were taken.  The men look as if they cannot believe whet is happening as they make the vows and sign the civil marriage registry.  And that brief shot of the two men overcome by emotion as they look over the crowd and the crowd just stands there and applauds is just amazing.

They also expressed being at peace with being first or second or third to marry. "To be first or second doesn't correspond to a particular preference," Zapata said, "we are just happy about this transcendental achievement".



Buenos Aires, yesterday, 9am: In some ways Alejandro Vanelli and Ernesto Larresse were the ones who began the marriage ball rolling when they requested a marriage licence from a civil court on June 13th, 2007, and were denied the right.  By then, Buenos Aires was known as the one city in Latin America that had approved a limited civil union law but the couple wanted nothing less than marriage.

Alejandro, a renown showbiz talent manager, and Ernesto, an well-known actor didn't care if it hurt their careers. They joined efforts by the Argentinean LGBT Federation (FALGBT) to push for marriage equality at a time when many said it would be impossible and did, indeed, push forward. They even participated in several of the organizations marriage equality media campaign ads, including this one, and helped FALGBT to gain incredible support from respected actors, musicians and performers.

"What we liked the most was to begin, together, another one of the marvelous adventures we have had in our lives," Alejandro told La Nacion, "In this case, it was to work jointly with young people, without support, without lobby, common, simple folk, who sought equal rights."

So pardon them if the video of their marriage ceremony not only looks like a celebration of their love but also a media event or one big photo op: That was exactly the point.

The couple, guided by the FALGBT and its president Maria Rachid, knew the exact place and backdrop they wanted: The ceremony was held at the exact same civil court where the couple had been denied the right to marry three years ago.

It was also, to their knowledge, the first time a gay couple would be getting married after passage of the law - except...


Santiago de Estereo, yesterday morning, 7:30 am: José Luis David Navarro and Miguel Ángel Calefato also went to their local civil court last week and, to their huge surprise, got the winning ticket, as it were.  A civil court in the northern locality of Santiago de Estero scheduled their marriage ceremony for July 30th at 7:30 am, making them the first gay couple who were able to marry in the country after passage of the law.

Described as an unassuming and discrete couple, they didn't make a fuss about their marriage ceremony and only invited close friends and family.  Only a few local newspaper reporters got wind of the wedding and captured pictures of the ceremony but no television cameras showed up.  By the time word traveled that a gay couple had gotten married in Santiago de Estereo, some national and international media had already reported Vanelli and Lerresse as being the first couple to marry, including CNN International.

The couple does plan to take full advantage of a honeymoon trip paid by the Mexico City government which announced they would cover all costs for the first couple who got married in Argentina.  Mexico City was the first municipality in Latin America to pass a marriage equality law last year and authorities wanted to offer a good-will gesture to unite that Mexican milestone with the Argentinean one.


Tierra del Fuego, December 29, 2009:  And so, those above were the first five same-sex couples who got married in Argentina after President Cristina Fernandez de Kirchner signed the marriage equality bill into law.  That does not mean that they were the first Argentinean couples to be allowed to marry.

As we have written previously, that honor will always remain with José Maria Di Bello and Alex Freyre (above) who also went to the courts to ask for permission to get married and were also denied. Except, with the help of the FALGBT, they appealed those decisions and ultimately got the go-ahead in November of 2009.  As HIV prevention activists and HIV positive themselves, the couple made plans to marry on December 1st, World AIDS Day, as a symbolic act but they were thwarted when a Buenos Aires court put a stay on the nuptials.

It was through the FALGBT that the couple found a willing civil servant in the southernmost area of the Americas, Tierra del Fuego, when the couple shocked the world with the announcement that they had gotten married on December 29th, 2009.

Recently, the couple attended the World AIDS Conference in Vienna and, on their way back, they stopped in Italy where they celebrated their long-delayed honeymoon.  Back in Buenos Aires as of this weekend, Alex spent some time this afternoon sending some "honeymoon photos" he took at the Vatican, some more profane and hilarious than others, including the "safe" ones I've chosen to post above and below.  In the signs they are holding above, the text says "Alex and José in our honeymoon" in the first one and "Adam and Eve" on one side and "...also Adam and Steve!" on the other.

A sign in a third photo, posted below, reads "Latin America: The same rights with the same names/ The same love".  Alex sent these through his Twitter account. He can be reached at @AlexFreyre .


The others: Like Alex and José Maria, there are another 9 or 10 couples who won the right to marry through the courts before the national marriage equality law was signed into law.  Of those couples, most were able to find a court officer to marry them but most also faced court appeals which froze the status of their marriages.  Alex insists that now that marriage equality is the law of the country, all those marriages are now valid but I haven't seen any media discussion about their validity.  Then again, Alex was cool as a cucumber even as the marriage bill seemed doomed in the Senate just days before it voted and kept telling everyone who would listen that he was certain it would pass.  And now he insists he is 100% officially and legally married to José Maria at this very moment.  We'll take his word for it.

As for those words in the sign they are holding on that last photo, there is no way but to think back to that one amazing ad asking people to imagine what the day after the Senate vote - July 15th, 2010 - would be like if they approved the marriage equality bill...

The official Spanish-language definition for "marriage" will be changed to reflect new gay reality

Darío Villanueva, the Secretary of the Real Académia Española (RAE), has said that the 2013 edition of their influential "Dictionary of the Spanish Language" will reflect the reality that gay couples can get married in several nations and localities throughout the world.

In an interview published yesterday ("RAE: Dictionary will include 'matrimonio homosexual'", EFE), Villanueva said specific changes to the dictionary's entry for "matrimonio" were still making their way through a lengthy approval process but stressed they would "appear without a doubt" [matrimonio is the Spanish word for "marriage"].

From the article:
The approval - in 2005 - of the law in Spain that allows marriage between same-sex people - Argentina has also joined in this current month -  led the Academy to consider "the need to modify the meaning of the word 'marriage' to reflect 'that reality which the law has created'".
Based in Madrid, the RAE has been the Spanish kingdom's regulatory body for the usage of Spanish since the early 1,700's, and stands today as the lead regulatory body for the language throughout the world.

Villanueva said that one of the points to be ironed out before publication is whether the final text would explicitly name the countries and localities which allow gay couples to marry.  

"Marriage" vs. "Homosexual Marriage": In it's heading and text of the article, EFE specifically states that the RAE will include the term "homosexual marriage" in it's 2013 edition but that's not so clear to me from Villanueva's quotes.

If that's the case, I am more than certain that LGBT-rights advocates throughout the world will raise the issue that "marriage" in itself hasn't changed and that, instead, some countries and localities have allowed their gay citizens to have access to the institution of marriage.  Furthermore, while a human being can be described as being "gay", a noun such as "marriage" doesn't really have a sexual identity.  Expect a clarification to come soon from RAE or from EFE.

Pederastia, Sodomia, Espray: The changes to the 2013 edition of the RAE's dictionary are part of 2,996 amendments or additions planned for the print edition. Among them are changes to the definition for the Spanish words for "sodomy" and "pederasty" to clarify that the practices are not exclusively linked to homosexuality and the addition of terms and definitions for words such as the verb abducir ("abduct") and the noun espray (an anglicism stemming from the word "spray").

Gay couples begin to wed in Argentina after passage of historic marriage equality law


The Argentinean House of Deputies passed a marriage equality bill on May 5th, the Senate passed the bill on July 15th, President Cristina Férnandez de Kirchner signed the bill into law on July 21st, and, this morning, two gay couples became the first to become married in civil matrimony under the historic law. 

It had been a race to the altar for several couples who wanted to be first and asked for a turn to marry at civil courts throughout the country.   

As of yesterday Alejandro Vanelli and Ernesto Larresse (pictured above) were set to be the first ones in line to make history in Buenos Aires after being together for more than 34 years. But it was Juan Carlos Navarro and Miguel Angel Calefato, together for 27 years, who surprised everybody and beat them to the clock when a civil court in the province of Santago de Estereo allowed them to tie the knot an hour earlier (Towleroad has photos of the happy couple). 

Neither couple holds the title of the first gay couple in Latin America to get married - or Argentina for that matter.  That honor will always belong to HIV/AIDS prevention activists Alex Freyre and José María Di Bello who married in Tierra del Fuego on December 28th, 2009, when an Argentinean court ruled that denying them the right to marry was unconstitutional. That marriage was challenged in court and placed on stand-by while the legislature debated the marriage equality bills.  Alex tells me that now that the bill has been signed into law, their marriage is currently valid.

 Below, footage from CN5 of this morning's civil marriage ceremony between Alejandro Vanelli and Ernesto Larresse which took place in Buenos Aires...


Vox Populi (2010)



Vox Populi (Dennis Marasigan, 2010)

Dennis Marasigan’s Vox Populi begins on the last day of the elections campaign. San Cristobal mayoralty candidate Connie de Gracia (Irma Adlawan) is hearing mass, in the hopes that her fealty with the Catholic God translates to votes. After all, the voice of the people is the voice of God. If one is assured of God’s undying support because of her utmost religiosity and sincerity, then the votes will simply follow. However, politics in the Philippines is not as divinely blessed as one would wish. As soon as Connie steps out of the church, a female churchgoer, severely troubled after being terminated by the town’s biggest employer, is introduced to her and squeezes from her a promise to provide a suitable solution to her labor issue. There is no escape to the very human realities that she has to confront and compromise with within her campaign. God can only do so much.

Marasigan stubbornly and sometimes humorously follows Connie through the troughs and crests of that final campaign day. Accompanied by her trusted assistant (Suzette Ranillo), her younger brother (Bobby Andrews), and campaign manager (Julio Diaz), Connie goes around town in a poster-plastered white van to attend sorties and visit influential personalities to amass enough sure votes to win her the mayoralty seat. What initially feels like a derivative of all the “day-in-the-life-of” dramas that have populated Philippine cinema as of late matures into something else, something more akin to a taut and thorough political comedy that demystifies the intricacies and particularities of Philippine politics in one entertaining package. Early on, the film insists on pandering on the obvious. The mechanics of the campaign, from the banal physical exertions like being tired and hungry to the seemingly didactic proclamations of Connie on providing better futures for everyone, is laid out in a straightforward fashion, unadorned of any embellishments or subjectivity.

The plot thickens. Connie makes deals left and right whether or not they’re incongruent with promises thrown left and right. There is no doubt Connie believes in her platform. Compared to the outright sleaze of her closest opponent, the incumbent town mayor, and the unseen third force, a youth leader who backs out from the race at the last minute, Connie, given the transparency that Marasigan grants the character, seems an ideal choice, the best choice for San Cristobal. The film however is not as interested in Connie’s electoral success as it is interested in her subtly orchestrated descent. Each deal she seals, whether it be with a devious religious leader or the town’s local crime lord (Jose Mari Avellana, who is utterly brilliant in the role), makes her position less ideal and her promises less realizable. Each accruing event that places Connie closer to victory feels like a step closer to limbo.

Connie juggles the demands of her campaign with her personal details. Interestingly, rather than treating these personal identifications as extraneous or as diversions to the freely flowing narrative of the final day of her campaign, Marasigan manages to mesh Connie’s political ambitions with her personal failures as wife and parent, and her father’s unavoidable legacy, into an amply intriguing reflection on a woman’s struggle for self-identification. Connie, in that single moment in the film where she is alone in her room, she stares at herself in the mirror and rehearses the three most important words in her campaign: Connie de Gracia. Her repeated utterances of her name give rise to her numerous roles and identities she is embattled with: Connie de Gracia, mayoralty candidate; De Gracia, the daughter of a former mayor; "disgrasya" (disgraced) by a careless romance that has turned her into an ex-wife and an absentee mother. Nearly assured of victory, she utters her name one last time, this time with the authoritativeness of a victor.

Vox Populi is funny as it is scary. In the guise of fictional Connie, Marasigan creates a Filipino Faust. There is no god in the picture, seemingly no redemption. There are no demons either. Politics, cynical as it seems, is Connie’s Mephistopheles. Democracy seems to be a sham. In the end, whether or not the road to the so-called bright future is straight and not crooked, the van going there is overloaded with favors and promises, investors and constituents.

(Cross-published on Twitch.)

When Latino pop stars turn their back on our rights

Yesterday something seemingly innocuous rubbed me off the wrong way on Twitter.  Well-known Mexican actress and singer Laura León was being interviewed live on Chicago's Homofrecuencia when she made the following comment, in Spanish:
For me, [the LGBT community] has given me their all, they are very creative people" [italics mine].
Or at least that's what she said in Spanish according to what a friend who was listening to the show and reporting about it on Twitter.

Nothing wrong with that, right? But if gays being creative creatures is a pretty harmless stereotype, when you hear one Latina starlet after another use the exact same phrase in Spanish to describe why they love the gays it can get pretty damn annoying.  Specially when they are promoting a tour of gay venues, as Ms. León was doing (there are shows in Chicago tomorrow, in Hollywood on Friday and in San Diego on Saturday).

To Ms. León's credit, she apparently went on to say she supported marriage rights for gay couples in Mexico, so her love for the gays might go further than appreciating us as a pretty creative bunch. It's certainly leagues ahead of Mexican singer Paquita La Del Barrio who famously said she, too, respected the gays, but argued in the same breath, that orphans would be better off dead than be adopted by a gay couple

Pretty innocuous stuff, no? 

Yup, I wasn't even going to write about it - except for something posted earlier today at the politics blog of the San Francisco Chronicle ("Star endorser at Latino 'values' event to help Fiorina -- the 2008 Queen of SF Gay Pride Parade?").

From that post:
That "Latino Partnership for Conservative Principles" fundraiser in Los Angeles to reach conservative Latinos, celebrate "Tus Valores" (Your Values) and help U.S. Senate candidate Carly Fiorina had an interesting twist: among the star celebrity backers in the lineup was Mexican-born telenovela star Karyme Lozano -- who also happens to be the crowned Queen of the 2008 San Francisco LGBT Pride events and parade.
And, who brought Ms. Lozano to San Francisco to receive said crown from the San Francisco gays in 2008? Why, it was Granada Entertainment, the same organization who organized Laura León's gay bar tour this week!
 
The Chronicle goes on to quote a passage from a Wikipedia entry for Ms. Lozano which apparently has been deleted since it was quoted by the paper.
Karyme Lozano, after the death of her father, is dedicated to promoting values and defend their Catholic faith, his testimony has joined the many who leave everything to follow Christ and make Him known. He has served on several Catholic Congress in the U.S., Central and South America and has initiated pro-life action with Eduardo Verastegui by standing outside a clinic near downtown Los Angeles, handing out pamphlets, trying to stop women from obtaining health services such as contraception, pap smears, and abortion.
Ah, Eduardo Verastegui, that other Mexican-born singer / actor who became the Latino face for the successful homophobic Prop. 8 campaign in California back in 2008.

This is not really a dig at Granada Entertainment.  For years now, they have made a business of bringing popular Spanish-language pop music stars to their gay fans in the United States and there is certainly no way for them to know which of the stars that agree to perform at gay bars will turn their back on the gays in the future.  Among others they've brought to Latino gay clubs throughout the United States are also gay-friendly Fey, La India and Gloria Trevi.

But sometimes I feel our community confuses the fact that it's all about the business of getting their gay money rather than the performer's true support for the community and our rights - and it frustrates me to no end that performers such as Verastegui, Lozano and Paquita and Yuri can simply use the community to advance their careers and then turn their backs on us in hurtful ways.

Worse still is that they know they can get away with it.  Ms. Paquita "Let the baby die rather than be adopted by a gay couple" La Del Barrio? Why, she'll be performing at New York City's Madison Square Garden on October 16th as if nothing had happened and it wouldn't surprise me to see more than a few gay fans in the stands. And yes, before her mouth got her into trouble, Paquita also was crowned Queen of the gays during one of her US tours.

As for the group calling for the $1 million dollar Fiorina fundraising drive? The Los Angeles Times calls The Latino Partnership for Conservative Principles "hard to trace" but names some of its founders and I'm not sure some of them could call themselves Latino without making people laugh.

The great Jeremy Hooper at Gay As You digs in deeper:
This Latino Partnership for Conservative Principles coalition is an outreach of the American Principles Project, and this Fiorina effort is the work of APP's action arm, American Principles in Action. Robert George is the founder of APP/APIA. The same Robert George who -- wait for it, wait for it -- CO-FOUNDED NOM! So essentially we have NOM signing on as one of two sponsors (the Susan B. Anthony List being the other) of a pro-Fiorina effort that was setup by their own founding chairman and current prominent spokesperson!
So where's the money coming from? That we can't answer. But we do know that this Partnership for Conservative Principles is not a Latino coalition that just so happens to put some focus on gay issues. In fact, it seems to be a largely gay-interested coalition (marriage in particular) that just so happens to put particular focus on Latinos! 
Got that? The so-called "Latino" partnership is an outreach arm of the non-Latino APP and the main force behind it, as well as it's lead board member, is the non-Latino Robert George who also happens to have been the founder of the incredibly homophobic National Organization for Marriage.

Note to Karyme Lozano: You are being used as a tool. I hope, down the line, Laura León stops at expressing platitudes about the gays and doesn't join Lozano and Verastegui in stabbing our backs.

Related:

Happy Agentiversary to Me!

Yes, one year ago (yesterday), Agent Man called and offered representation.




I guess this means I'm not newly agented anymore, huh.

Anyway, here's a recap of what has happened since I signed with my agent:

1. I finished some quick revisions on my first book, and Agent Man started subbing it to some pretty awesome editors. (Did I ever mention that Agent Man signed me with the very first novel I ever wrote? I didn't have anything else finished at that point. Yeah, I'm certain that was a mistake on his part, but now he's stuck with me. Mwah-ha-ha-ha-ha!)
2. I started thinking about Book 2.
3. Agent Man left Writers House and moved to Russell and Volkening, and was kind enough to ask me to move over with him. (I think asking me to stick with him was his 2nd big mistake, but, whatever.)
4. I finally finished the first/second draft of Book 2 and sent it to Agent Man (certain that he would read it and realize his mistake in signing me). He read and gave some amazing suggestions, which I am still incorporating in the manuscript.
5. A small number of those awesome editors finally sent some rejection emails to Agent Man. Only one really hated the book, a few were lukewarm to it, but most liked it but said it didn't fit their list. (Those were the reasons they gave for the R's, anyway.) We're still waiting on the majority of the awesome editors who have the ms.


Okay, totally OT, but what is the grammatically correct way of writing the shortened version of "rejections"? Is it Rs or R's? I need this question answered, because it's keeping me awake at night.

Oh, sorry. Back to the list...


6. I started a group blog *cough cough* because I finally found the nerve to ask people to join me...I figured they might actually take me seriously (getting an agent will do that to you). I should point out that I never take myself seriously. Well, only on rare occasions, and it always turns out badly.
7. An industry professional (translation: a real, honest-to-goodness editor) agreed with Agent Man that I am a funny writer! O HAPPY DAY! (See this post that mentions my life-long wish to be considered funny.)
8. I made it to my first acquisitions meeting with Book 1. Yay! Though I didn't make it THROUGH my first acquisitions meeting. Sigh.
9. I think I've gained 20 lbs. and my first dozen gray hairs from all the suspense of waiting and hoping and wondering. I am not old enough for gray hairs! (Good thing there are few enough of them that I can still pluck them out.) And I am not exactly happy that the submission process is making my butt look big. Curse you, Stress (and Stress Eating)!
10. I'm happily revising Book 2 and working on the first draft of a third book. And working out the plot of a fourth. I'm not exactly the most productive writer out there, but not bad for a year's worth of work, right? (Just nod your head and agree with me here.)

Anyway, thanks for a good year, Agent Man. And here's to the next one, which is gonna be bigger and better, guaranteed.*

Happy Agentiversary!


*'Course, I can't really make any guarantees, but that's beside the point. It's the sentiment that counts, right?

TME

*Non Halal Post*

TME - The Meat Experts located at Plaza Damas in Hartamas. We went there last Saturday for dinner, this is my third time there. Food is nice, a small and cozy restaurant.

Hub was busy with his moutain bike racing things on Sunday the next day, so he didn't join us for dinner. Me and the two boys went out with my brother in law and his wife.





Wild mushroom soup, my boys love this, two of them sharing one bowl of this.


Pork Burger for sharing.....


Roast pork spaghetti, my boys had this too but without the chili flakes.
This is the portion that share between me and brother in law and his wife.


Pork Ribs! Yummy!!!


another type of Spaghetti with ham and bacon underneath. Very yummy!


2 happpy little customers....:)

XAMPU fan art by IUMAZARK


























Entrei no Deviant Art e me deparei com essa arte. O que dizer, né?
Muito, muito obrigado, Iuma!

Sickening

Last week, some anonymous person sent me a number of low-quality clips from a television show called "José Luis Sin Censura".

The show, which thankfully I've never seen in my life, is apparently broadcast in some of the major US television Latino markets, including New York City, Los Angeles, Miami and Houston.

Think of a smuttier "The Jerry Springer Show" with no concern shown for FCC fines, particularly in their demeaning portrayal of gays, lesbians, women and transgender folk.

I have compiled the six or seven clips I was sent and uploaded them as a single clip on YouTube.  I believe the clips come from two separate shows...



Looking for additional info online, I was happy to see that the Gay and Lesbian Alliance Against Defamation (GLAAD) was already on the case.  An excerpt from their June 18th statement:
The Gay & Lesbian Alliance Against Defamation (GLAAD) asks you to join calls for the reality talk show José Luis Sin Censura to immediately stop using defamatory terms and apologize to viewers. The terms “maricón” and “puñal,” which in English translate to “fa**ot” were chanted by audience members on the June 8 segment of the program. The same pattern occurred on the June 10 segment of the show, when audience members chanted “puto,” a word that also means “fa**ot” in many Spanish-speaking countries.
GLAAD reached out to executives of the company that produces José Luis Sin Censura to express our concerns, but the company has not responded.  The show is produced and distributed by Burbank, CA-based LBI, Liberman Broadcasting Inc. José Luis Sin Censura airs daily on Estrella TV in Los Angeles, Miami, New York, Houston and other large Latino markets. By one estimate, Estrella TV reaches about 70% of the nation’s Latino households and millions of Latinos nationwide.
The show’s format pits guests against one another in combative situations. This often leads to violence, which audience members are encouraged to cheer and sends a message that violence against LGBT people is okay.
They urge people to take action NOW and express their outrage.

I was also glad and not surprised to see that the amazing Jeremy Hooper of Good As You was on the case as well. He's got additional damning footage of the show on his blog.

Telling lie

24-07-2010 mark my boys turn 62 months old, ie: 5 years and two months old.

Cruz always the mischievous, cheeky, and full of naughty ideas in his mind. Last week Saturday, after they finish their homework and piano practise, i let them watch tv in the room while i am doing my pictures taking for my online store.

After done with my "project", i went back to the room, i find nothing wrong till i walk into my walk in wardrobe, i saw some hair on the floor. I thought that is my hair, since now i am keeping long hair, sometime there will be some hair on the floor, i pick up the hair, but it look short, could not be mine. I didn't think much, i clean the floor, and when i about to throw the hair into the dustbin i saw more hair inside the bin! Slightly longer and quite a bunch, i walk out the wardrobe and look at the boy's hair, see who is having the "new style" but both hair look ok to me. I start question who play with scissor and cut the hair? First one i question of course is Cruz, i know him. I check his hair, i did saw a few hair was standing up and slight shorter than other hair, i asked him did he cut the hair himself, he give me the innocent look and tell me "no" i asked thrice, he give me the same answer. I said "fine, who tell lie, god will know, and tonight when you sleep and your teeth will drop off, because you tell lie". Two of them give me a "ok" look.

Later in the evening, when i shower them i asked again (ya, i never give up on asking! hahah), i still got the same answer, "NO". Night time when i put them to sleep and greet them good night, i talk softly to Cruz " mummy don't scold you, you tell me, did you cut the hair youself?" He look at me, pause a while and nodded his head with his tearing eye. I said "ok, next time do something wrong, admit and said Yes you do, don't tell lie, i don't like people to tell lie". He nodded again.

The next day, Sunday, i never give up (hahhaha) i ask again Cruz about his misbehave. " Why you cut your hair yesterday? Did you cut your hair by yourself ?" Cruz said " yes", i asked again, "then why you tell lied yesterday when i ask you?" Cruz said " because i scare you scold me!!" (that said i am a fierce mama!) I asked, "why you cut your hair yourself ?" Cruz said " because i play helicoptor (the remote control toy) and it stuck on my hair." So this is the reason why he cut the hair himself, he scare get scold from me! :(

Cruz oh Cruz, now i have to keep remind him, cannot tell lie! Do something wrong, must admit and i also have to change my way to teach them, instead of scolding them, i have to tell them and explain to them why cannot tell lie.

2nd Annual Pity Party! (for those who aren’t going to SCBWI LA this week)

I can’t believe it’s that time again! Yes, I'm talking about the annual summer SCBWI conference in LA. We nobodies need a place to call our own as the somebodies hobnob with the really big somebodies out there in the California sunshine. And I take my job as Biggest of Nobodies very seriously.

So, welcome to the 2nd Annual Pity Party for those not going to the SCBWI Conference!

We have a great lineup this year. First we will have our very own Whine and Cheese Reception, where we will read through the SCBWI Schedule and complain about those lucky enough to be there in person.

Next we’ll have a Breakout in Envy Session titled How to Be a Nobody. Here we will share our jealousy about how we are still not on the list of Really Big Somebodies who are lucky enough to get the honor of speaking at the SCBWI Conference.

Then the real fun begins. We will have our very own, no-holds-barred, razzle-dazzle, in-your-face “Stab My Heart and Squash My Soul Celebration”! Here we will wriggle and writhe the weekend away as we follow the Official SCBWI Conference Blog and #LA10SCBWI tweets that are only there to rub the fun we’re missing in our faces. In real time, no less. Sheesh.

So, pull up the couch, get out your bonbons or other comfort food, and let the Pity Party begin!

(Oh, I forgot to ask. Who's bringing the cheese?)

Nightmare

Halaw (2010)



Halaw (Sheron Dayoc, 2010)
English Title: Ways of the Sea

Set in the southernmost and arguably the most marginalized portions of the Philippine archipelago, Sheron Dayoc's Halaw (Ways of the Sea) documents the attempts of several of its citizens to secure a better life by crossing borders via the sea that separates the hopelessness in Mindanao and the promises of Sabah. The first half of the film, set on land, gives the audiences a glimpse of the lives sought to be changed, from the recruiter (John Arcilla) who manages the goods he has to bring to Malaysia intact and untainted to the Badjao siblings who seek to be reunited with their missing mother. The latter half, set primarily on sea, maps the journey and defines the relationships, until they reach their destination.

During the film’s first half, Dayoc, gifted with the ability to tell stories through gestures instead of the giveaway expository powers of words, compiles an array of emotions from his subjects, emotions like anger and frustration from Arcilla’s persistent recruiter, resignation and sorrow from Maria Isabel Lopez’s seasoned cross-border passenger, and longing from Arnalyn Ismael’s Badjao lass.

He therefore unmasks from the broken landscape defined by makeshift shacks on rickety stilts and military men in incessant patrol a people of confused identities, to whom nationality is a non-issue, and language is not a barrier. The only constant among them aside from the fact that in the motorboat they are all equal in the sense that they all have paid the same expensive fare, is a shared humanity, as defined by their decision to forego risks and uncertainties all in the service of filling a need. This is Dayoc’s strongest suit, the ability to humanize, to hint at histories and pasts of his selected characters with only offerings of glimpses of what could be a more troubling and devastating whole. The motorboat, carrying its paid and hopeful passengers, leave port. A lullaby guides them to sea, creating a false impression of peace and comfort.

However, the journey should be anything but peaceful and comfortable. Dayoc misses the tedium and boredom of sea travel. He also misses the possible dangers, the probable escalating dramas, and the budding connections between the characters. It seems that Dayoc envisions the sea as refuge from the ills caused by the deficiencies and excesses of society. Thus, when the motor boat ends up in Mamanok Island, the final station where the boat replenishes its supplies before arriving at their supposed destination, the passengers, more specifically the recruiter and his single ward, are again exposed to the same dangers they are trying to escape from. It seems that as long as corrupted man-made social structures, there can be no hope, no hope. The film’s most poignant moment, a scene where the recruiter and his ward are in equal terms in terms of being hopeless and helpless, involves a predicament where these social structures have broken down to reveal humanity in its basest and most repugnant.

Halaw is admittedly not a faultless film. The ending, whose abruptness can be read as ambiguity or a metaphor for the supposed endlessness of these cross-border tragedies, is ultimately a betrayal of Dayoc’s sincere appreciation of the passengers’ disparate yet connected conditions. However, amidst these technical and narrative issues, the film most importantly exists as an indictment of the failures of these man-made institutions, of the suffocating implications of poverty, intolerance, corruption and other by-products of abused and misused social structures, and borders, boundaries, and other instruments that primarily seek to protect these social structures but in truth, only propagate exploitation wherever and whenever such issues exist.

(Cross-published on Twitch.)

Street of Lions/Rua de leões























Caneta hidrocor em papel sulfite.

The Movie Experience I Can't Forget



"Ebolusyon ng Isang Pamilyang Pilipino" ("Evolution of a Filipino Family"), 2004
Cine Adarna, Diliman, Quezon City, Philippines

It was Dec. 17, 2004, an hour before midnight. The sun seemed like a distant memory. The black-and-white images on-screen — images of the families of a farmer and a miner struggling through the torturous passage of languorous time — felt more immediate, more real. The nearly 12 hours I spent inside the aging Cine Adarna theater at the University of the Philippines, watching "Ebolusyon ng Isang Pamilyang Pilipino" felt like a lifetime. The theater is named after the mythical, elusive Adarna bird, a creature whose songs can cure many illnesses and induce anyone to sleep. As director Lav Diaz painstakingly created a cinematic universe with a heartbreaking resemblance to reality, there were times when the movie had an Adarna-like effect, even lulling me to sleep...

(Read more of the movie experience from Matt Zoller Seitz's Slideshow: The movie experience I can't forget in Salon.com.)

Ang Paglilitis ni Andres Bonifacio (2010)



Ang Paglilitis ni Andres Bonifacio (Mario O'Hara, 2010)
English Title: The Trial of Andres Bonifacio

When a film is described as poetic, it is often taken as a compliment. However, when a film is described as theatrical, it is seen as a critique, scathing at that. What makes poetry the better spouse to cinema? Isn’t cinema but a visual and aural interplay of poetry and theater to begin with? Theater provides the cornerstones: the narrative, the milieu, the setting and the characters. Poetry, on the other hand, more than the façade and the flourishes, provides the requisite subtlety in the execution --- the minute gestures that accentuate a character, that last five seconds of absolute silence before a cut, the symbols, the verses, the rhymes, and rhythms. This is purely hypothetical. But if films are judged based on a balance where theatricality is measured with poetry, and the former outweighs the latter by a large margin, does it mean that the film is better off staged than filmed?

Of course, cinema, contrary to common misconception, is vaster than the trite and absolutely baseless hypothesis that was just forwarded. For that reason, cinema should and cannot be caged to what is merely “cinematic” because the term “cinematic” itself is already enigmatic, subjective in its very definition and has something more to do with how the recorded moving pictures are treated and utilized to express rather than how these pictures are moved and later on recorded. That being said, for all the accusations of supposed theatricality, Mario O’Hara’s flawed yet masterful Ang Paglilitis ni Andres Bonifacio (The Trial of Andres Bonifacio) is truly cinematic, probably the most important and cinematic creation that the Cinemalaya Film Festival ever produced in its six years of existence.

Ang Paglilitis ni Andres Bonifacio starts off after the Tejeros Convention where Andres Bonifacio (Alfred Vargas), a commoner from Tondo who is the founder and regarded father of the Philippine Revolution, has lost the presidency of the Revolutionary Government to Emilio Aguinaldo (Lance Raymundo), one of the more popular generals in the province of Cavite. In the midst of the revolutionary war against the Spanish colonizers, the revolutionary government initiates a trial against Andres and his brother Procopio (Janvier Daily), for treason, when the two, along with several of their men, were captured in a town where a supposed confrontation ensued between Bonifacio and Aguinaldo’s camps. Artistic liberties aside like the ghostly narrator (Mailes Kanapi) who conveniently appears to provide present-day commentaries and reactions on the events of the past, O’Hara does not deviate from recorded history, neither adding nor deleting anything from the written accounts of the trial to depict one of the most contentious and mysterious events in Philippine history, one that has been a pointed precursor to several of the present ills that plague Filipino politics.

I agree. Ang Paglilitis ni Andres Bonifacio is theatrical, but theatricality and literariness is the point. What essentially is the value of history translated into film, as is? It only glorifies and celebrates the erroneous artifice of a concrete and permanent history, as written by the few, and more damningly, by the few who are in the position to write and create history. We have seen this happen with Marilou Diaz-Abaya’s Jose Rizal (1998), a film that attempted to film Jose Rizal’s life as fact that it only succeeded in being both glossy yet tepid, as compared to Mike De Leon’s Bayaning Third World (Third World Hero, 2000), a film that has experiential knowledge of the impossibility of committing history to celluloid that it resigned itself to deconstructing the hero and what it has become in the present age.

The film, self-consciously theatrical from its very first frame up to the last, eschews reverence for its depiction of history. By scripting the trial as it was recorded up to the final recount of Lazaro Macapagal who read to Andres and his brother Aguinaldo’s verdict, utilizing theater actors to play historical figures as if they were acting on stage for immediate audiences and hence enunciating words, expanding bodily gestures, and utilizing exaggerated acting styles, and employing several theatrical and literary devices, O’Hara treats history as literature and more specifically, treats the trial of Bonifacio as fiction, dramatized and romanticized. This film’s form, as described above, aptly sets the tone for the grandiose stage play that is Bonifacio’s trial, a proceeding set-up to emulate a sense of fairness and justice in the dilemma of legitimately dispatching the utmost symbol of the revolution.

It is undoubtedly inevitable that many viewers would imagine Ang Paglilitis ni Andres Bonifacio as history recreated in film for the singular purpose of historical education, and I seriously fear educational institutions treating the film as such, feeding eager minds O’Hara’s clever mockery of recorded history as truth and fact. Before ending up with conclusions about historical figures whose lives and deaths are buried deep in speculations, hypotheses, and conflicting accounts, one should cognize the genius of O’Hara’s exploitation of the media he utilizes, that the Andres Bonifacio of his film is the Andres Bonifacio of the records of the biased revolutionary government, the main character of a staged play, the leading man of a film, and not the revered national hero of the Philippines.

O’Hara curiously incorporates the tale of the Ibong Adarna, also staged, in his film. Vargas, apart from playing Andres, also plays the youngest prince who in the Adarna tale, meets a hermit who gives him a knife and several lemons to keep him awake as the Adarna bird sings its lulling song. The film’s use of the Adarna tale ends mid-tale, when Andres and his brother are killed by Aguinaldo’s men. Death, more than the grand equalizer of men, is also the most effective means to silence men. Unlike the youngest prince of the Adarna tale who will be able to return to his father’s castle after being beaten up by his jealous brothers, and be acknowledged for his feat of capturing the Adarna bird and curing his father, Andres and Procopio’s deaths in the hands of his fellow Filipinos has left an incurable, lingering void in a country’s problematic history. All we can really do is investigate, speculate, and hopefully, create, and that as we do all those things, we can nurse this ailing nation to full health, with or without the help of the mysterious songs of the mythical bird.

(Cross-published on Twitch.)

My Creation - Part 41

Remember on my previous post i mention i went to 100 yen shop? This is my loots. Tada!

I prepare this bento lunch on Sunday, something easy but not healthy. hahahhahah..once in while should be ok i think?



new collection on bento box - Froggie and Bear, come with a spoon and bento strap. Nice?


Rice, one mini pork sausage, two nuggets, sweet and sour anchovies and grapes.



the silicon cups in the box are all my new collection. :)


closer look on the silicon cup, with ribbon at the side...




when i ask my boys to pick up their lunch box, they went "WAH!!! so cute!!!"

IGLHRC gains consultative status in the UN, Venezuela only country in America to vote 'No'

Yesterday, I was thrilled to hear that the US-based International Gay and Lesbian Human Rights Commission (IGLHRC) had gained consultative status by the United Nations (Official press release here).

This came at the end of a prolonged fight to block the accreditation by leaders and representatives from some of the most homophobic nations in the world as well as fundamentalist religious institutions.

"Today's decision is an affirmation that the voices of lesbian, gay, bisexual, and transgender people have a place at the United Nations as part of a vital civil society community," said Cary Alan Johnson, IGLHRC Executive Director. "The clear message here is that these voices should not be silenced and that human rights cannot be denied on the basis of sexual orientation or gender identity."

In the United States Republican Congressmen Chris Smith (R-NJ) and Trent Franks (R-AZ) had urged other countries to vote against accrediting IGLHRC.

Today, they'll be glad to know they were on the same side as Venezuela.

Yes, of the thirteen nations that voted against the measure, the only country in the American continent was Venezuela.Venezuelan ambassador to the United Nations Jorge Valera (pictured) has yet to explain his vote as does the government of Hugo Chavez.

An aside: Yesterday the White House released a brief statement by President Barack Obama, welcoming the news:
I welcome this important step forward for human rights, as the International Lesbian and Gay Human Rights Commission (ILGHRC) will take its rightful seat at the table of the United Nations. The UN was founded on the premise that only through mutual respect, diversity, and dialogue can the international community effectively pursue justice and equality. Today, with the more full inclusion of the International Lesbian and Gay Human Rights Commission, the United Nations is closer to the ideals on which it was founded, and to values of inclusion and equality to which the United States is deeply committed.
Hm, it's not the International "Lesbian and Gay" Human Rights Commission. They switched those two words around, and also got the acronym wrong. It's not "ILGHRC" , it's "IGLHRC". Oooopsie! A good thing, though, for the president to recognize the great news.

UPDATE: Thanks to Gerónimo Desumala, who left a comment on this post, here is a link to a description of the vote at the United Nations as well as the debate that preceded and followed.

A Venezuelan delegate stated the 'no' vote was not based on the nature of the agency's work but, instead, on procedural issues...
Speaking in explanation of vote after the vote, Venezuela’s delegate said her country’s Constitution forbade discrimination on grounds of economic or social status.  Venezuela had voted against the granting of consultative status to the organization for reasons of procedure, not because it had substantive objections to that organization’s work.  The examination of applications for consultative status was the responsibility of the Non-Governmental Organization Committee.

She said the Council did not have enough information to make a clear, objective opinion on the issue and it should, thus, respect the Committee’s recommendations.  Any decision adopted regarding the consultative status would establish a negative precedent, opening the door for any State to selectively bring the Council’s attention to applications for consultative status based on national interest.

mummies morning...

Last Saturday, me and this terror "baker" decide to go to the morning market nearby Barb's house to do some "shopping. She had been telling us, the market there sell a lot of things.

It was an early morning (to me la, weekend ma, always like to sleep in till a bit late), we met up at Barb's house around 9am. Park our cars at her house and we walked to the market. 3 mummies bring 4 kids to market, you can imagine the havoc!!! Me and Elaine busy looking at the clothes, toys, stickers, shoe, hair clips and many more, while Barb keep an eye on the kids. HAHAHAH

We spent about 1.5 hours at the market then we went to nearby coffee shop to have the famous "pan meen" . I tell you, around that area, got so so many foods stall and coffee shop, so many foods to choose, from one end to another end all is FOOD!! (sorry, no picture of the food)

Kids get restless after walk under the hot sun, we decide to bring the kids back to Barb house and we (me and Elaine) went to nearby 100 yen shop to do more shopping. hahahhahah

Kids having fun at Barb house, messing up the house and my boys play with Ashley girl's toy! Our shopping didn't end there, after spending another hour in Barb house we decide to go to another 100 yen shop at Kuchai Lama, as i didn't get what i want at the 100 yen shop near Barb's house. More loots from the 100 yen shop at Kuchai Lama. :(


Cruz playing with Ashley princess bicycle!


Fearles play with Ashley's Cinderella V Smile Pocket.


Ashley...


Amber...


Look how this boy play with the doll, feeding the doll somemore!! *slap forehead*






Cruz and Ashley....


Fearles and Amber, ask him to take picture with Amber, he shy shy.

After some damage on my pocket, we proceed to Health Freak mummy's house to pick up our order from her online store and we spent another good 1 hour at her place. Finally i got the chance to meet up with Cassey for the first time, she is so adorable just like a doll and not forget another two elder princess, Alycia and Sherilyn.


not easy to get all the kids to sit still and take a picture.
L-R: Cassey, Ashley, Amer, Fearles, Cruz, Sherilyn and Alycia.





We reach home around 4.30pm, we are all worn out but we do have a great time. Had been sometime didn't catch up with Barb and Elaine, we all had a good time unwind ourselves. Thanks Barb for letting us messy your house and thanks for the great company.

Sampaguita, National Flower (2010)



Sampaguita, National Flower (Francis Xavier Pasion, 2010)

It is more than instructive to look at Francis Xavier Pasion’s Sampaguita, National Flower with the merits of his much-celebrated first feature Jay (2008) in mind. The first feature is essentially about eponymous Jay, a television producer who travels to Pampanga to create a TV-documentary on the life of gay teacher who was recently murdered, his family, and his close friends, is more than the immediate subject matter, it delves further into the power of media, and its abuses, all in a fine satire that is so self-aware, it reveals its own fabrication at the very end. In a very important scene in the film, the producer, having discovered that vital footage of the victim’s mother’s initial reactions upon seeing her dead son in the morgue was corrupted and rendered unusable for his program, instructs the mother to visit the morgue, reenact the grief, crying and wallowing in front of a stand-in pretending to be her dead son. In all its hilarious absurdity, the scene ponders on the very thin line between media’s role as exploiter and its duty to expose.

Sampaguita, National Flower opens with Philippine national symbols as paraded by Filipinos living in the margins of society under the proud melody and rhythm of the national anthem. The ironies are instantly and efficiently made obvious by Pasion’s cinematic irreverence. The narra, the national tree, plays private quarters to a gay man and his underage victim. The Philippine eagle, the national bird, and the bahay-kubo, the national dwelling place, are only prints on faded t-shirts worn for convenience, hardly for pride. The sampaguita, the national flower, pure in its whiteness and alluring with its distinct fragrance yet produced and peddled in the streets by the most exploited of Filipinos, is perhaps the biggest and most readily apparent irony of them all.

In Sampaguita, National Flower, Pasion puts himself in the position of Jay, utilizing the power of the moving image to expose social ills and in turn, to elicit even from the most cynical of souls some sort of guilt or pathos for the sorry state of his several subjects who are a handful of children deeply entrenched within the sampaguita trade. Thus, he fashions his film like a charity ad with the children over a white background answering questions thrown by Pasion that probe deep into their shared poverty. Bulk of the film however places the audience outside the comfortable controlled environment of the interview room. He follows the children as they walk the streets selling fragrant necklaces adorned by sampaguita buds, begging for leftover food, or just gallivanting, allowing the night to pass. Clearly, these films are directed, with the scenarios derived from children’s experiences, aspirations and fears, and the children themselves acting out their lives.

It’s effective filmmaking, to say the least. If Pasion’s intent is to emphasize the pathetic state of the country, where the moneyed middle class inhabit the same space as the poorest of the poor, with the former accepting the obvious inequity as if it were a normal part of life, then Sampaguita, National Flower is a triumph. There are more than enough images of dehumanizing suffering inflicted on the innocent to disturb the most stubborn of spectators. However, above exposition, is there anything else to be gathered from the film? If there are, they have been so overshadowed by this initial and most obvious intent.

Jay worked in so many levels: as an exposé of the murders of homosexual men; as an indictment of media as tool for exploitation; and as an earnest reminder that cinema, although harbinger of certain truths, is still a human creation. In comparison, Sampaguita, National Flower feels like an abandonment of all these themes and directions. There is a feeling that Pasion has regressed from the self-conscious and self-aware cinema of his first feature to this feature, where his function as director is disappointingly more provocateur than auteur.

(Cross-published on Twitch.)