On borrowed horse

Jessica Sanchez

Three days into the most crucial days ever for any reality TV contestant's dream towards achieving fame – no, it's not just any reality TV, it's American Idol for heavens – and the by-word on every TV junkie in this part of the word is "Jessica Sanchez."

Ask any fermale prime time broadcaster who's ever applauded on network news about Sanchez being on the Top 4 and you'll know why this has become even bigger than the Philippine Chief Justice on trial, the rising tension over at Panatag (Scarborough) Shoal, or the 5-thousand-plus people once called "residents" by pollsters or "voters" by politicians just before their community on reclaimed land burned down last Friday, now sit homeless and helpless, jampacked in a local Manila gym.

In view of the third, Sen. Tito Sotto had the gall to tell CNN that it lied in its series about the Philippines because, he said, we are a land of hope – just look at billionaire Senator Manny Villar, he said as an example, as poor then as any street-wandering Filipino today who has become an expert at preparing pagpag for daily subsistence and sustenance.

Villar has, in essence, risen above the odds and made a name for himself, Sotto said, therefore a prime example out of millions living below poverty line and who can therefore prove that (Villar's story) entitles us to cover up poverty with fancy graphics on tarpaulin. Did Malacañang cross its fingers wishing that the ADB delegates for whom the cover-up was intended mistook the tarpaulin for forward-looking "beautification?"

And yes, no doubt, it is some kind of news, Jessica Sanchez on American Idol. It's the kind which we so easily latch on to because it smells like a newly-opened balikbayan box filled with goodies from the latest clear-out sale in California that has landed right on our doorsteps tax-free.

Jessica Sanchez, no doubt, is a good performer, the best of anyone in her age category on TV today. She has the right phrasing, her musicality is sophisticated and her range is exceptional.

And I take it that she is, after all, "a Filipino," although until her slow rise to fame via American Idol Season 11, she was and is an All-American girl in a largely Filipino-dominated community in America. Still, her being in the Top 3 has made Philippine media treat it like that of an all-Filipino/Philippine contingent winning a gold in the Olympics.

I can understand Sanchez' maternal Bataeño relatives, descendants or witnesses perhaps to the largest surrender of American and Filipino WW II joint forces in Bataan, closely monitoring and rooting for her, and they have all the reason to. Besides them and her relatives from Mexico, from my point of view at least, Sanchez' rightful kababayans are those in Chula Vista, California who she share common aspirations and experiences with.

But by the way even the local entertainers and celebrities – count in the OPM officials and network executives – have been treating news about Sanchez, the fact is she is not panacea to the ailing Philippine music and entertainment industry or the answer to the much sought-after definition of "Filipino international superstardom" and everything else that's attached to it, especially since the Mexicans will pretty much claim her as "theirs" ahead of us, or as "Latina" as Jennifer Lopez.

To her credit, when prompted for reaction on camera, Sanchez is grateful for the support Filipinos from all over have given her. But all credit goes to her and how she has harnessed her God-given talent to the fullest.

At the end of the day, though, if and when she does come out victor on American Idol Season 11 and establish firsts on the show – first female since Jordin Sparks, first woman of mixed-heritage and of Filipino descent – what Jessica Sanchez will and always be is an "American" idol for she knows of no other experience to draw from but as that. If and when she wins, Jessica Sanchez' victory is the aspiration and success of every Fil-Am and Mexican-American in America.

The state of OPM

I cringe at the thought that an organization like OPM, the Organisasyon ng Pilipinong Mang-aawit (OPM) whose officials and members have been all over town in support of Jessica Sanchez, will be short of handing her an award post-haste once Sanchez does win; did not the OPM just do the same to another American Idol finalist, David Archuleta, upon his agreeing to record, in record time at that – meaning both the award and the recording – Filipino songs in English last January? For whatever intent or purpose the OPM-Archuleta deal was made, I hope it wasn't because the OPM did it on a whim and overstepped Archuleta's accommodation for that's how it looked like: instead of the guest being accommodated, the host over-indulged.

With Jessica Sanchez being "hot" property in the Philippines, especially so with the help of Philippine media, and the prospect of being the first Latino-Asian-American to be "American Idol," I hope we can do a raincheck on ourselves and not be allowed to be taken by the tides of hope by hanging on to strands we might take as redemption from our own miserable but salvageable state.

Are we in shortage of citizens in our own backyards to look up to and hail as "heroes" that we need to shift our gaze beyond our shores, look into blood traces for relations before we can lift up someone over our shoulders?

With the American Idol season in the U.S. coming to an end (and possibly emerging winner among all reality TV shows in the U.S.), I suppose this time around, Philippine media and the entire entertainment industry would like to be "out there" as things unfold, if they haven't already bought tickets to the party.

How could they have missed all the frenzy 4 years ago with homegrowns Arnel Pineda and Charice Pempengco, and still not completely understand what the buzz around them was at the time? Was it because, as late technology adapters, they were clueless as to how these talents struggled their way into the mainstream American music industry as locals do in our very own entertainment industry?

Is it because, as beneficiaries of technology today, it's so much fun to be trending, albeit even for the most trivial of reasons as a "love team" in spite of the fleeting nature of internet trends bearing no significant long-term impact on society?

Or are we simply riding to fame on a borrowed horse and, in the process, have left the welfare, growth and much-deserved attention of our very own talents behind?

We have become too hopeful on formulas that happened but never saw coming: People Power, YouTube sensations, sudden Twitter trending and such, all the while forcing history to repeat itself on an unsuspecting public.

Media circumstances around this season's American Idol have forced even the highest authorities to issue a statement of support yet let go lightly of an official of government, Ronald Llamas, caught on camera patronizing pirated entertainment to the detriment of his fellowmen eking out a living in the local entertainment industry.

Too much action and inaction

However, the local entertainment industry is partly to blame for its own inaction about piracy. Had its members exerted the same effort they now do in rallying votes for Jessica Sanchez as when Llamas' action on camera could pose a direct contempt on their livelihood, the Philippine entertainment industry would have shown teeth and grit enough to assure its members that Pinoy entertainers can look forward to something brighter, not blighter.

All noise and rallying by (almost the entire) local entertainment industry heading up to the American Idol finals happening in American timezones is like sloganeering without full understanding, as shallow as a product or marketing tagline (see "It's More Fun in The Philippines") but without proper facilities in place to accommodate throngs of people (see "Philippine airports").

Instead, we – rather, those – who operate behind the entertainment, music industries and news media, should look at how they got our industries to the state where music and film piracy raids have become parody, Pacquiao's mother's birthday deserve media coverage and government officials think that the objective of closed-circuit TVs in airports is simply to monitor scuffles between celebrities.

They have made something as a Twitter "trend" the new economy believing this to drive up sales (music? views?) and perhaps the ultimate salvation of the media and entertainment industries. They, news and entertainment personalities, have made being "proudly Pinoy" mean a shot at fame by holding on to the hem of anything that resembles Lapu-lapu's blood in them when the very warm bodies they have have given birth to and attempted to nurture right on our very shores are in dire need of the very support they now pose elsewhere.

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Unboxing Charice and our traditional archetypes (a 3-part post)

[PART I of III]

IN JULY 2009, THERE WAS MUCH ADO in the entertainment scene that stemmed from a statement on TV by OPM legend Freddie Aguilar about Charice, Arnel Pineda and other Filipino talents making a name abroad (although specifically addressing a question about Charice), on being famous by imitating—like monkeys...because we don't hold our own,¹  said he—Western singers and their styles.

The issue lasted for about a month and has since died a natural death. At its peak, however, the issue dragged other Filipino singers into the scene. Needless to say, it drew all sorts of reactions especially online, and created a real-world gap between followers of the performers mentioned and those who agreed with Aguilar.

It also added a degree of stigma already attached to talents like Charice and Arnel and their respective fan bases and pouring fire into existing heated rivalry specifically between Charice’s fans and of other female singers older than she and whom she'd often been compared with.

To some extent, the issue above was aggravated by online activities participated in by fans across sectors as a consequence of technologies we currently have.

Our preoccupation with fast information and viral issues, and of the marketing and appreciation of talents we see and hear about, has in fact taken a much different approach to the traditional, even if the so-called “traditional” modes still exist, for example, through sleek local talent-search TV productions instantly available with just a click on the remote and a lot of free viewing time, but with minimal focus on the search for real talents.

These technologies, along with the current "traditional" ones like TV and radio, have also changed the way we interact with or react to issues whether they be real or perceived, and have become the defining influences in our choices.

A trichotomy | Like in most developing countries, our reality is living in a world of wide and rigid differences in terms of preferences and prorities.

For instance, we have, on one hand, premium-rate entertainment services and its selective, privileged market, and, on the other, shows on free TV that, like in murky public markets, dispense what its producers think the masses deserve. There simply isn't room for options.

Between both is the broad middle class sector, many of whom help expand the trichotomy having advanced from near-destitution to affording things on demand (thanks to remittances by relatives abroad) and have become consistent spenders on middle-class pleasures.

Charice, who comes from the masses, has made dream-like success look easy and fluid because of YouTube and her undeniable talent to sing cover songs — the big, difficult ones at that, from as early as 7 years old if we take into account her publicized starting age at joining contests.

It is interesting that, having come from a family of modest means herself, many of her detractors whom she actually represents and whose ideals she lives up to are themselves the first to put her down.

This circumstance may have to do with not just the perpetual rich-vs-poor rationale against a third world background but also with complex factors that have to do with the entertainment industry in general in which marketing and sales rule, packaging matters.

On the other hand, if popular belief is to be pursued, events related to Charice may have to fall back to status conflict because it seemed to have happened to her when she, having been a clear choice in the last singing contest she joined on television five years ago, was edged out through what many believed were unfair systems not once but twice, probably even more, of what may have been her only ticket out of poverty in her early teens.

An example is the recent admission of singer-songwriter Jim Paredes on his blog about his judging a special segment of the contest Charice was in and to whom he and his fellow judges apparently gave high scores. He disclosed that they were asked by the contest staff to reconsider their tallies which appeared to have given Charice the score advantage over all the other contestants.

I, in fact, came across a YouTube video of a segment some years ago in which a wide-grinned and visibly amused head-bobbing Jim Paredes was clapping behind the judges’ table to Charice's song-and-dance performance of I Wanna Dance With Somebody. He may have been referring to that particular special segment in which Charice won.

And then there is the legendary grand finals of the same contest in which Charice, having been called back as a "wildcard" contestant, lost.

p.2 Unboxing Charice and our traditional archetypes (a 3-part post)

PART 1, p2 | [ Previous p1 ] [ Next p3 ]

The Oprah effect | Perhaps the one significant moment that Charice suddenly became more present in the consciousness of the local cable TV market, i.e. the middle and upper-middle classes — and the general public — was her “Oprah moment” (May 2008) despite her being flown to the US to debut on American television by Ellen DeGeneres for her self-titled show the year before.

Charice, then an awed, over-zealous, US TV greenhorn, appeared fumbling for the right words in English in replying to Ellen in her interview. Her performance, however, merited a standing ovation from the audience and Ellen was still taken over by Charice the next day that she couldn’t help but mention and replay a portion of Charice’s previous-day performance. "It's something to be sitting next to that and you could just smell the star on her," she said back in 2007. "You could just smell it."

For the locals, the Ellen Show appearance came and went despite it being one of the most-watched day-time shows not only in America, in part because it was televised months delayed in the Philippines on cable channels, and partly because Oprah is the more motherly, more affectionate host Filipinos are more aware of and had closely identified with; even local talk show celebrities Sharon Cuneta and Kris Aquino were fans of hers and patterned their earlier show formats after hers.

In between the two American shows was another little-known invitation to perform in London at the Paul O’Grady show. Charice’s passport was stolen just before leaving for London, and poor girl made an appeal on TV about it. She was lucky to have been given a replacement and performed on Paul O’Grady flawlessly albeit nervous and seemingly uneasy conversing in English in interviews with him. His audience let the interview pass but noticed her performances enough to give her another standing ovation.

In her Oprah debut, Charice was more candid. Having just arrived in Chicago straight from the Philippines hours into her number, she sang with the same confidence as in Ellen’s, Paul O’Grady’s, StarKing in Korea in 2007 and all other singing contests she had joined in the Philippines. Her audience gave her an ovation midway through her song and Oprah was stunned. "That was fantastic! Who are you!?," she asked and said, "Thank you so much for flying, all day all night, fifteen hours, and come here in such perfect form...".

Charice would later guest four more times on the show.

Do you see what I see? | Surely there was something in Charice that the seasoned entertainment celebrities in the West saw, their audiences felt the first time they laid their eyes on her but which we, the locals, seem to have missed.

p.3 Unboxing Charice and our traditional archetypes (a 3-part post)

PART 1, p3 | [ p1 ] [ Previous p2 ]

“Glee” | Since confirming speculations about her being cast in the Emmy-awarded Glee series in June this year, and up until the recent airing of its second season premiere in which she appeared, Charice was once again attacked from all fronts by Filipinos even as young as 13 on the Internet.

By this time, Facebook and Twitter had taken over the lives of billions and it was easy to use the cloak of anonymity to vent out ire on someone they did not know personally, had not experienced or seen perform live and hadn't done them direct harm.

For the teens, it may be a case of envy because someone like Charice whom they thought they had the right to verbally bully online looked like one of them. They disliked her because they thought she was cocky, which, really, sometimes Charice may unconsciously, unintentionally come across on stage as being.

Maybe she even looks like their arch-nemesis in school for Charice could put on all expressions on her face when singing and this looked weirdly funny it piqued them. Her movements annoyed them, her songs were old-fashioned. Worse, she sang their parents' cheesy, monumental songs like a grown-up.

At 18, Charice hadn’t grown any taller and developed into a svelte enough young lady since she lost in that singing contest to even come physically close to their preferred local or foreign idols.

A local male DJ and gossip show host known for his sweet but curt jabs at people, in a rare, polite moment on TV just a few days ago, voiced out preference for another Filipina (female) singer to be on Glee in Charice’s stead but did not state why. It sounded like a reflection of an industry that sat out through most of Charice's accomplishments in silent envy, a victim of its self-imposed sanctimony.

Perhaps the DJ's preference might have impressed him as more deserving because she had sex appeal that excited him besides her having certified box-office hits to her name. It didn’t matter how his choice sang, or, to many, how Charice could outsing most every one else with ease. In fact, it didn’t occur to many of Charice’s detractors what Glee’s co-creator was looking out for in the first place.

Their role was to get into the kind of prejudice they knew of that has existed in the consciousness of Filipinos for generations. Meanwhile, most everyone else with little or no access to news about Charice, save for mentions on local gossip shows and magazines, rendered quick judgment on her and they judged superficially they failed to even see the unique nuances of her versions of songs of others.

A well-managed lung power | Thank god for authoritative Hollywood godmothers and godfathers, Charice was taken seriously as a singer.

K-pop, etc.: A coolsmurf Q&A

"coolsmurf" is someone's internet alias that has quite a following among Asian pop music enthusiasts, specifically of contemporary Korean music known as K-pop. As a university student, his turf was YouTube and, as avid blogger, was often credited as source of information, photos and even of videos of  K-pop related matters, by users of online forums since about 2007.

"coolsmurf" is one of two people who were key to the spread of videos that became very popular, of teen singer Charice Pempengco's, particularly of her translated and subtitled first appearance in Korea's Star King variety show in 2007 which "coolsmurf" uploaded to his YouTube channel in the same year. (The other key person being Filipino "FalseVoice," whose name appears on the liner notes of Charice's eponymous debut album¹ and who uploaded videos of her Little Big Star competition videos, among others.)

"coolsmurf"'s video upload of Charice's first appearance in Star King eventually got the attention of American talk show host Ellen DeGeneres, who, in turn, extended the momentous invitation on television for Charice to guest and sing live on the Ellen show and, subsequently, of Oprah Winfrey's staff in their search for talents for her program's recurring World's Most Talented Kids segment. Because of  "coolsmurf's" and "FalseVoice's" videos, the rest, as they say, is pop music history.

A bit more of "coolsmurf"

"coolsmurf" is Alvin Lim, out of university and now, fittingly, Content Editor of the popular site AllKpop.com. It was a pleasure exchanging emails with "coolsmurf," and I would like to thank him for his permission to share our Q and A below:

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K: What country are you from?

Alvin Lim (coolsmurf): Singapore.

K: When did you start getting interested in K-pop and why?

AL: I was exposed to K-Pop earlier on with Lee Jung Hyun because Hong Kong singer Sammi Cheng used her songs to sing in Cantonese. But it was not until when I watched Princess Hours starring Yoon Eun Hye and that led to me watching her variety show, Xman, which in turn led me to discover Kim Jong Kook and from then on, I was hooked onto K-pop.

K: What was in the Star King segment where Charice appeared that appealed to you enough to sub it and upload (or, was this something you regularly did with all other K-pop related videos in your free time back then)?

AL: I did regular subbing of shows back then. Primarily for Xman and interesting clips. Then a Super Junior fan suggested for me to take a look at this young girl belting out tunes. I didn't think much at first, but when I saw her singing And I'm Telling You I'm Not Going, it just felt like I was there in person even if I wasn't. It was just sensational. Charice's entrance on Star King episode (2007) singing "And I Am Telling You (I'm Not Going)". Note coolsmurf's English subtitle (bottom of image) and chicklet below the TV station ID "SBS" (right-hand corner). Duet with Super Junior's Kyu Hyun in the same episode from coolsmurf's defunct YouTube channel.

K: Would you still remember exactly when you uploaded that segment?

AL: It was two weeks after it had aired in Korea.

K: What was your process like, i.e., did you upload as soon as the show was over or did it take days/weeks?

AL: I got the request about a week after the show. Then it took me half a day to complete and upload. Pity it got killed by YouTube at 5million hits and counting due to SBS strict copyright laws (which it had the right to do, of course).

K: I read that you are with Allkpop.com as Content Editor, and I am wondering if that's correct. (I did read in your last entries at the "coolsmurf" blog that you were scouting for a job last year, and I am curious as to what came of that.)

AL: Yes. No one offered me a job other than that.

K: I read about your videos as being popular on a "UCC" channel but I am lost in my search concerning that. Is it still active and to what market does it cater?

AL: UCC channel refers to user-created content. It's just a common term to coin video sharing websites in Korea like Daum, Naver, Tagstory, Egloos, etc. YouTube is of course the No.1 website of this kind in the world.

K: Were you aware of the impact your uploads would have given Charice back then?

AL: I wasn't aware. I just did the request for a Super Junior fan who wanted to understand the whole segment. But I guess the Super Junior factor + Charice can really sing + English subs just made it popular in the world.

K: How big do you think is K-pop as a music influence in Southeast Asia? [i.e. Korean drama series are big here in the Philippines and a few groups...do make it on radio (i.e. Wonder Girls, Super Junior) but not any bigger than Korean TV actors and actresses, in my opinion, because of their daily exposure...]

AL: It's hard for music to become a big influence outside of their fans because of the short attention span of people these days. Dramas play longer than 3-5 mins of a single song, so that's why people can identify with them more easily. It's also easier to market dramas, movies than music. It's more of selling the image over music these days in Korea even though the latter is still crucial.

K: Who were the Filipino musicians who you were aware of before Charice, and who do you know today? How about [musicians] in your country [who you follow]?

AL: My knowledge is strictly limited in this area. The only one I knew of, and [still know] now is Regine Velasquez because she sang a duet with Hong Kong singer Jacky Cheung before. There isn't much of a following for me in Singapore because of the lack of interest.

K: Charice returned to Star King, as you know, which will be aired in Korea in 3 days2. Do you think that in those years since she appeared, that she had a good following among Koreans before this latest guesting on the show again?

AL: Yes, she has a good following because of her talent and she didn't just come back for the 3rd time on Star King for nothing!

K: With her US career building up, would you say those who follow her in Korea took her seriously as a musician (before today, that is)?

AL: Yes, because she is recognized for her vocals.

K: How do you feel about her as an Asian making it in America, and do you think she really helps in giving other Asians the opportunity she has?

AL: It's great to see that happening and it just gives people hope that dreams do come true in some cases.

Alvin Lim, aka "coolsmurf," (second from left, standing) with Charice (seated, left) and her followers. [Used with permission]

K: I saw that you and Charice did meet in Singapore [in December 20093]. Other than that, though, did you ever get to see her in person before?

AL: That was the one and only time. And it might just stay that way. 1"Charice," the album, peaked at #8 on the Billboard charts when it was released in May 2010. 2The Star King episode was telecast on SBS channel in Korea on 24 July 2010. 3At the finals night of Singapore Idol in which Charice was special guest.

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Some notes on subbed YouTube videos, YouTube phenomena

coolsmurf—Alvin, rather—mentioned in the Q & A above that besides the presence of [members of] Super Junior and Charice's singing, that his translation and subbed videos helped make this particular segment popular among viewers outside the K-pop environment since it first appeared on his YouTube channel.

Since then, many of Charice's appearances in many countries, particularly of those in the Philippines that have been recorded and uploaded to YouTube, continue to be translated and subbed specifically targeting English-speaking viewers such as those seen on the channels tmgtw, tmgtwASIA and tmgtworld. These channels are maintained and operated by a loose but dedicated subb'ing group of YouTube users from Asia (the Philippines/Southeast Asia, Japan, Korea), the U.S. and Canada, and Europe (i.e. Germany) collectively known as the "CTV Crew"^a.

Similar to what "coolsmurf" and other music/celebrity aficionados had started on sites like YouTube, and with newer, faster technologies that provide users the chance to communicate and exchange notes and information across boundaries, translated videos continue to thrive on YouTube and in many other video sharing sites as well. Most of these types of videos are without the prodding of the featured musicians or celebrities, but were created out of personal or group interest, or from a fan request, or as alternative way of promotion by interest-specific groups. Not all of these types of videos have become as popular as that of  "coolsmurf"'s , nor taken on a true viral status as videos with funny or unusual subjects.

It's a perpetual cat-and-mouse game that these subbed "uploaders" continually dodge, specially with regards copyright complaints and such, as what also happened to "FalseVoice"'s YouTube accounts when the Philippine network ABS-CBN appealed to have his channels banned despite soaring viewership count, or they—the "uploaders" and channel owners—being collectively instrumental in even more doubling the number of YouTube viewers and users daily.

Where it once once the playground of unknown film and video enthusiasts consisting of casual viewers, video addicts, musicians and amateur and professional film creators, today, part of what makes up the phenomenon of YouTube being well ahead of all other sites of similar nature is hosting the entertainment industry's biggest networks, celebrity shows and film outfits which use it as a public repository of their video catalogues.

It's amusing how, in the continuous evolution of these sites, particularly of YouTube, the very entities that were sources of uploads and who appealed for the banning of YouTube's anonymous users for copyright infringement are themselves very active YouTube account holders today, and, as I have observed in some cases in the Philippines, ironically use YouTube clips in network news or feature segments, albeit not all of them giving the video or channel owners due credit.

Anyhow, Charice is just one of many talents who have come out and became success stories in themselves because of YouTube (Arnel Pineda is another Filipino singer who credits the site for his success; and, not to forget, Justin Bieber and Susan Boyle). Because of this, many more, from non-English speaking countries, even, will wish to follow in their footsteps by doing it on the internet, one viewer click, one translated and subbed video at a time.

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^a"...collectively known as CTV Crew." is an updated entry, 01 Aug 2010.

Chips on their shoulders

COMING ON THE HEELS of an extravagant celebration in the Philippine internet-age — aptly, of Imeldific proportions replete with the illusions of past grandeur, of heaps of greetings and hallow wishes by friends-turned-foes-turned-friends again, and of fireworks that accompanied Manila's lifestyle headliners at Imelda Marcos' 80th birthday party — were reminders that she cannot be faulted for one time supporting, quote, The Arts, unquote, in the midst of corruption and third-world poverty, among others.

That Imelda bragged about her unstoppable court cases at the party — around 900 as of last public account since 1991 — and seemed to relish just that kind of achievement tells me that, while she wants to remain controversial, she seems to have made some kind of peace with the past. She does not take herself too seriously, too, and, conversely, cannot be taken so.

For good or bad, she always makes news of herself in an amusing way, and in my observation, never much faulted others for her or their family's [mis]fortunes but solely unto herself. Rather, she always says that she is either misunderstood and easily judged or is a fighter with a cause that never gets acknowledged; or that she simply is who she is, ad infinitum.

If she has any grievance of the past, at 80 years old, she certainly is carrying it out in style.

Twin quinquagenarians speak

This cannot be said of two men in the local entertainment scene also making some buzz recently. Although not as obscure as the word "quinquagenarian," these two men, Joey de Leon and Freddie Aguilar, have chosen to come out and reveal the biggest chips on their shoulders to the public. And my, are they big, burdensome and ugly.

Joey

Joey de Leon, a self-proclaimed comic whose sense of humor is scathing at best, and seems to delight in making fun of others' physical appearance, resorts to name-calling and can let loose remarks bordering on chauvinism, was one-third of the Tito, Vic and Joey comedy trio. I can say as much that I did enjoy some of their recorded humor from their "Tough Hits" days in the late 70s. Who doesn't like some moments of amusement anyway?

Joey, I think, was a good choice to host a late-afternoon weekend gossip show because he could provide a balance to some highly charged and controversial segments. I've seen him do this several times and this is where he can call upon his being a comic at best.

In most cases, however, he comes off as a know-it-all and intolerant host on his noontime show, sometimes even unforgiving, like when contestants fail to give an answer to common trivial questions and he allows his disappointments to come through.

Has he forgotten that he constantly deals with a sector of society that grew up with their shallow antics and foolery day after day for the past 30 years? Was he expecting that all of their audience picked up useful insights to add to their knowledge, quality of life or skills every lunch time? They may have picked up dated phrases of insults or rehashed jokes once in a while, and I can't take credit away from him for that.

Yeah he can be funny. He actually is, sometimes, and can be quick on the draw and witty. But a genius he is not, although I've read comments in the past about his being a misunderstood artiste, especially in personal pursuits like painting and song writing that are a little out of place in the traditional sense, especially in the norms of the entertainment world which he's been part of for decades.

Joey also likes sarcasm. A lot. And he particularly likes throwing a comment or two at competitors because he relishes being part of the network wars than being above it. Too bad, I may have been expecting much more from him.

One day in August 2008, Joey de Leon, who I wasn't aware was also columnist of a broadsheet, waged a word war against his paper because of a published report in the paper's tabloid that said their show was a flop in a US tour.

The next thing I knew he was a regular at another paper, the Philippine Star, one of the papers I subscribe to. I never did read his columns except one, I think: a year-end recap.

Unfair competition
My attention was called again to his column recently. Written in some kind of verse like that recap article, it was his Michael Jackson tribute that alluded strongly to Charice Pempengco (a "nuno na sinugaling," he wrote: a lying dwarf) as lying about being approached to guest in Michael Jackson's London shows and that she would have been rehearsing with him after her Manila concert.

While this is largely unconfirmed from Charice's US management but by her alone from a news segment, the meat of the matter is Charice is identified with the network that is in fierce competition with Joey's. And while Joey is entitled to his opinion on the recent recognition Charice has been getting abroad, I think picking on a minor like Charice is one big low blow.

Joey has already made a name for himself in entertainment. The once bad and taunting young man is now father to children much older than Charice. He, too, is a grandfather now; someone who refuses to grow up and grow old. The grandfather, therefore, picked on a young woman obviously extremely talented, lucky and barely of legal age. This is a one-sided confrontation and a much more revealing affirmation of the kind of person Joey de Leon may additionally be perceived as: a coward in using allusion, and a bully.

From what he just wrote, he looks like he is going to age green with envy, bowed and bended by his anger and vindictiveness, without once thinking that by adding fuel to the network fire fight at every opportunity, he is not at all helping the industry's redemption from mediocrity but will drag it to the level of cheap thrills and trash, an environment he seems to never want to get out of.

And Freddie....

He needs no introduction.

Freddie's recent comments on Charice, Arnel Pineda and just about every overseas Filipino entertainer abroad who sing cover songs are words of an angry man growling his way to senescence.

Does he not understand that the world turns, much like how day turns into night as he may have experienced working towards the opening of his new bar from where he made his statements?

Does he not agree that Charice, Arnel, Leah Salonga, Apl de Ap and many unnamed Filipinos abroad who have the gift of singing and are appreciated for it are in a much better position to bring a good name to the Philippines than fugitives and money launderers, self-centered politicians and citizens who filth the air?

Is it their fault, these singers, that they don't share his writing talents but make the most of what they have — plus a little luck — anyhow? Or that foreigners recognize their talents in spite of the kind of songs they sing because the local handlers and music industry moguls are too busy building up non-talents, the networks are putting all their resources to their stupid rivalry and the record labels are barely surviving?

Or was Freddie not paid royalty by Charice's producers for "Anak" when she and Kuh Ledesma sang it so well at Charice's concert two Saturdays ago?

Has "Anak"'s accomplishments been ever taken away from him at any point? No. No one has taken away the stature of "Anak" in the local Filipino music scene. It may have, however, faded from the memory of record producers, radio station owners and a generation that listened to newer sound and responded to messages that speak to it.

Has he done much, to the public's knowledge, about curbing or denouncing local music piracy? And I mean launched something so massive, given his legendary status, to call upon all music loving Filipinos across all ages and genres — including the YouTube savvy, hip-hopping, iPod-carrying youth — to strongly rally behind his name to such a cause?

What is going on with him and Joey? We're already choking from all the crabiness, engulfed in political mire that exist in all corners of our archipelago that a whiff of fresh air is enough to get us through sometimes. No one has monopoly over nationalism, especially in the age of information.

And what do they know about the shared pride these talents give our laborers in the Middle East, the domestic helpers, engineers and nurses elsewhere in the world, they who have been bestowed some kind of dignity and respect by the new crop of "international singing sensations," no matter how trivial, how occasional? A sort of recognition that Filipinos are much more than just being worthy of domestic chores or being all greased up and grimy in the deserts.

Has he overlooked the fact that they, too, Charice, Arnel, Leah Salonga (although unmentioned by Freddie), et al. have remained Filipinos not just by citizenship but by choice, and are, like any "OFW," overseas Filipino workers themselves who seized the opportunities that came knocking at their doors and continue to do their best to put food on their tables, send relatives to school, at the same time inspiring others, one way or other, with honor?

If any of them, famous or unnamed singers, bring shame to our country in any way like how dictators and opportunists once did and continue to do, by all means, these men can throw everything at them including the sink, the toilet humor and their burdens.

Freddie and Joey should get real and wake up to a different time. Freddie Aguilar has had his and no one can take that away from him. Let the others shine in theirs.

............................

REF:
Freddie's statements on PEP.ph
Joey's article