Ponder Points: On The New Archbishop of Manila

I have this bias for leaders who know their philosophy, especially those who received philosophical education during their formation years. And this is such because, as a student of philosophy myself until now, I know that philosophy still has an important place in everyday life, in all its domains. It something has to offer on the table where intentions, goals, and plans meet to come up with decision. It serves as a reminder that what is important in the ends is that the dignity and welfare of the human being is preserved and promoted, towards building a just society where

As an undergraduate, I have looked upon Archbishop Luis Antonio Tagle as an ideal figure. He did really well as a philosophy student. As a seminarian, he graduated summa cum laude in a prestigious institution which, at that time, is technical and is far from its present existential phenomenological tradition. He went on to study theology and did even better in it, eventually becoming one of the rising theologians of our time.

But more than that, Archbishop Tagle has been hailed as a servant of and for the poor and the common. Apart from his duties as an educator of theology, he took what he learned to the streets and encountered their lives, problems, and concerns. And I believe that after his success in Cavite, it is time for him to lead in Manila, considered as the center of almost everything in the Philippines, and it is a different flock. It is here where different groups clash with each other, where their decisions affect not only the city itself but other places in the nation that are linked to it. It is here that different ways of thinking encounter each other.

And I believe, without any trace of doubt, that the new shepherd will do well. Cardinal Rosales has already laid the foundations in the exercise of Christian charity despite some limitations, and I believe that Archbishop Tagle can continue and even go beyond what has been started. It is indeed a good time for him to lead the faithful of this city, in a time where the Church faces the pressure of standing its own ground and opening itself up for dialogue regarding the concern of the nation and the government, especially on matters regarding reproductive health, in a time where political and economic turmoil presents a threat to the well-being of the Filipino citizen, in a time where poverty and unequal opportunities bring societies and communities down, with nothing to hold on, and in a time where people of the margins would want to be heard and spoken in behalf of. I believe that he is aware of these challenges, and he will do something about them, in the light of the Gospel of Love and Social Justice.

And perhaps, it is in here where we see how he will use his philosophy and theology, taking them not only in the streets, but also in dialogue, consensus-building, as well as in the rebuilding of the Church and the nation in general.

Congratulations and welcome, Archbishop Tagle!

Credits to the official site of the Roman Catholic Archdiocese of Manila for the pic.

Tracks: "Torches" (Foster The People)

Before this album, no one knew Mark Foster (especially those who do not want anything hipster become associated with them), being a composer of jingles and later on, according to L.A. Times, an "underling of Dr.Dre." But more than a year ago, the band that he formed (originally named "Foster and the People") released the anti-hipster for hipsters single "Pumped Up Kicks," he became an instant star and a household name among those indie-pop-electronic lovers. They later on released a three-song EP that eventually became this album. And the big question behind this gradual progression from zero to hipster hero is, Is it actually that legendary?

The Foster Falsetto. Setting the music aside for the moment (we'll get to that later), what makes and breaks Foster the People is Mark Foster's high-pitch vocals and his remarkable falsetto that mixes well with the synths, eventually losing distinction between the two. But definitely he is more than the falsetto, for his voice suits well FTP's chimera of chill-out, 90's disco pop, and indie rock. If there's an indie and hipster version of Adam Levine, then Foster is a likely candidate to be named as such.

Variety. As with all other indie bands in the scene today, FTP boasts of a music that is ambiguous. On one hand, the use of the guitars and the piano are so soft and static, while the synthesizer screams party all around, coupled with Foster's voice. This not-so-unlikely mix, which can be compared to that of another indie-pop band MGMT, eventually makes "Torches" light and catchy to the point that one would listen to it before sleeping or partying. In either situation, FTP would work well, anyway.

Songs To Listen To? One can appreciate FTP by starting with the three songs in the EP: "Pumped Up Kicks," the all-too-catchy "Helena Beat," and pop upbeat "Houdini." Afterwards, you can move on to "Colour on the Walls," "Miss You," and "Call It What You Want.". And if you can't dance and relax at the same time, you're not too hipster to listen to it.

Here's the official music video for "Helena Beat."





Credits to Pretty Much Amazing for the image and the FTP VEVO Channel in YouTube for the video.

Ponder Points: An Acting Faith, A Moving Faith (On Christian Social Action)

More than a months ago, I presented a paper in the Philosophical Association of the Philippines' midyear conference, with the theme "Religion and the Public Sphere." Using Paul Ricoeur's Political and Social Essays (which I believe one of the overlooked works since a lot of scholars today focus on Ricoeur's narrative identity and hermeneutics), I came up with a guide towards a Christian response to the condition of humanity today, and emphasized how one can participate in social action and decision-making starting from one's own belief. And perhaps in this time where believers are most needed to respond to the signs of the times, I have come up with a few things to think about, with regard to the importance of the intermingling of faith and social activism.

• Real Faith Is An Active Faith. A faith that does not work for change is as good as having no conviction at all. Faith, if it is to be genuine and related to hope and charity, should be directed to social reforms, the goal of which is the actualization of the Kingdom of God, wherein humanity is preserved and the society is in a state of peace and harmony. A real believer, therefore, is that which seeks to bring about social change, and is not merely a set of feel-good rituals and gatherings that brings one into a spiritual high. A true Christian is one who takes up the role of Christ as a social reformer, one who protects humanity and strives for everyone's unity.

• The Scriptures as Tradition and the Tradition of Scriptures. Paul Ricoeur highlighted the important role of the Scriptures, serving as the foundation for Christian social action. And perhaps it will be helpful for the Christian to go back to the very roots of Scriptures. However, he should interpret the Scripture as part of the Christian tradition, a piece of work that has been influenced and weaved by social contexts and events, as well as how it can help in social reform today, and thus the importance of an "analogizing transfer" from the word of the Scripture to a response in the society.

• Discontinuous Reflection. For Christian social action to be effective, the believer should learn to once in a while step back and reflect on his beliefs and actions. He should learn how to critically doubt and question his convictions in order to determine not only things need to be improved and revised, but also the things that need to be responded to in the best possible way. Perhaps this is what the Church, as an institution concerned with social justice and human rights should do every now and then, especially in times where She faces the danger (and the accusation) of becoming too dogmatic and not really concerned with the present condition that the world is facing and how it would achieve its goals.

• The Task of Unity. Ricoeur asserts that unity is achieved when everyone has been united under the drama of the Cross of Christ, in Him who taught about love, compassion, and mutual understanding. However, he still holds the importance of the differences that reside within every human being, community, group, or culture. And that should be the Church's goal as well, as a significant part of the realization of the Kingdom of God.

• The Role of Religion and the Secular Society. In the end, we can say that religion holds a significant place in the society, inasmuch as other voices hold a special place in the consensus building and dialogue. Religion presents an important viewpoint that should be considered in dialogue, as long as it asserts itself in a reasonable and rational way. Thus, the secular society should learn to open itself up to the voice and reason of religion and not approach it in a biased, negative manner. Likewise, religion should also listen to the voice and reason of the secular society, because, as those standing outside of it, they also have something valuable and important to say, provided that it be expressed in a rational and reasonable manner.

I hope that the following things raised here and in my paper would be helpful for those who are engaging in a meaningful dialogue with religion and believers, as well as in their endeavors to become active members of the society who also aspire for a better society.

Credits to Passionistjpc.org for the image.

Flick Pick: "James Dean"

I agree with most of those who say that the movie is a blown version of real life, much more dramatic than it actually is and backed up with some things questionable but were held as "facts" in the movie. But then, the shining point that this movie has is the performance of James Franco, who not only resembled Dean by appearance but also by performance. And although I do not see it as a must-watch, it's worth spending time on for those who deeply appreciate mid-90's cinema.



Credits to Movie Poster Shop for the poster, and keekyz in YouTube for the trailer.

Pages: The Manila of "Trese"

I came across "Trese" when I had the urge to visit National Bookstore in Robinson's Galleria, tempted by my curiosity to grab a copy of my own. Eventually, I did not think twice of buying the fourth edition, entitled "Last Seen After Midnight," hoping that every page of this komiks would be worth it.

Eventually, a week later, I found the time and money to buy the first three editions, knowing that in every case tackled by protagonist Alexandra Trese would be interesting, especially that it involves Philippine mythology that was last spoken by our lolos and lolas to keep us in bed not only at night but also after lunch during vacations. After all, who wouldn't be curious with weird phenomena caused by aswang and engkanto, investigated by someone who belongs to a rich, powerful, Tagalog family (a traditionally large family, I should say. Take note that one of Anton Trese's brothers became a priest and a teacher respectively, holding important and prominent positions in a typical barrio or bayan) who has connections in the underworld and knows how to deal with them? Working alongside industrious and honest police officers (which we hope exist in real life), we see how Alexandra, together with her kambal bodyguards, uncover the mystery that shrouds each case of theft, murder, or kidnapping, finding them not to be of some opportunistic crook but of these mythical creatures who believes that they can get what they want from human beings.

Perhaps it's the way Budjette Tan and Kajo Baldisimo approached the mysterious and macabre had my head and hands on every edition of "Trese," which I think deserves praises, not only because it is original and creative, but also and more importantly, native.

*The perfect amalgamation. I have seen four things perfectly blended in "Trese," making it a genuine Filipino fictional work that is never ashamed of its Western influence while at the same time scream of its being Pinoy.


First, there is the mitong probinsya that speaks of the different creatures that coexist with the human society, something that a lot of the youth of this generation have never heard of except in lame MMFF films that I believe don't give them much credit. Trese is a work that keeps alive the stories that most of us have heard in the province: the nuno sa punso who wants its home respected, the white lady who roams the night, or the kapre and the tikbalang living their own lives and pose themselves as frightening figures for the common tao, and this is what makes "Trese" a significant work apart from the rest.

But this element was made more alive when these creatures were brought into the streets of Manila, not only in the places that the alta ciudad prefer to go to and describe as places-to-be, but also in the common streets, poverty-stricken zones, and antique places in Manila. "Trese" takes us to the stores of Binondo, the streets of Bonifacio Global City, and student dormitories of Katipunan Avenue, and these are streets in Manila where the creatures which we believed to be mythical and dwelt in the province lived and coexisted with the people. Who has ever thought of the nuno living in the manhole? Or the half man, half snake entity that lived in the underground basement of a mall along Ortigas that spends its life surfing the net and getting to know girls who try on clothes in the mall's dressing room (and not killing it, contrary to what rumors say)? Or the tikbalang that dwells in the highest tower and a lightning entity that dwells in the highest tower and the richest village of Makati?

"Trese" becomes interesting simply because of one thing: it melds the old with the new, part of the traditional and part of the modern. It creatively wove Filipino mythology with the modern Filipino way of life, which had me looking at Metro Manila with a renewed wonder and enthusiasm, with an air of mystery created by these aswang, engkanto, and diwata living with us. Alexandra Trese's way of handling cases and his encounters with the supernatural tribes connected to his family invites us to take another look at thi s old and overpopulated city. In the same way, it draws us to re-imagine the creatures we used to shun and be afraid of, letting us view them as important and interesting figures that shape and are shaped the way we want them to be, action-packed beings that are part of the life of the Manileno.

*Komiks or Graphic Novel? The combination of the Filipino myth and the urban Manila lifestyle is only one half of the combination that is "Trese," poured over into a concoction of two distinct literary styles from the opposite sides of the globe.

I do not claim to be any expert of contemporary literary styles, particularly of the graphic novel (except when we talk about critical theory), but despite its being modern, I still see "Trese" as one who belongs to the komiks tradition. Despite its being written in English and its manga-like art style, it still is Filipino komiks. It's in the line of the works we commonly see in "Liwayway" and, perhaps more recently, "Culture Crash," during the high points of the Pinoy comic book era. It still speaks of the characters, elements, and the themes that baffle us, which occur in typical settings in particular Filipino areas. While Alex Trese is no "Darna" or "Captain Barbell," we see in the underworld investigator-slash-proprietress of a Malate bar that serves the best barako in the morning the aura of a Filipino hero, always wanting to get the job done with all the powers bestowed upon her and providing an insight about life after vanquishing the foe and restoring peace and order in the city. Now isn't that Filipino enough?

On the other hand, I see traces of Western influence in it, not to mention that the works are largely in English, inserted with various familiar Tagalog phrases. I have read that the creators are true blue Neil Gaiman fans, and I see his influence in the story lines. "Trese" contains the Gaiman way of leaving an aura of mystery and continuity in the stories' endings, leaving interpretations and further events to the imagination of the reader. Also, I also seem to find a bit of Alan Moore in it in a sense that it also leaves big moral and existential questions that seem to distort our conceptions of things that we take for granted. These traces of Western graphic novel thought and style leaves us something to ponder on, imagine, recreate, and talk about after we finish each section of "Trese" that actually gives us a snapshot of Manila seen through the lens of someone who has gained insight about it, and this makes "Trese" a thing of beauty not only for the sight but also for the mind.

*Pinoy creativity. "Trese" is nothing like any of the works of Filipino literature and media that we have seen for countless years already. What makes it new is that it gives Philippine mythology a new package, intending it to be more action-packed instead of being horror-filled. The mystery that it intends to have is that which does draws us not to fear of it but instead to be question it and explore more of it. It does not only give us a new view of the city but also that of the diverse Filipino literary tradition that we learned to love or hate over time. They express these themes through things and places that are very common to us and shape our beliefs and lives (and believe me, they are not being too obvious when they refer to places like Livewell village in Makati and persons like Manuel the boxer from Gen. Santos City). "Trese" is like chucking in Manila and the whole gamut of Philippine mythology in a blender and serving it to the common Filipino to easily comprehend and become curious about.

*Social commentary? I don't know if the creators of "Trese" would agree with this, but I think it is valid to have another perspective on this literary work (and furthermore, Roland Barthes talked about the death of the author). I think that "Trese," beyond the pages of mystery and fantasy, contains fragments of Filipino life and society that needs to be noticed and addressed, especially when it comes to peace, justice, and the current condition of the society.

I think that the stories of "Trese" still belong to a symbolic order, reflecting those things in the society that cry for evaluation, critique, and eventually reform. "Trese" is a hit on the way life has become more difficult for the common Filipino when it should not be such. It is a commentary on the rich and the filthy who find ways to sacrifice the poor and the lowly for the sake of their comfort and advantage. It is a picture of the sectors in the society that we take for granted and fail to notice that these very structures that swear to protect the society end up to be its corruptors. Heck, it even has a slight comment on abortion (which I do not prefer to interpret as a nudge on the issue of reproductive health) and the support of the society on athletes and prominent figures it brands as its heroes. And beware, the aswang and engkanto might not be mythical creatures in the society, but rather, are persons that you greet in every single day or see on television and campaign adds. They might just be the ones causing your misfortunes and all.

"Trese," in fact, invites us to see something that goes beyond its fantastic aspect, perhaps to a view of society that maybe not everyone is aware of (especially you, comic book reader who has not touched a page of the newspaper and never cared about what you see in Manila).

*Further fantasy. It's only now that I have tried to regain interest in the Filipino komiks (or graphic novel) after Zsa Zsa Zaturnnah and I might have not seen everything, but I think "Trese" can be big if it will be given opportunities to rise. I really hope that the "Trese" franchise can expand and go beyond these graphic novels-slash-komiks and become more interesting as the times go by. I also recently discovered through the "Trese" blog that there is a separate blog that talks about the different stories from Alexandra's bar "The Diabolical," most of them going beyond what is narrated in these four books. Also, how about a TV series or a movie stint for Trese? ABS-CBN's "Okatokat" (featuring Agot Isidro and company) became such a huge Tuesday evening hit a few years ago, and "Trese," which is definitely better and more awesome, could be, too. So I'm fervently praying that it will have its own timeslot in the local TV or in the theaters.

After all, a "Trese" cosplay in Komikon gave us someone who can play the part, cutting the time and expenses that should be allocated for auditions.

Credits to the Trese blog for the pictures, save for the last one, which belongs to Jay Tablante's DeviantArt album (good job, sir!).

Tracks: "Neighborhoods"

A quick look at Tom, Mark, and Travis' comeback album. What do you think?

• Blink being back is good news enough. After a long hiatus, it's really a big relief for the late 90's generation for the legendary pop punk trio to be back in the scene. It was a turbulent period for Blink fans when the band went on hiatus and pursued their own paths (Tom DeLonge for Angels and Airwaves, and Mark Hoppus and Travis Barker with +44, with the latter doing solo drum projects alongside the late DJ AM); however, it was a good opportunity for them to experiment with something beyond pop punk and try to integrate them with those that they already have at hand.

• ... And they've grown up. I don't understand why critics of Blink 182 were not satisfied simply because it drastically changed. Of course these guys have something to say, but having grown up and integrating their experience during hiatus have made Blink 182 better and more diverse. Of course we love Blink's old classic pop punk songs (some of them even sounding meaningful songs of growing up and facing the bleak reality of life like "Adam's Song" and "Stay Together for the Kids), but the band has to keep up with the times as well as their personal and collective growth.

• Songs to listen to? "Up All Night" seems to be a mix of the pre-hiatus Blink 182 (who made "Always" and "Feeling This") and Tom's Angels and Airwaves influence, sprinkled with a bit of the "collaborative" Travis Barker. On the other hand, "MH 4.18.2011" has traces of the old Blink. Somewhere in the middle, we can also find "Heart's All Gone," another track that deserves a music video.

Here's the video for the first single of the album, "Up All Night." Symbolic, angsty, and mature, I should say.

Credits to NME for the pic and the blink182VEVO channel in YouTube for the vid.

Flick Pick: Departures

A good Japanese film is already great for Western standards, and it's better than the usual if it wins the Oscars for Best Foreign Language Film in 2008.

And what made it a success? It's basically the plot, centered around death and moving on. Masahiro Motoki, one of the well-known drama actors of Japan, plays the role of Daigo Kobayashi, an orchestra player who was forced to move out of Tokyo and find a job. Unfortunately, he ended up as a professional encoffiner which fortunately changed things for him and everyone around him.

But the great big bonus that awaits in "Departures," is its wonderful musical score. And I don't think there are any apt descriptions to it after you have heard it. So there, this video performed by composer Joe Hisaishi and the London Symphony Orchestra:



Credits to Movies Where Movies When Movies Were Movies for the poster, and capitalchina in YouTube for the video.

Tracks: The Challenge for Tokyo Police Club

Last Summer of 2011, Toronto-based indie band Tokyo Police Club started a project (but more of a challenge) of coming up with a quick album that contains ten covers of ten famous songs in the past ten years. Fast forward to present, they released the album "10 Days, 10 Covers, 10 Years," and it's quite interesting to see what they have come up with. Here is the list of the album's tracks, together with each of the songs' respective originals.

 South Side (feat. Morgan Kibby of M83)
-by Moby and Gwen Stefani (2001)
>

Sweetness (feat. Michael Angelakos of Passion Pit)
-by Jimmy Eat World (2002)


 Under Control
-by The Strokes (2003)


Since U Been Gone
-by Kelly Clarkson (2004)


Little Sister (feat. Orianthi)
-by Queens of the Stone Age (2005)


Long Distance Call (feat. Ray Suen from Mariachi El Bronx)
-by Phoenix (2006)


All My Friends
-by LCD Soundsystem (2007)


Kim & Jessie
-by M83 (2008)


Strictly Game
-by Harlem Shakes (2009)


Party In The USA
-by Miley Cyrus (2010)


Time to get the album, don't you think?

Credits to weallwantsomeone.org for the info, and various users from Youtube for the videos.

Flick Pick: Zatoichi (2003)

There have been various films that portrayed the legendary blind swordsman created by Kan Shimozawa, but I think that being the most recent, Beat Takeshi (Takeshi Kitano)'s version, suits this generation. In his masterpiece, he plays the role of Zatoichi, who works as a masseur and loves playing dice. Apparently, what really makes up most of his time is to hunt down the abusive samurai and ronin of Yakuza gangs that abuse the inhabitants of a village.

 This movie is significant in such a way that it exposes two things uniquely Japanese. First, it exposes Japanese culture and lifestyle during the Edo Period (violence exaggerated, I think), especially the highlighted customs and practices (the tap dance final scene looks cool, I should say). And second, it serves as a good example of Japanese "blood-splatter" films, which inspired and influenced a lot of films, Japanese and foreign alike (remember Kill Bill?)

 And the third important thing to be pointed out in this movie is Takeshi's genius in filmmaking. Taking the main role while directing it, he was able to revive the series and give it a new, contemporary Japanese taste. A good Samurai plot that presents just enough blood and violence, showered with a few comic scenes was enough for Takeshi to come up with an original and tasty remake. Very unique, indeed. And somebody take note that he was the idea behind the famous game show "Takeshi's Castle."

 

 Yep, he's the guy.

P.S. Hattori, the ronin who was one of Ichi's last opponent, was played by Tadanobu Asano, famous for his superb role in "Ichi The Killer," and plays the Norse God Hogun in the movie "Thor". 

Credits to IMDB for some info, and http://prosubtitrari.com/tag/zatoichi for the pic. Also, absolution171990 in YouTube for the video.