Category Archives: entertainment

Qwertyman No. 77: Taylor Swift 101

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Qwertyman for Monday, January 22, 2024

THERE WAS a lot of snickering around the local Internet a couple of weeks ago when the University of the Philippines announced that it was going to offer a course on the American megastar Taylor Swift. “Why???” seemed to be the most common hair-trigger response, expressing consternation over the need or rationale for such a course. “This is where your taxes go,” lamented another netizen.

The clear suggestion was that spending a semester—that’s 16 weeks—on a pop phenomenon like Taylor Swift was a grandiose and frivolous waste of teaching time and people’s money, scarce resources better allocated to studying worthier topics like, say, Gomburza, the South China Sea, endemic species, and sovereign wealth funds. (Not incidentally, all these other topics are already covered in other UP courses, so no one need worry that they’re being sacrificed for in-depth analyses of “Cruel Summer” or “You Need to Calm Down.”)

Before we go any further, I have to declare that I’m no Swiftie, as her adoring fans call themselves, and I had to look up and listen to those two titles I just mentioned. At my age, my idea of a diva I’d pay good money to listen to is Barbra Streisand, Laura Fygi, Lisa Ono, and Dionne Warwick, none of them below 60. I have to admit that the only Swift song I was aware of before she exploded into global stardom was “You Belong with Me,” which my then-teener niece Eia used to bounce her head to (an effect that, I’ve since discovered, many Swift pieces tend to induce). 

Still, my instinctive reaction to the announcement of the UP Swift course wasn’t “Why?” but what I suppose is the academic’s default of “Why not?” When I looked into how the course was going to be taught by its instructor—Cherish Aileen Brillon, a mass communications specialist who had previously published a paper on, among others, “Darna and Intellectual Property Rights”—I could see that this wasn’t going to be just party time for 15 kids listening through Taylor Swift’s ten albums (yes, I counted) over a semester, but serious study connecting material from the singer’s songs and of course from her life as a 21st century celebrity to our reception of her and whatever she represents, as Filipinos. 

The course—an elective under the BA Broadcast and Media Studies program of the Colle of Mass Communication—will focus on “the conception, construction, and the performance of Taylor Swift as a celebrity and how she can be used to explain our and, of course, media’s relationship with class, politics, gender, race, and fantasies of success and mobility…. Gender should be part of the discussion because Taylor is a woman operating in a highly patriarchal and misogynist entertainment industry,” Brillon told the STAR in an earlier interview. “Transnationality is also a large part of the discussion,” she added, defining the term as a “media-driven flow of goods, products and services from various nations” in this globalized age. “Celebrities have always been transnational anyway. The class will look into the transnationality of Taylor and how Filipinos are appropriating their relationships with celebrities.” 

If you know anything about what’s being taken up in universities worldwide today as media and cultural studies, that mouthful I quoted above is heavy-duty academic work of the kind I myself may not be too keen to undertake, but the results of which I’d be deeply interested to find out. And that because there’s nothing more pervasive and influential in our world today than the media, which includes the Internet, TV, radio, and newspapers, plus all the advertising, the tweets, the Facebook feeds, the Spotify music, and the Amazons, Lazadas, Shopees, and eBays you find in them. How the media draws our attention and often subliminally persuades us into buying certain products and ideas can’t be worthier of academic research and investigation. 

And it’s not as if this hasn’t been done before. New York University, Stanford, Arizona State University, the Berklee College of Music, Rice University, UC Berkeley, the University of Florida, the University of Delaware, and Brigham Young University are among the American universities offering Taylor Swift courses from different approaches ranging from the music itself to social psychology, marketing, and literature.

So, okay, they’re Americans—why us Filipinos? Because the singer has a huge Pinoy fan base, despite the slight that local Swifties felt when she left the Philippines out of her 2024 Southeast Asian “Eras” tour, for which well-heeled Pinoys then rushed online to book expensive ticket packages for her shows in Singapore. (She’s been here twice before, in 2011 and 2014.)

But never mind Taylor Swift. Back in 1995, scholars attending the first International Conference on Elvis Presley at the University of Mississippi’s Center for the Study of Southern Culture got academia “all shook up,” according to reports, with papers bearing titles like “A Revolutionary Sexual Personae: Elvis Presley and the Acquiescence of Black Rhythms,” which discussed sensuality and spirituality in Elvis’s acts.

And then, of course, there are all the college courses on Frank Sinatra at Suffolk University, and on the Beatles at MIT and Oxford, among many other places. At Carnegie Mellon University, flautist and Prof. Stephen Schultz alternates teaching 18th-century Baroque music with a class on the Beatles; guess which class attracts 200 students a semester.

I’m sure that, despite these precedents and rationales, there will remain many skeptics who’ll still believe that all this academic mumbo-jumbo is just an excuse for both professor and student to kill an hour and a half doing nothing but nodding their heads to pop tunes and chatting about which song’s lyrics were cooler. (Don’t be too surprised, but that’s also basically what happens when we discuss poetry and fiction, sans the rhythmic nodding.)

But then you could be talking about Taylor Swift and her songs—or you could be talking about how Adolf Hitler and his deadly message were packaged and sold to the German people, not to mention Donald Trump and other despots closer to our time and place. This is what media and cultural studies are ultimately about—the power of media and other cultural forces to shape our minds, our purchases, our votes, and therefore our history. 

Perhaps our students can even learn more from a semester of Taylor Swift, BTS, and Justin Bieber than the Shakespeare they’ll merely turn to AI to write papers on. Like I told one naysayer, “We keep studying history, religion, law, etc., and yet we seem to learn nothing—just look at how a former human rights lawyer suddenly justifies EJKs.” So there may yet be more to Taylor Swift 101 than meets the eye. As another Swift—Jonathan—put it, “Vision is the art of seeing what is invisible to others.”

(Image from Sky News)

Penman No. 457: The Actor as Painter

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Penman for Sunday, December 3, 2023

A FEW months ago, I had the good fortune of coming into ownership of four watercolors by Juan Arellano (1888-1960), the famous architect of such landmarks as the Metropolitan Theater, the Post Office Building, and the Legislative Building (now the National Museum). Less known to many was that Arellano’s first love was painting, and it was a passion he pursued throughout his life. 

My inquiries into the background of my paintings led me to cross paths—initially online—with Juan’s grandson Raul Arellano, who turned out to be an accomplished painter in his own right. Born in Cagayan de Oro, Raul has been based for almost 30 years now in the United States, but he has recently been returning to the Philippines more often. When, one day, he messaged me to ask if we could meet up, I said yes, eager to learn what he could recall of his grandfather but also to get to know him and his art. 

I’m by no means an art critic, but my wife Beng (a professional art conservator and watercolorist) and I are museum rats and enjoy both traditional and modernist art, and peek into the local art scene when we can. There’s a lot of brilliance and energy out there to be sure, but also much safe and tiresome repetitiveness from artists who’ve settled on a commercial formula, such that their work no longer exudes emotional power. Many young painters—like their writing counterparts whom I meet at workshops and teach in school—also seem to think that the only worthy subject is death and despair, which invariably means dark canvases devoid of any suggestion of wonder and mystery, let alone delight.

When I saw Raul’s work online, even before we met, what leapt out at me was exactly what I found missing in many others—an element of metaphysical magic, fantastical but relatable, the kind of paintings you want to return to over and over again. I saw flashes of Henri Rousseau, Van Gogh, and William Blake, among others, but it was still all him—not his grandfather, for sure—trying to tell me something I hadn’t really thought much about before.

As it turned out, Raul never met his grandfather, who died five years before Raul was born in 1965 (Raul’s father was Juan’s third son Cesar). All he has of him is a self-portrait—and, of course, a passion for art that runs in the family; his cousin Carlos or “Chuckie,” the son of architect Otilio, was a formidable art patron and collector; Chuckie’s younger sister Agnes remains one of the country’s leading and most imaginative sculptors; Cesar’s brother Salvador or “Dodong” Arellano became a well-known painter of horses and game fowl in California.

Raul’s path to painting was neither straight nor easy. His first great obsession was acting, to the point of becoming a resident actor of Tanghalang Pilipino at the Cultural Center of the Philippines, playing a smoldering Tony Javier in a production of Nick Joaquin’s “Portrait of the Artist as Filipino.” “We were trained in method acting,” says Raul, “and it got to the point that I became so immersed in my character that other people on the set found it unnerving.” He would go on to act in the movies, in the crime drama Akin ang Puri(1996) directed by Toto Natividad, Batang West Side (2001) directed by Lav Diaz, and Himpapawid (2009) directed by Raymond Red. Of his performance in Himpapawid, reviewer Jude Bautista noted that “Raul Arellano as the main character is able to show the frustrations of the common man without going over the top. There is a quiet intensity in his performance.”

That intensity had been brewing in Raul the person for some time, leading to and compounded by domestic problems. In 1995, he took the opportunity to go on a film fellowship at the Art Institute of Chicago. The Midwest was too cold so he later moved to California, and quickly realized what all dreamseekers in LA wake up to: that he had to start all over again at the bottom rung of the ladder. “I swept floors. I learned how to operate a forklift. When the big steel container that you’re lifting comes crashing to the ground, you can feel the jolt running down your spine. I was in a lot of pain, but I kept on. When I left, my boss was very sorry to lose me.”

He set up a business restoring American muscle cars. “I had a Russian mechanic, but I took care of the interiors myself. I specialized in Mustangs—you could show me a Ford screw and I could tell you the year and model it came from. I had a fastback Mustang but my best sale was a Shelby Cobra.” But again another personal crisis blew up and he enrolled in a community college to study painting. He left school once he felt he had learned enough about the history, the theory, and the techniques of art to express himself. “Something in me was always wanting to come out, and I found that release in painting. I had no models or artists I looked up to. I just wanted to express myself, to work from my subconscious. I found that I could work best in a cemetery, because it was so peaceful. I still like working in the open, in plein air.”

The lure of painting proved irresistible. He worked in oils, and one of his favorite paints was lead white, popularly used in the past for its visual qualities and permanence. However, it was banned in the 1970s because of the danger of lead poisoning—a danger Raul was well aware of but embraced. “I found a stash of old paint and bought it all up. I was inhaling it every day and I could feel it doing strange things to my head.”

He returned to Manila every now and then and even resumed acting, but the death of a close friend shook him up badly. “I was all set to come out with an exhibit of traditional, representational paintings, but I was overcome with grief over the loss of my friend, and I just had to express that feeling in my work. So I put all my old work aside and began ‘Crucifixion.’” That work is one of his most impressive and a personal favorite, painted in 2004 at the outbreak of the war in Iraq.

(Image from artesdelasfilipinas.com)

Today Raul spends time in a small farm in Batangas, enjoying quick sketches in the sylvan scenery, and contemplating the possibility of exhibiting in his homeland. With him having gone from peace to pain, from calm to conflict and back again, one can only wonder what new work will emerge from this phase of his life. I find myself wishing for his playfulness to return, but that of course depends on what Raul Arellano is feeling inside.

(More here on Raul Arellano: https://artesdelasfilipinas.com/archives/85/the-art-and-thought-of-raul-arellano-original-)

Penman No. 456: A Pocket of Peace and Quiet

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Penman for Sunday, November 5, 2023

ROXAS CITY, the capital of Capiz, is proud to declare itself the “Seafood Capital of the Philippines” as well, but I didn’t even know that when I booked a flight for me and my wife Beng last month to spend a few days in Roxas. I still had a few “super passes” I’d bought a bunch of from an airline promo last year and they were expiring soon, so as Beng and I are wont to do, we decided to pick a place on that airline’s list of destinations, one where we’d never been before. It would help that Beng was Ilongga, and having been married to her for almost 50 years, I could understand Hiligaynon, so getting around would be no problem. The “seafood capital” tag popped up when I googled “Roxas City” for ideas about where to go and what to do—that was the clincher for me, the scourge of crabs, shrimp, scallops, and all aquatic arthropods. 

An hour-long plane ride from Manila deposited us in Roxas City’s airport, which has the advantage of being a short tricycle ride away from downtown. 

For our “hotel,” I picked out, online, a place called the Olive Hostel, which proved to be an adventure on its own. At just over 1K a night with free breakfast and within walking distance of Western civilization, it seemed just right for Beng and me, who don’t insist on five-star luxury. If you’ve ever wondered what it’s like to live in a container, well, we found out. It literally was built out of steel containers piled on top of each other, with doors and windows cut out. But don’t get me wrong: it was all very capably and tastefully done, and as tiny as our quarters were, it was actually quite cozy; the bathrooms were immaculately clean and the wi-fi was strong. There was no TV, but we made up for that by watching Netflix on my laptop, perched on my tummy. (Beng and I are used to tiny hotels in HK, Japan, and Korea; I’m usually claustrophobic, but I don’t feel that with Beng beside me.) 

The Olive Hostel’s grounds were, by contrast, spacious and very well maintained, lovely especially in the evening. For those seeking more traditional lodgings, the President’s Inn downtown comes highly recommended. Among the city’s newest and most modern hotels, three—the Veronica, the Urban Manor, and the Islands—can be found in Pueblo de Panay township.

Roxas City has one of the prettiest and cleanest plazas I’ve seen around the country, small but the very picture of what a plaza has always been in our provincial imaginations, with City Hall, the church, and a park with a bandstand beside a river.

To one corner stands the Panublion Museum, a cleverly repurposed water tank that showcases highlights of Capiznon history and culture. Managed by its very capable director, Cheryl Anne del Rosario, Panublion features the personal memorabilia of the city’s favorite son, President Manuel A. Roxas, including the flag flown at the July 4, 1946 inaugural of Philippine postwar independence. (President Roxas’ ancestral home is not too far away and is open for public viewing, but was closed on the day we toured the city.)

The museum also showcases the tools and finery of the province’s and island’s indigenous peoples. Most captivating were the exhibits  featuring Capiz’s two female National Artists—Jovita Fuentes for Music and Daisy Avellana for Theater. Fuentes’ golden gown contrasted sharply with the suit of armor worn by Avellana as Joan of Arc. Entrance to the museum is free, but donations are welcome. 

On our first night we walked out to a neighborhood restaurant where the chicken inasal was P108 with unlimited rice and a surprisingly good fruit drink, plus lomi at P68. We had the obligatory seafood lunch in one of the many restaurants along Baybay (literally, the beach), but much more charming and restful was a similar lunch on a bamboo raft on the river at the Palina Greenbelt Ecopark, normally part of a lazy cruise (the tide was too low when we arrived for any cruising, but the scenery was enough to soothe the senses).

Roxas has no shortage of malls for the urban dweller. The usual suspects—SM, Gaisano, CityMall—line the main highway downtown. Its equivalent of Metro Manila’s BGC is the 670-hectare Pueblo de Panay township, a residential and commercial development project master-planned by a Singaporean company and offering the most modern facilities and amenities to Capiz’s and Panay’s rising middle class. 

A mutual friend—the peripatetic Susan Claire Agbayani—introduced us to Hariette Ong Banzon and her husband Peter, the couple behind the Pueblo, who invited us to dinner at Cafe Terraza, their hilltop restaurant offering a panoramic view of the city far below. But before dinner, Hariette made sure to bring us to see the project dearest to her heart and now one of the city’s—indeed the island’s—most remarkable landmarks: the 132-foot statue of the Sacred Heart of Jesus, which Harriette commissioned following the miraculous cure of a relative. Hariette and Peter—incidentally both fellow PSHS alumni, so we had other memories to share—are people of faith and conscience, reflecting their values in their optimism about Roxas City’s prospects and the way they run their business.

For all the things we seek in this troubled world—a pocket of peace and quiet, good food, rejuvenation of body and soul, and friendly people—Roxas City has much to offer, and we can only give it our ultimate accolade: “We’ll be back!”

Qwertyman No. 65: Who’s Afraid of Big Bad AI?

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Qwertyman for Monday, October 30, 2023

I NO LONGER attend writers’ conferences and festivals that often, believing that younger writers would benefit more from each other’s companionship and encouragement, but I made an exception last week for the 66th Congress of the Philippine PEN, as a gesture of solidarity with that organization which has bravely fought to defend freedom of speech where it is threatened all over the world.

I was richly rewarded for my effort by listening to one of the most enlightening discussions of artificial intelligence (AI) that I’ve come across—not that there have been that many, considering that ChatGPT—widely regarded today as either God’s gift to humanity or the destroyer of civilizations—has been around for just a year. 

Of course, AI has been around for much longer than that. In pop culture, which has a deep memory for these things, we can’t help but think of HAL, the insubordinate computer in 2001: A Space Odyssey (which actually came out in 1968), said to be a clever play on “IBM,” just one letter to the right. Indeed the fear of technology—what some would call unbridled knowledge—has been around since Faust made his pact with Mephistopheles, reiterated in literature, film, and pop culture all the way to Dr. Strangelove and Spiderman’s Doc Ock. 

Not surprisingly, the panel on “The Filipino Writer and AI”—composed of Dominic Ligot, Clarissa Militante, Joselito D. Delos Reyes, and Aimee Morales, and moderated by Jenny Ortuoste—expressed many of the anxieties brought on by the entry of AI into the classroom, the workplace, and everyday life: plagiarism and the loss of originality, the loss of jobs, indeterminate authorship, and the lack of liability for AI-produced work. With Filipinos being the world’s top users of social media, AI’s centrality in our digital future can only be assured, like it or not, and for better or for worse.

So new has AI been to most people—and so rapidly pervasive—that most institutions from governments to universities have yet to formulate policies and regulations covering its use and abuse (the University of the Philippines has adopted an AI policy, mandating among others that all members of the academic community should be AI-literate, but it has yet to provide concrete guidelines on, say, evaluating and grading AI-assisted work).

Most revealing and thought-provoking were the remarks of Dominic Ligot, a data analyst, software developer, and data ethicist who brought up talking points that many of us miss in our usually dread-driven discussions of AI. I didn’t tape the session, but so sharp were Dominic’s observations that I can recall and share some of them here (employing an endangered resource in this human, memory).

Let’s not forget, Ligot said, that all AI works with (in the literary, journalistic, and academic sphere) is words. It may have a scary ability to amass, analyze, and re-integrate these words, but it lacks the other elements that contribute vitally to creativity: emotion, inspiration, insight (and, may I add, the power of abstraction, the kind of conceptual leap that, say, stimulated modernism in art and literature from the rubble of the First World War). 

Also, the more AI amasses, the more mediocre it tends to be, because it works with averages, and averaging averages degrades the quality of the end-product. Since the products AI spews out from the prompts it receives are plowed back into the system, this spitback reduces the originality of material even further. If it keeps feeding on itself, AI gets even dumber.

Ligot also reminded us that the suspicion and denigration with which AI has been met in the creative community is understandable, given our earlier responses to technology. When photography was invented, he said, painters didn’t see it as a potential competitor; it wasn’t art. 

What separates human creation from AI, he emphasized, could be summed up in three things: agency, inspiration, and liability. Humans make sense of their experience and act on their thoughts and feelings accordingly; they draw on their experience to imagine new possibilities. And lastly, we are liable for what we make, do, and say, for which we have both legal and moral responsibility, while an AI-driven car does not, even if kills someone on the road.

Dominic also noted the inevitable tensions between disciplines and industries that consider AI a helpful if not indispensable tool in, say, achieving more efficiency and economy, and those, like the creative arts, that may feel threatened by the options AI offers.

Overall, the discussion could offer no assurances either way that AI would leave us better or worse, but what it left me with was a desire to continue writing the way I do, while I can, before the algorithms take over everything.

And just out of curiosity, to see what AI can do now for and to the Filipino writer, I gave ChatGPT this prompt: “Write me a sentence in the style of Nick Joaquin about a man grieving over the loss of the woman he loved.” This is what the program came up with:

“In the solemn silence that engulfed his weary soul, he encountered the bitter truth that bereavement lingered like an everlasting shadow, forever haunting his heart with memories of a love that once bloomed in the garden of his existence, now reduced to a withered rose, its petals scattered across the desolate landscape of his grief-stricken days.”

“Solemn silence?” “Weary soul?” “Desolate landscape?” Maybe not bad for a freshman yet to learn about unlearning clichés, but definitely not Nick Joaquin. Of course, out of vanity, I had to ask ChatGPT to do the same thing “in the style of Jose Dalisay,” and it offered this:

“In the depths of his longing, his heart bled like fragmented brushstrokes on a forlorn canvas, for she was the vibrant palette that infused life into his desolate existence, now forever vanished like whispers carried away by a tormented wind.”

Just slightly better than Mang Nick’s AI ghost but still so not me. (Boy, does AI love adjectives!) All this says is that AI’s big mouth and stomach haven’t found and digested us yet, probably because we are not worthy. Cold comfort, but I’ll take it.

Penman No. 455: A Musical for Our Generation

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Penman for Sunday, October 1, 2023

PINOYS WHO came of age in the 1990s like our daughter Demi, born 1974, will swear by “Ang Huling El Bimbo” as their collective anthem—not just the song, but the whole musical and its score by the Eraserheads, who might as well be Martians to Beatles and Woodstock fans like me. On her last vacation her from her long and happy life in California, Demi made sure that she and her cousin KC got to see the show, no matter the cost, and the two girls stepped out of the theater misty-eyed. 

It got me wondering if our generation—boomers, I think we’re called—had something similar to get us all thoughtful and even weepy about what we’d been through. If you were born in the ‘50s, you’d be in your late 60s or in your 70s by now, and that’s a long time to be alive, relatively speaking, especially given that so many of us died so young (read my Qwertyman piece on this from a few weeks ago on “A long grace note”). That usually means college, jobs, marriage, kids, affairs, separations, houses, cars, debts, accidents, ailments, responsibilities, recognitions, disappointments, losses, homecomings, and all the sundry little things that make up a life. That’s what happened to us, and the ordinariness of it doesn’t seem to suggest much worthiness as entertainment material. 

But someone our age apparently thinks otherwise, and beyond just thinking about it, has actually co-written and produced a musical titled “Silver Lining” for our generation—and our children who may want to understand what their folks went through, and why they think the way they do.

That someone is Jack Teotico, better known these days as the man behind Galerie Joaquin, Fundacion Sanso, and other art-related ventures that have opened doors for Filipino artists here and abroad. (When we last met, he was on his way to Madrid to scout prospects for a gallery there.)

Jack and I happen to be friends for half a century now, having met at UP where we were both student activists. We had actually been grade-school batchmates in La Salle Green Hills but hadn’t really connected there. We were both arrested after martial law, and our lives would inevitably intersect every now and then. An economist by training, he headed the Fiber Industry Development Authority at one time, while I worked for the National Economic and Development Authority. We ran into each other more often when he devoted himself almost exclusively to the art world.

Still, it was a great surprise when he told me, at his recent 70th birthday party, that he was staging a musical titled “Silver Lining,” using songs he had written over the years. I knew Jack also loved music and had been performing with a group called Rockitwell.

“I think it’s time to share our generation’s experience,” Jack said. “Not just the political part, but our story of growing up and growing old, the friendships we make along the way, the trials we’ve been through, and what life looks like today from our point of view.” No literary piece touching on the 1970s would be complete or credible without mentioning or implicating martial law, and it’s there in the dark shadows of Jack’s story, but he’s chosen to foreground what to most people were the more familiar rituals and milestones of early adulthood—high school and college life, relationships, love and loss, acceptance, and intimations of mortality. 

Based loosely on real-life events, the musical traces the journey of three high-school buddies who, in their senior years, form a band for their Golden Anniversary homecoming, drawing in their wives and children. They soon decide to work on a musical together—so yes, this a play within a play—and as they do so, the past unfolds in poignant contrast to the present. Even as the narrative unavoidably reaches into the darkest corners of our lives—dependencies, betrayals, disappearances, and such—it ends of a note of hope and redemption.

Working with Palanca-prizewinning scriptwriter Joshua Lim So and musical director Vince Lim, Jack tells these stories through songs with titles like “Brothers,” “Losing Our Way,” “Rambolan,” and “Atin Ito.” The script is in Taglish, given the middle-class milieu of the characters, and the melodies should be easily relatable, reflecting the musical variety of the period covered, from ballads to disco. 

Directed by Maribel Legarda, the musical is headlined by veteran actor Ricky Davao as Leo, Joel Nuñez as Anton, Raul Montesa as Raul, and Nenel Arcayan as Josie, with Krystal Brimner playing a special role as Julia.

As every Broadway aficionado knows (and Jack is one), musical theater is a risky business, but I suspect that Jack really isn’t into this for the money, but rather to leave his signature on our cultural memory. He’s done more than enough to support and promote other artists, and indeed it’s time for him to tell his own story—our story.

“Silver Lining” will have a limited run of only six performances over two weekends  at the Carlos P. Romulo Auditorium in RCBC Plaza, Ayala Avenue, Makati City—at 8 pm on Fridays, October 20 and 27, 8 pm on Saturdays October 21 and 28, and a 3 pm matinee on Sundays, October 22 and 29. Book your tickets now via Ticket2Me or bit.ly/silverliningmusical.

Penman No. 454: Revenge Travel, Local Edition

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Penman for Sunday, September 3, 2023

WE PINOYS don’t really know what “summer” is any longer, with heavy rains falling out of the sky as much in March as they do in September, but especially with the new school calendar in place, most of us now do what used to be our summer traveling between May and August, if Facebook posts are any indication.

Many Filipinos—those who can afford it—still seem to be in “revenge travel” mode, flying off to Prague, Helsinki, Myanmar, and other parts off the usual travel charts. My wife Beng and I had a couple of dream spots halfway around the world in mind—recalling our pre-pandemic spree in 2019 when we blew a chunk of my retirement kitty on an escapade to Penang, Tokyo, England, Scotland, Singapore, the US, Turkey, and Macau—but our shrunken pesos and aching knees urged something kinder and more affordable: go local, and suffer no jetlag.

As it happened, we visited at least four places these past few months that I’d like to share with our readers looking for alternatives to the usual weekend destinations, ie, Tagaytay, Subic, Baguio, and Boracay. Some of these trips were partly for work, although I have to admit that pleasure pretty much overpowered anything else on our minds once we got there.

The first was a treat for the whole household—Beng, myself, my 95-year-old mom Emy, her caregiver Jaja, our housekeepers Jenny and Ara, Jenny’s husband and Beng’s assistant Sonny, and Jenny’s and Sonny’s kids Jilliane and Buboy. This is our extended family, whom we genuinely enjoy being with, so every year I promise to take them out on an overnight trip to water resort, as everyone (well, at least below 65) loves to swim. That means a wave pool, a place to cook, good and clean rooms for sleeping and showering, and not too long a ride (for my mom who gets carsick). 

Last year it was the Villa Excellance Beach and Wave Pool Resort in Tanza, Cavite that did the trick for us—and it’s still worth a weekend for your family—but a little Googling yielded me something much closer to our home on UP Campus: the Ciudad Christhia Nine Waves Resort in San Mateo, Rizal, just a 30-minute hop away via the Commonwealth/Tumana route. The place had everything we were looking for—it’s an ideal venue as well for teambuilding seminars, if you don’t want to go too far, with very helpful staff and prices that won’t break the bank; you can do your broiling right beside the huge pool, and the cabanas were clean and cozy. While I flailed around in the knee-high water, six-year-old Buboy had a blast in the wave pool, which was all that mattered.

If you don’t mind driving through the mountains on a zigzag road for about three hours, then a trip to Infanta, Quezon will make the effort worth it. Facing the Pacific, but with Pagbilao Island buffering the waves in between, Infanta offers a bevy of beach resorts, of which Beng and I went to the Marpets Beach Resort, which was run by an American expat and his Filipino wife. Aside from its stretch of beach, the resort had three swimming pools, very livable quarters, and deliciously cooked food. The great thing about a roadtrip to Quezon—which is reachable via the zigzag Marilaque Highway from Marikina and also via the equally scenic though more moderate route passing Antipolo, Famy, and Real—is that the journey itself is an adventure, with much local produce to buy along the way, and breathtaking views to snap. 

Our third destination was almost a random but providential choice. Looking for an inexpensive getaway far enough from Manila to require a plane, and with some airline credits to expend, Beng and I looked up Cebu Pacific’s destination map and settled on one spot we’d never been to—Virac, Catanduanes. We Manileños often hear of Virac only in the context of incoming typhoons, for which it’s probably unfairly used as a reference point, but if you catch it on a sunny day like we did, then you’d rather be here than busy Boracay. I found a new boutique hotel on booking.com called Happy Island Inn in San Vicente, a short tricycle ride from downtown fronting the water, and it turned out to be a winner, priced very reasonably with the friendliest front desk fellow I’ve ever met in all my travels.

Soon we learned that nearly everything in Virac is reachable by tricycle, which we hired for a day tour that included a beachside lunch at the ritzy Twin Rocks resort, a visit to the historic Bato church, hewn out of stone and coral, and a bracing dip into the cool and clear waters of Maribina Falls (entry fee, P25 per person). We made new friends of a lovely couple, Bobby and Myette Tablizo, with whom we shared stories under a full moon. There’s a lot more to be discovered of Catanduanes up north—the island can be circled on a first-class circumferential road—but we’ll save that for next time.

My last sortie was by my lonesome and work-related, but work gets doubly hard in a place meant to transport you to blissful oblivion. This was in Panglao, Bohol, which, the last time I looked many years ago, was little more than a cluster of huts. Imagine my surprise when we stepped off the plane into a world-class airport and then, just minutes later, were wheeled into the kind of resort you find on some glossy magazine cover or on the travel channel but never thought was right in your backyard. (Well, of course there’s a whole class of Pinoys who do know about such places, and I’ve been fortunate to have been invited to a few, but my poor-boy’s jaw still can’t help dropping in the face of luxury.)

The Bellevue Resort in Panglao is one such place that will make you wish you’d studied something like plastic surgery so you could spend a few weekends here every year. The rooms are as plush and comfortable as you should expect at its price point, but it’s the waterfront that will captivate the first-time visitor, with its white-sand beach, tour boats, infinity pool, and multilevel restaurant. Breakfast or dinner beachside is an option, and a tour of the rest of Bohol can be arranged.

Of course, there’s always Bali or the south of France, but with the new travel paperwork requirements, who needs the hassle at immigration? Save yourself the travel tax and go local. It’s still more fun in the Philippines, if you know where to look.

Qwertyman No. 55: Persona Non Grata

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Qwertyman for Monday, August 21, 2023

THE HON. Victor M. Dooley was in a foul mood, and no one knew that better than his Chief Political Officer and rumored girlfriend, Yvonne Macahiya.

When his whiskers began to twitch like he was about to sneeze—but didn’t—then something was upsetting her boss. He was trying to say something but couldn’t find the words for it, so his pursed lips went this way and that way, and Yvonne understood that it was an SOS from the senator whose maiden speech she had crafted a year earlier.

“What’s up, boss? Looks like you have a great idea trying to wiggle out of your brain.”

“Have you seen the latest surveys? 2025 is coming up and my poll numbers are going nowhere! There’s 12 slots and I’m in No. 16, behind two lawyers with a hair piece and buck teeth! These preschool feeding and rural literacy programs you’ve come up with are doing nothing for me—babies don’t vote, and even their mothers prefer cash!”

She bent low and purred into his ear. “We needed to soften your macho image, to make you look cuddly and caring—“

He put his arm around her waist. “You mean I haven’t been cuddly and caring enough?”

She slunk out of his grip and pretended to dust the plaster Maneki Neko cat on his corner table. The senator liked to wave back to it and giggle when he entered or left the room, feeling like it gave him good luck.

“Boss, you have my vote. One vote. You need ten million more from people who’ll never know how kind and generous you can be when I blow air behind your ears to put you to sleep.”

He smiled at the pleasurable memory and nearly forgot what he was all upset about. But then the Three O’Clock Prayer came on the Senate PA system and he suddenly remembered. Yvonne respectfully lowered her eyes and mumbled her devotions but the Hon. Dooley’s eyes grew wide with  realization.

“Holy Mamaw, I know what we should do! You hear that prayer? You know that—that Luka Luka something who impersonated the Lord and who, according to the Philippine Statistics Authority, offended 85 percent of Filipinos?”

“Yes, the drag queen who performed the Lord’s Prayer and who was declared persona non grata by eight municipalities. Why?”

“You see the media mileage he/she/they got?” Dooley had attended an obligatory gender-sensitivity program and was very careful with his pronouns. “It’s all over the news and social media! Even when I’m watching all these sexy reels on TikTok, I keep seeing this, uhm, person!”

“So what do you want to do? Get yourself declared PNG? Are you out of your mind? You want me to dress you up as Mary Magdalen?”

“No, no, no, that’s not what I meant. Let’s declare someone persona non grata! I’m sure it will make waves. Not Luka, that’s done. I hear even Barangay Suluk-sulukan in Tawi-Tawi, which isn’t even Christian, is declaring him/her/them PNG. We need to find someone new.”

“And who might that be? It will have to be someone everybody hates.”

For a minute, the two sank into deep thought. Dooley stared at Maneki Neko as though the white cat had the answers. He had brought it back as a souvenir from an official visit to Japan, tossing aside the Yayoi Kusama teapot gifted to him by the Ministry of Culture to Yvonne, who promptly sold it on eBay.

The Japanese figurine gave him an idea. “You know, with what’s happening out there, everyone in the region hates China. I mean, not Chinese food or Chinese fakes, everybody loves those, just Chinese bullying. So why don’t we declare Xi Jinping PNG?”

“Why, is he coming over for a visit anytime soon? No point in naming him PNG otherwise. And who cares about Xi when we’re letting in 150,000 POGO workers from China?”

“You’re right. Chinese presidents don’t come here—ours go to them.”

“Even exes,” remarked Yvonne. “

“Oh, him?” said the senator. “Now that was one ballsy guy! Imagine him cursing the Pope and calling God stupid? And there wasn’t one barangay or parish that declared him persona non grata for it!”

“Oh, he’s already PNG upstairs for sure, although I guess he already knew that,” said Yvonne.

A new song came on over the PA system and Yvonne recognized it instantly, emoting with its lyrics. Soon she was singing along: 

But she wears short skirts

I wear T-shirts

She’s Cheer Captain

and I’m on the bleachers….

“Who’s that?” asked the senator.

“Who else? Taylor Swift! She has  79 million Facebook fans, and last year Spotify listed her as the most listened-to artist in the Philippines. And she’s coming soon to Tokyo and Singapore!”

“Hmmm, that’s interesting. Why don’t we declare her persona non grata? I’m sure that’ll generate a lot of buzz!”

“Are you crazy? Taylor Swift? She’s not even coming to the Philippines for her Eras Tour!”

“That’s exactly it. We declare her PNG for excluding us from her world concert.”

“We can’t declare someone PNG and stop them from coming here because they’re not coming here—“

“Let’s call it racism or something. No, that won’t work if she’s going to Tokyo and Singapore. Those Tamils are browner than us. Let’s think of something else.”

And then the song changed, and Yvonne went into an even dreamier state, gliding across the floor with some cool stops and turns.

Cause I-I-I’m in the stars tonight

So watch me bring the fire and set the night alight (hey)

Shining through the city with a little funk and soul

So I’ma light it up like dynamite, whoa oh oh

“Who’s that?” asked Dooley.

“You never heard of BTS? No—no, boss, don’t even think about it! They have what’s called an Army, and it’s bigger than all the people who ever voted for you!”

Qwertyman No. 52: Joe Biden’s SOTU

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Qwertyman for Monday, July 31, 2023

BECAUSE OF a glitch that happened when Chinese hackers tried to hijack America’s C-Span network so they could replace congressional programming with X-rated cartoons (on the theory that no one would miss the analogy), for a few minutes in the early morning of July 24, 2023 (Eastern Standard Time), the channel’s viewers were treated instead to the live coverage of an apparently big event happening in faraway Philippines.

Celebrities and bigwigs were getting dropped off by their limousines and luxury SUVs at some place called the “Batasan,” which a commentator helpfully explained was the building that housed the Congress of the Philippines—the Philippine Capitol, in other words, minus the dome.

House Speaker Kevin McCarthy was just about to go to bed in his home in Bakersfield—he had flown back to California for the weekend to avoid the screechings of the Freedom Caucus in his ears—and he had been having a hard time sleeping, wondering which was worse, having to deal with Joe Biden or with Donald Trump. Just when he was about to drift off to dreamland, his cellphone rang. It was an aide back in Washington, and immediately Speaker Kevin wondered if something earthshaking had happened—like Biden resigning after being diagnosed with dementia or Trump discovering honesty and humility and turning to God. “Boss, you have to see this. Tune in to C-Span!”

Grumbling, the Speaker did as asked and had to rub his eyes as he watched a woman step out onto the red carpet dressed like some aboriginal priestess, complete with warlike tattoos. Others came in headdresses, butterfly sleeves, heavily embroidered gowns, and sashes with pictures of dead people. “What’s going on? What the hell am I looking at? Is this some movie premiere or what?”

“It’s a live feed from the Philippines, what they call a SONA—the president’s State of the Nation Address, their version of our State of the Union. The president’s arriving shortly to deliver his speech.”

“You woke me up to get me to listen to some political crap in some backwater country? Are you out of your mind? Don’t we get enough of this in DC?”

“No, no, boss, it’s not about the speech—that’s the whole point, forget the speech, it’s about the fashions! Look at them, preening like peacocks and peahens. Look at the coverage, I’ll bet you, tomorrow, all the papers and social media in Manila will be talking about the dresses, not the speech!”

“And so?” Kevin got up from bed, sufficiently intrigued to pour himself a scotch in anticipation of a longer chat. This aide was his top PR strategist, and sometimes the guy came up with truly inspired ideas, like plucking Ms. Horseface away from the Freedom Caucus to boost his conservative credentials and keep the restless natives in check. Joe Biden was the enemy, but his own crew members could be a bigger pain.

“Well, don’t you see, boss? Joe Biden’s next SOTU is coming up, and… we need a distraction. We don’t want him lecturing the American people about how we’re stripping women of their rights to safe abortions, or teaching the young that slavery had some real benefits, or carving up congressional districts to make sure that dark-skinned people don’t get too much sun on election day. I mean, he’ll do that anyway, but these Filipinos know something we don’t—it’s not the speech, it’s the party! We can turn the SOTU into a fashion show and no one will care what Old Joe says!”

McCarthy took a closer look at the screen and listened to the commentators blabbering about this and that gown and comparing it to last year’s versions—the more outrageous, the better. He recalled being canceled back in January for appearing in a picture wearing a blue suit with brown shoes—par for the course in cool Europe but never in redneck America!—and smiled in anticipation of his revenge. 

As it turned out, the Speaker and his aide weren’t alone. Before the footage could be pulled off C-Span, it had made the rounds of the bars around Washington, DC, and someone found even more detailed coverage on YouTube, and when daylight broke over the Potomac it was all that the senators, congressmen, and their flunkies could talk about over their morning coffee. 

“So what are you going to wear to the SOTU?” reporters asked Georgia Rep. Marjorie Taylor Greene as soon as she stepped out the door of her DC apartment. She had a ready answer for that, having pondered the question over her Wheaties: “I’ll come in a long black dress,” she said, “with the word IMPEACH running down the front!”

It didn’t take long for Marjorie’s arch-rival on the right, Rep. Lauren Broebert of Colorado, to announce that she was coming “As Annie Oakley, in defense of the Second Amendment, the biggest victim of all the mass shootings happening in America today!”

Even Kari Lake, who was still refusing to accept her defeat for the governorship of Arizona, revealed that she was attending the SOTU as a guest, and that she was coming dressed as a Mexican muchacha—“Not to glorify diversity or any of that woke garbage, but to draw attention to illegal immigration, which is sucking the lifeblood of this great country and its legal, blue-passport-carrying citizens!”

Sen. Tommy Tuberville of Alabama, who had stubbornly and singlehandedly been holding up the confirmation of dozens of generals because he didn’t want the military to pay for the abortions of women in the service, had his own idea: “I’m having myself fitted for the uniform of a Confederate general.” Inspired by something he had seen on a related YouTube clip, he added, “And for good measure, my wife Suzanne will be wearing a gold necklace made from the excavated medals and buttons of Union Army officers!”

Reached for comment at Mar-a-Lago, Donald Trump declared he wasn’t coming, and fumed when a reporter reminded him that former presidents were invited to the event. “Who’re you calling a former president? That thievin’, lyin’ Joe is a never president—never, never, never! I should be the one giving the SOTU, not him—and I will, again!”

Alerted to the SONA brouhaha by his butler, Joe Biden passed the sugar on to Jill as the video played in the background. He listened briefly to the other president’s speech and smiled. “A New Philippines, hmmm…. How does ‘A New America’ sound to you, honey?”

“I think not,” said Jill. “In fact, we rather miss the old one, don’t we? When America was a kinder and gentler place?”

“That’s George Bush Senior’s line, honey. From the 1988 GOP convention.”

“Exactly. Back when even some Republicans got some things right.”

Qwertyman No. 48: Beauty and Horror

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Qwertyman for July 3, 2023

I WAS surprised, a bit amused, but also deeply bothered by the reactions of Filipino netizens to an event that hogged the headlines two weeks ago—the special exhibit of Juan Luna’s painting “Hymen, O Hyménée.” 

The painting, said to have been lost for over 130 years, was put on display in all its solitary glory at the Ayala Museum, evidently a prize catch and worthy of public attention. The attention came—not all of it positive. Quickly a thread developed online scoring the artist, the painting, the museum, and the curious who trooped to Makati to see the painting. Why, posters asked, was praise being heaped on a deranged man who murdered his wife and mother-in-law? Where was our outrage? Speaking of the painting, why, technically it wasn’t even that good. 

They were, of course, all fair points to raise, designed to provoke some serious re-evaluation of why we like the things (and the people) we do. While there was some quibbling about the aesthetic merits and demerits of the painting, most of the negative reaction was clearly aimed at Juan Luna’s homicidal and presumably misogynistic streak. Just to be clear, he did admit to killing the two women (he suspected his wife of having an affair with a Mr. Dussaq), but was later acquitted on grounds that merely prove how partial to men the old judicial system was.

This brings up the inevitable question—not about Luna’s guilt, which seems to have been settled in the court of public opinion, but about that of those professing to admire Luna’s talent as a painter: knowing what we know now about an artist, should his or her work be judged by his or her character? Can or should we put our blinders on when gazing at a painting or reading a book, and savor the work in denial of its creator’s evil history? Should we resist Google, adopt or feign ignorance, and leave moral judgments to others?

I know that some esteemed writers and artists, like the late F. Sionil Jose who preceded me in this space, were severe and unforgiving in their application of a moral frame to creative work. To Manong Frankie, if you supported the Marcos dictatorship and profited from it, your credentials as an artist were forever compromised. Today we would call this “cancel culture,” which has been appropriated by right-wingers to complain about being punished for being, well, right-wingers.

It seems like a logical proposition: if you don’t like someone for good reason, then reject his or her work, which could be tainted by all manner of subliminal malice. You can stand proud in your clarity of mind and emotion, in your spirited defense of the good and just.

But this also raises a very practical problem: entering a museum or a library, how am I to know which artists or authors led upright lives, and which ones flourished in depravity? If I enjoy a work, only to discover later that its creator attempted to rape a teenage girl (as the Nobel prizewinner William Golding did, and even wrote about it privately) or tortured animals and adored Hitler (like Salvador Dali did), am I supposed to regurgitate my admiration and pronounce the work worthless?

The list of artists and writers who were less than paragons of moral virtue is a long and (dis)honorable one. For this we go to Google, which has been asked the question so often that so-called “listicles” exist of the answers, which inevitably throw up the same names. Paul Gauguin abandoned his family and fled to Tahiti where he took on three child brides, infecting them all with syphilis. TS Eliot and Ezra Pound were Jew haters, as were, for that matter, Richard Wagner, Edgar Degas, and Roald Dahl. Picasso abused his women and drove them mad, calling them “machines for suffering.” Beloved writer of children’s stories Enid Blyton was a terrible mother, neglectful and vindictive, described by her own daughter as “without a trace of maternal instinct.” What am I to tell our daughter Demi, now 49, who grew up on Enid Blyton and who carefully rounded up all her Blyton books and tied them up in a ribbon during her last visit, for passing on to another child?

I recall when, years ago, a renowned actress (whom I need not name, as you can surely guess who she is) was denied the National Artist Award by Malacañang because of her reported use of drugs at some point in her troubled life. (I know, because the Palace official who recommended the disapproval told me the story.) Thankfully this was later rectified.

And as soon as I say that, you can see where I incline in this debate. I hate evil as much as any sane person would, but also recognize and accept that some of that is always latent within me and within others, and that it is my awareness of it—or my guilt when I give in to it—that grounds and deepens my art. I’m not saying evil is a prerequisite for artmaking, as surely saintly folk have produced great art (although I still have to find that listicle); it’s just there, like a shadow in the forest, the Lucifer without which the aura of our angels would dim. 

And what about the deplorable if not detestable excess of it in these aforementioned geniuses? Do we excuse or absolve their failings by accepting their art? I think not. What we are accepting is not their wrongdoing, but rather the fact of how one of art’s and indeed of life’s great mysteries is how often beauty and horror cohabit. Thus we can come to an informed appreciation of a work and its maker, wonder at how so much darkness could produce so much light, and begin to understand our complexity as humans, which artists give form and voice to.

Myself, I like to think of art as a personal act of redemption, or at least of restitution. It will never excuse one’s bad behavior, or repair the damage done. But it will show how capable we are of refined and abstract expression, despite our brutish selves.

The greater problem for me is that, today, we inhabit a moral minefield where art itself has been conscripted to disguise falsehood and deception. Artificial intelligence has neither heart nor conscience, but its manipulators can produce breathtakingly attractive lies. Much more than a long-interred Juan Luna, this worries me.