Google Reader is NICE!

This is one timesaver. Google reader is like a mailbox for feeds or new content of those webpages you're interested in. I'm using it right now and all the updates of all the pages I always check out are all in one page. Cool. Use it (if you're not already). =)

My Mojares Critical Essay

The Risk of Context: A Critical Essay on Resil Mojares’

Theater in Society, Society in Theater: A Social History of a Cebuano Village 1840-1940

Publish Date: January 1985

Format: Paperback

Publisher: Ateneo de Manila University Press

Pages: 200

 

Art historical discourse can take on different masks and subdued ideologies founded in a single system of meaning. It is an important role of art history to unmask these ideologies, recover the humanity in cultural products and invite inquiry and critical analogy in doing so.

This intention is evident in Resil Mojares’ 1985 book Theater in Society, Society in Theater: Social History of a Cebuano Village 1840-1940. This three-part exploration of the complex relationship of the Linambay, an indigenized form of Komedya in Cebu, and the agents that produced it is a gripping narrative that successfully blends the three methodologies of literary criticism, cultural anthropology, and history. The first part relates the processes of integration and dissolution in the structure of the barrio of Valladolid in Carcar, Southern Cebu, from 1500 to 1940. It then analyzes the dynamics of the Linambay tradition and eventually explores the social and economic conditions in the barrio in the early twentieth century revealing the intricacies of such a relationship.

 

Fiesta Complex

Grounding the Linambay form in the fiesta complex, the author impressed on the reader anthropological theories like that of Maurice Godilier’s. Mojares discussed fiestas as a system for redistribution of wealth and how it validated and cemented social relations. This, in turn, created the foundation for the thriving of this theater form. It is interesting how the author investigated on this and how successful he was in discovering the role of the social in an event such as the Linambay. He established social cohesion as integral in the existence of the art form and social diffusion as the reason for its disappearance. He made his point plausible by presenting important historical documents and verbal sources.

The fiesta complex is important in supporting the research’s motive. It is in this context that the author positioned the subject of Linambay as a mode of Valladolid’s to celebrate itself and in the process revealing its structure. He quoted Clifford Geertz saying, “societies, like lives, contain their own interpretations. One has only to learn how to gain access to them.” The author considered Linambay as one such point of access.

 

Peasant Community

Another salient point in his presentation of ideas is the nature of the barrio of Valladolid as a peasant community. One that is torn between two worlds: “on one hand, the larger world of market, state, and urban culture; and on the other, a vanishing tribal world of village autonomy and personalized intra-village relations. The former advances, the latter recedes, and somewhere in the middle ground of these movements, the peasant village exists” (p. 93). This duality in the nature of the peasant society in question creates the unique tension that is important in understanding the art form. The society is never truly in either side of the pole and neither can be said of the Linambay. Persisting in the middle of the polarity, the author recreated the complexity of the lost theater form in an imaginative approach to locate the relevance and meaning of it in the lives of those who lived during the time it persisted and those who lived and continues to live after it.

The patron-client relationship is given premium in the discussion using James Scott’s “vertical solidarity model” which identifies reciprocity between landlords and tenants in such a community. This approach demystifies the unknown type of social relation during that time and reinstates the roles of each player in this multipart spectrum of give-and-take. It solidifies the perspective of the people who created the Linambay as it anchors them between deference and submission. 

Economic Basis

The economic basis of the art form was also discussed in an elaborate manner. The author amply provided the readers of pertinent information in the trade and industry of the society that cradled the art form. In the first chapter of the book, he presented historical facts on land ownership, taxation, and even fluctuations in crop prices to serve as backdrop to the moral order that Valladolid had during the flourishing of the art form.

The author also exposed the social backdrop as economically dependent. He pursued a presentation of the prominent families that dominated the social landscape of the village by revealing just how much these families actually own by means of land and other forces of production like carabaos, mechanical equipments, and even tenants. This discussion is relevant in locating the Linambay tradition in the hands of the elite, and the submission of the tenants as the author recreated the social order of the village. He also revealed by means of kinship analysis how this social order was preserved via affinal and ritual links.

Although the economic was discussed vis-à-vis the art form, the integrity of the art form in the discussion did not entirely rely on it. The economic was considered important but the author found this to be just one of the factors that eventually caused the collapse of the Linambay tradition:

“What happened, in essence was that changes in the technical material or material order of society drained the symbolic force of the Linambay tradition.

There are two aspects in this loss of power. On one hand, the surrounding reality no longer infused meaning and power into the system of symbols that was the Linambay. The context has collapsed. On the other hand, the system itself lost its power to structure and pattern the moral life of the village. The causal connections here are not simple and unilinear. We need to consider that art is not an inert product of social processes but an agent of these processes (p. 126).”

 

 

 

Literary Criticism

 

Having a solid background in literary criticism surely added another layer of interest in the author’s discourse. The Linambay, an indigenized form of Komedya, is a lost theater form, which made just even getting a copy of a script difficult. However, the author was successful in obtaining several and in revealing the complexity of this form. He provided an intricate analysis of the texts and even the manner how these plays were performed. He masterfully dissected important semiotic representations in the texts uncovering that indeed theater is in society, and society in theater.

Another point of interest of the study centered on how the plays were performed. The author revealed that the presentation of these plays were very social events and diffused in nature such that one need not finish the play in one sitting because of the length of the plays itself (with some lasting up to nine days). Aside from this, the plays were more of a reminder to people than an introduction to new concepts. The people knew the plot of the play and what should happen. They were just reinstatements of the existing moral code, not a discovery of new ones.

Relating the social to the manner these plays were performed, it is remarkable how the author presented social stratification based on where the people actually viewed the plays. While the important families had the so-called palcos, a roofed platform extending out of the stage or a separate shed, the rest would diffuse squatting on the ground, eating, cooking a meal, sleeping and even gambling (p. 76).

 

On Methodology

Mojares’ research is a welcome contribution to Philippine cultural studies. Its approach, rather encompassing and outright, attempts to veer away from simplifying aesthetic discourse as purely social nor economic by endeavoring the integration of the fields of history, literary criticism, and cultural anthropology. This integration is effective in bringing out more aspects in the art form than one would have focusing on a single approach.

However effective, this integration of fields proposes the danger of leaving out some important readings and in effect reducing the art form to a certain degree reachable by the study (or the author) itself. The lack of perspective in sexuality and gender, for instance, takes away a vast amount of possibilities that would’ve created a more exact social history that he was aiming for, among others. Conversely, this would’ve thrown the perspective of the general concerns of the fields he was working with out of the way to accommodate the specific concerns of each field.

The problematics of the general versus the specific in historical writing is indeed a value-laiden query that any author must answer in the goal of exacting the effectivity and relevance of their research to the limit-experience of the readers that they are writing for. In the case of Mojares’ work, I can only assume the specific problems (or the ones that I was looking for) in the three fields he chose to work with were not yet that pronounced being it written in 1985. Considering this, it is the reader’s duty to contextualize a work and read within (and between) the lines of this limit as much as it is the author’s responsibility to posit the discourse to meet and create the challenges of its time.

Christianizing Baby Dexter Draco!

I know!I know!

Blogs aren't supposed to be too personal. But today I went to a baptism ceremony (I won't go philosophizing on my stand on this) and here are my cute nephew's pics showing how enthusiastic he is of it (LOL):

Baby, you'll understand in time. 

CINEMALAYA 2008 at the UP Film Center!

Here's the CINEMALAYA 2008 schedule as it invades the UP Film Center (AKA Cine Adarna) next week:


July 28 Mon

Manuel Conde Retro: Genghis Khan 2:30 p.m.

Baby Angelo 5 p.m.

Concerto 7:30 p.m.



July 29 Tue

Cinemalaya’s Past Best Pictures Showcase: Pepot Artista 2:30 p.m.

Jay 5 p.m.

Huling Pasada 7:30 p.m.



July 30 Wed

Cinemalaya’s Past Best Pictures Showcase: Tulad ng Dati 2:30 p.m.

Brutus 5 p.m.

Namets 7:30 p.m.



July 31 Thu

Cinemalaya’s Past Best Pictures Showcase: Tribu 2:30 p.m.

100 5 p.m.

My Fake American Accent 7:30 p.m.



(Aug 1 Fri

Ishmael Bernal Gallery Night with Film Premiere of Adolf Alix’s Imoral 7:30 p.m.)



Aug 2 Sat

Endo 2/5/7 p.m.



Aug 4 Mon

Anita Linda Tribute: Tambolista 2:30 p.m.

Boses 5 p.m.

Ranchero 7:30 p.m.



Aug 5 Tue

Manuel Conde Retro: Krus na Kawayan 2:30 p.m.

Cinemalaya 2008 Competing Shorts A 5 p.m.

Cinemalaya 2008 Competing Shorts B 7:30 p.m.



Aug 6 Wed

Anita Linda Tribute: Sisa 2:30 p.m.

Cinemalaya 2008 Special Jury Prize Winner 5 p.m.

Cinemalaya 2008 Best Picture 7:30 p.m.



Aug 7 Thu

Donsol 2:30 p.m.

Kadin 5 p.m.

Anita Linda Tribute: Sisa 7:30 p.m.

60 fun things to do in an elevator!

1. Make race car noises when anyone gets on or off.
2. Blow your nose and offer to show the contents of your kleenex to other passengers.
3. Grimace painfully while smacking your forehead and muttering: "Shut up, all of you just shut UP!"
4. Whistle the first seven notes of "It's a Small World" incessantly.
5. Sell Girl Scout cookies.
6. On a long ride, sway side to side at the natural frequency of the elevator.
7. Shave.
8. Crack open your briefcase or purse, and while peering inside ask: "Got enough air in there?"
9. Offer name tags to everyone getting on the elevator. Wear yours upside-down.
10. Stand silent and motionless in the corner, facing the wall, without getting off.
11. When arriving at your floor, grunt and strain to yank the doors open, then act embarrassed when they open by themselves.
12. Lean over to another passenger and whisper: "Noogie patrol coming!"
13. Greet everyone getting on the elevator with a warm handshake and ask them to call you Admiral.
14. One word: Flatulence!
15. On the highest floor, hold the door open and demand that it stay open until you hear the penny you dropped down the shaft go "plink" at the bottom.
16. Do Tai Chi exercises.
17. Stare, grinning, at another passenger for a while, and then announce: "I've got new socks on!"
18. When at least 8 people have boarded, moan from the back: "Oh, not now, motion sickness!"
19. Give religious tracts to each passenger.
20. Meow occasionally.
21. Bet the other passengers you can fit a quarter in your nose.
22. Frown and mutter "gotta go, gotta go" then sigh and say "oops!"
23. Show other passengers a wound and ask if it looks infected.
24. Sing "Mary had a little lamb" while continually pushing buttons.
25. Holler "Chutes away!" whenever the elevator descends.
26. Walk on with a cooler that says "human head" on the side.
27. Stare at another passenger for a while, then announce "You're one of THEM!" and move to the far corner of the elevator.
28. Burp, and then say "mmmm...tasty!"
29. Leave a box between the doors.
30. Ask each passenger getting on if you can push the button for them.
31. Wear a puppet on your hand and talk to other passengers "through" it.
32. Start a sing-along.
33. When the elevator is silent, look around and ask "is that your beeper?"
34. Play the harmonica.
35. Shadow box.
36. Say "Ding!" at each floor.
37. Lean against the button panel.
38. Say "I wonder what all these do" and push the red buttons.
39. Listen to the elevator walls with a stethoscope.
40. Draw a little square on the floor with chalk and announce to the other passengers that this is your "personal space."
41. Bring a chair along.
42. Take a bite of a sandwich and ask another passenger: "Wanna see wha in muh mouf?"
43. Blow spit bubbles.
44. Pull your gum out of your mouth in long strings.
45. Announce in a demonic voice: "I must find a more suitable host body."
46. Carry a blanket and clutch it protectively.
47. Make explosion noises when anyone presses a button.
48. Wear "X-Ray Specs" and leer suggestively at the passengers.
49. Stare at your thumb and say "I think it's getting larger."
50. If anyone brushes against you, recoil and holler "Bad touch!"
51. Bring a water pistol. Soak everyone's shoes.
52. Start brushing off invisible bugs from your arms, screaming "Aaughh! Get them off!"
53. Challenge your neighbor to a "Tic-Tac-Toe" tournament.
54. Laugh hysterically for five seconds, stop, and glare at the other passengers like they are crazy.
55. Charge into the elevator dripping wet, holding a towel and wearing only a bath robe. Mutter something about how husbands/wives always come home early just when it's getting to the good part.
56. Make chalk drawings on the walls.
57. As the elevator is going up, jump violently up and down, shouting "Down! I said down, dang it!"
58. Crouch in one corner and growl menacingly at everyone who gets on.
59. Try to get a game of "Twister" going.
60. Wrinkle your nose and smell the air repeatedly. Sniff at your neighbor suspiciously, give a disgusted frown, and take a step away.

*see original blogpost here

My Speed

slow. test your speed here.

Next Stop, Torment!

I just finished my critical essay on Mojares and now reading (and tormenting myself through) Patrick Flores' book:

Painting History: Revisions in Philippine Colonial Art
By Patrick D. Flores

Co-published by the National Commission for Culture and the Arts.
Winner of the 1999 Gawad Chanselor for Most Outstanding Book.

"This art history reconsiders how art historical productions, through the inculcated norms of art and history, tell the story of Philippine colonial painting, from the introduction of the practice in the Philippine 'islands' and 'natives' to its constitution as a State and academic institution of colonial rule. Inasmuch as these art histories have been contrived within local theoretical frameworks, we seek to track down the traces of certain critical modalities underwriting these perspectives, and so mark out a course for a reconstruction of the historical discourse through a critique of the said criticisms, a critical activity that inevitably discloses the tactics of the trade which organize particular operations within Philippine colonial art history and its attendant historiograhic analytic." (from the Introduction)

Crank That Soulja Boy!

So I just came home from an exhausting night out with a friend, Vince. We went to Bar Uno in Timog then went straight to O Bar in Malate. Bar Uno was not even half as crazy as that of O. 

The prior was insanely boring while the latter was packed with people you'd think all the gay people of the metro flocked and forced themselves in that miniscule place they call a bar. You definitely can't move without touching somebody's ass in there nor light a smoke without burning somebody's hand (that I did!). O man that was one hell of a place! To the managers, get a bigger space for crying out loud! LOL. After crawling out of the O, Vince and I did a quick stroll over at the Manila Bay (Roxas Boulevard) where we took a couple of shots:

            

And by the way, thanks Vince for letting me know that song is about jackin' off. Good job!  LOL. Hope you get well soon!

My Lakbayan Grade is C-!

My Lakbayan grade is C-!

How much of the Philippines have you visited? Find out at Lakbayan!

Created by Eugene Villar.

Now I know I need to travel more. I guess this means there's more than just Luzon? Damn! Who knew? Well try it yourself here and let me know about it! Ciao!

Enough of the Silliness!

Yes. It is the 19th and no magnitude 8.1 reported. Ha! In your face mr.i-can-predict-stuff-and-scare-the-hell-out-of-you-for-fun! So I guess this discredits you and anything that you have to predict in the future. Good luck with that! (I predicted this.) And for those who wasn't able to catch the prediction, you can read all about the silliness here.

The Dark Night at Eastwood City Libis

I just came home from an early screening over at Eastwood City of The Dark Night starring Christian Bale, Maggie Gyllenhaal and Heath Ledger to name a few. A formulaic take on comic superheroes, this film is second installment after the 2005 Batman Begins by director Christopher Nolan. Surprisingly, the Joker (magnificently played by Ledger) steals the show and grounds almost all plot conflict. Might as well have titled the film "The Joker."  LOL

Mojares' "Theater in Society, Society in Theater"

I'm currently writing a critical essay on this book. It's a historical discourse using a lost theater form--komedya. Fun.

Complete Title: Theater in Society, Society in Theater:
Social History of a Cebuano Village (1840-1940)
Author: Resil Mojares
Publish Date: January 1985
Format: Paperback
Publisher: Ateneo de Manila University Press
Pages: 200

About The Book
(taken from its back cover)

Theater in Society, Society in Theater is both a detailed and imaginative reconstruction of the history of a Philippine village, the barrio of Valladolid in Carcar, Southern Cebu. Though the history ranges from the 1500s to 1940, the focus is trained on a time of increased peasantization, the late nineteenth century and the first four decades of the present century. In tracing the history of the village, the author analyzes transformations in its moral order as revealed in the external and internal changes of the village theater tradition, the tradition of the linambay, or komedya.

In three main parts, the book sketches the processes of integration and dissolution in the structure of the village from the 1500s to 1940, analyzes the dynamics of the linambay tradition, and explores the social and economic conditions in the barrio in the early twentieth century to show how, indeed, theater is embedded in society, and society in theater.

In its combination of the methods of literary criticism, cultural anthropology, and history, the work is an important contribution to Philippine studies.

Check this out...

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CINEMALAYA 2008!

Here's the complete Cinemalaya schedule this July happening in CCP:

CINEMALAYA 2008 COMPLETE SCHEDULE

The Cinemalaya Independent Film Festival is the country's largest
gathering of independent cinema. This year's fest is the biggest so
far, with some two hundred films both in and out of competition. It
runs from July 11 to 20, 2008, at the Cultural Center of the Philippines.

Special events
• OPENING NIGHT. Opening ceremonies, plus the world premiere of
"ADELA" by Adolf Alix Jr — 11 July/Fri at 6:00PM at the CCP Main Theatre
• AWARDS NIGHT — 20 July/Sun at 7:00PM at the CCP Main Theatre
• FILM CONGRESS. "Spreading the News: Promoting, Distributing, and
Exhibiting Indie Films" — 15 & 16 July/Tue & Wed, from 8AM onwards at
the CCP Little Theatre

The Cinemalaya 2008 Competition Films
100 by Chris Martinez is about a stern, uptight and exacting woman
with a terminal illness who tries to accomplish a list of 100 things
to do before she dies. Her tasks vary from the simple to the
complicated, from the practical to the mundane, from the ordinary to
the extraordinary. In the process, she accepts the truth that even if
death is something personal, dying never is.
• 12 July/Sat, 12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• 15 July/Tue, 6:15PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 17 July/Thu, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 17 July/Thu, 9:00PM, Tanghalang Huseng Batute
• 19 July/Sat, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 19 July/Sat, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

BABY ANGELO by Joel Ruiz and Abi Aquino centers on an investigation
that ensues when an aborted fetus is found in the dumpster of a
run-down apartment complex. The lives of the tenants—a reclusive old
man with curious ramblings, a landlord with overzealous thirst for
justice and a young couple whose past threatens to unravel their
marriage—are suddenly exposed in the hunt for the perpetrator of the
baby's death.
• 12 July/Sat, 6:15PM,Tanghalang Huseng Batute
• 13 July/Sun, 3:30PM,Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 15 July/Tue, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 17 July/Thu, 9:00PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 18 July/Fri, 12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• 18 July/Fri, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

BOSES (VOICES) by Ellen Ongkeko-Marfil is the story of a musician, who
regains back his humanity by giving violin lessons to a child of the
slums. In turn, the child, through the instrument, is able to get back
his voice from a muted, abused and desensitized existence. This is a
story of a friendship founded on the sublime beauty of music.
• 13 July/Sun, 12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• 13 July/Sun, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 16 July/Wed, 6:15PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 18 July/Fri, 12:45PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 18 July/Fri, 9:00PM, Tanghalang Huseng Batute
• 19 July/Sat, 9:00PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)

BRUTUS by Tara Illenberger tells the tale of two Mangyan children,
hired by illegal loggers to smuggle wood from the mountains of
Mindoro, as they embark on a dangerous journey to deliver the goods to
the lowlands. In the process, they discover a world run by the greed
of men, a world governed by ideologies that bring about the armed
conflict that plague the Mindoro highlands, the home of their own people.
• 13 July/Sun, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 15 July/Tue, 9:00PM, Tanghalang Huseng Batute
• 16 July/Wed, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 18 July/Fri, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 19 July/Sat, 6:15PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 20 July/Sun, 3:30PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)

CONCERTO by Paul Alexander Morales is about how, in the last part of
World War II, a special piano concert is held in the forests of Davao.
In these boondocks, a displaced Filipino family becomes acquainted
with a group of Japanese officers, similarly camped nearby. Based on
true stories from the director's family, Concerto celebrates a family
whose reverence for life, expressed through their love of music and
friendship, can survive even war, and shows how beauty and compassion
can grow in even the harshest of situations.
• 12 July/Sat, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 15 July/Tue, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 16 July/Wed, 9:00PM, Tanghalang Huseng Batute
• 17 July/Thu, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 18 July/Fri, 9:00PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 19 July/Sat, 3:30PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)

HULING PASADA (FINAL STOP) by Paul Sta. Ana follows the creative
process of Ruby, a prolific writer, abandoned wife and protective
mother. She writes about Mario, a taxi driver and father figure to a
street child. As she tries to resolve Mario's story, she seeks refuge
in her own creative output and the line between reality and fiction is
blurred. Mario's past becomes entangled with her own inevitable future.
• 12 July/Sat, 9:00PM, Tanghalang Huseng Batute
• 13 July/Sun, 6:15PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 15 July/Tue, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 18 July/Fri, 12:45PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 18 July/Fri, 3:30PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• 19 July/Sat, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

JAY by Francis Xavier E. Pasion is the name of the two protagonists in
the film, one is living, the other dead. The living Jay is producing a
documentary of the dead Jay, a gay teacher who was brutally killed. As
Jay recreates and examines the life of his subject, his own life is
affected when he unravels his subject's hidden life and secret love.
• 12 July/Sat, 6:15PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 13 July/Sun, 9:00PM, Tanghalang Huseng Batute
• 16 July/Wed, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 17 July/Thu, 12:45PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 17 July/Thu, 3:30PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• 19 July/Sat, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

MY FAKE AMERICAN ACCENT by Onnah Valera and Ned Trespeces is a
slice-of-life workplace comedy following the lives of technical
support call center agents in the span of six months. Speaking with a
fake American accent is a prerequisite for the job. This ensemble
comedy is an inside look into the maddening, sleep-deprived,
caffeine-fuelled lives of those who ply their trade in the call center
industry.
• 13 July/Sun, 9:00PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 13 July/Sun, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 15 July/Tue, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 18 July/Fri, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 18 July/Fri, 6:15PM, Tanghalang Huseng Batute
• 20 July/Sun, 12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)

NAMETS by Emilio "Jay" Abello is a colorful celebration of food as
well as love, and the love of food above all, which is central to
being Negrosanon and being Filipino. It follows the flirtation between
Jacko and Cassie, two Negrenses who grew up in Bacolod, and whose
lives revolve around food. The film will be shot on location in Negros
Occidental and will be primarily in Hiligaynon, the language spoken in
that region.
• 13 July/Sun, 3:30PM (GALA), Tanghalang Aurelio Tolentino (CCP Little
Theatre)
• 15 July/Tue, 6:15PM, Tanghalang Huseng Batute
• 16 July/Wed, 9:00PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 18 July/Fri, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 18 July/Fri, 6:15PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 19 July/Sat, 12:45PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

RANCHERO by Michael Christian Cardoz is the story of convicts who
serve a special role inside the jail - they prepare the meals
everyday. But in a jail where some inmates see no reason to continue
living, what is the role of food? Is the food's role to extend life or
to prolong the pain of those who don't want to live?
• 12 July/Sat, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 12 July/Sat, 9:00PM (GALA), Tanghalang Nicanor Aberlardo (CCP Main
Theatre)
• 16 July/Wed, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
• 17 July/Thu, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
• 17 July/Thu, 6:15PM, Tanghalang Huseng Batute
• 19 July/Sat, 12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)

Cinemalaya 2008 Shorts Programme A
• ANDONG by Rommel "Milo" Tolentino is a story about a six-year old
boy's obsession, family dynamics, and the real value of a hard-fought
twenty pesos.
• ANG IBANG MGA PAMILYA (THE OTHER FAMILY) by Joel P. Ruiz is about a
woman who overcomes the grief of losing her adopted son.
• ANGAN-ANGAN (DREAMS) by Sheron R. Dayoc centers on a mute
nine-year-old girl named Satra, whose determination to secure a good
education reverberates clearly amid the strictness of her Yakan
culture. The Yakan are one of the 13 Moro groups in the Philippines.
They mainly reside in Basilan, Mindanao.
• DIAMANTE SA LANGIT (DIAMOND IN THE SKY) by Vic Acedillo, Jr is about
two brothers' journey to compete in a kite flying contest. But getting
there takes some time. In the end, they face something unexpected and
discover something more precious than winning.
• GOD ONLY KNOWS by Mark V. Reyes focuses on the disturbing and gut
wrenching tale about the realities of life in the sprawling metropolis
of Manila.
12 July/Sat, 3:30PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
13 July/Sun, 6:15PM, Tanghalang Huseng Batute
16 July/Wed, 9:00PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
17 July/Thu, 6:15PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
17 July/Thu12:45PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
20 July/Sun, 12:45PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)

Cinemalaya 2008 Shorts Programme B
• HULING BIKTIMA (THE LAST VICTIM) by Vitaliano A. Rave is a film noir
style about a detective's last minutes.
• MY PET by Anna G. Bigornia is a 7-minute animation about an
8-year-old girl and her relationship with her first pet, a chick, the
subject of a class experiment.
• PANGGARIS by Dexter B. Cayanes is about a prostitute whose life
changed when her mute sibling learned to talk, uttering only the word
"panggaris."
• TRAILS OF WATER by Sheron R. Dayoc is an experimental film about a
young boy's emotion as seen through his make-believe story.
• TUTOS (COST) by L.A. Yamsuan tells about the dynamics and
complexities of a single father-daughter relationship in a postmodern
patriarchal Filipino society.
12 July/Sat, 3:30PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
15 July/Tue, 9:00PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
16 July/Wed, 6:15PM, Tanghalang Huseng Batute
17 July/Thu, 6:15PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
19 July/Sat, 12:45PM, Tanghalang Nicanor Aberlardo (CCP Main Theatre)
20 July/Sun, 3:30PM, Bulwangang Alagad Ng Sining (CCP MKP Hall)
Sine Taktakan
17 & 18 July/Thu & Fri, from 2:00PM to 5:00PM at the CCP Tanghalang
Huseng Batute

Meet the Cinemalaya 2008 Filmmakers!
• 17 July/Thu - BABY ANGELO, BOSES, HULING PASADA, MY FAKE AMERICAN
ACCENT, NAMETS
plus the shorts HULING BIKTIMA (THE LAST VICTIM), MY PET, PANGGARIS,
TRAILS OF WATER and TUTOS
• 18 July/Fri - 100, BRUTUS, CONCERTO, MY FAKE AMERICAN ACCENT, RANCHERO
plus the shorts ANDONG, ANG IBANG MGA PAMILYA), ANGAN-ANGAN (DREAMS),
DIAMANTE SA LANGIT and GOD ONLY KNOWS
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Tribute to Manuel Conde
16 July (Wed)
• Book Launching of "The Cinema of Manuel Conde" by Nicanor G.
Tiongson — 3:30 to 4:30 PM, CCP Little Theatre
• Opening of Exhibit and Naming of Theatre by the Manuel Conde Family
& Book-Signing and Reception — 4:30 to 6:00 PM, CCP Little Theatre Lobby
• Screening of GENGHIS KHAN (1952) — 6:15 PM, CCP Little Theatre
Screenings of Classic Conde Works
CCP Tanghalang Manuel Conde (Dream Theatre)
All Manuel Conde Tribute events are free to Cinemalaya 2008 ticket
holders. First come, first serve!
• IBONG ADARNA (1941) — 17 July/Thu, 12:45PM
• SEŇORITO (1953) — 17 July/Thu, 3:30PM
• KRUS NA KAWAYAN (1956) — 18 July/Fri, 12:45PM
• EL ROBO (1957) — 18 July/Fri, 3:30PM
• VENGANZA (1958) — 19 July/Sat, 12:45PM
• PILIPINO KOSTUM NO TOUCH (1955) — 19 July
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Cinemalaya 2008 specials
World Premieres, Director's Cuts & Special Screenings
• HUBAD by Denisa Reyes (World Premiere) — 13 July/Sun, 6:15PM,
Tanghalang Aurelio Tolentino (CCP Little Theatre)
• IMORAL by Adolfo B. Alix Jr. (World Premiere) — 19 July/Sat, 6:15PM,
Tanghalang Aurelio Tolentino (CCP Little Theatre)
• LUKARET by Felino Tanada (World Premiere) — 18 July/Fri, 6:15PM,
Tanghalang Aurelio Tolentino (CCP Little Theatre)
• S.E.B.: CYBER GAME OF LOVE by Cris Pablo (World Premiere) — 17
July/Thu, 9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• TEACH ME TO LOVE by National Artist for Cinema Eddie Romero (World
Premiere) – 18 July/Fri, 9:00PM, Tanghalang Aurelio Tolentino (CCP
Little Theatre)
• SA PAGDAPO NG MARIPOSA by Will Fredo (Director's Cut) — 15 July/Tue,
9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• BALIKBAYAN BOX by Mes Guzman (Special Screening) — 13 July/Sun,
9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• HUNGHONG SA YUTA by Arnel Mardoquio (Special Screening) — 16
July/Wed, 9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• TIRADOR by Brillante Mendoza (Special Screening) — 12 July/Sat,
9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• KATORSE: Best of IndieSine Shorts `08 (Special Screening) — 17
July/Thu, 6:15PM, Tanghalang Aurelio Tolentino (CCP Little Theatre) 
o AMBULANCIA by Richard Legaspi
o ANG KAPALARAN NI VIRGIN MARIO by Ogi Sugatan
o DEAD LETTER by Grace Orbon
o IKASIYAM NA PALAPAG by Anna Isabelle Matutina
o LABABO by Seymour Barros Sanchez
o MANYIKA by John Wong
o PAGBUGTAW by Seymour Barros Sanchez
o WALONG LINGGO by Anna Isabelle Matutina
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The Cinemalaya Kids' Treat
12 & 13 July/Sat & Sun. CCP MKP Hall (4th Floor, CCP Main Building)
A marathon of indie flicks on/for/about children and young teens. In
cooperation with the National Council for Children's Television.
• PEPOT ARTISTA by Clodualdo del Mundo Jr. (Cinemalaya 2005) — 12 July
2008/Sat at 10:00 AM
• SAAN NAGTATAGO SI HAPPINES? by Real Florido & Florido Bautista
(Cinemalaya 2006) — 12:45 AM
• The Cinemalaya – NCCT Children's Specials 2008, Program A — 12 July
2008/Sat at 03:30 PM 
o SI PEPE AT ANG BULAKLAK by Milo Tolentino
o ANG HULING POSPORO SA KAHON by Hubert Tibi
o HUBERT by Noriel Jarito
o A SKIP FOR MY DREAMS by Monalyn Labado
o ANG BAKASYON NI CON-ON by Jerome Zamora
• GULONG by Jeanne Lim & Socorro Fernandez (Cinemalaya 2007) — 13 July
2008/Sun at 10:00 AM
• KADIN by Adolfo B. Alix Jr. (Cinemalaya 2007) — 13 July 2008/Sun at
12:45 PM
• The Cinemalaya – Ncct Children's Specials 2008, Program B — 13 July
2008/Sun at 03:30 PM 
o THE DYING PLANET by Katrina Therese F. Olon
o ADAM'S FAMILY by Donnie T. Sacueza
o NAKNANG OFW by Noriel M. Jarito
o LAKAD NI SAMMY by Joel Ruiz
• A Program Of Cinemalaya Children's Shorts Program A – 12 July
2008/Sat at 10:00 AM and 13 July 2008/Sun at 12:45 AM 
o PUTOT by Jeck Cogama (2006)
o ROLYO by Alvin Yapan (2007)
o TO NI by Vic Acedillo (2007)
• A Program Of Cinemalaya Children's Shorts Program B – 12 July
2008/Sat at 12:45 AM and 13 July 2008/Sun at 10:00 AM 
o GABON by Emmanuel De La Cruz (2007)
o MAIKLING KWENTO by Hubert Tibi (2006)
o PARANG PELIKULA by Hibert Tibi (2006)
PROJECTIONS: Green-Powered Shorts
12 July/Sat, 6:15PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• DOK by Ramon del Prado
• BUHAY MANDARAGAT by Jason Lopez, Celize Innocencio, Aiza de Leon
• ALTERED STATES by Marichris Quimson, Andrea Tonda, and Gian Cruz
• DE MANO by Mike Viñas, Heather Europa and Borgy Torre
• BE MY BABY by Naomi Quimpo, Sara Ramos and Ru Angeli Cruz
• LAPIDA by EJ Angeles, Cathleen Cotioco and Jed Bautista
• BALIK TANAW by Jason Moll; Dollhouse by Naomi Quimpo and Patrixia Deseo
• GUSTO KITA TOO by Rica Arevalo
• 143: LOVERS DISCOURSE by Vicente Garcia Groyon
• MUNI-MUNI by Doy del Mundo
Rock the rehas: shorts from Philippine jails
19 July/Sat, 9:00PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• DANCING FOR DISCIPLINE by Pepe Diokno
• BUHAY LOOBAN by Lourd de Veyra
• dokumenTADO by Tado
U.P. 100: Best of U.P. Shorts 2008 (Special Screening)
15 July/Tue, 6:15PM, Tanghalang Aurelio Tolentino (CCP Little Theatre)
• ANG PASKO NI INTOY by Charina Escala & Emerald Hidalgo
• BULONG by Joaquin Valdez
• LUNAS by Peter Edward Dizon
• ANOMIE
• METRONOME
• SINGKONG BUTAS
• PUTING ILAW
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
A selection of past Cinemalaya treats
• ANG PAGDADALAGA NI MAXIMO OLIVEROS by Auraeus Solito & Michiko
Yamamoto (Cinemalaya 2005) — 12 July/Sat, 6:15PM (CCP Silangan Hall)
• BIG TIME by Mario Cornejo & Coreen Jimenez (Cinemalaya 2005) — 12
July/Sat, 9:00PM (CCP Silangan Hall)
• BATAD: SA PAANG PALAY by Benji Garcia (Cinemalaya 2006) — 13
July/Sun, 6:15PM (CCP Silangan Hall)
• DONSOL by Adolfo B. Alix Jr. (Cinemalaya 2006) — 13 July/Sun, 9:00PM
(CCP Silangan Hall)
• IN DA RED KORNER (Final Cut) by Dado Lumibao (Cinemalaya 2006) — 15
July/Tue, 9:00PM (CCP MKP Hall)
• TULAD NG DATI by Michael Sandejas (Cinemalaya 2006) — 15 July/Tue,
6:15PM (CCP Silangan Hall)
• ENDO by Jade Castro (Cinemalaya 2007) — 17 July/Thu, 6:15PM (CCP
Silangan Hall)
• LIGAW LIHAM by Emilio "Jay" Abello V (Cinemalaya 2007) — 17
July/Thu, 9:00PM (CCP Silangan Hall)
• PISAY by Auraeus Solito (Cinemalaya 2007) — 18 July/Fri, 6:15PM (CCP
Silangan Hall)
• SINUNGALING NA BUWAN by Ed Lejano (Cinemalaya 2007) — 16 July/Wed,
9:00PM (CCP Silangan Hall)
• STILL LIFE by Katrina Flores (Cinemalaya 2007) — 16 July/Wed, 6:15PM
(CCP Silangan Hall)
• TRIBU by Jim Libiran (Cinemalaya 2007) — 18 July/Fri, 9:00PM (CCP
Silangan Hall)
• TUKSO by Dennis Marasigan (Cinemalaya 2007) — 15 July/Tue, 9:00PM
(CCP Silangan Hall)
• Cinemalaya 2005 Shorts — 16 July/Wed, 12:45PM (CCP Silangan Hall) 
o ALIMUOM by Rommel Tolentino
o BABAE by Sigrid Bernardo
o BLOODBANK by Pam Miras
o KULTADO by Lawrence Fajardo
o MANSYON by Joel Ruiz
o PANGINIPAN by Anna Isabelle Matutina
• Cinemalaya 2006 Shorts A — 17 July/Thu, 12:45PM (CCP Silangan Hall) 
o 10:25 NG GABI by Reggie Gulle
o GEE-GEE AT WATERINA by Dennis Teodosio & Mariami Tanangco
o KWARTO by Noel Taylo
o LABADA by Raz Dela Torre
o NO PASSPORT NEEDED by Jeanne Lim & Pepe Diokno
• Cinemalaya 2006 Shorts B — 18 July/Fri, 12:45PM (CCP Silangan Hall) 
o ORASYON by Rommel Tolentino
o PARANG PELIKULA by Hubert Tibi
o PUTOT by Jeck Cogama
o PUWANG by Anna Isabelle Matutina
o SA SILAW by Rienzi Balaw
• Cinemalaya 2007 Shorts A — 19 July/Sat, 12:45PM (CCP Silangan Hall) 
o DOBLE VISTA by Nix Laňas, Nisha Alicer & Caren Crisologo
o DUROG by Tara Illenberger
o GABON by Emmanuel Dela Cruz
o LIWANAG SA DILIM by Lawrence Fajardo
o MAIKLING KWENTO by Hubert Tibi
• Cinemalaya 2007 Shorts B — 20 July/Sun, 12:45PM (CCP Silangan Hall) 
o MISTERYO NG HAPIS by Mark Dela Cruz
o NINEBALL by Enrico Aguilar, ROLYO by Alvin Yapan
o TAGAPAGLIGTAS by Ma. Solita Garcia
o TO NI by Vic Acedillo Jr.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
A Cinemalaya selection of the MOST exciting Pinoy indies
• ALTAR by Rico Maria Ilarde (Cinema One) – 16 July/Wed , 3:30PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• ANG DAAN PATUNGONG KALIMUGTONG by Mes Guzman — 16 July/Wed , 12:45PM
at Bulwangang Alagad Ng Sining (CCP MKP Hall)
• ANG HULING BALYAN NG BUHI by Sherad Anthony Sanchez (Cinema One) —
16 July/Wed , 3:30PM at CCP Silangan Hall
• ANG LALAKE SA PAROLA (Director's Cut) by Joselito Alterejos — 13
July/Sun , 3:30PM at Tanghalang Huseng Batute
• ANG LIHIM NI ANTONIO (Director's Cut) by John Alterejos — 16
July/Wed , 12:45PM at Tanghalang Huseng Batute
• ATAUL FOR RENT by Neal "Bubuy" Tan — 13 July/Sun , 12:45PM at
Tanghalang Huseng Batute
• AY AYENG by Obette Serrano — 12 July/Sat , 12:45PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• BATANES by Adolfo B. Alix Jr. — 12 July/Sat , 6:15PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• COMPOUND (Director's Cut) by Will Fredo — 19 July/Sat , 9:00PM at
CCP Silangan Hall
• CONDO by Martin Cabrera — 20 July/Sun , 3:30PM at Tanghalang Manuel
Conde (CCP Dream Theatre)
• CONFESSIONAL by Jerrold Tarog & Ruel Dahis Antipuesto (Cinema One) —
19 July/Sat , 6:15PM at Tanghalang Manuel Conde (CCP Dream Theatre)
• DAYBREAK (Final Cut) by Adolfo B. Alix Jr. — 18 July/Fri , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• DEATH IN THE LAND OF ENCANTOS by Lav Diaz (Super Roadshow - 10AM to
7:30PM) — 19 July/Sat , 10:00AM at Tanghalang Huseng Batute
• FOSTER CHILD by Brillante Mendoza 15 July/Tue — 12:45PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• HANGGANG DITO NA LAMANG AT MARAMING SALAMAT by Felino Tanada — 18
July/Fri , 3:30PM at CCP Silangan Hall
• HAW-ANG by Bong Ramos 12 July/Sat — 12:45PM at Tanghalang Huseng Batute
• IMAHE NASYON (various) — 20 July/Sun , 3:30PM at CCP Silangan Hall
• KALELDO by Brillante Mendoza — 13 July/Sun , 12:45PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• KUBRADOR by Jeffrey Jeturian — 12 July/Sat , 3:30PM at Bulwangang
Alagad Ng Sining (CCP MKP Hall)
• LAMBANOG (Final Cut) by Paolo Herras — 17 July/Thu , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• MALING AKALA by Pablo Biglang-Awa (Cinema One) — 15 July/Tue ,
3:30PM at Tanghalang Manuel Conde (CCP Dream Theatre)
• MASAHISTA by Brillante Mendoza — 12 July/Sat , 3:30PM at Tanghalang
Huseng Batute
• MORE U.P. BEST SHORTS 2008 — 19 July/Sat , 3:30PM at CCP Silangan Hall
• NARS by Adolfo B. Alix Jr. — 16 July/Wed , 3:30PM at Tanghalang
Huseng Batute
• OVERDOSED NIGHTMARE by Khavn Dela Cruz — 15 July/Tue , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• PANTASYA by Brillante Mendoza — 16 July/Wed , 12:45PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• PITONG TAGPO by Rahyan Carlos — 13 July/Sun , 3:30PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• PLONING by Ron Garcia — 13 July/Sun , 6:15PM at Tanghalang Manuel
Conde (CCP Dream Theatre)
• PRINCESA by Lawrence Fajardo (Cinema One) — 12 July/Sat , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• RAKET NI NANAY by Lawrence Fajardo (Cinema One) — 17 July/Thu ,
3:30PM at CCP Silangan Hall
• ROME & JULIET by Connie S.A. Macatuno — 20 July/Sun , 12:45PM at
Tanghalang Huseng Batute
• SELDA by Paolo Villaluna & Ellen Ramos — 16 July/Wed , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• SIKIL by Ronaldo Bertubin — 16 July/Wed , 6:15PM at Tanghalang
Manuel Conde (CCP Dream Theatre)
• STANDING UP by Waise Azimi (Documentary) — 13 July/Sun , 9:00PM at
Tanghalang Manuel Conde (CCP Dream Theatre)
• TAMBOLISTA by Adolfo B. Alix Jr. (Cinema One) — 17 July/Thu , 6:15PM
at Tanghalang Manuel Conde (CCP Dream Theatre)
• TELEBISYON by Donnie Sacueza — 15 July/Tue , 3:30PM at Tanghalang
Huseng Batute
• TODO TODO TEROS by John Torres — 15 July/Tue , 12:45PM at Bulwangang
Alagad Ng Sining (CCP MKP Hall)
• ULTIMO by Khavn Dela Cruz (w/live music accompaniment) — 19 July/Sat
, 9:00PM at Tanghalang Huseng Batute
• WEN TIMAWA MEETS DELGADO (Final Cut) by Rey Gibraltar — 20 July/Sun
, 12:45PM at Tanghalang Manuel Conde (CCP Dream Theatre)
• YEARS WHEN I WAS A CHILD OUTSIDE by John Torres — 18 July/Fri ,
6:15PM at Tanghalang Manuel Conde (CCP Dream Theatre)
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Kwento mo, kanta natin!
July 11/Fri, 12/Sat, 15/Tue, 18/Fri, 19/Sat & 20/Sun, CCP Main Theatre
Facade
The Cinemalaya 2008 Brave New Movement Nights. Two bands nightly PLUS
a WHOPPING Six Bands after the Awards Night/Closing Ceremonies on 20
July/Sun.FEATURING College Coed, Liquid Jane, RedLead 65, Sunflower
Day Camp, The Rinka Collective, VerseS AND more suprise stars!

Courtesy of:
The Philippine Star SUPREME 
*SUPREME is published Saturdays in the Philippine Star, and everyday
at SUPREME.PH.
*SUPREME.PH is an independent company, not affiliated with The
Philippine Star.

I did it again!

I fixed my router. Well at least before it gets all knocked up again. I also got this cute template for this blog. Ayus.