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Ricky Lee’s Autographed Books and T-Shirts Holiday Promo Packages

This holiday season, the Writers' Studio is offering a special selection of its available books and merchandise. The Christmas packages contain varying combinations of books and shirts--the perfect gifts for your friends and love ones, or perhaps even yourself! As an additional incentive, all books bought under this promo will be autographed by the author.

For more info, visit the Writers Studio Online Store.
 
 
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From the expensive Celestina's purse and perfect hibiscus to the humble bread and dried fish, Nora Aunor is a name to reckon with…indeed a cultural icon.

Pan de Nora

Here’s one blogger's encounter with “Pan de Nora”, the Superstar's bread.  

“Then, pumunta kami sa isang maliit na bakery. Natawa ako dun sa isang bread na tawag, “Pande Nora!” Haha ... Didn't know that they sell stuff like those pala. Siguro, yung may ari ng store, sobrang idol si Nora. *lol* Teka, bat walang Pande Vilma? O kaya, Pande Sharon?”

The blog was written in 2006. I wonder if the bakery still sells the stuff now. I have not seen a Pan de Nora before but from the pic, it looks like the humble pandesal. But isn't there supposed to be one raisin on top to resemble Ate Guy's mole?

The blogger was asking about Pan de Vilma. Is there such a bread? How can you tell Vilma's bread? Wrapped in a handkerchief maybe? (he-he). And what about Pan de Sharon? Hmm … no comment.

Daing in Naga Market called “Nora Aunor”?

It has to be in the Bicol region where the “Nora Aunor” dried fish can be found. One blogger went to Naga market to get some but unfortunately, missed out on the “holy grail” of dried fish.  

Here’s an excerpt from the blog site. For complete blog and pictures, visit heart- 2-heart-online. com.

This is the second thing my bestfriend Eds told me to do. Buy “Nora Aunor” in the market! She actually said to just send someone to the market and have them buy it…but Mom and I went because we wanted to see for ourselves.

WOW!! They have a section dedicated to dried fish. How organized can they be? I told you someone is behind this!  

We were trying to figure out which one was Nora Aunor…and the guy heard us talking and he said this one… called “NEW LOOK.” So we got some. We tried it and it was really good!

Though Eds told me that Nora Aunor apparently is seasonal……So maybe they were offering something similar called “New look.”“

Has anyone seen “Nora Aunor” yet? 
 
 
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This week is FEU’s turn in the second year of  “FEUlikulahan” a film festival honoring five films that have earned accolades abroad. To be screened free at the FEU Theater are “Confessional” (Nov. 18, 3p.m.); “Himala” (Nov. 19, 3p.m.) and “Astig” (Nov. 19, 6p.m.); “Kinatay” (Nov. 20, 3p.m.) and “Lola” (Nov. 20, 6p.m.). In all the screenings, people involved in the production have been invited to ask questions in an open forum following the film showing.
   
“Confessional”  is the least known of the four films presented. Directed by first timer Jerrold Tarog, it has already won Best Film in the First Features Category of the 10th Osian’s Cinefan in New Delhi , India in July   2008 where it competed with another Filipino entry, Jim Libiran’s “Tribu “ which we loved to death. I wonder why we missed out on “Confessional?”  Will surely make it to the FEU screening. This same festival where Tarog won also gave a Lifetime Achievement Award to screenwriter Pete Lacaba who has sadly been away from the scene for at least a decade.
   
The digital film Confessional tells of a small-time filmmaker who goes to Cebu to document the Sinulog festival and stumbles upon an ex-politician who confesses his crimes for the camera. Is he telling the truth or is he like the camera manipulating the audience?  Apparently the multi talented Tarog who writes, directs, scores films, and does sound engineering, was also winner in the Cinema One Originals and at the PMPC Star Awards for Movies. He is credited for the musical scoring of the much awarded Brillante Mendoza films “Kaleldo”  and “Foster Child,”  as well as Jeffrey Jeturian’s “Kubrador.” “Tarog” has finished a second feature “Magatyanan”  which he says is a sequel to Confessional, the second in a trilogy of man and the camera. Truth versus fiction?
   
“Himala”  is the best known film of Ishmael Bernal, if only for having Nora Aunor in the lead, and being brought back to the moviegoer’s attention by that recent award  of CNN Best Film of all Time in the  Asia-Pacific region. I have a special interest in this film, having stayed during its filming in the Paoay desert of Ilocos Norte 27 years ago. More than giving value to Nora who was already a celebrated talent at the time, it also practically launched the careers of such people before and behind the camera as Joel Lamangan, Racquel Villavicencio, Vangie Labalan, Pen Medina, Spanky Manikan, Joe Gruta, Richard Arellano, Ellen Ongkeko Marfil, and the late Ray Ventura.
   
“Astig”  directed by GB Sampedro was 2009 Cinemalaya’s box office hit with a main cast of Dennis Trillo, Edgar Allan Guzman, Arnold Reyes, and Sid Lucero and cameo appearances ranging from Ai Ai delas Alas, Gardo Verzosa, Keana Reeves, to Boy Abunda himself  who was one of the producers. This episodic rendering of people surving in the squalor of Manila was recently brought to the Pusan Film Festival. I remember the crowds at the CCP waiting for a glimpse of Dennis Trillo although Arnold ’s role was the best in the film. But let’s see what the FEU audience will think.
   
Next film scheduled may not be the most popular, but it certainly is the one that brought immeasurable pride to the Filipino filmmaker with Brillante ‘Dante’ Mendoza’s first ever award given to a Filipino – the Best Director Award at the Cannes Film Festival for the film “Kinatay.” Dante’s voyage into the dark crevices of the underworld has been called everything from “worst ever” to “a prurient and excruciating viewing experience that makes the audience partners in crimes of inhumanity.”
   
And perhaps to give Dante’s works a sense of balance, the last film is also his – “Lola”  with Anita Linda and Rustica Carpio (who once headed FEU’s Cultural Office), in a sad paean to two lolas who survive in the harsh and unforgiving city, powered by the irrefutable love and devotion to their family. 
   
The choices of the films are great, giving the principally student audience an idea of how it was then in the 80s and how it is now. The festival in under the program of the FEU President’s Committee on Culture headed by Martin Lopez. Call 7364897 for information.
Peoples Journal, November 16, 2009

(Himala screenwriter Ricky Lee will be the guest speaker in the forum after the screening of the film, November 19, 2009, from 1:00 p.m. His books, Trip to Quiapo, Para Kay B, and Si Tatang at Mga Himala ng Ating Panahon, will be available at the FEU Theater.)
 
 
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She always has a good voice and over the years, she has developed her own style. Nora in her heyday towered above all other singers not only in terms of popularity but simply because she has a beautiful voice which is what spells the difference even now that many other pop singers have cropped up. Most of our singers now sing well, yes. They have their own style but most of them are at best imitators.

Kung susuriin mo, walang natural na ganda ang mga boses nila. Dito naiiba si Nora dahil maganda talaga ang voice quality niya. Karamihan sa mga pop singers ngayon, pare-pareho ang chest tones. Pagdating sa vibrato, doon nagkakatalo. Dito pumupuntos si Nora.
–        Prof. Andrea Veneracion
 National Artist for Music

 
I was one of the judges in the Tawag ng Tanghalan championship who batted for Nora Aunor. And I proved myself right from the start. The first time I heard this tiny, little gem of a singer, I was really impressed. “Wow, what a voice! To think that it’s coming from someone so young at that time. She had a natural nice, deep voice to typical of the soulful Filipina soprano voices. And more than that, I was really struck by her beauty. Believe me, I knew then she would amount to something great.
–        Fides Cuyugan Asencio
Professor of Music and Voice, UP
Founding Artistic Director, Music Theater Foundation of the Philippines

From “Handog ni Guy” Souvenir Program, 1991
 
 
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Superstar Nora Aunor in Concert in California, USA

Through the Years

with former screen partners
Christopher de Leon,
Tirso Cruz III,
and Edgar Mortiz.

November 6, 2009 (Friday), 7:30 pm
Four Points Sheraton, San Diego

November 7, 2009 (Saturday), 7:00 pm
Oceanview Pavillon, Oxnard

November 8, 2009 (Sunday), 7:30 pm
Heritage Forum, Anaheim

Tickets are $66 and $88.
For inquiries please call (909) 718-9948.
 
 
 
 
 
 
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Isa sa pinakaunang seryosong pelikulang Filipino na tumalakay sa buhay ng overseas Filipino workers (OFWs) ay ang pelikulang ’Merika (1984) ni Gil Portes, mula sa panulat nina Gil Quito at Clodualdo del Mundo. Ipinalabas ito sa panahong patuloy na lumalakas ang puwersa ng migranteng manggagawa. Panahon ito na nakakaranas na ang bansa ng krisis pang-ekonomiya. Panahon din ito nang unang narinig ang pagtukoy sa OFWs bilang “Bagong Bayani,” pagkilala ng rehimeng Marcos sa kanilang malaking ambag sa ekonomiya ng bansa.

Inilahad sa pelikula ang buhay ni Milagros Cruz, isang nars sa New Jersey na may limang taon na ring nagtatrabaho doon. Bahagi ng pang araw- araw niyang pakikipagsapalaran sa 'Merika ang pagsakay niya sa subway patungo sa pinapasukang trabaho. Makikita ang kahusayan ni Nora sa pagganap sa eksena habang nakasakay siya sa tren. Mababakas sa kanyang mga mata ang pangungulila, ang kalungkutan, ang paglalakbay na animo’y walang patutunguhan.

Nakatatak na sa isip ng manonood ng pelikulang Filipino ang hindi malilimutang eksenang ito. Maraming sumunod na mga pelikula na tumalakay din sa buhay ng mga Filipino sa ibang bansa ang gumamit ng katulad na eksena ni Nora. Sa Milan (2004) may eksena si Claudine Baretto na mag-isang nakasay sa tren. Sa Caregiver (2008) nag-aabang si Sharon ng tren habang nangangaligkig sa lamig; sa sumunod na eksena makikita siyang mag-isang bumibiyahe. Maging sa In My Life (2009) si Vilma Santos ay may katulad ring eksena. Ngunit hindi maikakaila na sa kanilang lahat si Nora Aunor ang nagpakita ng di-matatawarang husay sa paglalarawan ng pag-iisa, ng pagiging di-kabilang, ng kalungkutan na patuloy pa ring nararanasan ng mga Filipino sa lupang dayuhan. Ang pangungulila na hindi kayang tapatan o punan ng dolyar, masasarap na pagkain, o anumang karangyaan. Ang pangungulila na walang ibang solusyon kundi ang pagbalik sa lupang sinilangan. Dalawampu’t limang taon mula nang ipalabas ang ’Merika, makabuluhan pa rin ang mensahe nito hanggang sa ngayon. Marami pa ring Filipino ang tulad ni Milagros Cruz na bagama't nagkaugat sa lupang dayuhan, sa kanilang kaibuturan ay nananabik sa sariling bayan.

Nagbibigay-pugay ang manunulat sa ika-25 taong anibersaryo ng ’Merika. Gayundin sa mga Noranian na kahit matagal nang naninirahan sa ibang bansa ay Noranian pa rin mula noon hanggang ngayon!!!!!!
 
 
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Tirso Cruz III and Nora Aunor winning the top acting awards in the 3rd Quezon City Film Festival, 1972

It was 1972. Back then as a 9-year old, I couldn’t care less. I watched Nora Aunor movies with my Lola and whether Nora was playing cutesy or serious roles, I enjoyed them regardless. I remember watching And God Smiled at Me that year. It must be fate. The year that Nora Aunor embarked on a serious dramatic role and won her first acting award was the same year that the National Artist award was created.

 In the following year, Nora Aunor was not just the singer and the actress but also the movie producer. Her own NV Productions made three movies: Carmela, Paru-parong Itim and Super Gee. She was 20 years old. Her contemporaries did not have the same mindset (and talent). So young (so ambitious?) but already dead serious as to what she wanted to become. Very early on, she realized that for her to grow as an artist, she had to be in control. As well, her audience deserved much better films.

 So in between those light “audience-friendly” movie projects, risky attempts for non-musical, more dramatic, quality-made films would emerge. Eventually, her audience acknowledged her refined acting talent. I did too. Nora learned to make better films, I learned to appreciate them. She is a Filipino, with typical Filipino looks and she portrays Filipino. When I watch her, I embrace and understand Filipino. Banaue, Minsa’y Isang Gamu-gamo and Tatlong Taong Walang Diyos, I watched these films intensely. I was quiet the whole time, afraid to blink even for a second as not to miss an arresting acting moment performed through perfect dialog delivery, minimal gestures, simple body movements, facial expression and those round eyes that speak a thousand words. Then came Bona and Himala. Even foreign audience took notice and they were in awe. There was no doubt in the world what Nora Aunor is capable of.

 Nora did not just get better at acting. She showed mastery of the craft. When most popular actors were used to physical and “loud” acting, Nora did the opposite. In-depth “silent” acting became her signature style, the type that only a few artists can pull off with utmost credibility. When Nora did it, it looked natural and effortless and yet, totally affecting. One doesn’t see Nora Aunor in her films, you see her character instead and at times … you see a piece of your own self.

Music

Nora was first and foremost a singer. After all, that’s where everything started. I grew up hearing Nora’s old songs but only later when I got to really listen to them. Perhaps back then I was not paying much attention to her early ballads. As a child, the catchy familiar tunes of Pearly Shells, Kusinera, Darling etc. amused me more. It was not difficult to sing along with these songs too.

Week after week and almost two decades of viewing the Superstar show got me hooked to Nora’s singing. In her show, I have listened and watched Nora interpret varied songs. Kundiman and Pinoy folk (in both Pilipino and regional dialects), English, pop, Manila sound, jazzy, novelty, her own movie theme songs, even rock … you name it, she sung it. Of course singing ballads had to be where she excelled the most. She would sing them all from the heart. I remember listening to her “Kapantay ay Langit” version which haunted me for days. I watched her sing “What Now My Love?” in one of the film award ceremonies and I was floored. It was an electrically charged performance, hair-raising to say the least. Never seen and experienced anything like that before.

Nora’s golden unique voice is a given but it didn’t just rest there. She used her voice to touch people’s hearts. She does not just sing the song, she performs it. Much like her acting, her singing would bring out the right emotion that stays with you long after the music has ended. It is just good natured, pure, beautiful music. She does not even have to reach a single high note.

Years had passed. The raw and pure voice has matured, huskier but more full bodied. With age and experience, the song interpretation only gets better. But old songs still take a grasp, portal of sweet memories, not to let go and always … will be remembered.

The Artist

Pioneering and excellent acting skill, heartfelt and soothing music, extraordinary talent which is highly regarded by peers and critics, impressive and unparalleled body of work, local and international awards and recognitions, but most of all, an artist and artistry that created a deep-seated impact on the film and music industry, on Philippine culture and the Philippines, as a whole. With all these sparkling achievements and qualifications, pardon me if I have to ask: Are these not enough for someone to be named National Artist? Or could it be that she has overly exceeded the set criteria? By the way, she was also a record-breaking concert performer and a standout theatre actor, a complete multimedia artist.

More controversies hound the National Artist choices this year and Nora Aunor missed out again. Many have expressed despair and disappointment about the alleged undeserving winners and mistrust of the deliberation and selection process. Sadly though, people in the know refused to listen and to continue with the argument seems a lost cause. In any case, it was heartwarming to know that when a more deserving winner is mentioned by the disgruntled (but nonetheless) respectable artists and writers, the name Nora Aunor would always make the first cut. Not that there is a need for any more revalidation or proof. No sitting on the fence for me when it comes to Nora’s talent and artistry. No ifs and buts … just true excellence!

I doubt it that the Office of the President has watched many films and listened to a variety of music, yet it has the ultimate power to confer a National Artist for Film and Music. I am no President. I am just an ordinary citizen and definitely not an art connoisseur. But I watch good films and listen to beautiful music and I’d like to say that my own journey of appreciation for film and music was greatly influenced by one artist. That artist is Nora Aunor, my National Artist.

I will wait patiently for the official conferment of her National Artist award but if this does not happen in her lifetime or mine, it barely matters as I have long considered it DONE anyway.

In the truest sense of the title, Nora Aunor is already one National Artist.

Nora Aunor (NA) is National Artist (NA). The acronym suits perfectly.

N.B. For 42 years, you have given us a legacy of films and music that will not be forgotten. Thank you, Ms. Nora Aunor.
 
 
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Photo by Ramon Prado

Talk of this film uniting two superstars of Philippine cinema, Nora Aunor and Lav Diaz, is making the rounds in blogs.

Diaz confirmed this with Inquirer Entertainment, saying the movie, “Reclusion Perpetua,” has been in the works for the past three years.

(Aunor is also set to shoot “Do Filipinos Cry in America?” next year, according to its director, Celso Ad. Castillo.)

Diaz finally met with Aunor recently in Santa Monica, California.

“I went to see Nora,” Diaz explained, “to see how committed she was to the project. We talked at length about it.”

Diaz liked what he saw and heard: “She’s committed.”

He calls it a “collective” effort: “Her fans are raising money. If we meet the target, we’ll be shooting soon.”

Meanwhile, Diaz is off to the Thessaloniki film fest in Greece, where he’s a jury member and where his latest short, “Butterflies Have No Memories,” will be featured in a retrospective on Pinoy indies.

Then, “Butterflies” and his Venice-winning feature, “Melancholia,” will be screened in Warsaw.

Diaz received the Indie Spirit award in the just-concluded Cinemanila fest.

What was the meeting with Nora like?

It was cool. She was in jeans and rubber shoes, no makeup. The sun was shining so bright that day, but a cool breeze, like Baguio’s, was hovering. We had a late lunch and a few beers. We realized we were in LA’s gay district because we kept seeing men holding hands while strolling, and women lustily kissing. Nora joked, “Alam ko na ngayon kung saan pupunta (Now, I know where to go).”

What is “Reclusion Perpetua” about?

Nora’s character is looking for her husband, who disappeared in the US.

Why is it important to you to make a film with Nora now?

It is a cultural issue for me. It is dialectical. Nora Aunor is a Filipino icon, arguably our greatest actress. So, on the level of cultural discourse, she is very much a part of our struggle. I am not a fan ... though my mother is a fanatic. As a cultural worker, I acknowledge her importance.

Why is it important for today’s audiences to see her act again?

Any respectable Nora Aunor film can be used to educate our people. This is my responsibility, to use the medium to create a greater aesthetic and socio-cultural discourse for our people. The most potent modern medium now is cinema. Why not use an incredibly potent icon in the process?

I am using the term “use,” or “paggamit” in Tagalog, in a very dialectical way. That answers the need for a Nora Aunor film. I am not doing a propaganda film, though, not a Nora rah-rah movie. The film’s core shall remain aesthetic. This is still free cinema. It can run 40 hours.

Why is it described as a collective effort?

Everybody is working almost pro bono. Her responsible fans are doing patak-patak (passing the hat). We will work on people’s donations. I am actually announcing it now: We need help! The objective is greater cinema, not profit. Should money come later, it would just be consequential.

How do you know Nora?

In Cotabato, as a kid, I experienced the phenomenon. It was crazy. My mom had some of her records at home.

The screenings of Nora Aunor movies were out of this world. You can actually see truckloads of people arriving in front of movie houses—people from the barrios. They’d be bringing kalderos and platos.

Every time Nora appeared onscreen, there would be screaming, wailing, shrieking. Some would faint. You couldn’t breathe or move. It wasn’t just standing room; it was bumper-to-bumper, sweat-to-sweat, laway-to-laway, bahala na kung mamatay (spit-to-spit, who cares if we die).

What are your favorite Nora Aunor movies?

I love Ishmael Bernal’s “Himala.” She’s also great in Mario O’Hara’s “Tatlong Taong Walang Diyos.”

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From the Philippine Daily Inquirer, October 26, 2009, E1, E3