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Chapter 19: Page 1

30 Jul

“Why is the windshield larger than the rearview mirror? Because what lies ahead is far more important than what we leave behind.”

Spending my first hour as a 19-year-old going through pictures of the last few days and heart-warming birthday greetings (will get back to each of you lovelies soonest!).

The universe and the weather system conspired to cancel my morning PE class (I’ll miss touch rugby for another week, but hey, I’m not complaining).

Thank you to everyone who has been part of my journey thus far.

Thank youuu as well to Mamao, her chief accomplice Raine and the sneaky — and special! — creatures who connived to present a birthday surprise like no other.

Together, we rediscovered “adobo”, tested our innuendo mettle with What’s Yours Like?, vented through a strictly-timed round of Apostrophe, and got ultra-competitive over Taboo and Wordi. Besides good times and goodwill, we had our fill of tongue (thanks to my favorite lengua), the staple birthday noodles, barbeque, sardined milkfish, cheesy laing, pretzels, pretentious junk food organic fruit chips, wine, Gouda and Colby.

Sneaky, sneaky.

By sunset, we had made the following all-important realizations:

1) Say “Lady___” as a clue for the “bug” in “ladybug” and you’re just as likely to be answered with: “Gaga!”

2) Unicorns can, in some ways, resemble bulls.

3) To some (and by some, I mean to Suzette Dalumpines), “hulk” is a perfectly acceptable rhyme for “honk”.

4) Making jokes is easier than making love.

5) America — not just flying or super strength– is a superpower.

6) “Royalty” is what jacks up after the EO on mining is passed.

7) Giraffes can’t really reach their ears with their tongues.

Thank you for sharing today — and so much more — with me, you precious sneaks.

Cheers to the sunshine in each of us, and to the company of people who keep downcast skies at bay!

Open by Marion Bais Guerrero

8 Apr

Note: In the recently concluded Campus Journalism Workshop Summer Camp in UP Diliman, 28 teachers from all over the country participated in a series of fora and learning activities designed to maximize their potentials as campus paper advisers.

One such activity was a feature writing exercise. For this, the participants were divided into three peer review groups. They were given 1 1/2 hours to write a three- to five-paragraph essay on any of the following topics: a) an environmental issue in their locality, b) a personality profile of someone in their group, c) their most memorable UP experience (some of them were first timers in the university and in NCR, after all), and d) their most memorable experience as a campus paper adviser.

When writing time ended, the teachers convened in their respective groups and critiqued one another’s papers. What you will read below (posted with the author’s permission) was a favorite in the peer group I facilitated, and with good reason. Penned by Sir Marion Guerrero of Ateneo de Zamboanga University, the piece relates his musings as he and his students entered the State U for the first time.



By Marion Bais Guerrero

Thursday morning begins in a taxi ride. A shared taxi ride for both our first visit to UP.

In acid-washed denims, suede sneakers and a plaid top bought by overseas payslips, the student beside me hums to the tune of the Magnificat. Even Catholic schools have their own playlist.

The same student nonchalantly asks, “Why are there slums inside UP?” This should be a moment to introduce him to the premises of socio-politics and the economics of population, but the response came in a jest, “That’s the lab for sociology and urban planning.”

Either borne out of sarcasm or naïveté, the question reflects how students reared in selective education see the world beyond the wrought-iron fences and RFID counters. When he comes face-to-face with the harrowing concreteness of abstract terms, they remain abstract.

UP and its swathes and swathes of greens is an island in the murky expanse of an uncontrolled, sprawling metropolis. Yet, while others prefer perfumed perimeter walls, it embraces the good and the bad of urbanization. Yet, while others encourage an entitlement to exclusivity, it is never ashamed of being inclusive. Education, after all, is the great equalizer. The same student should have realized this when he saw Nike-clad runners greet the ice cream vendor by the sidewalk; but he opts to hum the Magnificat.

As we snake our way through the main university avenue, the same student asks, “Why are there no walls around UP?”

For which I reply, “Because UP is an open university.”

He gives a neutral nod, then mouths the word “open”, and continues to hum the Magnificat.

Getting it Write

4 Apr

Photo by Gian Suyat

The past few days marked a milestone for the UP Journalism Club and for its members. A year’s worth of brainstorming, troubleshooting and preps concluded in the organization’s first Campus Journalism Workshop Summer Camp.

For five days we subsisted on C2 Green Tea Pandan, cup noodles, fast food takeouts, caffeine kicks, the participants’ enthusiasm, and the contagious dedication of fellow JCers.

Each lecture, workshop and team-building activity — be it planned or spontaneous — was pegged to be instructive, interactive and insightful. We hope that these were instrumental in enhancing the students’ and campus paper advisers’ proficiency in and appreciation for the different facets of campus journalism.

Now that the event has come to a close, we say collapsar hoping that all those involved in the project took home more than just the camp shirt, kit and pictures.

We also look forward to a time when one (or more!) of our former participants will join our ranks as a CJWSC organizer.

Congratulations and thank you to everyone who helped out in ways big and small!

Cheers to a summer that’s off to a super achib start!

To Have, to Hold, to Record: The Aesthetics of Wedding Videography*

27 Mar

Weddings around the world are celebrated as milestones not only for the couple and their families, but also as veritable cultural, social and religious occasions that necessitate documentation. In the days before written communication came to be, people relied on word-of-mouth to hear accounts of such gatherings.

Giovanni Arnolfini and His Bride (The Arnolfini Marriage) by Jan Van Eyck

As centuries wore on and human civilizations advanced, art styles like portraiture were employed to commemorate the union of two individuals. Such commissions, however, had a long production time, taking anywhere from three months to two years before completion (Weiss 1-2).

With the advent of photography, studio portraits became the rage for newlyweds. Advancements in technology, however, have made it possible to photograph couples not only in a studio, but right during the ceremony itself. Recent years have seen an upgrade of wedding coverage from on-site photography to on-site videography.

In the early days of wedding videography, the bride and groom were fortunate if either of them had a relative with a video camera or camcorder. The latter was then given the task of documenting the wedding, from the preparations to the ceremony proper and the reception. As might be expected from someone with little or no training in videography, however, the quality of such footage was erratic.

When events planning firms started offering videography into their wedding packages, the final outputs were mere footages of the whole event. There was little non-linear editing, and only sound effects and text labels broke the monotony. At this point in the history of the medium, wedding videos could only be obtained from the videographer days or weeks after the event.

The advent of modern wedding videography revolutionized events coverage the world over. Besides the standard whole-event footage, couples now have the option to avail of their own prenuptial (commonly referred to as “prenup”) and/or same-day edit video. Each video takes anywhere from five to ten minutes, as agreed upon by the videographer and his clients.

Hong Kong, China --- Couple have wedding photos taken in Starbucks on Duddell Street, Central, Hong Kong. Image by © Catherine Karnow/Corbis.

The prenup video is shot weeks or months before the wedding, and may feature only the couple or members of their immediate family. Same-day edits, meanwhile, refer to audio-visual presentations of the wedding (including the preparations and the early part of the reception) which the videographer will edit on-the-spot and present before the reception draws to a close.

For Bill Gaff (Merfeld n.p.) of Human Story Films, recent revamps in the practice of wedding videography have the best of both worlds, with “the intimacy of documentary style plus the poetry of the cinematic style”.

Chris Watson of Watson Videography considers these developments “more revolution than evolution” (Merfeld n.p.), likening their effect on the classic documentary style of videography to the effect of photojournalism on “straight” photography.

Despite these new formats in videography, practitioners still swear by certain motifs to complete the wedding video. Filipino videographer Jason Magbanua shared in an interview: “The conventions I really watch out for would be the priceless, unrepeatable moments – the groom’s reaction as the bride approaches, enters the church and approaches the aisle. Of course, the entrance of the bride herself, the reaction of the parents, of the people around her – these are the unrepeatable things that I want to be caught on film.”


For the first level of analysis, let us explore the concepts, constructs and components that abound in the perceptions and practices of wedding videography to determine whether or not it may be construed as art. To do this, we will first review – and subsequently juxtapose wedding videography with – three broad definitions or facets of art as summated by Barry Hartley Slater (n.p.): art as representation, expression and form.



This view of art, promoted by Plato and adapted onto the late 18th century, emphasized the mimetic relationship between art and nature. This connoted that artistic outputs – be it poetry, song, movement, or visual art – were “artificial” and contrived, worthy to be deemed aesthetic only if they draw attention away from their contrivedness by effectively mimicking what exists “naturally” in nature.

Wedding videos, be they prenuptial or ceremony coverage, are at most only five to ten minutes long. To extend the total running time of the output would be to go against the premise of modern wedding videography, which is to zero in on minute details to show and not tell the bigger picture of the ceremony.

Close up of elegant high heeled shoes. Image by © Kyle Monk/Blend Images/Corbis.

Thus, the videos rely heavily on figurative shots. These include the couple sharing a laugh while holding hands, close-ups of the wedding rings, the groom’s shoes and intricate features of the bride’s gown, tightly edited montages of guests, situationers of the church and the reception venue.

By focusing only on fragments of the pre-wedding and actual wedding footage for the final cut, videographers showcase important elements of the couple’s relationship and marriage rites through deliberate visual synecdoche.


Not all of Plato’s contemporaries, however, agreed with the representation theory of art. The Aristotelian viewpoint supposes a cathartic aspect to the production of art. With his imagination and tools at hand, the artisan is able to stretch his artistic wingspan as a means to self-expression and, to some extent, self-actualization.

In the case of wedding videography, however, it is not so much the videographer who undergoes catharsis, but his subjects – the couple who commissioned the coverage. For prenup wedding videos, the bride and the groom “perform” as lovers before the camera – looking lovingly into each other’s eyes, locking one another in a tight embrace, sharing a tender kiss, etc.

Bride & Groom. Image by © Fiona Conrad/Corbis.

Such performances may be either or a combination of the following: their natural gestures of affection towards one another, or the result of a conscious effort to mimic (here we see representation at work once more) what two people in love should  look like, as suggested or dictated by what they have seen from books, movies and daily interaction with other people.

It is perhaps the emotional fulfillment and anticipation of immersing themselves into the reel and real role of being each other’s lifetime partner that provide catharsis for the bride and groom.

The second aspect of wedding videography as an expressive art is the role of audience response. Magbanua, who has been in the events coverage business for twelve years, is a firm believer in the emotional pull of wedding videos.

He says, “A decade ago, [wedding videography] was all cheese – a throw-away kind of thing that people get just because everybody else got it. It’s different when you’re affected and when you’re part of it – as a friend, a family member, or, you know, the couple itself. And that’s kind of obvious.

“But when people who have nothing to do with the wedding, people who are complete strangers to the couple, people like students in college or high school, get moved by this – you’ve made something special. So I think that defines the thing that I do as art. I make no assumptions, but if art is something that has the capability to touch something inside of a person on a different level, I suppose that is what we’re doing.”


Events coverage, particularly modern wedding videography, borrows many conventions and techniques from filmmaking; this is true not only for its documentary aspect but also for its more creative facets.

Magbanua stressed that besides the poignant footages of the subjects, excellent cinematography is key to a good wedding video.  But while anyone with a gadget capable of video recording can shoot footage of a wedding, not everyone can effectively videograph it.

In his memoir Notes from a Retired Wedding Videographer, CFA Weiss stresses the distinction between an amateur and a professional videographer. He characterized amateurs as non-artists “without the passion and eye for creation”, whose works are “often lame and impotent – thereby more so providing a video record of their own professional inadequacies or mistaken choice of spend-thrift wedding planners than a media-worthy video record of a special event” (3).

Bride and bridegroom smiling cheek to cheek. Image by © Aid/amanaimages/Corbis.

Weiss added that a professional does not just rely on his experience, equipment or knowledge of the craft. Rather, he challenges himself every time by adjusting to the intricacies and idiosyncrasies of each event coverage.

“The actual professional documentary style moves in sync with the happy couple throughout their day, capturing the little details as well as the big picture, and is unafraid of using a little artistic motion (not all shoulder shots) – for in the end, that’s what life is all about: motion,” he said.



Having established wedding videography as art vis-à-vis the three broad definitions of representation, expression and form, let us now look into its aesthetic value for the second level of analysis.

When deciding whether or not to buy into the marketed necessity of wedding videography, soon-to-be-wed couples practice what Monroe Beardsley dubs the “point of view” terminology (121).

This selective association entails breaking free from external considerations (such as budget constraints versus the recommendations of the wedding planner) with the purpose of drawing attention to the set of considerations they wish to prioritize and underline (such as the importance of sticking to the budget versus the compulsion to document the wedding for posterity).

Beardsley (122) expounds thus: “I ask myself what I am doing in adopting a particular point of view, and acting toward an object in a way that is appropriate to that point of view; and, so far as I can see, it consists in searching out a corresponding value in the object, to discover whether any of it is present. Sometimes it is to go farther: to cash in on that value, to realize it, to avail myself of it.”

Portrait of newly wed couple holding balloons at wedding reception. Image by © Matthias Ritzmann/Corbis.

More than presenting additional financial concerns, deciding whether or not to commission a wedding video requires the couple to weigh in on the importance of the latter’s aesthetic and functional gratification.

There is a school of thought in aesthetics that espouses functionalism as the root of aesthetic gratification. This variant is known as the “reduction thesis”, and was made popular in 1941 when Herbert Read posed this philosophical question: “We have produced a chair which is strong and comfortable, but is it a work of art?”

To this, he replied, yes – the chair’s perfect fulfillment of its function as something firm and easy to rest on made it art. “Fitness for function,” Read added, “is the modern definition of the eternal quality we call beauty, and this fitness for function is the inevitable result of an economy directed to use and not to profit (qtd. in Hansson).”

From a functionalist perspective, wedding videos appeal not only to the couple’s fancy, but also serves two particular purposes for two distinct audiences: to preserve the participants’ memories of the event and to acquaint those who were absent with what went on in the ceremony (Cubitt 5).

Couples too will someday be able to share their wedding videos with their children. Furthermore, it will help them remember loved ones who are no longer with them. Matt Pines of Life Video, an Ohio-based events coverage company, recalled the story of a bride whose grandmother passed on shortly after the ceremony.

According to Pines, she was initially hesitant to pay the price of the videography services. After her grandmother’s death, however, she told him “the quality has gone on and the price has been forgotten (“Lasting Memories” 169).”

In the case of wedding videography, we see aesthetic dualism at work as its artful form serves to complement its purpose of encapsulating memories. The function of documenting a milestone in the lives of a couple and the optimal use of film elements like mise-en-scene, editing and cinematography combine to make modern videography more engaging – and, to some extent, more effective in its function – than the simpler, chronologically linear videography style of yesteryears.

Sometime after the ceremony, most videographers upload their works in video sharing sites like Youtube or Vimeo. This online presence also serves different purposes for the different parties involved.

For the videographer, keeping an online repository of finished outputs is an effective marketing tool: it provides potential customers access to his body of work, and is an immediate and accessible feedback platform for what he does, what he has done, and what he still can do.

Wedding party. Image by © Matthias Ritzmann/Corbis.

For the wedded couple, web uploads make for easy sharing with loved ones and friends the world over, especially those who were not present during the actual ceremony.

For the broader online audience, the internet becomes a venue for them to view the intimate moments of strangers, share in their joy, or simply widen their appreciation for and perception of what wedding videography could be.

To conclude, modern wedding videography is both documentary and artistic. This newly invigorated branch of art is unique in that it zeroes in on both the universality and uniqueness of a particular couple’s wedding experience. This marriage of the personal and of the universal bridges instead of divides form and function, combining the best of both worlds to emerge on its own as a distinct and dynamic art form.

Works cited

 Beardsley, Monroe. “The Aesthetic Point of View.” Contextualizing Aesthetics: From Plato to Lyotard. Eds. Gene Blocker and Jennifer Jeffers. Canada: Wadsworth Publishing Company, 1999.

Cubitt, Sean. “Videography: The Helical Scan.” Videography: Video Media as Art and Culture. Hong Kong: Macmillan, 1993. Print.

Hansson, Sven Ove. “Aesthetic Functionalism.” Contemporary Aesthetics 3: n. pag. 17 Oct. 2005. Ann Arbor: MPublishing, University of Michigan Library. Print.

“Lasting Memories.” Cincinatti Wedding. Winter 2003: 168-169. Print.

Magbanua, Jason. Personal interview. 23 Mar. 2012.

Merfeld, Elizabeth Avery. “Meet the New Doc.” EventDV: the authority for event videographers 21.1-12 (2008): n.p. Print.

Slater, Barry Hartley. “Aesthetics.” Internet Encylopedia of Philosophy (2003): n. pag. Web. 20 Mar. 2012.

Weiss, C.F.A. Notes of a Retired Wedding Videographer: From Proposal to Reception. Bloomington: Author House, 2006. Print.


Disclaimer: T’was submitted as a final requirement for Philosophy 181 (Aesthetics) under Prof. Perseville Mendoza.

A Different Kind of Lens

26 Mar

Last Saturday morning, our J 123 class met in the Inquirer room for the last time. Sir Sabangan was his usual pilyo, amusingly deprecating self  — he was feeling extra generous that day, because he treated us to four boxes of pizza — and spirits were high all around (except, of course, when we watched a horridly graphic video clip). Each of us presented our final requirement, a photo essay on a subject of our choice. Mine was about a day in the life of litseneros in La Loma.

If college were an amusement park, photojournalism class would be a roller coaster. The themes of our required assignments throughout the sem included nudity, Payatas, fraternities, the Oblation Run, sports and the procession of the Nazarene.  Thus far, no other subject has compelled me this much to go places I’d never be, meet people of varied sensibilities, and observe beyond what lay before me.

I came to know the difference between looking and seeing, of taking things as they are and learning how to deal when the output is wanting. I discovered how challenging it was to capture so much in so limited a frame, and how to do without the unnecessary. I got to work on my own accord and in tandem with others. Timidness took a backseat as I learned to assert myself when situations called for it.

I persisted on diskarte and pakikisama, and found out just how effectively a well-timed sob fest can make the impossible happen. I learned to adjust not only camera and image settings, but especially to less than desirable circumstances and personalities.

I’ll miss J 123. But just because I’m not required to cover off-beat assignments anymore, doesn’t mean I’ll miss out on other opportunities to take Sheldon (my camera, lelz) out for exercise.

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Some lessons are hard to unlearn

19 Mar

And no, I don’t just mean the classroom kind.

It’s that time of the semester again — when laptops/computers become the household’s main appliance, coffee replaces water in jugs, the library draws more traffic than the cafeteria, and the pillow becomes our greatest fear, simplest joy and most persistent seducer all at once.

Before I evolve into a lean (?!), mean requirement-conking machine, here be a few realizations over the past weeks.

People who make you smile and laugh even when you don’t feel like it are friends for keeps.

Talk and promises are cheap. Initiative gets things done, but is harder to come by.

Your best competition is yourself.

If you’re going to judge others, make sure you pass your own standards.

It pays to learn from the bottom up.

The good times aren’t always where the loud music and the strobe lights are.  There is joy in late-night beach strolls, overpriced tricycle rides,  Tuxedo Mask’s existentialism, and swapping stories over communal grilled squid and pizza.

The truest artistes can’t recognize Justin Bieber lyrics when woven into casual conversation.

Passion is to ignition as skill is to the steering wheel.

The view may be awesome from a high horse, but it gets pretty lonely at the top. And try as you might to get back down, you’re never quite the same person after.

The success of an activity shouldn’t just depend on how many people attend, but rather how much the participants take from it.

The best buddies can spend a whole afternoon studying and sitting in comfortable silence with you and still make you feel like you’re home.

If an eatery disappoints you the first time, don’t give up on it — just make sure you order something entirely different every time. That way, you’re sure to uncover that unheralded culinary gem.

What you say or don’t say about others reflects your character more than it does theirs.

Too little people deliberately exercise their right to say no. Too many people abuse it.

And lastly: “Do or do not. There is no try.” Preach it, Yoda.



The Gem Plan

28 Feb

Photo from the GEM Garcia for USC Chairperson Facebook page.

Two days shy of the university and college student council elections in UP Diliman, get to know the woman who steered the USC through school year 2011-2012.


It is 6 o’clock on a Wednesday afternoon. Jemimah Grace “Gem” Garcia sits at the foot of a staircase in Vinzons Hall, her long dark hair coiled in a loose bun. A plate of pancit canton and barbecue lay balanced on her lap.

“Dinner?” I ask.

She smiles and says, “Lunch.”

Delayed meals and hourly meetings have become part and parcel of Gem’s school days since the start of her term as UP Diliman’s University Student Council (USC) Chairperson.

At 23 years old, this junior at the UP College of Law has been feted for her academic performance, while simultaneously taking on leadership roles in mass organizations like Anakbayan and the Student Alliance for the Advancement of Democratic Rights in UP (STAND-UP).

In this exclusive interview, Gem eases from English to Filipino and zeroes in on her leadership style, the incumbent council’s working relationship and her aspirations in life.

What got you started in student politics?

 I was entering third year when I was offered to run for Journalism Representative. There were a lot of controversial issues at the time, like the slashing of the Philippine Collegian’s funds and the 300-percent tuition fee increase. If only to propagate the issues, I decided to run.

After that stint, I became chairperson of Anakbayan UP Diliman for almost two years. I often speak during rallies, conduct room-to-room campaigns and interact with other organizations. They must have seen that strength of mine: having dialogues with and explaining things to people comes easily for me.

Why pursue law?

It’s my father’s dream for me. He never got the chance to, because he came from a poor family. But more than that, I saw the benefit of having lawyers with the perspective of service for the people. One of [my] main motivations was the fact that when I was deciding whether or not to take the LAE, Atty. Saladero of Kilusang Mayo Uno was implicated in the bombing of a cell site.

I took my undergraduate internship in Pinoy Weekly, where my beat assignment was labor unions inPasig. That was how labor issues became very close to my heart. It was when Atty. Saladero was implicated that I realized how there was a shortage of nationalist lawyers today, especially in labor.

Their ranks are few to begin with, yet some of them are abducted, imprisoned, killed – that challenged me. So when I passed the Law Aptitude Exam, I was also excited to pursue law because I had that kind of advocacy.

What role do you believe your ideology plays in your leadership?

The main thrust of Anakbayan and the organizations I belong to is that real strength lies with the masses. From the masses, for the masses. This is the concept of collective leadership that I brought with me to the USC. Even our USC constitution calls for student empowerment – it’s not just about one person leading the council to do what she wants.

This is the council being a means through which the students achieve greater victories. This we achieve with the USC at the forefront of the unities of students, whenever their rights or those of the nation’s are trampled upon. The USC should be the first to rally the students together to stand united against such.

How is your academic standing?

 I’m in good academic standing. In my first year of UP law, I was in the top 10 of my batch. I was a member of the Order of the Purple Feather, the honors society of our college. I was one of the 10 students of UP law who were invited to intern at CVC Law, one of the biggest law firms in the country. But I turned it down. I didn’t apply because I found out that CVC was the defense firm of [Daniel] Smith in the Subic rape case, so it was against my principles.

What are your top five priorities?

 In no particular order: Family. The movement. Council. Brods and sisses. Acads.

How do you keep organized ?

I use my cellphone calendar. More than that, though, it’s all about trust and delegation among councilmates. More often than not, I only ask for a break when it’s already finals week. But if I can still do something to help out, I would. And of course, after that one-week reprieve, it’s back to work.

How would you describe your dynamics as a council?

 This is a very opinionated council. As in. We have clashes in opinion, as with any other USC. But what I’m proud of is that we clash on ideology. This means that principled debates usually transpire.

For example, our debates on issues like land reform and the Socialized Tuition and Financial Assistance Program really takes hours. And our principle has always been let the sharpest argument win. We exhaust all arguments of both sides, but at the end of the day, we try to reach a concensus. We rarely divide the house.

How do you unwind?

 I go out with my friends or hang out at their tambayan. Videoke too. I also like to have DVD marathons and watch movies…yes, even by myself.

What’s next for you in the political arena?

 In so far as a political position is concerned, I feel that I’ve come full circle. Some people attribute power or influence with my position. Not really. For me, being a USC chair is more of a big responsibility than anything else.

Quite frankly, I don’t like being in the limelight. And I really miss my mass organizations. I miss integrating with students and discussing issues with them on a daily basis. So I might go back to my orgs, or involve myself in other organizations with the same advocacy.

Where do you see yourself in the next five to ten years?

 By that time, I will already be a lawyer. I’d like to think I’d have a husband and children then. By that time, I would have already fulfilled my dream of studying in a cosmetics school. I would most likely be part of National Union of People’s Lawyers. I’d be doing a lot of lawyering for human rights cases, land reform, labor.

I don’t have any political ambition. I don’t want to run for any local or national position. If there is one thing I would consider, that would be sectoral representation in Congress. We’ll see. Because with my law background and experience as USC chairperson, I think that’s feasible. But I’m not trapo to go soliciting for a position. Perhaps if there’s an opportunity, I’d go. But if not, the advocacy carries on. What’s important is that your principles are intact, and everything you do would be for that goal.



23 Feb

With the relief of beating the 11:59 deadline comes the uneasy sentiment, “Dafuq did I just write?!”

Lines made of win

20 Feb

Sir P, after a passionate lecture on Nietzsche: You can see that he’s very close to my heart. He’s actually on my left armpit.

Class: o_o

Sir P: That was a joke.

Class: :)) … o_o


“Aquarius” on her frustrations with her love life or lack thereof: I know I’m assertive but I secretly want to be subdued!


“A” after seeing statues of giraffes in a village park: Wow, ang sarap sakyan!

M: Paano mo sasakyan? Sa haba ng hayop na yan?


(Guy selling tickets for a concert sponsored by his org)

Kuya: Kapag pinanuod niyo si Gary V. sa Araneta Coliseum, P400 ang tiket. Tapos sobrang layo mo pa sa gen ad. Dito sa UP Fair, P90 lang, pwede ka nang matalsikan ng laway ni Gary!



5 Feb

Written for Interlude: A Night of Strings and Verses, my org’s pre-Valentine-p-p-party-slash-send-off activity.


It’s strange how
That word can mean
Both longing
And foregoing.

But that first time
It was just a title,
Not a verb.
And only our eyes
Made contact.

Then our fingers met
And our thoughts flew fast –
Fueled by coffee
And the occassional reeb –
To a future far, far away.

I miss you.
I missed you.
I’m just not sure
In which sense
Of the word.

In the end,
You told me
I was always
The first to say
I was leaving.

In the end,
It was because
You were always
The last to say
You never would.