Posted by: cardcrusher | 04/17/2010

Charice fans resort to sock puppetry to promote Charice

At AATheory; Charice fans have stooped to such low levels in promoting Charice. They are now creating sock puppets to create some noise about the Jojo/Whitney/ Celine clone. I have proof that they created sock puppets to create a false impression that she has many fans.  From Charicediva.com: (note the highlighted portion)

Charice fans are pathetic and can’t tolerate opinions that they don’t agree with. If they feel the need to  create imaginary fans of that little copycat on a little site, how can they handle the opinions of the catty people of Oh No They Didn’t who haven’t been impressed with Charice?  Check out the unflattering comments coming from ONTD: 04-24 newer link link, link, link, link

04-18-10 Update

Since AAtheory is down until 04-20, I’ll post a screenshot of my post that exposed the despicable behavior of Charice fans:

Over at ChariceDiva, Charice fans are showing their true nature. They’re actually condoning deception and sock puppetry. Those lowlifes aren’t ashamed of their bad behavior. In fact, some of them are attacking the whisteblower for exposing the truth:

Last, but not least is the person who started the whole thing. Modster lacked the spine to let the original message to remain as it is. That person edited the original message urging other vile people like him/herself to create sock puppets. Just note how shameless and unremorseful that person is:

No wonder some Filipinos are so butthurt when somebody calls the Philippines a nation of servants or make a comment that Filipinos have nothing going for them other than Manny Pacquiao.

Arnel Pineda and Charice Pempengco are copycats. Charice is a copycat of Whitney Houston, Toni Braxton, and Celine Dion. Arnel is a copycat of former Journey frontman Steve Perry. Being a copycat is not a problem except acoustical recording has existed for a very long time. Songs performed by original performers are easily accessible and affordable in physical and digital formats.

The issue that is overlooked when analyzing Arnel and Charice is one of originality and identity. Since they just sing the material made popular by others, they come off as having no distinct identities. They come off as Asians who just desperately try to be EXACTLY LIKE Whitney Houston, Celine Dion,Steve Perry, and etc. Compare and contrast the two to non Americans who have made it/ attempted to enter the US market:

Puerto Rico: Ricky Martin,Marc Anthony (American of PR descent), Daddy Yankee, the women of Nina Sky (American of PR descent)
Colombia:Shakira
Mexico: Paulina Rubio, Carlos Santana
Spain/Philippines: Enrique Iglesias
Brazil: Joao Gilberto and Tom Jobim
Americans of part or full Asian descent: Norah Jones, Don Ho, Jocelyn Enriquez
Philippines: Apl de Ap of the Black Eyed Peas, Freddie Aguilar

The most important thing to highlight is  that all those mentioned above were not press ganged into adopting identities that were not theirs. All those mentioned were able to demonstrate their cultural identities into their works in more ways than one. For instance, Ricky Martin , Enrique Iglesias, and Marc Anthony were able to showcase Latin music and perform partly in Spanish. On the other hand, Arnel and Charice HAVE TO be like other people who have different (cultural) identities.

In addition, through anime and video games, Jpop and rock are becoming popular among certain demographics in the US. Ayumi Hamasaki, Hikaru Utada, and Puffy are followed by that demographic(s) due to gaming and anime trends. The Jpop/rock acts sing in Japanese, and they give little to no hint of attempting to be more mainstream to attract more American fans.

The Wonder Girls of South Korea toured with the Jonas Brothers. Unlike Charice, the Wonder Girl’s song was able to get radio airtime in the US. In addition, the Wonder Girls was able to grow a big fan base in South Korea (& create a dance craze throughout Asia and beyond) before heading off  to the United States. In comparison, Arnel and Charice had very little to no fan base in the Philippines before getting noticed by Americans.

A musician having no identity and originality is quite unacceptable.

EDIT—I have to give credit to this blog entry named “Filipinos Spit On Themselves By Supporting Arnel Pineda and Charice Pempengco”. That blog entry is quite persuasive in arguing that Arnel and Charice are copycats. In addition, it makes a point about the Filipino fans of Charice and Arnel.

It made me think that blind bandwagon jumping Filipinos are only supporting Arnel and Charice due to shared origins. Those easily fooled bandwagon Filipinos won’t be fans of Arnel and Charice if those two are Malaysian or Indonesian.

end of edit

2ND EDIT 01-16-10

Comments that disagree with what I presented are welcomed and encouraged. Just keep your comments civil and clean “enough”. Comments below like FAKE FREDDIE will no longer be tolerated. It’s possible to disagree in a civil way.

END OF 2ND EDIT

 

Posted by: cardcrusher | 12/23/2009

Kubrador: An Underrated Gem

Kubrador (Bet Collector) is one remarkable  film that gets lost among the shuffle when others discuss quality Filipino films. Unlike Kinatay by Brillante Mendoza, it’s director didn’t win best director at Cannes. Heck, it wasn’t was not even shown at Cannes.  Nonetheless, it’s really one of the best films of 2006.

Kubrador is reminiscent of  Vittorrio DeSica’s Bicyle Thief and Fernando Meirelles’ City Of God in terms of style and content while being brutally honest about the realities of the life of the Philippines’ underclass. The way the film is shot draws the audience close to at best, working class Filipino neighborhoods.  Through the plight of a lowly jueteng (an illegal local game sort of a mini lottery) bet collector, the viewer is presented with a view of the Philippine underclass where people from the bet collector to the local gambling boss have to play their parts in the corruption that permeates the country. While it has its messages (politically and socially), the film is never preachy or heavy-handed. Jeffrey Jeturian, the filmmaker, doesn’t paint the characters with a judgmental brush. From the unemployed man (tending to his cock-fighting pet)  nudged into making a bet to the cop supervisor who arrested the protagonist but who also made a bet, the viewer is given the clear decision to judge who is the villain if there is even one present.

A notable aspect is the superb acting by Gina Pareno. She truly deserved all the acting awards that she won for that role. The film’s effectiveness depended on her subtle and natural performance.

Fans of world cinema ought to watch Kubrador. It might not be as conventional as Alejandro González Iñárritu’s Amorres Perros, but it doesn’t have a lesser bite (no pun intended) compared to the Mexican film.

Filipinos should definitely take the time to view the film. It’s been so common to hear them complain about the lack of quality local films, but when quality stuff is out there, they don’t go out to support them. Jeturian and producer Joji Alonso should be lauded for making such a gem. Alonso, a lawyer by trade and training, is a benefactor that is needed by Filipino cinema.

Further reviews:

NYT

Village Voice

Posted by: cardcrusher | 12/21/2009

I see what you did there (Pinoy style)

Sometimes sarcastic humor is timely. It also makes the situation less severe. This is something I came across that Filipinos everywhere can laugh at:

“Philippines is the land for free people..and its really great!!! every filipino enjoys their freedom here..you can urinate anywhere, you can spit and throw thrashes everywhere, you can argue with the police and let you free, you can be friends with politicians and you’ll gain the power of immunity, you can live anywhere even if you dont own that piece of land and if the owner wants to kick you out of his land he needs to pay you before you go. extra income Philippines got cheaply developed tourist spots,but still it will make your jaw drop. ..and philippines has the best over-hyping media.. and Philippines got the best league in Asia.(LoL) And the best coach in the world.coach GWEYAO LoL does Germany got that kind of freedom? i respect the Philippines but all of what i had stated above are facts. Freedom at its best!”

Source

Posted by: cardcrusher | 12/09/2009

2009: The Year of the Filipino Independent Film

2009 has been a good year for Filipino independent film and filmmakers. First and foremost is the Cannes Film Festival, the planet’s premiere film festival.  Brillante Mendoza became the first Filipino filmmaker to win as best director. At the main competition, Brillante managed to beat the likes of Pedro Almodovar, Quentin Tarantino, festival favorite Lars Von Trier, Ang Lee, and Park Chan Wook. To put it simply, it is not an easy task for any filmmaker from any country to accomplish. Mendoza’s Kinatay was not the only Filipino indie that represented the country. He was joined by Raya Martin who competed in the Un Certain Regard category with his  Independencia. Adolfo Alix Jr’s  Manila did not compete, but was shown as part of the special screenings category.

France was not only the country where the under-seen Filipino indies were given a stage to shine. Next door, Italy’s premiere film festival and considered among the Big 4, La Biennale di Venezia, also became a stage for Filipino filmmakers to showcase their works. Brillante Mendoza was asked by the Venice Film Festival itself to submit a film to compete in. His Lola was  added as the second surprise film of the main competition. Mendoza would not come out with any prize at Venice, but another Filipino did. Engkwentro by Pepe Diokno won the Orrizonti Prize. Just note that both Kinatay and Engkwentro are films that divided both audience and critic not only in the Philippines and abroad.  The former made Roger Ebert rethink the term worst film shown at Cannes. He actually made an apology to Vincent Gallo for calling the Brown Bunny the worst film in the history of the Cannes Film Festival. I doubt Ebert has seen many Filipino films (he previously reviewed Mendoza’s Serbis), but what a way for his considerable readership to be introduced to Filipino cinema through one labeled as the worst film shown in competition there!

While some Filipino critics call those indies “poverty porn”, they are missing the point. The triumph of those films demonstrate that there is a viable alternative to mainstream Filipino cinema. The masses will enjoy their John Lloyd- Sarah Geronimo movies. They’ll laugh and cry at the latest Ai Ai slapstick. Nonetheless, there is enough room for quality Filipino output. Quality enough that Filipinos everywhere can now have something to boast about when friends and acquaintances ask for any “international class” film from the country to check out. As for those who criticize the indie filmmakers for only portraying the  country in a negative light, it’s time to call them out on that one. Is there only room for positive and safe subjects? What has the Mano Po franchise garnered? Did Anak make even a ripple abroad outside of the Filipino expatriate communities? The flourishing market has enough room for some challenging fare and those falsely idyllic representations of the country.

Posted by: cardcrusher | 10/10/2009

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Just call me CardCrusher. No, I am not THAT revered and esteemed CardCrusher.

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