A “Revelation” From Journey: New Singer, New Album, New Tour

Interview: Neal Schon of Journey
By Valerie Nerres "All Access Magazine"

Photos by Valerie Nerres as appears In "All Access Magazine"
ALL RIGHTS RESERVED

So you thought Mark Wahlberg’s “Rock Star” dream – fronting a tribute band leads to replacing the real band’s frontman – only happened in the movies? Think again. Did Journey really find their new frontman, Arnel Pineda, by watching YouTube videos? Yes they did. Could a new album and a world tour be far behind? All Access Magazine’s own Valerie Nerres got the lowdown, and a whole lot more, in her interview this month with Journey guitarist Neal Schon.

AAM: Neal, thanks for taking the time to speak with All Access Magazine. I was one of the photographers at your Las Vegas show March 8th and it seriously was probably one of the best shows I've ever seen.
Neal Schon: It was very early on in our tour; I thought it was a little early to even do the DVD, but we had to get it done for the “Revelations” package to come out when we wanted it to come out. I would have preferred to have done it after we were out on the road at least a month or 3 weeks. We had very little preparation and rehearsal. Everybody was pretty much on the fly and doing homework at home.
AAM: I thought it was funny when the show was over and they said, "Okay, everyone, good night!" Then, "Oh wait, everybody come back in again!" for more filming.
NS: Yeah, that’s what happens when you haven't been playing for a while. And we never do that…but it happens, you know? We were filming and management said to go back out there and redo them.
AAM: So was it because the video wasn't in sync with what you were playing?
NS: Well, we ended up having that problem in the end anyway. The power went out earlier in the day, before we started filming, and something screwed up in the computer. Everything was out of sync all the way through the show and so when they went to sync up, when we were doing the video edits, it was a lot of work. Actually, our producer Kevin Shirley had to come in because we weren't available to go in and make sure that everything was spot on. The last thing I wanted was anybody thinking that we went in and redid anything. That was not the case at all. There we no overdubs at all. So I wanted it to appear just as it was, live. You know, the vocals weren't syncing up, my guitars weren't syncing up, the drums weren't syncing up; it was a mess.
AAM: My camera synced up pretty well, though! I got some great photos of you guys. I sent them over to your publicist so she has a few of them. I'm not sure if you’ve seen any of them?
NS: Oh really? I'll have her send them to me.
AAM: Yeah. I was standing pretty much in front of you the whole night. It was great!
NS: I was pretty occupied with what we were doing. I was just trying to remember the set because it was way different than what we had been doing, and I was trying to remember the songs. It's wild when you go into record a new record like we did. There was no rehearsal. We wrote the songs, Jon [Cain, the keyboardist] and I demo’d them up, but it really wasn't the whole band playing. We used a rhythm machine, I played bass or whatever on it, or he did, and we demo'd up the songs like that for everyone to learn before we went into the studio. But really, there was no rehearsal before we went into the studio. We get in there and listen to the stuff, then we pick a tune that we're going to do that day and everybody goes home and listens to the demo and we come in the next day and cut it. So we're not very well rehearsed, like in the old days when we'd sit in rehearsal for two or three weeks, or a month, and keep going over and over it. We just kind of go on the fly now anymore. It’s like, "Meet you on the end!" At least we're all on the same page.
AAM: Exactly! See you on the other side! Now, with the addition of singer Arnel Pineda from the Philippines, your music is reaching a completely new demographic. Are you surprised about the reaction from these new fans? When I was shooting the show in Vegas, I remember just looking over my shoulder and going, “Wait, am I in Vegas, or the Philippines?”
NS: From what Arnel told me – which I was not aware of, because we've never played anywhere close to the Philippines – he said that Journey had been very big there for years. So I guess we have a lot of fans there. Now that he's also in the band, we have that many more. They're very supportive of their own people and very supportive of him. I think that we're going to have a lot of Filipino fans, which is great! Anybody new who comes on board is awesome!
AAM: Okay, well, I have to admit that I'm one of the "new" fans. The Las Vegas show was actually my first "Journey" experience, and I was able to be right there up front and just sort of take in the vibe, the energy that was bouncing back and forth between the band and the audience. I've always loved your music, obviously, but I guess you can say you've won over one more person here.
NS: I'm glad to hear that. That's great!
AAM: Prior to you finding Arnel, did you have any other singers in mind to front the band?
NS: Basically, we were resorting to the internet, I would say mostly YouTube. The thing I liked about YouTube is that it was all live performances. I was really not interested in doing a long, drawn-out audition for singers where you fly them in from all over the world and they send you their packages with their pictures and CDs of songs that they've done or demos that they've done singing Journey songs. You never know what's "real" when you're getting the package like that because with Pro Tools today and a computer, you can almost make anybody sound good. So, I was very into YouTube for just that reason: I knew that if I was going to hear something that it was absolutely live. I looked for a long time. I found a couple of interesting guys. Jeremy Hunsicker, who was in a tribute band for Journey called Frontiers – we were considering him. He actually came out, he flew in and we auditioned him. He was very good… but he was a bit scary because he was almost too much like Perry. He was almost like a duplicate, probably the closest of anyone out there. And what was kind of strange was he also looked like him a bit. There was another guy, Hugo, who looked EXACTLY like Steve Perry and I was like, “Okay, this is a little strange.” We all thought it was. I decided to keep looking and I'm glad I did. I was not willing to settle on just something that didn't feel completely 100%. I wanted to find “it.”
AAM: That was kind of my next question. When you found him on YouTube were you just surfing and stumbled across him, or were you specifically looking for someone via YT?
NS: Yeah, I was specifically looking for male singers in every genre and basically spent 2-3 days just doing nothing but that. And at the last moment – I mean, I was ready to throw up my arms and go, "Man, this is impossible, I'm never going to find anybody," – and then I stumbled onto this one link and I decided to pop it on and it was Arnel singing some Survivor songs. And I was like, "Wow, that guy’s got some great pipes." And so I followed through with it and found that he had about 40 different video clips, doing like from A-Z in the alphabet, everybody. Wow! That is insane that he can cover that much ground! And that he can actually morph his vocals to do all these different things. Really what I was interested about was to put him on some new songs and find out who is the REAL Arnel. Because when you hear someone do Sting or Steven Tyler perfectly, which is not easy to do, and Perry and the old Police stuff, and Heart, you name it, Don Henley, Nat King Cole, he did ALL of it, and I was just like, "This guy is insane!" I mean, what a chameleon! What a talented voice! And like I said, I was interested in finding out who was the real Arnel. So we got him in the studio on a couple new songs. I was pleasantly surprised. He was just a very strong tenor voice, which is what Perry was in the earlier days.
AAM: When you got him in the studio to do a few songs to audition him, which songs did you have him do?
NS: Well, when Arnel finally got his visa together, he came in and we rehearsed for three days and he auditioned live. He went better and better every day. The fourth day, we went into Jonathan's studio and we had a couple new songs that we were working on, "Never Walk Away" and "Where Did I Lose Your Love." The music was already there, the demo was already there, the voice was just not on it. So we had Arnel listen to it. He just listened to it – never heard it before – and went out into the studio and started singing. We had to teach him the lines and the melody, but he got it so quickly. He’s a natural in the studio. I was talking to Jon about it and was like…jeez. I mean, here he is, here's our guy! We both looked at each other and agreed and that was pretty much it. It was a done deal.
AAM: How does the lineup on stage these days compare to the old lineup?
NS: It seems like it's going to be very exciting! I've been working my butt off to get in shape again because I'm finally cordless again, so I want to be a little more mobile and move around a lot. Arnel is all over the place. It's sort of having the best of all worlds with Arnel. Once we settle in and we get into a groove and we start playing, I think it's really going to come more to life than that. But he's definitely a natural. From the 4 or 5 gigs that we've done so far, he's been different in every one of the gigs. Really truly great, but just different. It's not like he's into a set thing where it's exactly the same every night. He just moves around differently. I think that's really cool. I love it.
AAM: I went on the Journey Forum and asked the fans if there was anything that they specifically wanted to ask you. I wanted this interview to not just be my interview for All Access Magazine, but I wanted it to be everybody's interview. This was one of the questions: Are you satisfied with the direction Journey is taking? You have long discussed "rocking" more but it would appear those attempts met with less success or acceptance. Have you now accepted Journey's traditional sound or do you still feel there is room to stretch and even "rock" more?
NS: There's definitely more room to stretch. I think that more time needs to be put into it. Initially, when we went into this project, we had a deal with Wal-Mart. What they wanted was a redo of 11 greatest hits and, at tops, 4 new songs. The more I thought about it the less I was excited about that idea. I definitely wanted to come with at least as many new songs as the greatest hits we've done. I felt that we wouldn't lose face coming with a product like that where we show people, "Look, we do have new stuff." But also I think that the redo of the greatest hits is an awesome way to show our fans that Arnel can definitely cover this stuff. Without going to see him live they can listen to it. Because of that, a lot of this stuff that I brought in at the last minute was done at the last minute. We didn't have a lot of preparation because we didn't plan on doing a full CD of new songs. In actuality, this album is pretty 50-50 as far as the ballads and rock, but it definitely does rock when it rocks! So I'm happy about that. We can't play everything new that's on the record live, so we'll pick the rock tunes and we'll play "After All These Years" – which is already charted in the first week – as well as "Never Walk Away," which is the one most added in one week on radio. That is very exciting for us because it's been a while since that's happened! But I think in the future, definitely I'm going to push to have 8 rockers and maybe 2 ballads. I think that's really more what we could use in our live performances. You can have a record full of beautiful ballads but you never play them because we already have so many ballads we have to play and I don't want to put people to sleep. Everybody loves them, but you can't play them all live. Unless you’re doing a 3-hour show or something.
AAM: There seems to be a popular trend these days of artists teaming up/collaborating in order to release an album or single. What do you think about it, and are you open to any future collaboration? If so, with whom and why?
NS: Yeah, I'm always open to collaboration. I'm working on a side project right now that's called "Guitar Men" that's based out of Sausalito, at the Record Plant. Right now there's 23 tracks and it's got everyone on it from Stevie Wonder to Carlos Santana to Bonnie Raitt, I believe, and Ronnie Montrose, myself, and Sammy Hagar. I've got about 5 different tracks on this record right now, one with my girlfriend Lori Carpenter singing. It's really fun for me. I love collaborating. So, yes, in answer to your question. I think if something came our way and looked interesting, I think we'd definitely pursue it.
AAM: You had Kevin Shirley produce this new album again. Do you ever feel like maybe in the future you might work with someone else to mix it up a little? Or have you reached such a comfort level with Kevin that you'll continue to use him on future recordings?
NS: Kevin is really good with the band. He's a good peacekeeper for one! And he's very musical. He's done an amazing job on this record. I'm really happy with Kevin. On the last record we butted heads a little bit on different issues; this one was pretty smooth rolling. I pretty much came in and instead of trying to be the guitar producer and make sure that everything is like this, this, that, that, I just went in and was like the guitar player and did my stuff and was all ears. He'd say "Why don't you try this?" and I’d say, “Fine." We're not fighting him on it. Before, I didn't want to do a lot of overdubs because I just didn't believe in them. This time he had me do some stuff and I just did it, regardless of if it fit or not. It just made the project a lot easier to get through. Overall, I think that he added a lot. He had some great ideas. We really had great songs and although the band has always been very musical, he actually made it even more musical in some areas.
AAM: Going back to Santana, what did your parents think about you playing in Santana at such an early age? Were they supportive about your playing? What advice would you give kids that DO have that kind of talent nowadays?
NS: My folks were very supportive because they knew that I was into it and that was what I wanted to do. I made up my mind when I was 13-14 that that was exactly what I wanted to do and I wasn't doing much else at that time except playing a lot of guitar. So when the opportunity arose, I jumped on it – and what a great experience! I would say to anybody who's young and chasing what they want to do, if you have a great opportunity like that, do it! The best experience you can get is playing live and touring. The live playing really does wonders for someone's ability to hone in on any instrument that they're playing.
AAM: Right. I'm sort of asking as a parent. I have a 7-year-old, and his favorite guitar player right now is Stevie Ray Vaughn. I'm like, "You're 7, how do you know that?"
NS: Well, I'll tell you what, he'll trip out on this, I'm a big fan of Stevie Ray Vaughn, obviously. But I was a major fan of, and one of my favorite Blues guitar players that I played with as a kid and followed for years, is Albert King. If you go back and download some Albert King stuff for him, you're going to listen to it and go, “Wait, that sounds like Stevie Ray Vaughn,” and he will too. And that's exactly where Stevie nipped a lot of his stuff. A lot of Albert and a little bit of Jimi and there he is.
AAM: The first couple Journey albums were mostly instrumental and kind of jam-like. They really showcased all the band members’ talent and musicianship. This current lineup of Journey are all certainly at the top of their game. Have you ever thought of just throwing a jam into the set so that some of the old-school friends might enjoy hearing material from the first album, specifically like "Of a Lifetime" or "Kohoutek"?
NS: A few years back we actually did a show like that. It was "An Evening With" and we played a 3-hour show. We played an hour and a half, did an intermission, and then came back and did another hour and a half. We played through the history of the band, musically. So chronologically, in order, we'd play "Of a Lifetime," "Kohoutek," then move into the second record and play "I'm Gonna Leave You" and all this other stuff. We put all that stuff together and we played from beginning to end. It was my idea. I thought it was a cool idea. Our die-hard fans loved it…but the band was ready to kill me at the end of the tour because it was such a long show every night.
AAM: Neal, thanks so much. Is there anything that you'd like to add?
NS: I'm just really excited about the release of "Revelation" and really excited about our tour. I hear the ticket sales are really, really strong, so that's a very good sign. Just let the fans know that they won't be disappointed. We're putting something together that's hot and rockin'!
AAM: Thanks, Neal. I won't take up any more of your time. I know you just woke up and now you’ve spent a half hour yapping with me and I appreciate it. I'll see you at the Mandalay Bay in Vegas on July 18th!

Journey’s new 3-disc album and DVD package “Revelation” will be on sale exclusively at Wal-Mart June 3rd. To preorder, or for more info and tour dates, go to
www.JourneyMusic.com

Story and Interview by Valerie Nerres
"All Access Magazine" (reprinted with permission/ All Rights Reserved)
www.allaccessmagazine.com

Here's a slideshow of the Planet Hollywood Vegas concert:
Photos by Valerie Nerres

Hanjin: Plundering the Environment

PerryScope: by Perry Diaz

Recently, a series of anomalies concerning Hanjin Heavy Industries and Construction, a South Korean company, have dominated the headlines of Manila newspapers. Considering that billions of dollars were involved in these transactions, "transparency" has once again come to the forefront of debate. Like the Chinese contracts -- NBN-ZTE, Cyber Ed, Fuhua, etc. -- which the Arroyo government negotiated secretly, it would seem that the same modus operandi may have been used in negotiating the Hanjin contracts.


The first Hanjin shipyard was built in the Subic Bay Freeport in 2006 at a cost of $1.7 billion. A few weeks ago, it launched the first ship -- a $60 million container ship for a Greek shipping company. With 10,000 Filipinos employed, it's a boon to the sagging Philippine economy.

The second Hanjin shipyard is to be located in the Phividec Industrial Authority in the province of Misamis Oriental in Mindanao. The shipyard -- which is projected to be completed by 2017 -- will cost $2 billion to build and would eventually employ 45,000.

Indeed, everything about the Hanjin shipyards were looking good and there shouldn't be any reason to doubt the economic benefits. But as soon as the ink had dried on the Phividec shipyard contract, things began to go awry. A couple of weeks ago, Mayor Paulino Emano of Tagoloan -- one of two towns straddled by the shipyard -- issued a "stop work" order to the construction project because Hanjin failed to obtain an Environmental Clearance Certificate (ECC). Hanjin officials complained that Emano tried to extort money from them. When confronted with Hanjin's allegation, Emano said that it was Hanjin officials who offered him a bribe in the form of a contract to supply sand and gravel that would amount to P400 million. In my opinion, had Emano tried to extort money, Hanjin would probably have given him what he asked for and get over it. However, had Hanjin offered Emano the P400-million "sweetheart deal," would Emano have refused it? Apparently, either Emano did not accept the bribe offer or Hanjin never made the bribe offer. But one thing is evident, Hanjin did not have an ECC and Emano had the authority to stop the work.

When Arroyo was told of the incident, she was furious and called Emano on the carpet. Emano told Arroyo about the P400-million bribe offer. According to Emano, Arroyo ignored him. Instead she scolded him for issuing a "stop work" order. Emano must have felt like he was being run over by a bulldozer. A few days later, Emano retracted his allegation that Hanjin offered him a bribe.

With the "stop work" order enforced, Hanjin packed up and left. Soon after the incident, environmental and employment issues started to come out in the news. Ma. Cecilia Rodriguez of Philippine Daily Inquirer reported that the new shipyard will wipe out three barangays; dislocate more than 6,000 families; damage the environment; and destroy millions of pesos worth of crops and properties. She also reported that Emano and Mayor Juliette Uy of the neighboring town of Villanueva had an agreement with Hanjin that the residents of their towns will be given priority in hiring; however, Emano said that Hanjin failed to honor their agreement. Was Hanjin thinking of bringing its own work force from South Korea?

The biggest environmental impact would have been the destruction of the Tagoloan river. In a sworn affidavit, Emano said that an Hanjin official discussed with him a proposal to divert the flow of water in the river in order for Hanjin to get the aggregates needed for its buildings. The effect would be the destruction of the river. Without an ECC, the whole environment and eco-system would be vulnerable to unchecked and destructive industrial environmental abuses, an issue that has already been raised in the Subic shipyard.

Recently, it was revealed that Hanjin built two high-rise condominiums -- presumably for South Korean management officials -- worth $20 million inside the rainforest reserve. Senator Miguel Zubiri called the condo project in the lush rainforest "a dastardly act in this time of water crisis." Zubiri said that "Olongapo City's old water source -- the Sta. Rita River -- has been destroyed and contaminated by this same type of activities that started with wanton cutting of trees to make way for various constructions. Later on, untreated sewage flows and leaching from garbage dumps poisoned the river."

Another issue that surfaced is a Hanjin subsidiary's contract to build the P3-billion Panguil Bay Bridge that would connect Lanao del Norte and Misamis Occidental. The project was a Build-Operate-Transfer (BOT) that requires 60% Filipino ownership. The Hanjin subsidiary has zero Filipino ownership. As to why this violation was not known before the contract was awarded is another example of government inefficiency and corrupt practices. A few days ago, after the anomaly was reported in the news, the Misamis Occidental governor announced that the project is going to be rebid.

Hanjin's troublesome record in the Philippines goes back to 1999 when it was awarded to construct the Davao International Airport for P1.7 billion. It subcontracted a part of the work to Dynamic Planners and Construction Corp for P714.87 million. When Dynamic's work was 94% complete, Hanjin forced out Dynamic and took over the unfinished work and claimed that Dynamic abandoned the work. After a prolonged legal battle that reached the Supreme Court, Dynamic finally won in its claim recently with a Supreme Court ruling for Hanjin to pay P352 million plus interest to Dynamic.

With a dismal record of environmental abuse, broken promises to employ Filipinos in the Phividec project, allegation of bribery, labor disputes in the Subic shipyard, and illegal removal of a subcontractor from a construction project, Hanjin's credibility and honesty become the crux of controversy. What would prevent Hanjin from plundering the environment in the future? Are jobs more important than preserving the environment? In a world beset by global warming and the proliferation of hazardous and toxic materials, preservation of the environment is the Filipinos' legacy to their children. Jobs can be created but plundering the environment would be devastating -- permanently and irreversibly.

(PerryDiaz@gmail.com )

Ilonggo Association Inducts New Set of Officers

Los Angeles: Another year has been given to the Ilonggo Association to come together and become one community. On May 17, 2008, they will be celebrating four years of service to Iloilo City and Island of Panay and will be inducting a new set of Officers for 2008 – 2010 at the plush Glendale Hilton lead by incoming President Eduardo “Butch Zaragoza”. The Ilonggo Association have pledged together to work hand in hand to achieve the vision they have dreamed of four years ago.

Continuing the great Ilonggo spirit of service and camaraderie, the new set of Officers are: President Eduardo “Butch” Zaragoza (pictured), First Vice President Wilfredo Alejandria, Second Vice-President Rosemarie Chua, Secretary Mel Sarmiento, Assistant Secretary Dinah Servando, Treasurer Jerome Octaviano, Assistant Treasurer Alma Jesena, Auditor Rey Gayomali, Assistant Auditor Dexter Riobuya, Business Manager Yvette Untarya, Assistant Business Manager Orchid Ecchevaria, P.R.O. Rene Aaron, Assistant P.R.O. Maribel Saadnia and Peace Officers Third Alejandria, Alberto Biclan, Rolando Chua, Gabby Prieto and Hector Solinap.

Incoming President Eduardo Butch Zaragoza echoes the vision of Ilonggo Association which states “maghili-ugyon kita tanan” (let us all come and work together). Congratulations to the incoming officers of Ilonggo Association and join them as they celebrate the Induction of Officers on May 17, 2008, 5:30 p.m., at the prestigious Glendale Hilton, 100 W. Glenoaks Blvd, Glendale, Ca 91202. For more information and tickets, please call Ilonggo President-Elect Eduardo ‘Butch’ Zaragoza at (818) 831-4158.

PINAY POWER IN EFFECT AT THE DGA

(Los Angeles) Actress-filmmaker, Diana Lee Inosanto (L) shares a moment with supporter and Pussycat Dolls' frontwoman, Nicole Scherzinger at the post premiere after-party following the SRO World Premiere of Ms. Inosanto's poetically touching feature narrative, THE SENSEI, Sunday, May 4 at the prestigious Directors Guild of America in Hollywood. The film marked Ms. Inosanto's directorial debut and was one of a remarkably large representation of cinematic works by Filipino and Filipino American filmmakers including an amazing nine World Class feature films in: FOSTER CHILD and TIRADOR (Brillante Mendoza), SANTA MESA (Ron Morales), PISAY[PHILIPPINE SCIENCE] (Auraeus Solito), NEO LOUNGE (Joanna Vasquez-Arong),TRIBU (Jim Libiran), BLOOD BROTHERS (Alexi Tan, produced by John Woo) and John Torres' magnum opus, YEARS WHEN I WAS A CHILD OUTSIDE which featured a live accompanying musical score.

Inosanto, one of Hollywood's top stuntwomen and a practicing Martial Artist, is the daughter of renown Filipino Martial Artist/actor, Danny Inosanto and the Goddaughter of her father's best friend, the late Bruce Lee. Among her sold out screening guests included Entourage's Rex Lee, actors Dustin Nguyen and Costas Mandylor and MMA legend, Bas Rutten.


Photos by Jay Fermin pinoywired.com

The 24th Los Angeles Asian Pacific Film Festival presented by Honda was produced by Visual Communications, the nation's premier Asian American media arts resource and was supported by a host of community organizations including FilAm ARTS and SIPA.

Winston Emano
Visual Communications - Directors Guild of America DGA
photo credit: Florante Ibanez for Visual Communications

Hollywood Party ala Gringos

A party is not a real party unless you can compare it to a Hollywood party. We are talking about talented, beautiful, eclectic, and energized personas that decide to meet in one location and harmonize. Factor in artists with great musical abilities singing from the heart and thus we have the embryo of a Hollywood shindig. You throw in a bikini contest plus ramp models walking to the beat of electronica, now, that’s a party !


Slideshow photos by Jay Fermin pinoywired.com

May 3, Saturday night at the Pig n Whistle (6714 Hollywood Bl, Hollywood CA) was where this happened. The 2nd anniversary of upcoming Filipino owned website Mygringos.com was celebrated. The party kicked-off about 10:00PM with a bevy of beautiful people standing in line outside waiting for the attractive hostesses to check their names against the guest list. One could feel the aura and the rhythms of the Strip while standing al fresco. The perfect weather reminded me of that song “California Dreamin” by the Mamas and the Papas. Yes indeed, this was going to be good night to have some fun!


Manny Legaspi, founder of MyGringos.com


Antoinette Taus

Inside the club, vocalists ANTOINETTE TAUS, RED OYSTER, SHEILA FERRARI, and MARICAR CABRERA warmed up the place with their jazz and blues pieces. A little bit of rock and roll was thrown in there to set up the pace. The crowd as I mentioned consisted of mostly young, beautiful people. Majority were Filipino Americans who knew website owner MANNY LEGASPI and his network of work associates. A lot of gorgeous Filipinas, reflective of how the women of our culture are cosmetically superior, enhanced audience quality to the max.


Mon David belts out "One Note Samba" with a Filipino twist

It was one of those parties wherein no one actually knew everyone, but not a problem. The music (and the drinks) fused all into one large happy group swaying to the beat of the sounds. The celebration picked up more speed about 11:00PM when jazz master MON DAVID picked up the mike and sung his brand of jazz. Great vocal jamming with South American twist to it. Wonderful entertainment!


Janelle So, host of Kababayan LA TV18

JANELLE SO of KABABAYAN LA could not miss the party and showed up. She congratulated Mygringos.com on its 2nd anniversary and kudos to Manny Legaspi for establishing the site. Any occasion that Ms So attends is indicative of that’s where the happening is. In Southern California, like everywhere else, there is this “In” group of Filipino Americans that have the pulse of the local community. They know which celebrities are performing where and when. They keep tabs of upcoming Filipino talent that performs not necessarily in Manila but more the American scene. The media is part of this group. They know where to go and who to cover. TED BENITO of TDRZ productions, event organizer and promoter, had a big hand in getting the talent together for this celebration. He would know whom to cover and where to go.

After a brief party halftime with nonstop DJ music playing hip hop, along came the Bikini contest. Well, gentlemen, what more can I say. It was hard to get close enough to the bikini models to take pictures because of the guys blocking my way. Other than the models, there were plenty attractive women in the audience. What were those words, yes, “eye candy”!

BAMBI LOPEZ and LONG ESPINA performed as a duet and sung powerful songs. I tell you, this Filipino talents are everywhere. Then came Ariel Agasang’s models showing his tasteful, creative designs. Ariel is a very much upcoming designer well recognized in today’s international fashion world. As his models walked the ramp, fantastic light and smoke special effects added surrealism to the event.


Melissa Reyes from the "Search for the Next Pussycat Doll"

Then came MELISSA REYES. She is a member of the Pussycat Dolls. Need I say more? Ms Reyes belted out songs from the heart. The place was rockin’ as she bumped and swayed to the rhythm of her rendition of “Chain of Fools” by Aretha Franklin. She held the party goers captive with about five songs. Ms Reyes is Filipina-American born in Batangas. Planning to leave for the old country soon and work on more musical projects.

The Mygringos 2nd anniversary party ended about 2:00AM Sunday. People were still energized by all that talent. Wonderful to have a weekend this way. We salute Manny Legaspi and the crew of Mygringos.com for a progressive two years.

For sure, as time flies by, this website will (if not already) be at the forefront of local Filipino-American consciousness for social and news events.

May the Force be with you!

Written by: JOHN F LACSON PINOYWIRED.COM

East West Players Navigate Home on their 42nd Visionary Awards

by Jay Fermin pinoywired.com

Los Angeles: ‘Life Imitates Art’ or is it the other way around? Artists and supporters of the East West Players (EWP), the longest running theatre organization in the United States, came out to the Universal Hilton for the 42nd Anniversary Awards Night and Silent Auction last April 28, 2008.


Photos by Albert Vargas PINOYWIRED.COM

After more than 42 years of blending a cultural mix of Asian, Pacific and American culture in theatre, film and television, with distinct alumni from the likes of the late Pat Morita, (Mr. Miyaki in ‘The Karate Kid” tetralogy), to George Takei (the helmsman Hikaru Sulu) of the ‘Star Trek’ TV series, to our very own Fil-Ams, ‘The Three Filipino Tenors’ who were Master of Ceremonies of the evening’s event, as well as Alec Mapa, past EWP Visionary Awardee and actor in several TV series including Ugly Betty, Friends, Seinfeld and in film where he acted in Bright Lights, Playing by Heart and Super Sweet 16 just to name a few; EWP celebrated more than four decade of contribution to the performing Arts.


Jolene Purdy opens the 42nd EWP Awards with 'The Three Filipino Tenors'

Fil-Am Alec Mapa disclosed to Pinoywired that EWP has given him the ‘perseverance to continue in acting.’ Also the anxious anticipation for the night’s Breakout Performance by no other than the U.S. Best Dance Crew – the ‘JabbaWockeeZ’ the newest hip dance sensation which also include Fil-ams Rynan ‘Kid Rainen’ Paguio, Chris ‘Cristyles’ Gatdula and Phil ‘Swaggerboy’ Tayag would lend a different twist to the yearly gala. Indeed, EWP feels like home to Asian, Pacific, and American actors and have given them the venue to lend their visibility in theatre, TV and film.

Hundreds of guests and supporters came out to participate in the silent auction including a kababayan I have not seen for so long, Ms. Marissa Moncada, who has supported EWP for the past 5 years. I cruised the silent auction tables before dinner, checking if somebody would ‘bid’ for the autographed poster of “Imelda: A New Musical”, an EWP 2005 production based on the life of Madame Imelda Marcos. There were no takers. The dinner and silent auction benefits East West Players (EWP) education and artistic programs.

Jolene Purdy (movie Donnie Darko) opened the dinner gala by singing “Good Evening EWP” and joined onstage by the master of ceremonies, ‘The Three Filipino Tenors’ who belted out the lovely tagalong song “Dahil Sa Yo” (Because of You) interspaced with a fast recognition of the event sponsors in between the lyrics. And what’s so amazing, with a huge list of sponsors including Edison, NBC, CBS, Fox, Disney ABC and others, ‘The Three Filipino Tenors’ did not miss mentioning one, all in a song.

Playwright Velina Hasu Houston, author of more than 20 internationally acclaimed plays, accepted her ‘Made In America’ award from former ‘Reading Rainbow’ host Levar Burton. ‘Dancing with the Stars’ judge and dancer / choreographer Carrie Ann Inaba was awarded the Visionary Award. Inaba reminded the audience that ‘whether you are talking to one or many, whether you act, sing or dance, remember that you have a voice.’ It was a touching tribute to the talents as well as to the support given to artists by EWP for making the Asian, Pacific and American voices be heard in theatre, movies, or TV. Inaba’s positive vibe carried over when we talked to her later and I told her I cannot dance, and she quipped pointedly that ‘everyone can dance, but not everyone knows it.’ I now believe.

The cast of the upcoming EWP rendition of the Stephen Schwartz play “PIPPIN” (coming May 8 to June 8, 2008) presented a hip hop infused performance of “Magic to Do”, a song which is close to me and my wife since our high school days. Ahh. I cannot wait to see this play produced by Tim Dang of EWP.

Other performers for the gala included Alex Chester Iwata rendering ‘Ease on Down the Road’ while Keo Woolford performed a Hula Kahiko piece entitled ‘Kahikilani’ choreographed by Robert Cazimero.


The JabbawooKeeZ receives the EWP Breakout Performance Award

However, even upon arrival and chatting with MTV VP for Communications Ariana Urbont before the gala, and having met Kevin ‘Keibee’ Brewer and Jeff ‘Phi’ Nguyen giving high fives to the hotel’s front desk receptionists when they checked in, nobody can deny that the highlight of the evening are the winner of MTV’s ‘America’s Best Dance Crew’, the new hop sensation, the ‘JabbaWockeeZ’.

The ‘JabbaWockeeZ’ received EWP’s Breakout Performance award and was handed over by MTV President of Programming Brian Graden, who revealed that he himself was a fan of the group even during audition for the TV dance contest. The dance crew accepted their award with ‘America’s Best Dance Crew’ executive producer Randy Jackson showing up and cheering them on. Randy Jackson is also a judge on the famed TV show ‘American Idol’.

The ‘JabbaWockeeZ’ composed of Rynan Paguio, Ben Chung, Chris Gatdula, Kevin Brewer, Jeff Nguyen and Phil Tayag entranced the crowd on their amazing synchronized dance moves and the now famous white happy face mask and white gloves which makes the audience concentrate more on the fluid and energetic gyrations of the group rather than on the individual dancers. Together their movement form a cohesive whole.


The JabbaWokeeZ performs "Enter The Rabbit Hole", the highlight of the evening

Together, art does mimic life. As East West Players has shown for the past 42 years, navigating home where talents are enhanced and encouraged has kept the voice of Asian, Pacific, and American performers heard in the fast paced speed of today’s entertainment medium. Talking to ‘The Three Filipino Tenors’ (Lito Villareal, Randy Guiaya, & Antoine Reynaldo Diel) to recap the night, they have expressed that EWP, although they came onboard at different times and at different phases in their career joining East West Players, they feel it is a very high privilege to have their voices heard. Yes, indeed. After 42 years, because of the effort of East West Players, Asian, Pacific and American voices still ring loud in the arts and the United States and the world are still listening.

Telltale Signs/ SAVE OUR PASTOR

by Rodel E. Rodis

When Pope Benedict XVI delivered a homily at the Nationals Stadium in Washington DC on April 17, 2008, he asked the congregation to “love your priests, and to affirm them in the excellent work that they do.” A few hundred miles north of that stadium in Piscataway, New Jersey, the faithful parishioners of the St. Frances Cabrini Parish are doing exactly what the Pope asks them to do. They fervently love their parish priest, Fr. Edgardo Abano, and they are waging a holy war against the local Bishop to get him back.

Last year, Bishop Paul Gregory Bootkoski (pictured on top) of the Roman Catholic Diocese of Metuchen, N.J. informed Fr. Abano that the diocese will be closing down St. Frances Cabrini Catholic School because enrollment was down, the school was underused, and St. Frances Cabrini Church was subsidizing the school.


(in photo:Fr. Edgardo Abano)

Despite the subsidy, Fr. Abano’s church was still able to pay the yearly assessments to the Diocese but not enough to pay the Diocesan debts. For some unknown reason, in 2000, the Metuchen Diocese “forgave” debts owed by many parishes in honor of Jubilee Year except St. Frances Cabrini Parish.

Bishop Bootkoski believed that if the Cabrini school closed down, the parish would be able to pay off its diocesan debts. But Fr. Abano disagreed and led his parishioners in protesting the planned closure of the parish school.

In the middle of this dispute in September last year, the diocese contacted the Middlesex County Prosecutor’s Office in New Jersey to report that Glenn Obrero, a Filipino diocesan employee and a seminarian at the Immaculate Conception Seminary, had filed a complaint of sexual misconduct against Fr. Abano in 2005. Obrero, who had been petitioned by the diocese for a work visa in 2005, complained that Fr. Abano had inappropriately touched him in the chest and buttocks when he first started working for the diocese.

Bishop Bootkoski did nothing about Obrero’s complaint until September of 2007 when he was locked in a dispute with Fr. Abano over the fate of the Cabrini school.

On October 19, 2007, Glenn Obrero (in photo) was at a police station when he made a tapped phone call to Fr. Abano to wish him a happy birthday. As planned with the police investigators, Obrero steered the Tagalog conversation to the “touching” incident which occurred in 2005. After the phone call, a court interpreter, Bong Nepomuceno, translated the transcripts into English which was then reviewed by the police.

On October 23, 2007, after reviewing the transcripts, the police arrested Fr. Abano at the Cabrini parish rectory charging him with sexual misconduct. The police denied Fr. Abano’s request to be allowed to put on his clothes and was brought to the police station for booking in his undershirt, shorts and slippers. On the same night, he was released on $1,500 bail.

The following day, Bishop Bootkoski asked Fr. Abano to resign as Pastor of St. Frances Cabrini Parish (since 1992); as Director of the Office of Multicultural Ministries of the Metuchen Diocese that oversees nine ethnic ministries; as Chairman of the Commission for the Filipino Apostolate of the Diocese of Metuchen; and as Head Shepherd of the Association of Filipino Catholic Charismatic Prayer Communities of the U.S.A. and Canada, an association with around 40,000 members.

Fr. Abano was ordained as a priest in the United States on May 18, 1985 and had served many parishes in New Jersey prior to St. Frances Cabrini Parish including: Our Lady of Lourdes in Whitehouse Station; Immaculate Concepcion Church in Somerville, Saints Philip and James Church in Phillipsburg; and Our Lady of Fatima in Piscataway.

His arrest on October 23, 2007 was carried by local and international news and media services including The Filipino Channel, ABS-CBN, which reported the incident to its international audience.

Supporters of Fr. Abano set up a legal defense fund and hired Joseph Benedict, a highly-regarded criminal defense lawyer to represent Fr. Abano. They created a website, http:www.SaveOurPastor.org, to express show their full support for Fr. Abano.

Atty. Benedict hired another Tagalog interpreter to listen to the tape and to translate it. The new translation showed that Fr. Abano denied ever touching Obrero while the first translation showed no such denial, which the police had misconstrued as affirming the misconduct.

“The denials were there (in the new transcript),” Benedict said, “I’m not sure that Fr. Abano would have been charged in the first place if they had an accurate transcript.” He then filed for trial by grand jury based on the new translation which contradicted the key piece of evidence the prosecutor’s office had on the alleged crime.

On February 22, 2008, Fr. Abano and Obrero both testified separately before a grand jury in New Brunswick, N.J. After only 45 minutes of grand jury deliberation, Middlesex Assistant Prosecutor Christie Bevacqua announced that the jury issued a “no bill” finding which meant that the prosecution had no case. All charges against Fr. Abano were dropped.

After the findings were announced, Bishop Bootkoski released a statement saying that he would “review the grand jury’s findings and meet with Fr. Abano before making a decision about the priest’s future.”

According to Fr. Abano’s sister, his primary focus right now is to “clear his good name and good name of his family. He wants to get back his faculties to practice his priestly ministry. This test of faith has only strengthened his resolve and conviction that he will continue his vocation as a priest to serve God and His people.”

More than 70days have passed and Bishop Bootkoski still has not made a decision about Fr. Abano’s fate. Please contact Bishop Bootkoski (bishop@diometuchen.org) and urge him to reinstate Fr. Abano back to his parish and to the national posts that he was compelled to resign from. Tell him to heed the Pope's words.

I would like to acknowledge Pinoywired.com for bringing this case to my attention. Please send comments to Rodel50@aol.com or log on to rodel50.blogspot.com or write to Law Offices of Rodel Rodis at 2429 Ocean Avenue, San Francisco, CA 94127, or call (415) 334-7800.

Gloria's Disenchanted Kingdom

PerryScope: by Perry Diaz

In my article, "Gloria's Enchanted Kingdom and the De Venecia Code" (August 4, 2006), I said: "In a demonstration of grandiose ebullience and unabashed optimism, President Gloria Macapagal-Arroyo's State of the Nation Address (SONA) last July 24 belies the true state of a nation ravaged by political wrangling, corruption, poverty, terrorism, communist insurgency, and Muslim rebellion. To dramatize her grand vision of a progressive country, she sang praises to her own achievements and crystallized a rosy picture of the things to come in the remaining four years of her presidency." What Arroyo had planned to achieve during her tenure was an "Enchanted Kingdom" within 20 years. During the 27th National Conference of Employers two years ago, she told the audience, "Let's stay together. Let's dream together." And dream, they did.

For the past two years, Arroyo's spin masters have been heralding an "economic boom," claiming that the country had never been better in the past 31 years -- which was during the martial law era. However, had Arroyo's men gone further back to the time of the late President Carlos P. Garcia (1957-1961), Arroyo's claim would have been questionable. During Garcia's presidency, the Philippines was second only to Japan in economic terms. Garcia's success was attributed to his nationalistic "Filipino First Policy."

It was during the time of the late President Diosdado Macapagal, Arroyo's father, when his policy of devaluation and decontrol started the economy's downhill slide. As a matter of fact, the Philippines today, notwithstanding Arroyo's proclamation of an "economic boom," is still far behind its Asian neighbors -- China, Taiwan, Japan, Hong Kong, Singapore, Malaysia, Indonesia, Thailand, and Vietnam -- in economic status.

The 7.3% economic growth last year that Arroyo had been bragging about has suddenly lost its oomph! Not too long ago, Peter Wallace of Standard Time wrote an article, "Time to face the Facts," which debunked Arroyo's economic data. He said, "if you were told that GDP really only grew about 4.8 percent, and that family spending declined, and that there were more people who went hungry during the past three years than in any period during the past ten years, you'd think much differently." Indeed, the people are still suffering from an economic malaise that doesn't seem to go away. The economy has been heading towards a turbulent course, a situation that Arroyo did not seemingly anticipate.

In my article, "Economic Boom or Boo-boo Economics" (November 30, 2007), I said: "With 50% of Filipinos poor -- 40% of whom have experienced hunger -- and with unemployment rate at 7.8%, what we will soon be hearing is the 'astronomic boom' of discontent and the cry of the helpless poor. Indeed, Arroyo's boo-boo economics has created a short span of high -- albeit false -- expectations. She promised jobs for the people, yet more than one million Filipinos are leaving each year for jobs overseas. In other words, the 'economic boom' that the Arroyo government has been heralding is nothing more than a mirage."

The Filipino people are beginning to wake up from their induced dream of life in Gloria's "Enchanted Kingdom." Suddenly, their lives are entangled in a series of crises -- oil crisis, rice shortage crisis, fish crisis, water crisis, money crisis. Corruption is still the norm of governance and poverty is still the scourge of the nation. The "Sick Man of Asia" is still as sick as it was for the past four decades.

A recent article, "Thousands want to work abroad to survive crisis," in the Cebu Daily News, reported the plight of people -- mostly college-educated professionals -- who couldn't make ends meet. A licensed pharmacist employed by a small pharmacy in Mandaue City said that she would rather do odd jobs such as dish washing and milking a cow in foreign countries than practice her profession here in the country. Asked why she wanted to work overseas, she said: "The wage here in the Philippines could not suffice for the needs of single woman. How much more for married people."


A secretary working in a law firm said that she was disillusioned with a government always promising to increase wages. She said that washing dishes in a hotel in New Zealand would be better as long as it would pay more. She graduated in Hotel and Restaurant Management.

Another person unemployed since last year has "criticized the government for not providing enough jobs for the people." He wanted to go to Taiwan and work in a factory. He is one year short of graduating in Criminology.

In 2006, data from the Philippine Overseas and Employment Agency indicate that 1,221,417 Filipinos left for overseas job placement. And for those who couldn't go overseas, a large number of them -- including farmers who left the farms -- moved to the cities looking for jobs in order to survive. The news report further said that "the farmers left their farms because they could not increase their production due to the high cost of the fertilizers, no irrigation projects and not enough support from the government."

On the eve of Labor Day, Arroyo urged Filipinos to practice eating "camote" (sweet yam) and other root crops as substitute for rice. Feeding on roots! Now, isn't that pathetic? That reminds me of the pre-agriculture age 5,000 years ago when hunter-gatherers subsisted by foraging for edible plants and roots.

Meanwhile, the Arroyo government continues to encourage large farm owners to convert their rice fields to jatropha plantations to produce bio-diesel. Last year, Arroyo entered into several agro-fuel deals with Chinese companies. The largest was the $3.83-billion contract with Fuhua Group in which 1.2 million hectares of agricultural land -- a tenth of the total agricultural land -- would be converted into jatropha plantations. This would drastically reduce rice production. At a time of global rice shortage, converting the rice fields would be a betrayal of the people's trust.

Within a period of less than two years, Arroyo's failed economic policies have brought the country closer to the brink of economic collapse. Instead of dreaming of living in the land of the "Enchanted Kingdom," the Filipinos are now living in the land of the "Disenchanted Kingdom."

(PerryDiaz@gmail.com)

“CONCERT KING” MARTIN NIEVERA TO GUEST AT “MR. PURE ENERGY” GARY VALENCIANO’S LOS ANGELES CONCERT

PHILIPPINE “CONCERT KING” MARTIN NIEVERA TO GUEST AT “MR. PURE ENERGY” GARY VALENCIANO’S LOS ANGELES CONCERT AT THE NOKIA THEATER

by Ted Benito


May 2008, Los Angeles, CA. – In a little more than a month, two of the biggest names in Filipino entertainment take center stage in one of the most prestigious venues underneath the Hollywood stars. Celebrating 25 years of music and dance, Gary Valenciano is set to entertain and inspire along with the Concert King himself, Martin Nievera. In an exclusive interview with me, Martin was, as always, gracious enough to answer questions about his upcoming appearance at Gary’s concert and to share some thoughts about his own 25th Anniversary celebration.

####

Question: You'll be the special guest on Gary's show at the Nokia here in L.A. and for many people, your performance will be a highlight of the show. Are you planning anything special for the concert? Will you and Gary be singing a song or two together?

Martin: Yes, I am gonna be the special guest of Gary. He did a cameo opening and two numbers in my [25th] anniversary show in the Araneta show last February 1, so I am simply returning the favor.

Question: A lot of people want to see you and Gary as co-headliners in a major concert, as you alluded to when you appeared on “Kababayan L.A.” with Jannelle So awhile back. Now that you're guesting at Gary’s concert, is this going to "steal some thunder" from a potential Martin/Gary show or is this a "teaser" for what's to come?


Martin: If the bigger Hollywood stars don't worry about such things when they “jam” with their fellow colleagues, than why should we? Gary and I have never agreed in the past to do a back to back together for one reason or another, but that doesn't mean never. So here I am, re-paying a favor where I will do a number alone and for sure one or two with him. But that's all. Hopefully this will be a springboard to the Dream Team-Up everyone is waiting for sometime in the near future. But for now, I am merely jamming with a friend on his anniversary . . . plain and simple.

Question: You yourself are continuing to celebrate your 25th anniversary in entertainment. Such a major milestone obviously brings many memories and 20/20 hindsight. What are your top 3 career highlights?

Martin: Wow, only 3? That is too small a number . . . but if you want 3, hmmmm. . . my first concert ever would be number 1 for sure. It was on Aug. 20, 1983. Why [was that] a highlight? Besides being a first, it was one of the few concerts to date by any artist that had to be repeated only 2 weeks after; also because it was the only concert I have that was never televised for the simple reason that I didn't hit even one good note! Seriously! The sound of [the audience’s] screams and the low tech feature we had back then with sound systems made it almost impossible to hear myself. But it was a major highlight in my 25. On The Right Track [concert] was also a big highlight because they rushed the construction of the ULTRA so that I could open it with a concert. Number 3? When I sang with the Philippine Philharmonic Orchestra at the CCP and ABS-CBN and MCA records joined forces to have it televised and produced a live CD. That was indeed a moment!


Question: If you could tell the Martin of 25 years ago what the Martin of today knows now, what one thing would that be and why?

Martin: I would say, "what were you thinking????!!!!!!" or "look before you leap!" or "are you sure about this????"… but for sure, I would say, "Go for it Martin! Follow your dream and you will have happiness always!"

Question: You're setting the stage for yet another 25 years in the [entertainment] business. What do you see yourself doing 5 years from now?

Martin: I will try to listen more and maybe try to out do myself again and again.

Question: How about 10 years from now?

Martin: If the 5 year plan didn't work, I would do the same and add one more chore - I would swallow some pride and start all over again, again and again...

Question: Do you see yourself producing or presenting the next generation of Filipino talent?

Martin: I hope I am already doing that by example alone. But to manage a talent or produce one as a manager or producer? Maybe by guesting them in my projects, they too will be discovered. That is why I do what I do. You will never know who is out there. Always perform like it was the first time on its way to being your last.

Question: Is television in your future?

Martin: You bet! Never left television; just took a break. TV is fun!

Question: Lastly, if there are 3 things you have yet to do in "the business", what would they be?


Martin: First, to record a duet with an international star to be released in America and the world and not just the Philippines. Second, to hear future American Idols sing Martin Nievera songs in one of their competitive days the way they do Andrew Lloyd Webber, Mariah [Carey], Neil Diamond, etc….that would be something! And third, to host a television show to be seen all over the world through TFC [The Filipino Channel] and/or the Internet.
###

GENERAL INFORMATION

GARY VALENCIANO 25TH ANNIVERSARY WORLD TOUR 2008
With Very Special Guest MARTIN NIEVERA

Featuring:
Paolo Valenciano, Gabriel Valenciano, Jason Zamora & Joshua Zamora of the Maneouvres, and Mico Aytona of Anime, with the Powerplay Band and
Musical Director, Mon Faustino

SATURDAY, JUNE 7, 2008
7:00pm
NOKIA THEATER L.A. LIVE
777 Chick Hearn Court
Los Angeles, California 90015

For Tickets: 1-888-937-1998
www.AllAccessConcerts.com
www.ticketmaster.com

FILIPINO FILMS TAKE CENTER SPOTLIGHT AT LA ASIAN PACIFIC FILM FEST '08

Filipino American Diana Lee Inosanto, daughter of famed Pinoy martial artist/actor Danny Inosanto and Goddaughter of the legendary Bruce Lee, makes her directorial debut with THE SENSEI which World Premieres Sunday, May 4 as part of the Los Angeles Asian Pacific Film Fest '08.

Los Angeles: A RECORD NUMBER OF FEATURES INCLUDES WORKS BY DIANA LEE INOSANTO (photo) AND BRILLANTE MENDOZA. Pinoy Cinema is most assuredly on the rise again.

A record number of films by Filipino filmmakers will be on tap at The Los Angeles Asian Pacific Film Festival presented by Honda, the largest regional event of its kind featuring Asian cinema, May 1 - May 8.

The week-long event, which opened Thursday, May 1 with Academy Award-winning director, Jessica Yu's PING PONG PLAYA and closes with Tony Ayres' HOME SONG STORIES with Joan Chen May 8, will screen over 140 films from more than 17 countries at the prestigious Directors Guild of America and Laemmle's Sunset 5 in West Hollywood through the opening weekend. It shifts venues during the week to the brand new Imaginasian Center in Downtown Los Angeles, the Center for Democracy and closes, as per tradition, at The Japan America Theater in Little Tokyo.

Mirroring the recent accent of Filipino films internationally and the festival's own panel discussion called "The State of Pinoy Independents: An Afternoon With Filipino Independent Film Movers," Filipino films figure quite prominently in this year's selection.

Among the featured films is THE SENSEI, the directorial debut by stuntwoman/actress, Diana Lee Inosanto. Herself a practicing martial artist, Diana Lee is the daughter of famed Filipino American martial artist, Danny Inosanto and is the Goddaughter of the legendary Bruce Lee, one of her father's best friends. THE SENSEI makes it world premiere, 4 p.m. Sunday, May 4 at the DGA 1 Theater.

"I'm beyond excited; I'm nervous!" said the lifelong Southern California resident. "But, beyond that, thrilled to be making my World Premiere at the LA Asian Pacific Film Fest.

"You can only World Premiere once and the fact that I'm alongside such talented Pinoy filmmakers makes it that much more special," she added. "Besides, I've told all my relatives in Stockton, Sacramento and San Francisco about it!"

Manila-based Brillante Mendoza owns the unique distinction of having two feature films programmed at this year's festival in the multi-award winning FOSTER CHILD with Cherry Pie Picache and the acclaimed TIRADOR. Both films are shining examples of the fast-rising Pinoy Independent Cinema movement that has seen Pinoy films once again rule the programs of prestigious film festivals worldwide.

Palawan native Auraeus Solito knows that world well having previously had two of his features selected back-to-back for the Sundance Film Festival (the first Pinoy filmmaker to own that distinction), he returns this time with perhaps his most personal film yet in PHILIPPINE SCIENCE, a narrative set amidst his own experiences at the famed Philippine Science High School.

After making its World Premiere in January at the Slamdance Film Festival, Joanna Vasquez-Arong's cosmopolitan NEO-LOUNGE comes to Los Angeles. Her film follows the lives of a Bulgarian jazz singer, a flamboyant Italian businessman and a hip lounge-owning Shanghainese couple in modern Beijing. Filmed entirely in the Chinese capital, her film has also drawn raves from critics worldwide.

Fil-Am ARTS, the Association for the Advancement of Filipino American Arts and Culture, a longtime collaborator and sister non-profit arts organization with Visual Communications, is onboard again as a community presenter for a bulk of the Filipino programs alongside other staunch community organizations such as Search to Involve Pilipino Americans (SIPA).

The 2008 LA Asian Pacific FIlmfest presented by Honda, is produced by Visual Communications, the oldest Asian American media resource center in the nation. For updated schedules and ticket information, interested parties are invited to visit www.vconline.org





LOS ANGELES ASIAN PACIFIC FILMFEST 2008
List of Works by Filipino and Filipino American Artists

FEATURES

FOSTER CHILD
(Philippines, 2007) Dir.: Brilliante Mendoza, Scr.: Ralston Joel Jover
The emotional bonds between foster-parents-for-hire and the abandoned babies they care for are examined in the highly acclaimed drama FOSTER CHILD by Brillante Mendoza (SUMMER HEAT, LVHIFF 2006). Based on a true story, it’s a slice in the life of a poor foster family in Manila, Philippines, comprised of Mother Thelma (played by the multi-award winning actress Cherry Pie Picache), husband Dado and sons Gerald and Yuri. The film sees Thelma on the day she’s forced to part with a precious three-year-old named John-John, who has just been adopted by an American family.
SUNDAY, MAY 4, PROGRAM 34 • 2:30 PM • SUNSET 5
35mm, 98 min, Color, Narrative, Tagalog w/ES

NEO-LOUNGE
(Philippines/China, 2007) Dir./Wtr.: Joanna Vasquez Arong
Beijing 2003. As the capital strives to transform itself into a world-class cosmopolitan city, many foreigners are drawn to Beijing. In a city full of surprises and contradictions, many are finding refuge in the trendy bar, Neo-Lounge, run by a hip Shanghainese couple. The film follows a year in the lives of a Bulgarian jazz singer after she lands her first gig during the SARS epidemic period and a larger-than-life Italian businessman whose parties never seem to cease at his lavish home. As they both strive to chase their dreams and find their own space in unpredictable Beijing, they, together with their colorful friends, soon find out that escaping their past isn’t always easy.
FRIDAY, MAY 2, PROGRAM 4 • 7:30 PM • DGA 3
Beta SP, 86 min., Color, Documentary, English, Italian, Chinese w/ES

PHILIPPINE SCIENCE
(Philippines, 2007) Dir: Auraeus Solito, Scr.: Henry Grageda
Structured in four acts to follow freshman, sophomore, junior and senior years, PHILIPPINE SCIENCE begins in playful and familiar school conflicts, as the teenagers compete for top marks and fret over status at the highschool dance. As the students get older, the film takes on richer tones and more complex dilemmas. At the same time, one student – a fictional alter ego of Solito – slowly finds his voice as a high-school theatre impresario, as well as the first hints of his gay identity. The high-school film is a thriving genre in the Philippines, with its own codes and expectations. Usually these films are chocolate-box romances, and Solito both taps and subverts the genre’s evocations of lost innocence. Fascinating as a portrait of an artist, PHILIPPINE SCIENCE is even more compelling as a look at kids who first learn the value, then the limits, of subjecting life’s problems to the scientific method.
SATURDAY, MAY 3, PROGRAM 9 • 12:00 PM • DGA 2
Video, 118 min, Color, Narrative, English, Tagalog w/ES

SANTA MESA
(United States/Philippines, 2007) Dir./Scr.: Ron Morales
After the death of his mother, 12-year-old Hector arrives in Manila to live permanently with his grandmother, Lita, a woman whom he has never met. Shortly after arriving, Hector meets Sel, a neighborhood teenage girl, and Miguel, along with Miguel's barkada (street gang). Longing to find a connection to his new environment, Hector joins this group of petty hustlers in the hopes of getting closer to Sel, until one night Hector's initiation takes a wrong turn. Hector's clumsy actions get him caught while breaking into the home of Jose, a 59-year-old former photographer. Later, Hector finds himself having to work for Jose in order to compensate for his actions while keeping this secret from his new group of friends and his grandmother.
Jose, a somewhat disconnected man, feels he can pull Hector away from Miguel's street gang by using him to complete daily chores around the house. With all this time being spent with Jose, Hector stumbles upon Jose's past. For years, Jose has been spying on his daughter Rosa, who is unaware of her birth father's identity. Oblivious to the ""can of worms"" Hector is about to open, he takes it upon himself to follow Rosa and reunite father and daughter as a way to repay Jose.
SATURDAY, MAY 3, PROGRAM 21 • 7 PM • Sunset 5
35 mm, 82 min., Color, Narrative, English, Tagalog w/ES

THE SENSEI
(USA, 2007) Dir./Scr.: D. Lee Inosanto
THE SENSEI takes place in a small, conservative town during the rise of the AIDS panic it inspired in communities in the late 1980's. Young McClain is a gay teen that is constantly harassed and ostracized in his provincial town. Karen Nakano-O'Neil, once denied her black belt for being a woman, is haunted by the memories of her fiance, boxer Mark Corey. She returns home, after a five-year absence to make amends with her Asian American family-owners of a successful martial arts business and proud members of their local church. When three teens hospitalize McClain after a near-fatal beating and are then released on bail, Annie, McClain's outraged mother, asks Karen to teach McClain the martial ways. Fearful of small town retaliation and her family's disapproval, Karen agrees to secretly teach McClain, training him at night to protect them both. Reminiscently told in a conversation between the young man, McClain and a Minister, The SENSEI is an examination of the prejudices that allow hatred to continue, and the people that find their own humanity in their darkest hour.
SUNDAY, MAY 4, PROGRAM 36 • 4 PM • DGA 1
Video, 103 min, Color, Narrative, English

TIRADOR (SLINGSHOT)
(Philippines, 2007) Dir.: Brilliante Mendoza, Scr.: Ralston Joel Jover
Shortly after Holy Week in 2007, national elections were held in the Philippines. The film uses the backdrop of mass demonstrations, corruption, and vote buying to tell of everyday struggles for survival. Its protagonists are small time criminals, tiradors, who live in a dilapidated tenement house in the slums of Manila. In interwoven episodes, TIRADOR captures moments in the daily lives of people who have been forced by crushing poverty into a constant tightrope walk between life and death. Their disillusioning reality is the slum with its seedy rooms, its hopelessness. Here drug use, prostitution, and violence are the order of the day. Brillante Mendoza’s use of imagery is masterful. With dizzying agility, hand-held cameras unrelentingly track down life as it is now being played out in the swarming streets of the metropolis. The sound design also contributes artfully to the dramatization of events. In the concluding documentary mass scenes, TIRADOR shows that for many people, climbing out of the gaps in society is impossible.
SATURDAY, MAY 3, PROGRAM 26 • 10:00 PM • DGA 2
DigiBeta, 86 min., Color, Narrative, Tagalog w/ES

TRIBU (TRIBE)
(Philippines, 2007) Dir./Scr.: Jim Libiran
In Tondo, the gloomiest area of Manila, youth gangs dominate the street scene. Their lives consist of criminality, drugs, and hip-hop music. In the twilight of the underworld, 10-year-old Ebet observes the members of enemy gangs, whose meeting becomes inescapable and which finally leads to an explosion of raw violence. Jim Libiran is the first director in 30 years who has been able to film in Manila’s notorious Tondo district. The majority of his actors were recruited from among the inhabitants of the slum, most of them members of enemy street gangs, whose enthusiasm for their acting is catching. During the shooting of the film deadly hostilities gradually turned into friendships. TRIBU is not only a film, but also a social project—but most of all a rare cinematic event, spilling over with energy. Sex and violence are here not merely the surface, but they function as a vehicle for the realistic illustration of this ignored parallel world. The authentic rap soundtrack was collectively composed by the four main actors. TRIBU is fragile, edgy, and real—an independent production that is one of the best from a strong year in Philippine film.
SUNDAY, MAY 4, PROGRAM 44 • 10 PM • DGA 2
DV Cam, 90 min., Color , Narrative, Tagalog w/ES

YEARS WHEN I WAS A CHILD OUTSIDE
(Philippines, 2008) Dir./Wtr.: John Torres
The latest magnum opus by director John Torres (TODO TODO TEROS, Festival 2007) essays the unusual relationship between a father and son. YEARS WHEN I WAS A CHILD OUTSIDE is from the start a meditation. It is a meta-film that unravels into the journey of the son of best-selling self-help author Rodolfo Torres, who pioneered the sale of instructional books and tapes to “help raise brighter children” in the Philippines during the early 1980s. After learning that his father fathered illegitimate children, the narrator decides to run away. The film is not only a chronicle of stories through foreign regions, but also a probing letter from outside circles, an honest account of illegitimate views from uneven terrain, and a narrative-driven exploration of the nooks and peripheries of the body, geography, and weather. As the journey progresses, the film increasingly traverses the countries of revelation, film, and heart—to where all journeys are meant to begin and end.
TUESDAY, MAY 6, PROGRAM 51 • 7:30 PM • NCPD
Video, 100 min., Color, Experimental Documentary, in Tagalog w/E.S.


SHORTS

ALAGWA
(Philippines, 2007) Dirs: Pia Augustha G. Agetep, Preciouse Ann M. Tayag, Scr.: Precious Ann M. Tayag
Alagwa is a coming of age film of Francesca, a young dancer who is trapped with two major struggles in her life—of entering a dance institute to continue the family’s legacy of performing, and still remain connected to her twin sister Veronica, who is diagnosed with catatonic schizophrenia—both instigated by her controlling father.
SATURDAY, MAY 3, PROGRAM 12 • 1 PM • DGA 3
Video, 28 min., Color, Narrative, Tagalog w/ES

BOOMIN’ GRANNY
(United States, 2007) Dir./Wtr.: Russell Espinoza
BOOMIN’ GRANNY observes a day in the life of a Filipino grandmother whose daily routine consists of cooking, cleaning, and caring for her granddaughter. Outside of household chores, she often watches television and thinks about her deceased husband. At turns comedic and heartfelt, the film is underscored by a soundtrack by the Beastie Boys, whose blend of aggression, humor, and even sentimentality give meaning to a simple world of cooking and cleaning.
SATURDAY, MAY 3, PROGRAM 10 • 12 PM • SUNSET 5
Video, 7 min., Color, Documentary, in English and Tagalog w/E.S.

CELEBRATION
(United States, 2008) Dir./Wtr.: Rochelle Lozada
CELEBRATION focuses on a family of women, three generations thick. Their intersections, sometimes collisions are imbedded within their actions. With her mother's encouragement, Fili digs deep into her roots. Follow Fili, as she takes an unexpected excursion through her grandma's mind & the physical space of modern day Philippines where she discovers something deeper than what she had originally anticipated.
WEDNESDAY,MAY 7, PROGRAM 56 • 8:00 PM • A/JAT
Video, 5 min., Color, Documentary

CUT
(Philippines, 2007) Dir./Scr.: Nelson Florentino
A film editor goes through her archive of film stock and sometime during the day she finds the time to dispose of the body parts she has kept hidden in the projection room.
SATURDAY, MAY 3, PROGRAM 26 • 10:00 PM • DGA 2
Video, 2 min., Color, Narrative

FIRST IMPRESSIONS
(United States, 2007) Dir./Scr.: Jeremiah Tayao
It’s the first time that a young woman’s dream date is coming over for dinner, so she wants to make everything right. Unfortunately, some unexpected guests show up too.
SATURDAY, MAY 3, PROGRAM 25 • 9:30 PM • SUNSET 5
Video, 8 min., Color, Narrative



GIVING CARE
(United States, 2007) Dir./Scr.: Clarissa De Los Reyes
When a phone call brings news of her father's death in the Philippines, a Filipina caregiver (Banaue Miclat) working illegally in New York City, must make a choice between her duties as the family breadwinner and her desire to go home to grieve her father’s death. GIVING CARE is a story about one of the worst fears of an immigrant far away from home: being absent when a loved one goes.
SUNDAY, MAY 4, PROGRAM 39 • 6 PM • DGA 3
Video, 11 min., Color, Narrative

LEGEND
(United States, 2008) Dir./Wtr.: Mark Villegas
LEGEND highlights the DJ career of Isaiah Dacio (aka DJ Icy Ice), from his beginnings as a member of the legendary DJ crew The World famous Beat Junkies through his recent notoriety as proprietor of his DJ business Stacks Records. Navigating through cultural history of Filipino youth in Los Angeles during the 1980s and ’90s, Ice tells the story of a rich Filipino youth expression that continues to this day.
WEDNESDAY, MAY 7, PROGRAM 56 • 8:00 PM • A/JAT
Video, 5 min., Color, Documentary

THE MOMENTARY ENEMY
(United States, 2008) Dir./Wtr.: Angel Velasco Shaw
Longtime Film Festival director Angel Velasco Shaw (NAILED, 1993, UMBILICAL CORD, 2001) delves deeper into the integral role of war in shaping U.S. national culture by casting a critical eye at the history of U.S. wars and drawing connections between the current war in Iraq and its predecessors, the Philippine-American War and the Vietnam War. Featuring interviews with Ninotchka Rosca, Howard Zinn, Reynaldo Ileto, and Marion Young, THE MOMENTARY ENEMY raises the question, “Hasn’t America been in this position before?”
SATURDAY, MAY 3, PROGRAM 15 • 3:30 PM • DGA 3
Video, 24 min., Color, Documentary

MY VIDEO
(United States, 2007) Dir./Wtr.: Brian del Rosario
The everyday activities of a young man living with Down’s Syndrome are observed. Simple household activities, even singing, take on a distinct poignancy.
TUESDAY, MAY 6, PROGRAM 48 • 3:00 PM • NCPD
Video, 4 min., Color, Documentary

RIVAL SIBLINGS
(United States, 2007) Dir./Scr.: Justin Quizon
Joe and Josephine, two sibling practitioners of eskrima (Philippine martial arts) with wildly different styles and philosophies, bring their differences to a head at a family party where a hilarious, full blown, no holds barred fight scene ensues. After countless broken plates, many bruises and an unconscious uncle, will the sibling rivalry be defused and familial harmony once again restored?
MONDAY, MAY 5 PROGRAM 45 • 7 PM • IAC
Video, 21 min., Color, Narrative

TRAINING DOGS
(United States, 2007) Dir./Scr.: Ty Sanga
Michael returns home from school bruised and beaten. Disappointed, his father is determined to turn him into a man. He trains Michael on an old punching bag. Michael becomes stronger, faster, distant from his father, but most of all distant from himself.
SATURDAY, MAY 3, PROGRAM 22 • 7:30 PM • DGA 3
Video, 6 min., Color, Narrative

TO TRANSGRESS: A MEDITATION
(United States, 2006-08) Dir./Wtr.: Maya Santos
TO TRANSGRESS: A MEDITATION explores the moment when She leaves everything She knows to become everything uncertain. Threading homeland, body, family, innocence, sexuality and love, the film provides a meditative glimpse toward a lifetime of self-love.
WEDNESDAY, MAY 7, PROGRAM 57 • 9:30 PM • IAC
Video, 6 min., Color, Experimental

Los Angeles Celebrates East West Players’ 42nd Visionary Awards

April 28, 2008, Los Angeles: The East West Players 42nd Anniversary Visionary Awards Dinner will be held tonight at the Universal City Hilton with master of ceremonies 'The Three Filipino Tenors'. The East West Players Visionary Awards is an event that salutes artists who have raised the visibility of the Asian Pacific American community through theater, film and television. Proceeds from the evening will benefit East West Players educational and artistic programs.

East West Players 42nd Anniversary celebrates the "Home" that many Asian Pacific Americans in the entertainment industry have found at East West Players. For 42 years, East West Players has been a place for the Asian Pacific American voice to thrive like awardee Carrie Ann Inaba, judge for 7 seasons now of 'Dancing With The Stars.'(Photo at left)

Masters of Ceremonies will be the THREE FILIPINO TENORS namely Lito Villareal, Randy Guiaya and Antoine Diel . This year's honorees include celebrated playwright VELINA HASU HOUSTON and television personality CARRIE ANN INABA (ABC's Dancing with the Stars) and the hot new dance group JABBAWOCKEEZ (pictured at right).

This will be a memorable evening of celebrating the Asian contribution to the performing arts here in Los Angeles.

For more information please call (213) 625-7000.

Chantry Flat Wildfire near Sierra Madre Rages On

All photos by 'Flora' / Sierra Madre-Arcadia

SIERRA MADRE, Calif. - Hundreds of fire crews battled a wildfire that started in the Angeles National Forest about 10 miles northeast of Pasadena that forced the evacuation of a scout camp and left hikers stranded in the biggest of several blazes on a hot, dry weekend in Southern California. It has also forced evacuations to 1000 residents in and around the hillside community.

The fire had grown to 400 acres by Sunday, but firefighters hoped to have it contained within 5 to 7 days, according to Elisa Weaver of the Arcadia Fire Department. Sunday afternoon's fire assault consisted mainly of four helicopter unitd and three fixed wing tankers dumping colored retardant on the 30 year old underbrush of the hillside because ground fire crews cannot navigate the steep terrain. The fire is concentrated on the steep canyon known as Chantry Flats, a popular hiking and biking trail with steep terrain.

The blaze was reported just after 1:40 p.m. in a wooded area off Santa Anita Canyon Road, Weaver said. 400 Fire crew personnel are fighting the ground assault to protect structures. One outhouse was destroyed but no injuries were reported. The fire is officially known as the 'Chantry Flats Fire', which is the name of the canyon designated a "Recreation Area" within the Angeles National Forest, about three miles into Big Santa Anita Canyon, and is closely associated with the town of Sierra Madre, CA.

The flat itself houses a large public picnic area, and is the starting point for several historic trails of the San Gabriel Mountains, including the 28.5 mile Gabrielino Trail. The US Forest Service estimates the road to Chantry as the third busiest entry into the Angeles, next to CA State Highways 2 and 39. Fire Crews have made a stand on Grandview avenue between Santa Anita Avenue in the east and Lima Street in the West to protect the houses at Sierra Madre. Ash fallout reached areas as far as Pasadena in the southwest.

Flames brought the evacuation of the Trask Boy Scout camp and left about 100 hikers were evacuated from Chantry Flats, Weaver said. A newly-wed couple were among the rescued evacuees who were escorted down by Sheriff's deputies and involved a few helicopter rescues.

Most of the Boy Scouts had already left the camp by the time the evacuation was ordered, Weaver said.

The fire was moving slowly northward, away from homes in nearby Sierra Madre and Arcadia. Fire crews were aided by a dozens of fire engines, three water tankers and four helicopters.

Temperatures in parts of Southern California hit the mid-90s Saturday afternoon, with mild but extremely dry winds which came from the south-southwest of the fire and aided in driving the fire uphill from the threatened homes. Evacuees are being housed at First Congregational Church in Sierra Madre and also at Hart Senior Center. Fire officials have reported 30 percent containment and expect to fully extinguish the wildfire which have separated into four different hot spots in about 5 to 7 days depending on the weather condition.

compiled by Jay Fermin
photos by Flora - Sierra Madre
Source: AP News, with reports from Fire Command Center
Last Modified: Saturday, April 27, 2008 at 9:52 p.m.

It's Time for GK to Break Away from CFC

In my article, "Quo Vadis, Gawad Kalinga?" (September 21, 2007), I said: "Gawad Kalinga is not just an organization, it's a movement -- an ideal, I must say -- driven by an army of believers: volunteers, advocates, beneficiaries, and benefactors. Indeed, Gawad Kalinga has taken a life of its own. It's scope has expanded to become an all-inclusive humanitarian movement. But does that mean that evangelization cannot be a part of Gawad Kalinga's mission? Sure it can. But not within the context of Couples For Christ. At the end of the day, there is only one way for Gawad Kalinga to go: move forward…on its own."

At the time I wrote the article, Frank Padilla had already formed a breakaway group, the Couples For Christ Foundation for Family and Life (CFC-FFL). However, Gawad Kalinga (GK) remained with CFC. After the split, the two groups went their separate ways and the furor subsided. But underneath the appearance of civility between the two groups, the rivalry between their leaders continued underground, shielded from the scrutiny of the media.

About two weeks ago, a news article written by ABS-CBN News' Carmela Fonbuena titled, "Vatican admonishes Couples for Christ over Gawad Kalinga," struck like a 50-foot tsunami. Fonbuena said, "The Vatican has chastised the Couples for Christ (CFC) group supportive of Gawad Kalinga founder Antonio Meloto for the 'erroneous steps [it has] taken' when it decided to shift focus from the spiritual to the social. The group was instructed to make a public apology." Further, she said, "Central to the concern of the Vatican was the direction taken by CFC-founded social action group Gawad Kalinga (GK). The Vatican disapproved of CFC's 'overemphasis on the social work' and GK's openness to donations from groups that promote artificial family planning."

The basis of Fonbuena's article was a letter dated March 11 sent by Stanislaw Cardinal Rylko of the Vatican's Pontifical Council for the Laity to CFC President Jose Tale which said that CFC should "counterbalance the overemphasis on social work…" And in regard to donations from entities who promote "artificial family planning" -- specifically, use of condoms -- Cardinal Rylko said, "Your decision to stop receiving this type of funding will help recover the good standing of your association Couples for Christ."

Fonbuena said that Cardinal Rylko's letter was the result of Tale's March 3, 2008 visit to the Vatican, where he "admitted [that] some mistakes have been made and a certain scandal and confusion [was] caused among the faithful."

It is interesting to note what William M. Esposo said in his recent article, "Tony Meloto's sanctification," to wit: "In a September 20, 2007 posting on www.restorecfc.multiply.com (website of Frank Padilla's breakaway group), Padilla admitted having sought and talked to Cardinal Rylko. Padilla stated that he went 'to speak with Archbishop Rylko and apprise him of the situation of CFC. That is my responsibility as the one who got our recognition and as the one whose name appears in our recognition.' Now, do you think that Frank Padilla told Cardinal Rylko the whole unvarnished truth or did he try to sell to the Cardinal his slanted version of the controversy?"

If Tale indeed admitted that some "mistakes" were made, then it is presumed that Cardinal Rylko addressed only those "mistakes" admitted by Tale. I believe, however, that if Tale did not go to the Vatican, the rift between CFC and CFC-FFL would have remained underground and the Vatican would have turned a blind eye and a deaf ear to the imbroglio. In essence, Tale forced Cardinal Rylko to react to his admission that some "mistakes" were made.

So, what now? Before we proceed, let's take a quick look at the history of CFC: In 1993 Padilla together with several others broke away from another Catholic lay organization, the Ang Ligaya ng Panginoon (Joy of the Lord), to form CFC. In 2002, another split occurred when the Families in Christ Jesus (FCJ) was formed by a splinter group within CFC. The organizers of FCJ believed that CFC was veering away from its evangelistic mission when it started raising funds to build homes for the poor. They were of the belief that CFC should not be in the business of fund-raising. At that time, Padilla was the head honcho of CFC. Ironically, it was for the same reason that Padilla formed the CFC-FFL. It's amazing how history repeated itself in so short a time.

I said in "Quo Vadis, Gawad Kalinga?": "The CFC-Gawad Kalinga relationship was like a case of a square peg in a round hole: no matter how you try to fit it in, it won't fit in. Gawad Kalinga simply wouldn't work the way it was conceived or, more appropriately, the way it evolved into what it is today. One can argue that nothing is wrong with what Gawad Kalinga has been doing. Indeed, nation-building is one of the noblest missions to pursue. However, the Couples For Christ is not about building a nation; it is about building the Church. And that was the reason why the Vatican recognized and sanctioned CFC in 2000." It seems that Cardinal Rylko merely reinforced what the Roman Catholic Church is all about.

One of the leaders of FCJ told me: "CFC and GK are both right in their missions. However, the members have to choose between the two missions using their own personal charism." In other words, they have to choose between "winning the souls" and "building communities for the poor."

PerryScope: by Perry Diaz

I believe that it's time for Gawad Kalinga to break away from Couples for Christ and to stand on its own, without any ties -- directly or indirectly -- to the Vatican. By severing its ties