Friday, September 28, 2007
I won an Advanced screening of DECEMBER BOYS..
Asteg! nanalo ako kanina sa 99.5 hit fm.. salamat kay dj migzz.. tinanong ba naman ako ng 5 members ng New Kids on The Block hehe.. ginoogle ko lang tapos ayun panalo na.. galeng noh.. hehe... manuod kame ni kat sa martes.. hehehe... Ngayon lang ako nanalo ng contest sa radio station eh hehehe..saya..
Monday, September 24, 2007
Cultural Dancer
Friday, September 21, 2007
ZTE Broadband Deal
ZTE deal.. di naman dapat ako nagkokomento sa ganitong bagay dahil, di naman ako pamilyar sa sa deal na ito, at higit sa lahat hindi ako naambunan kahit 50 dollar.. Ang nag bigay lang sa akin ng idea para mag komento dito ay sa kadahilanang sila ulit ang sangkot... sila uli ang kasali.. sila uli ang nakinabang... tayo nanaman ang naisahan.. Nakakalungkot isipin na dahil sa mga taong di makuntento ay madaming tao ang nagugutom at walang tirahan... Milyon milyong dolyar ang na kick back ng mga mahuhusay na pinuno sa deal na ito, ito na ba ang kabayaran ng mga paghihirap nila? paghihirap sa pag canvass ng boto? boto na hindi naman nabilang o kung nabilang man eh na hokus pokus?? hello??? abalos??? ^_^...
Naisip ko nga bakit hindi nalang sila mag globe broadband o pldt broadband... o kya smart bro? hehehe... bakit kailangan pang umangkat sa ibang bansa kung meron naman dito dba? pag dito siguro kukuha eh alam nilang di nila magagatasan dahil kapwa pinoy... hay bahala na sila sa buhay nila, matatanda na sila... bukas o makalawa... baka mag balik ang bara sa kanilang mga ugat papuntang puso.... STROKE...DEAD...
Thursday, September 20, 2007
1st day of intern
waw.. naka 1st day din.. sa tagal tagal na hinintay para makapag ojt sa isang optical.. d2 na kse makakasalamuha moang ibat ibang klaseng tao, mula sa makulit na foreigner hanggang sa mababait at galanteng tsinoy.. ehehehe... Ok naman sa megamall, ang problema medyo may kamahalan ang pagkain.. kaya mamya mag babaon nko... Maya punta kme ni kath sa booth ng brewrats.. cnu gusto sumama??
Tuesday, September 18, 2007
Bukas, sa ideal vision center megamall... kme mag iintern ksma ang mga ka batch kong octoberian na sila mike, bogz, at iman... Interview-hin kme Dr. Jessica Dee ska namen malalaman kung saang branch kme mapapadpad.. Sana sa malapit lang kase lunes lang pahinga namaen eh.. mula martes hanggang linggo ang intern namen.. hay... d bale malapit na naman grumadweyt... tapos magiging tambay na... hehehehe
brewrats.... 99.5 hit FM
Friday, September 14, 2007
One way daw oh...
kung titignan ang larawang ito.. parang wala namang mali...
pero pag nakita mo ang katagang one way sa kanang bahagi ng signboard ng PULIS...
parang mali na....
D2 sa pilipinas ang one way ay two way din... ang malupit pa nyan eh sa harapan mismo ng pulis station.... Bat kaya pag nasa ibang bansa ang mga pinoy eh masunurin sa batas,, pero pag sa sariling bayan eh barubal at walang respeto sa mga simpleng panuto....
Nanawagan ako sa mga pulis jan sa station na yan.. along quezon ave near BIR.... paki kalas na yang one way na sign nyo jan.... para di nakakahiya...
Wednesday, September 12, 2007
Erap was convicted to plunder case...
Pag gising ko kaninang umaga inabangan ko na agad sa telebisyon ang balita... tiniyak ko kse kung may pasok kme o wala... walang pasok sa CEU pero dahil sa QC ave. ako nag iintern, may pasok kme.. Napanood ko pa ang mga eksenang papaalis na si ERAP pa puntang sandiganbayan.. pero dahil malelate nko.. pumasok nko.. Inabangan ko ang magiging hatol, kaya tinext ko si kat at sinabing itxt sa akin ang hatol kay ERAP.. Hindi ako ERAP loyalist pero nakaka lungkot pa rin ang nangyare sa kanya.. sa pagkakaalam ko eh 72 y/o na sya tapos hahatulan ng 30-40 yrs na pagkakabilanggo.. huwaw.. pero sabi nga nila ang batas ay batas.. si GLORIA kaya kelan ang conviction??? Helo GArci??? haay.. mukhang malabo naman un kse andme nyang bataan sa mababang kapulungan... kya ipagdadasal ko na lamang na huwag umabot ng ganun ang paghusga ng tao sa kanya...
madaming natuwa sa desisyon, pero mas madameng nalungkot... pero tuloy pa rin ang buhay sa ilalim ng kasakiman at dayaan...
madaming natuwa sa desisyon, pero mas madameng nalungkot... pero tuloy pa rin ang buhay sa ilalim ng kasakiman at dayaan...
Kundiman...
Habang nakikinig sa radyo sa 99.5 hit fm, napukaw ang atensyon ko dahil ang topic ng Brewrats ay kundiman.. Isang uri ng awit na kapos ang aking kaalaman.. kaya naman inulan ko sila ng tanong sa hitboard.. Guest nila si Sir Michael Caroza... Sana nga magkaroon ng Tribute ang mga sikat na banda para sa mga kundiman songs.. parang ung Ginagawa nila sa mga hit song ng APO hiking society...
The kundiman is the Philippines’ signature love song, generally expressing the forlorn lament of a faithful lover pining for his beloved. Written in triple time, and predominantly in the minor key, it is closely related in form to its predecessors: the kumintang, which is strangely enough, a war song; and the awit, direct offspring of the kumintang. Both these forms share the same rhythmic pattern and melodic inflection, which also reappear, although somewhat altered, in the kundiman.
The origin of the term kundiman is the subject of several theories, one being that is the contraction of “kung hindi man,” literally meaning “if it were not so.” This phrase was a stock formula used in many early kundimans, which gives insight into the plaintive character of the song.
Interestingly, the form took on a patriotic cast in the early days as a reaction to the Spanish practice of forbidding the Filipinos any display of nationalism. The result was an outpouring of feelings in song, expressing love for a woman who symbolized the Motherland. “Jocelynang Baliwag” (circa 1896), for example, was popular among the revolutionaries, and called the “kundiman of the Revolution,” because although disguised as a long song dedicated to a young beauty of Baliwag, Bulacan called Josefa (Pepita) Tiongson y Lara, it really spoke of the country they were working to free (“Happy Eden in which are enthroned/Enjoyment and sweet joy…”).
The era of the kundiman is generally set between 1800 and 1930, in which the form underwent several distinct phases. What started as an expression of love through an extemporized text set in preexisting melodies next underwent semistylization, in which the metric pulses of Western dance forms – the danza, the waltz, the fandango – were integrated into the musical style. Then came the change from the extemporized text to literary-poetic verse forms by poets and fictionists like Jose Corazon de Jesus, who wrote the lyrics of the still-famous, patriotic “Bayan Ko” (My Country: A bird free to fly/ Weeps when caged…”), Deogracias A. Rosario and Jesus Balmori. The songs, however, continued to express unrequited and undying love, along with a resignation to heartbreak and pain.
During the early decades of the 20th century, in the American colonial regime, the kundiman underwent a final transformation as a result of the composers’ exposure to the academe. Formally trained musicians such as Fransisco Santiago and Nicanor Abelardo elevated it to the status of an art song. Santiago is credited with taking the simple folk song from and giving it three distinct parts. His first kundiman was “Anak Dalita” (Child of Woe) in 1917 (“I am the child of woe/burdened with tears… Let your heart fall to me/ and let fall life and hope”). Other important compositions were “Pakiusap” (Plea: ”I plead with you to take pity on me/ Even unto death, I only love once…”) and “Madaling Araw” (“Dawn”).
Nicanor Abelardo later wrote kundimans believed to have been inspired by Santiago’s works. Among his most famous are “Mutya ng Pasig” (Muse of Pasig), “kundiman ng Luha” (kundiman of Tears: “Let fall your perfumed handkerchief/ to wipe away my heart’s tears…), and “Nasaan Ka Irog” (Where are You, My Love). It was alos at about his time that kundimans were used by sarswela composers for their plays’ love songs, a practice that would lead, in the late 1930s and after World War II, to similar use of the songs in film musicals.
The kundiman is the Philippines’ signature love song, generally expressing the forlorn lament of a faithful lover pining for his beloved. Written in triple time, and predominantly in the minor key, it is closely related in form to its predecessors: the kumintang, which is strangely enough, a war song; and the awit, direct offspring of the kumintang. Both these forms share the same rhythmic pattern and melodic inflection, which also reappear, although somewhat altered, in the kundiman.
The origin of the term kundiman is the subject of several theories, one being that is the contraction of “kung hindi man,” literally meaning “if it were not so.” This phrase was a stock formula used in many early kundimans, which gives insight into the plaintive character of the song.
Interestingly, the form took on a patriotic cast in the early days as a reaction to the Spanish practice of forbidding the Filipinos any display of nationalism. The result was an outpouring of feelings in song, expressing love for a woman who symbolized the Motherland. “Jocelynang Baliwag” (circa 1896), for example, was popular among the revolutionaries, and called the “kundiman of the Revolution,” because although disguised as a long song dedicated to a young beauty of Baliwag, Bulacan called Josefa (Pepita) Tiongson y Lara, it really spoke of the country they were working to free (“Happy Eden in which are enthroned/Enjoyment and sweet joy…”).
The era of the kundiman is generally set between 1800 and 1930, in which the form underwent several distinct phases. What started as an expression of love through an extemporized text set in preexisting melodies next underwent semistylization, in which the metric pulses of Western dance forms – the danza, the waltz, the fandango – were integrated into the musical style. Then came the change from the extemporized text to literary-poetic verse forms by poets and fictionists like Jose Corazon de Jesus, who wrote the lyrics of the still-famous, patriotic “Bayan Ko” (My Country: A bird free to fly/ Weeps when caged…”), Deogracias A. Rosario and Jesus Balmori. The songs, however, continued to express unrequited and undying love, along with a resignation to heartbreak and pain.
During the early decades of the 20th century, in the American colonial regime, the kundiman underwent a final transformation as a result of the composers’ exposure to the academe. Formally trained musicians such as Fransisco Santiago and Nicanor Abelardo elevated it to the status of an art song. Santiago is credited with taking the simple folk song from and giving it three distinct parts. His first kundiman was “Anak Dalita” (Child of Woe) in 1917 (“I am the child of woe/burdened with tears… Let your heart fall to me/ and let fall life and hope”). Other important compositions were “Pakiusap” (Plea: ”I plead with you to take pity on me/ Even unto death, I only love once…”) and “Madaling Araw” (“Dawn”).
Nicanor Abelardo later wrote kundimans believed to have been inspired by Santiago’s works. Among his most famous are “Mutya ng Pasig” (Muse of Pasig), “kundiman ng Luha” (kundiman of Tears: “Let fall your perfumed handkerchief/ to wipe away my heart’s tears…), and “Nasaan Ka Irog” (Where are You, My Love). It was alos at about his time that kundimans were used by sarswela composers for their plays’ love songs, a practice that would lead, in the late 1930s and after World War II, to similar use of the songs in film musicals.
Tuesday, September 11, 2007
langaw na nalunod sa sabaw
Happy 63rd bday to NANAY
Saturday, September 08, 2007
3rd death aniversary ni ITAY
Ngayon ang 3rd death aniv ng aking ama... kaya nag punta ako sa loyola upang bisitahin ang kanyang puntod.. mejo matagal tagal na kse nung huli akong dumalaw sa kanya...
sa susunod na dalaw ko mag dadala ko beer inum tau.. ehehe... salamat sa din sa pagdalaw mo sa panaginip ko... kita kits ulit tau...
Thursday, September 06, 2007
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