start here...
Friday, October 17, 2008
Saturday, October 11, 2008
Why is the Filipino Special?
got this from an ate nex's email. a must read...
Why is the Filipino Special?
By Ed Lapiz
Filipinos are brown. Their color is at the center of human racial
strains. This point is not an attempt at racism, but just for many Filipinos to realize that our color should not be a source of or reason for an inferiority complex. While we pine for a fair complexion, white people are religiously tanning themselves, under the sun or artificial light, to approximate the Filipino complexion.
Filipinos are a touching people. We have lots of love and are not afraid to show it. We almost inevitably create human chains with our perennial akbay (putting an arm around another's shoulder), hawak (hold), yakap (embrace), himas (caressing stroke), kalabit (touching with the tip of the finger), kalong (sitting on someone else's lap), etc. We are always reaching out, always seeking interconnection.
Filipinos are linguists. Put a Filipino in any city, any town around the world. Give him a few months or even weeks and he will speak the local language there. Filipinos are adept at learning and speaking languages. In fact, it is not uncommon for Filipinos to speak at least three: his own local dialect, Filipino, and English. Of course, a lot speak an added language, be it Chinese, Spanish or, if he works abroad, the language of his host country. In addition, Tagalog is not 'sexist.' While many 'conscious' and 'enlightened' people of today are just by now striving to be 'politically correct' with their language and, in the process, bend to absurd depths in coining 'gender sensitive' words, Tagalog has, since time immemorial, evolved gender-
neutral words like asawa (husband or wife), anak (son or daughter), magulang (father or mother), kapatid (brother or sister), biyenan (father-in-law or mother-in-law), manugang (son or daughter-in- law), bayani (hero or heroine), etc. Our languages and dialects are advanced and, indeed, sophisticated!
Filipinos are groupists. We love human interaction and company. We always surround ourselves with people and we hover over them, too. According to Dr. Patricia Licuanan, a psychologist from Ateneo and
At work, we live bayanihan (mutual help); at play, we want a kalaro (playmate) more than laruan (toy). At socials, our invitations are open and it is more common even for guests to invite and bring in other guests. In transit, we do not want to be separated from our group. So what do we do when there is no more space in a vehicle? Kalung-kalong! (Sitting on one another). No one would ever suggest splitting a group and wait for
another vehicle with more space!
Filipinos are weavers.. One look at our baskets, mats, clothes, and other crafts will reveal the skill of the Filipino weaver and his inclination to weaving. This art is a metaphor of the Filipino trait. We are social weavers. We weave theirs into ours that we all become parts of one another. We place a lot of premium on pakikisama (getting along) and pakikipagkapwa (relating). Two of the worst labels, walang pakikipagkapwa (inability to relate), will be avoided by the Filipino at almost any cost. We love to blend and harmonize with people, we like to include them in our 'tribe,' our 'family'- and we like to be included in other people's families, too. Therefore we call our
friend's mother nanay or mommy; we call a friend's sister ate (eldest sister), and so on. We even call strangers tia/tita (aunt) or tio/tito (uncle), tatang (grandfather), etc.
So extensive is our social openness and interrelations that we have specific title for extended relations like hipag (sister-in-law' s spouse), balae (child-in-law' s parents), inaanak (godchild), ninong/ninang (godparents), kinakapatid (godparent's child), etc.
In addition, we have the profound 'ka' institution, loosely translated as 'equal to the same kind' as in kasama (of the same company), kaisa (of the same cause), kapanalig (of the same belief), etc. In our social fiber, we treat other people as co-equals. Filipinos, because of their social 'weaving' traditions, make for excellent team workers.
Filipinos are adventurers. We have a tradition of separation. Our myths and legends speak of heroes and heroines who almost always get separated from their families and loved ones and are taken by circumstances to far-away lands where they find wealth or power.
Our Spanish colonial history is filled with separations caused by the reduccion (hamleting), and the forced migration to build towns, churches, fortresses or galleons. American occupation enlarged the space of Filipino wandering, including
Filipinos are excellent at adjustments and improvisation, managing to recreate their home, or to feel at home anywhere. Filipinos have Pakiramdam (deep feeling/discernment ). We know how to feel what others feel, sometimes even anticipate what they will feel. Being manhid (dense) is one of the worst labels anyone could get and will therefore, avoid at all cost. We know when a guest is hungry though the insistence on being full is assured.
We can tell if people are lovers even if they are miles apart. We know if a person is offended though he may purposely smile. We know because we feel. In our pakikipagkapwa (relating), we get not only to wear another man's shoe but also his heart.
We have a superbly developed and honored gift of discernment, making us excellent leaders, counselors, and go-betweens. Filipinos are very spiritual. We are transcendent. We transcend the physical world, see the unseen and hear the unheard. We have a deep sense of kaba (premonition) and kutob (hunch). A Filipino wife will instinctively feel her husband or child is going astray, whether or not telltale signs present themselves.
Filipino spirituality makes him invoke divine presence or intervention at nearly every bend of his journey. Rightly or wrongly, Filipinos are almost always acknowledging, invoking or driving away spirits into and from their lives. Seemingly trivial or even incoherent events can take on spiritual significance and will be given such space or consideration. The Filipino has a sophisticated, developed pakiramdam. The Filipino, though becoming
more and more modern (hence, materialistic) is still very spiritual in essence. This inherent and deep spirituality makes the Filipino, once correctly Christianized, a major exponent of the faith.
Filipinos are timeless. Despite the nearly half-a-millennium encroachment of the western clock into our lives, Filipinos-unless on very formal or official functions-still measure time not with hours and minutes but with feeling. This style is ingrained deep in our psyche. Our time is diffused, not framed. Our appointments are defined by umaga (morning), tanghali (noon ), hapon (afternoon), or gabi (evening). Our most exact time reference is probably katanghaliang- tapat (high noon), which still allows many minutes of leeway.
That is how Filipino meetings and occasions are timed: there is really no definite time. A Filipino event has no clear-cut beginning nor ending. We have a fiesta , but there is visperas (eve), a day after the fiesta is still considered a good time to visit. The Filipino Christmas is not confined to December 25th; it somehow begins months before December and extends up to the first days of January.
Filipinos say good-bye to guests first at the head of the stairs, then down to the descanso (landing), to the entresuelo (mezanine), to the pintuan (doorway), to the trangkahan (gate), and if the departing persons are to take public transportation, up to the bus stop or bus station.
In a way, other people's tardiness and extended stays can really be annoying, but this peculiarity is the same charm of Filipinos who, being governed by timelessness, can show how to find more time to be nice, kind, and accommodating than his prompt and exact brothers elsewhere.
Filipinos are Spaceless. As in the concept of time, the Filipino concept of space is not numerical. We will not usually express expanse of space with miles or kilometers but with feelings in how we say malayo (far) or malapit (near). Alongside with numberlessness, Filipino space is also boundless. Indigenous culture did not divide land into private lots but kept it open for all to partake of its abundance.
The Filipino has avidly remained 'spaceless' in many ways. The interior of the bahay-kubo (hut) can easily become receiving room, sleeping room, kitchen, dining room, chapel, wake parlor, etc. Depending on the time of the day or the needs of the moment.
The same is true with the bahay na bato (stone house). Space just flows into the next space that the divisions between the sala, caida, comedor, or vilada may only be faintly suggested by overhead arches of filigree. In much the same way, Filipino concept of space can be so diffused that one 's party may creep into and actually expropriate the street! A family business like a sari-sari store or talyer may extend to the sidewalk and street. Provincial folks dry palayan (rice grain) on the highways! Religious groups of various persuasions habitually and matter-of-factly commandeer streets for processions and parades. It is not uncommon to close a street to accommodate private functions, Filipinos eat. sleep, chat, socialize, quarrel, even urinate, or nearly everywhere or just anywhere! 'Spacelessness, ' in the face of modern, especially urban life, can be unlawful and may really be counter-productive. On the other hand, Filipino spacelessness, when viewed from his context, is just another manifestation of his spiritually and communal values. Adapted well to today's context, which may mean unstoppable urbanization, Filipino spacelessness may even be the answer and counter balance to humanity's greed, selfishness and isolation.
So what makes the Filipino special? Brown, spiritual, timeless, spaceless, linguists, groupists, weavers, adventurers; seldom do all these profound
qualities find personification in a people. Filipinos should allow - and should be allowed to contribute their special traits to the world-wide community of men - ah. . . . but first, they should know and like themselves.
Sunday, October 5, 2008
Piling Obrang Video 2008 Call for Entries
PILING OBRANG VIDYO 2008
An Interschool Video Competition
CALL FOR ENTRIES
MECHANICS for UP DILIMAN
1. The competition is open to all bona fide students of the College/University of AY 2008-2009. Graduates of AY 2007-2008 may also join. Students must secure a certification of enrollment.
2. All entries should be shot on video. Entries shot on film will not be accepted.
3. Entries should have been made after June 2007. A student may submit up to three (3) entries.
4. The competition has no theme. Entries must be narrative.
5. Maximum length of entries is 20 minutes, no minimum length. Entries must be submitted in MINI-DV or DVD format and must be labeled with the TITLE, FILMMAKER/S NAME/S CATEGORY, and TOTAL RUNNING TIME. Students may get the official registration form from UP CINEMA.
6. Entries must be submitted in a short brown envelope with the following:
a. Duly accomplished registration form with conforme available at the UP Film Institute Office or from Redge Valenzuela (09158473630)
b. A one page synopsis’ of the film
c. Complete list of the cast and production crew
d. Two 5”x7” film stills (printed and soft copy, in jpeg format)
e. Registration fee Envelopes must be labeled outside with the TITLE, FILMMAKER/S NAME/S and TOTAL RUNNING TIME.
7. The selected official entry of the school shall submit a 20 to 30 second trailer of the film in mini-dv or DVD format.
8. Deadline of submission of entries is EXTENDED until OCTOBER 10, 2008, Friday. Students may submit their entries to UP CINEMA.
9. The official entry will be submitted to UP CINEMA which will then compete with other university’s official entries for POV (PILING OBRANG VIDYO) finals night at Cine Adarna (formerly UP Film Center) on December 9, 2008, Tuesday.
10. Registration fee of P100.00 for the official entry.
11. Official Entries will compete for the following awards:
BEST NARRATIVE
Php 7,000 plus trophy
2nd BEST NARRATIVE
Php 5,000 plus trophy
1 VIEWER’S CHOICE
Php 1,000 plus trophy
CITATIONS FOR
- Cinemaster's Choice
- Best Direction
- Best Production Design
- Best Performance
- Best Screenplay
- Best Cinematography
- Best Sound
- Best Editing
- Best Music
12. Entries must not have been exhibited commercially in any theater or television.
13. UP CINEMA will not be responsible for any legal complaints as a result of the filmmaker’s use of music and other copyrighted works on the film.
14. Submitted copies of official entries will be the property of UP CINEMA. Thus, no master copy shall be submitted to POV.
15. The decision of the Selection Committee and the Board of Judges during the finals night is final. The Committee and Board reserves the right not to give awards in any category should no entry merit it.
MECHANICS FOR OTHER SCHOOLS
1. The competition is open to all bona fide students of the College/University of AY 2008-2009. Graduates of AY 2007-2008 may also join. Students must secure a certification of enrollment.
2. All entries should be shot on video. Entries shot on film will not be accepted.
3. Entries should have been made after June 2007. A student may submit up to three (3) entries.
4. The competition has no theme. Entries must be narrative.
5. Maximum length of entries is 20 minutes, no minimum length. Entries must be submitted in MINI-DV or DVD format and must be labeled with the TITLE, FILMMAKER/S NAME/S CATEGORY, and TOTAL RUNNING TIME. Students may get the official registration form from UP CINEMA or the participating school’s department or sponsoring organization.
6. Entries must be submitted in a short brown envelope with the following:
a. Duly accomplished registration form with conforme
b. A one page synopsis of the film
c. Complete list of the cast and production crew
d. Two 5”x7” film stills (printed and soft copy, in jpeg format)
e. Registration fee Envelopes must be labeled outside with the TITLE, FILMMAKER/S NAME/S and TOTAL RUNNING TIME.
7. Registration fee is P100.00
8. The selected official entry of the school shall submit a 20 to 30 second trailer of the the film in MINI-DV or DVD format.
9. Deadline of submission of entries is on October 10, 2008, Friday. Students may submit their entries to their school’s official partner organization or to UP CINEMA.
10. All entries from the College/University will have its public screening to be organized by the school’s official partner organization. The College/University’s official entry will be selected by a Screening Committee. The official entry will be submitted to UP CINEMA which will then compete with other university’s official entries for POV (PILING OBRANG VIDYO) finals night at Cine Adarna (formerly UP Film Center) on December 9, 2008, Tuesday.
11. Official entries must have an endorsement letter from the school head.
12. Official Entries will compete for the following awards:
BEST NARRATIVE
Php 7,000 plus trophy
2nd BEST NARRATIVE
Php 5,000 plus trophy
1 VIEWER’S CHOICE
Php 1,000 plus trophy
CITATIONS FOR
- Cinemaster's Choice
- Best Direction
- Best Production Design
- Best Performance
- Best Screenplay
- Best Cinematography
- Best Sound
- Best Editing
- Best Music
13. Entries must not have been exhibited commercially in any theater or television.
14. UP CINEMA will not be responsible for any legal complaints as a result of the filmmaker’s use of music and other copyrighted works on the film.
15. Submitted copies of official entries will be the property of UP CINEMA. Thus, no master copy shall be submitted to POV.
16. The decision of the Selection Committee and the Board of Judges during the finals night is final. The Committee and Board reserves the right not to give awards in any category should no entry merit it.
East Asian (viewing) weekend
I watched the Death Note live action movie last night. The first part had good translation. The second part had better video quality but way lousy translation. Imagine, Light is called Moon, or sometimes monthly monarch, while when he’s called by his last name Yagami, it’s spirit of the night. But when it’s his dad, Yagami is trasnlated as supernatural of the night. Misa is sand of the sea, L is Long Qi, Ogi-san is gentleman of mould. The third Kira was high field. Oh yeah, Kira is translated as very happy. It was quite a laugh, hearing and then deciphering that those were actually their names. Talk about literal, haha. Sentence structure was also not in the best possible state. So I wasn’t able to get much of what happened in the second part, for example how things were figured out, etc. It’s good that I got to read the manga so at least, I had an idea what’s happening. There are lots of times when the characters were speaking but there’s nothing you can read. And I can’t understand much of Japanese either. Now, the story.
A lot of parts had been cut out. Although that’s not to say that the movie is not any better. There are lots of alterations although I think it is for a good purpose. There were only three people who used the Death Note whereas in the manga, there were four. The beginning was also quite clever in that it started with Light as already a university student and reports of Kira’s deeds making echoes in their society. Flashbacks gave insight as to how this came about. Although the manga was able to focus more on the quirks of their characters, especially those of Light’s and L’s, the movie was sufficiently able to give a coherent view of the relationship between the two and the challenges they posed onto one another (although I did not get to understand much of what went on between them since you can send the translation to hell). Light and L also seem more human here. Misa is also tolerable as a villain and as a wannabe-girlfriend of the former. Light’s reasons for becoming Kira seem more in touch with reality. Even though he was consumed by his thought, the live action was able to show that this stemmed from basic human goodness, although he still believed that anyone’s death can be used as a means to succeed in his purpose. His dad did not die here, although someone else close to him did. Light’s death did not make it seem as if he was insane. His parents and his sister even remember him and show grief (for their loss of him) at the end of the movie, reminding us that he was not just an intelligent kid who stumbled upon the Death Note and was controlled by its power, but he was also a gentle son, a loving brother. L is also somewhat a more endearing character, earning admiration from Chief Yagami, although his death by the Death Note was also necessary to unmask the original Kira. Watari is shown as someone who is quite dear to L, although he has shown no inclination towards such sentiments in the manga. The realizations of Ryuk and Rem in the movie are quite satisfactory. Too bad we didn’t get to see N here, but it’s alright or else, the live action would be much longer, but I’m positive they can turn it into a 10-episode live action series. The guy playing Light (also the lead male character in Battle Royale) was able to act his character well. I wanted to be more shocked, or at least, piqued by his eccentricities, when L was first revealed, but well, it seems the very first time would always be the best. So I thought L here was not really at par with L in the manga. All in all, the movie was able to satisfactorily adapt the original story, while being able to incorporate the human element in the characters. If you’re looking for story, well, here’s something you might want to look into.
After watching this, I was already sleepy so I slept for a bit. Then I woke up at around two. I prepared to go to sleep once more, but then I couldn’t (this happens every time – once I wake up from sleep, no matter how little I’ve slept, say from 10-12mn, I’ll only be sleepy come 5 o’clock). Well, right now, I’m not even sleepy. So I gave up on the sleeping around a quarter to 3. I ended up borrowing some of Ket’s DVDs (last Friday), one of which was a collection of Korean movies most of which I’ve watched (200 Pounds Beauty, My Sassy Girl, My Tutor Friend 2, He Was Cool) and the others I’ve only encountered now (She’s on Duty (Andrew from Coffee Prince is here, sporting a sort of semi-bald (semi-kalbo) cut looking really cute as an undercover yakuza underling who develops a romantic attachment with another undercover, but this time, a cop), So Cute (no energy, found it quite boring so didn’t bother finishing it), D-something Naughty Girls (the setting’s a school with everyone almost sleeping with everybody, a fact openly declared, with everyone singing with matching choreography; the movie had no single story line initially so I also didn’t bother with this) and Jenny and Juno). I had a sort of marathon yesterday, watching She’s on Duty, then My Tutor Friend 2. I didn’t really like MTF2 the first time I watched it (on crunchyroll.com, my dears), but I must be feeling too emotional and too vulnerable to love nowadays that I liked it. Originally, my objection had been that they just wanted to use the title even though there didn’t seem to be much tutoring going on. Well, now I see the love story and of course, the guy is still muy guapo. He’s also a downright goofy guy so I loved him again hehe. After this, I got curious with the series My Sassy Girl Choon-Hyang. There are 17 episodes of 17 episodes but I’m only on the 9th. Much has happened so I guess, there’ll be plenty more of struggle for Mong-Ryong and then for the both of them, since much of Choon-Hyang’s has already happened for the last eight episodes. It’s just that the disc is about used a lot so it’s been stopping every now and then, making it harder for me to finish watching it. Recently, I’ve become more easily moved to tears by what I watch. Just last week, I watched I Am Sam and cried a lot when Sam and Lucy were finally separated on court’s orders. The other romance dramas I’ve watched before only used to make me feel a pain in my breast, like I’m in the situation as the characters, but watching MSG Choon-Hyang made me cry for whatever the girl was going through. I’m currently wondering where my feeling all of these would lead to. Anyway, so this dawn, I was watching Jenny and Juno, a pair of cute high school couple on whom a lifetime of responsibility is bestowed on when the girl gets pregnant. The two looked like innocent high school kids, she – among the top five and the class president, and he – a champion cyber gamer. Her pregnancy turns their lives around, both of them determined to have the baby. Juno stays true to his word that he’ll take care of her and he was doing so wonderfully (waking up in the middle of night to answer to her whims, feeding her healthy food and both of them nourishing each other with happy thoughts). I thought I was also gonna give up on this some twenty minutes into the movie, but some scenes just make you want to go on watching, and eventually, there was no turning back. I’m glad I finished it. The movie just reminded me that there a lot of good things in life, not the least of them the people who care for you, and we just have to enjoy them. It also had a sort of sunny disposition so I feel good this sunny morning. It’s also like everything’s so clear. it was a sort of blessing that Winamp was playing the first soundtrack of Dawson’s Creek. I haven’t heard the lyrics as clearly as I had this morning (it may also be probably due to the fact that the volume is louder), reveled in their meanings and appreciated why shows such as Dawson’s Creek have soundtracks and the soundtrack itself. The movie left me hoping that I had something akin to what they have, although we can leave out the baby for now, thanks.
Well, it’s now a quarter past 7 (viertel nach sieben/las siete y quince minutos) , and the sun is so bright. I’ve got to do microbiological analysis on my beef samples all week, so gotta get ready.
Guten Morgen. Buenos dias. Magandang umaga. Masantos ya agew.
Ciao!
A lot of parts had been cut out. Although that’s not to say that the movie is not any better. There are lots of alterations although I think it is for a good purpose. There were only three people who used the Death Note whereas in the manga, there were four. The beginning was also quite clever in that it started with Light as already a university student and reports of Kira’s deeds making echoes in their society. Flashbacks gave insight as to how this came about. Although the manga was able to focus more on the quirks of their characters, especially those of Light’s and L’s, the movie was sufficiently able to give a coherent view of the relationship between the two and the challenges they posed onto one another (although I did not get to understand much of what went on between them since you can send the translation to hell). Light and L also seem more human here. Misa is also tolerable as a villain and as a wannabe-girlfriend of the former. Light’s reasons for becoming Kira seem more in touch with reality. Even though he was consumed by his thought, the live action was able to show that this stemmed from basic human goodness, although he still believed that anyone’s death can be used as a means to succeed in his purpose. His dad did not die here, although someone else close to him did. Light’s death did not make it seem as if he was insane. His parents and his sister even remember him and show grief (for their loss of him) at the end of the movie, reminding us that he was not just an intelligent kid who stumbled upon the Death Note and was controlled by its power, but he was also a gentle son, a loving brother. L is also somewhat a more endearing character, earning admiration from Chief Yagami, although his death by the Death Note was also necessary to unmask the original Kira. Watari is shown as someone who is quite dear to L, although he has shown no inclination towards such sentiments in the manga. The realizations of Ryuk and Rem in the movie are quite satisfactory. Too bad we didn’t get to see N here, but it’s alright or else, the live action would be much longer, but I’m positive they can turn it into a 10-episode live action series. The guy playing Light (also the lead male character in Battle Royale) was able to act his character well. I wanted to be more shocked, or at least, piqued by his eccentricities, when L was first revealed, but well, it seems the very first time would always be the best. So I thought L here was not really at par with L in the manga. All in all, the movie was able to satisfactorily adapt the original story, while being able to incorporate the human element in the characters. If you’re looking for story, well, here’s something you might want to look into.
After watching this, I was already sleepy so I slept for a bit. Then I woke up at around two. I prepared to go to sleep once more, but then I couldn’t (this happens every time – once I wake up from sleep, no matter how little I’ve slept, say from 10-12mn, I’ll only be sleepy come 5 o’clock). Well, right now, I’m not even sleepy. So I gave up on the sleeping around a quarter to 3. I ended up borrowing some of Ket’s DVDs (last Friday), one of which was a collection of Korean movies most of which I’ve watched (200 Pounds Beauty, My Sassy Girl, My Tutor Friend 2, He Was Cool) and the others I’ve only encountered now (She’s on Duty (Andrew from Coffee Prince is here, sporting a sort of semi-bald (semi-kalbo) cut looking really cute as an undercover yakuza underling who develops a romantic attachment with another undercover, but this time, a cop), So Cute (no energy, found it quite boring so didn’t bother finishing it), D-something Naughty Girls (the setting’s a school with everyone almost sleeping with everybody, a fact openly declared, with everyone singing with matching choreography; the movie had no single story line initially so I also didn’t bother with this) and Jenny and Juno). I had a sort of marathon yesterday, watching She’s on Duty, then My Tutor Friend 2. I didn’t really like MTF2 the first time I watched it (on crunchyroll.com, my dears), but I must be feeling too emotional and too vulnerable to love nowadays that I liked it. Originally, my objection had been that they just wanted to use the title even though there didn’t seem to be much tutoring going on. Well, now I see the love story and of course, the guy is still muy guapo. He’s also a downright goofy guy so I loved him again hehe. After this, I got curious with the series My Sassy Girl Choon-Hyang. There are 17 episodes of 17 episodes but I’m only on the 9th. Much has happened so I guess, there’ll be plenty more of struggle for Mong-Ryong and then for the both of them, since much of Choon-Hyang’s has already happened for the last eight episodes. It’s just that the disc is about used a lot so it’s been stopping every now and then, making it harder for me to finish watching it. Recently, I’ve become more easily moved to tears by what I watch. Just last week, I watched I Am Sam and cried a lot when Sam and Lucy were finally separated on court’s orders. The other romance dramas I’ve watched before only used to make me feel a pain in my breast, like I’m in the situation as the characters, but watching MSG Choon-Hyang made me cry for whatever the girl was going through. I’m currently wondering where my feeling all of these would lead to. Anyway, so this dawn, I was watching Jenny and Juno, a pair of cute high school couple on whom a lifetime of responsibility is bestowed on when the girl gets pregnant. The two looked like innocent high school kids, she – among the top five and the class president, and he – a champion cyber gamer. Her pregnancy turns their lives around, both of them determined to have the baby. Juno stays true to his word that he’ll take care of her and he was doing so wonderfully (waking up in the middle of night to answer to her whims, feeding her healthy food and both of them nourishing each other with happy thoughts). I thought I was also gonna give up on this some twenty minutes into the movie, but some scenes just make you want to go on watching, and eventually, there was no turning back. I’m glad I finished it. The movie just reminded me that there a lot of good things in life, not the least of them the people who care for you, and we just have to enjoy them. It also had a sort of sunny disposition so I feel good this sunny morning. It’s also like everything’s so clear. it was a sort of blessing that Winamp was playing the first soundtrack of Dawson’s Creek. I haven’t heard the lyrics as clearly as I had this morning (it may also be probably due to the fact that the volume is louder), reveled in their meanings and appreciated why shows such as Dawson’s Creek have soundtracks and the soundtrack itself. The movie left me hoping that I had something akin to what they have, although we can leave out the baby for now, thanks.
Well, it’s now a quarter past 7 (viertel nach sieben/las siete y quince minutos) , and the sun is so bright. I’ve got to do microbiological analysis on my beef samples all week, so gotta get ready.
Guten Morgen. Buenos dias. Magandang umaga. Masantos ya agew.
Ciao!
