Wednesday, April 26, 2006

"Me and Mia" by Ted Leo + The Pharmacists

Do you believe in something beautiful?
Then get up and be it
Fighting for the smallest goal: to get a little self-control
I know how hard you try, I see it in your eyes

I'm loving this song so much right now. I know, I know; it's about two years old! But I heard it for the first time last night, thanks to a visit to ...good weather for air strikes. This may sound dorky, but "Me and Mia" makes me feel the way the theme song "The Touch" from the Transformers movie made me feel when I was a kid -- and yes, that is a very good thing. I was going to try to describe the song, but a quick search showed that Zeth Lundy of PopMatters had already done a good job of that:
Regrettably, there is no better way to describe "Me and Mia", the opening song on Ted Leo + Pharmacists' new record, than to cuss it out. In italics. Uncreative, emphasized profanity.

It's wicked fuckin' catchy.

The blistering minor-key changes in the chorus, the skanky bridge, and the passion in Leo's voice are all unshakable. Songs don't come equipped with hooks meatier than "Me and Mia". When they sink their curved, metallic spikes into your auditory consciousness, setting off countless neurotransmitters of pleasure, you'll do anything to retain the sensation of that blissful first listen. You'll find that the repeat button (or, for those of you listening on tape decks, the rewind button) is the cheapest local anesthetic. If you think you can drink it out of your head, trust me, it's damn near impossible.

Download the song here (right-click on song title, Save Link As). It's track #3. Lots of great stuff in this mix, btw: the fantastic "Trains to Brazil" by Guillemots, stuff by Mates of State, Rilo Kiley, etc., and "July July" by The Decemberists.

Tuesday, April 25, 2006

25 Albums

Got this album cover grid-maker link from Kristine L. Isn't it a purty sight?

"To be fair, I didn't include albums that I don't own physically. So that means no downloads," Kristine wrote. So I followed her example. I own, or owned all these albums once upon a time, even if it was just in prehistoric cassette format.

Also, I limited myself 1. to a 5x5 grid, otherwise I might eat up the rest of this page; and 2. to only one album per artist (my first version of this thing had 5+ XTC albums). So here they are: some of my favorite albums over the years.

Create your own Music List @ HotFreeLayouts

Stone Roses purists may note that I used the "Best Of" cover instead of the first album cover. That's because their first album cover is ugly. ;p I also used "Best Of's" for Prefab Sprout, New Order and Queen. What the hell. That's how I discovered those bands as a kid: through Best-Ofs. Rock snobbery be damned!

Tuesday, April 18, 2006

Yvette's Column

Yay! Yvette has a column! Yay! Go, check it out! It's funny, well-written and informative, and I enjoyed every single sentence of it. Except for the one about "oiled, olive-skinned men with six pack abs". Hmp.

Hearts, Razorblades and Holidays

My bimonthly music mix is finally done! Actually, I finished compiling it over a month ago, but I only got a new printer cartrdige (not to mention blank CDs) recently. Here's the tracklist -- you can download certain songs from the original sources, by right-clicking on their titles and selecting "Save Link As":

01. Like a Star > Corinne Bailey Rae
02. Can’t Do a Thing (To Stop Me) > Chris Isaak
03. Debris > The Southland
04. Your Mangled Heart > The Gossip
05. Razorblade > The Strokes
06. Calleth You, Cometh I > The Ark
07. Camellia > Buried Beds
08. I’ve Been Thinking >
Handsome Boy Modeling School feat. Cat Power
09. Oo > Up dharma Down
10. Go To Sleep > The Eames Era
11. Your Kisses Are Wasted On Me > The Pipettes
12. Sister Jack > Spoon
13. Chase the Night > New Sense
14. Big Surrender > Ghosty
15. One Big Holiday > My Morning Jacket

There are a few older songs this time around, like the Chris Isaak (my favorite song from San Francisco Days, the only Isaak album I ever owned). The Southland and The Gossip are two of my new favorite bands -- "Debris" makes me do air-guitar and "Your Mangled Heart" makes me all tingly. Another NFB (New Favorite Band) is New Sense, which is new wave-influenced dance-rock -- you can download mp3s from their site, if you're curious (I highly recommend "Chase the Night" and "Rollerskate").

The Ark song is way, way over the top, but I love it; so catchy and overly dramatic. I ripped the excellent "One Big Holiday" by My Morning Jacket from the WIRED Creative Commons CD. Thanks to Margie, btw, for Spoon's Gimme Fiction! "Sister Jack" is probably the most immediately likable track on that album, but it's all good stuff. And "Camellia" by Buried Beds is just a lovely, lovely love song.

Mishka, Mon and Monkeys

I got the April-June 2006 issue of UK Link in the mail the other day; it's a little magazine that British Council Philippines produces to get the word out about cultural goings-on like The Bridport Prize and Mon David winning the grand prize in the world finals of the London International Jazz Competition for Vocalists. This issue also has a short piece by Mishka Adams about settling in at her flat in North London ("It's the first time I found out that you need a TV license just to watch TV! Ye gads!") Looks like she'll be wowing new audiences with her talents pretty soon. "We'll be playing in Spain (we've sold 500 CDs there -- woo hoo!) and France in May which is exciting, but we'll do some local dates before that so the band can gel."

Something else I found interesting: a theater group called Peepolykus is coming here, to perform a set of some of my favorite comedic short plays, apparently. "For the Philippine tour scheduled on June 30-July 5, Peepolykus will present All in the Timing, a series of one-act comedies portraying the joyfully absurd world of absurdity where chimps attempt to write Shakespeare, faux pas can be edited from conversations, and new languages are improvised." The article is somewhat poorly written (the joyfully absurd world of absurdity?) and quite badly edited, with a paragraph beginning in mid-sentence, but the thing that really bugs me about it is that it gives the impression that All in the Timing is by Peepolykus themselves. Unless by some cosmic coincidence there's more than one set of short plays with the same name involving chimps, Shakespeare, conversational do-overs, and a Universal Language, what they're talking about is the work of one David Ives, who is not mentioned anywhere in the article.

I ordered my copy of All in the Timing: Fourteen Plays years ago, in the days before Amazon, from Scribe and Brewer (remember Scribe and Brewer in Shangri-La Mall? And the pizza place next to it? Both gone now, sigh). I remember performing -- for lack of a better word -- "Philip Glass Buys a Loaf of Bread" with a bunch of college friends in Waya's apartment. Reading the play out loud like that makes you feel like you are being hypnotized and driven crazy, at the same time.

According to UK Link, "All in the Timing goes onstage for matinee and evening performances at Equitable PCIBank's Francisco Santiago Hall on July 1, with a subsequent show at Liceo de Cagayan's Rodelsa Hall on July 5. For ticket enquiries, please call 914-1011 to 14." "Words Words Words," "Sure Thing" and "The Universal Language" are all highly imaginative, entertaining works; they're a blast to read, and it would be nice to finally see them performed as well.

"Ironically, my first date was with a girl whose last name was Kafka, and I took her to see The Sound of Music. God knows how that experience warped me, but several therapists have turned me down for treatment on the basis of it." -- David Ives

Ghost Stories and Guinea Pigs

There's a review of Siglo: Passion over at, by Ruel de Vera. Here's an excerpt:
Twelve stories array themselves in parade as Passion's primary arsenal, each tackling a different decade and location. As always, the stories intend to show off the unique attributes of the writers and artists. Passion bookends the stories with Suarez's illustrated poems and a sensational cover by Illenberger, all in all a gorgeous package.

Solid work abounds from all around. There is a dark, dark undercurrent in Passion as the storytelling here is quite mature and very sophisticated. Manalo's tale, combined with Drilon's graphic gambits, generates a creepy vibe that is taken even further by Vergara's spooky, meaningful anti-romance. Alanguilan's ghost story is harrowing in its stillness.

Ibardolaza's deceptively bucolic pattern unhinges, because of how it hides and then unleashes the truth in Groyon's story. Go-Alfar's story uses the artists' strengths to craft a lushly rendered journey to unexpected and bittersweet redemption. On the other tangent, Simbulan and Atienza's cozy piece makes wise use of a recipe passed down through the generations.

The book's most hypnotic, most arresting piece is "Manila 2019." In Katigbak's reality-bending exploration through what amounts as romance and obsession at an age where the soul hides behind the oh-so-aptly chosen avatar.

How can you not get into a story that has an oversized guinea pig named Briggs walking around in a dystopian Philippines? It's a well-written parallel to what's happening among the whiz kids of today and what may happen still.

Naturally, I was grinning from ear to ear after I read that. And no, I do not have a voodoo doll made of wax and bits of hair from Ruel de Vera, nor have I ever given him a substantial amount of money. (For that matter, I've never had a substantial amount of money to give.)

By the way, for anyone who has read, or may read, my contribution to Passion -- slight error: the name on the first door is supposed to be "Vincent," same as on the last. Speaking of names, I think I took almost all the character-names from people in the local music scene (Rann, Diego, Briggs, etc.) -- I hope they don't mind.

My favorite stories in Passion, btw, are "Malacanang 1968" by Quark Henares, Antonio Abad and Ma-an Asuncion (creepy and original), "Makati 1988" by Jamie Bautista and Shelly Soneja (witty and engaging), and "Baguio 1992" by Cyan Abad, Elbert Or and Jamie Bautista (heartfelt and heart-wrenching).

Monday, April 17, 2006

Feel the BURN

I like this photo, because it makes me look like I'm slightly taller than Marcus. I'm not.

It's been a little over a week since BURN magazine hit the stands, and we've been getting very encouraging feedback via texts and some of the mailing lists. :) We're hard at work on the second issue now, and we'd really like to hear more from you guys -- reactions, questions, suggestions, offers of money, obscene limericks, etc. How else are we going to put up a Letters page for the second ish? ;p

We haven't set up an official BURN email addy yet, but in the meantime, you can post something on this blog, or send me something at thekingofnothingtodo at yahoo dot com :)

BECK: Mongolian Chop Squad

So last week I watched all 26 episodes of BECK: Mongolian Chop Squad, a Japanese animated series with no giant robots, no planet-shattering punches, and no tentacle sex -- just a simple, often funny, often touching story about rock n' roll dreams.

The main character is an easygoing 14 year-old wastrel, Yukio "Koyuki" Tanaka; when he rescues a weird-looking patchwork dog named Beck from being harassed by some idiot kids, he meets the dog's owner, a genius guitarist named Ryuusuke -- and soon enough, his taste in music expands beyond J-Pop pap and he starts learning to play the guitar as well. This soon leads to the formation of the five-man band named Beck (named after the dog, and apparently not the quirky American musical artist) -- the series is about the band's ups and downs, which weave in and out of Koyuki's personal troubles and joys. There's lots of teen angst of course, and moments of high drama and romance, and naturally, lots of music -- often pretty good, although the stilted English lyrics may mar your enjoyment.

My favorite character in BECK is Saku, Koyuki's stalwart friend, who sort of looks like Jimmy from Beerkada (inasmuch as they both never seem to have eyes). Yvette pointed out that he's the most unpredictable character -- low-key but confrontational, talented but not showy. (Her favorite is Taira, the hot bassist with a penchant for taking his shirt off.)

It's hard to say what makes this series so compelling -- the plotting is solid but not exceptional (a bit slow in parts, a bit rushed in parts), and the characters are appealing but not always fleshed out. I guess it's a lot of things, a lot of little touches. Some stories just have it, I suppose: that indefinable hook, that momentum that carries you along. Part of me even thinks I'm too old to have enjoyed BECK so much, but then again, rock n' roll dreams are forever.

Interviewing VJ Paula

There are days when I hate my job. The day I interviewed Channel [V] VJ Paula Malai Ali, as you can probably tell from the picture to the right, was not one of them. Believe me when I say, though, that I didn't enjoy the interview because she was easy on the eyes -- although that was a definite plus, I admit -- I enjoyed it because she was smart. And funny. And gave the impression that she wasn't too concerned about saying the pat, proper thing. The interview was conducted about a year ago, and ran in FUDGE magazine. Here's the first draft of the article, in full:

Paula’s POV | VJ Paula talks about Sting, Shakespeare, and her sins | by Luis Katigbak

"I am a big fan of William Shakespeare." These are words that one does not realistically expect to be spoken with any sincerity or conviction by a TV personality in this day and age, more's the pity. But Channel [V] VJ Paula Malai Ali is no ordinary television personality.

"I think that every time you read one of his plays, one of his works, you find something different," she says, continuing to extoll the virtues of the Bard. "You understand it a bit more -- or you understand it a bit less. He was quite a clever lad." This demonstration of quick wit, flavored with a dash of sly irreverence, would perhaps not be unworthy of The Merchant of Venice's Portia -- incidentally, theatre veteran Paula's favorite Shakespearean role. It was while she was playing the lead in a production of the Willy Russell play Educating Rita, however, that an editor discovered her and decided to put her on the cover of his men's magazine.

After that, she admits, "the offers just rolled in" -- and now she is that rarity: a celebrity with substance, with an impressive list of television, radio, stage and even internet credits to her name, not to mention a number of modeling gigs. Certainly her good looks -- a happy result of her mixed Bruneian and English heritage -- would have garnered her attention in any case, but she's far more than just another pretty-smiled media darling. Her sharp intelligence, self-deprecating wit and amazing work ethic mark her as extraordinary: on the day of our shoot, despite being hampered by illness (brought on by a bad plate of pasta, one crew member theorized), she gamely struck poses and emoted for our photographer, and answered all questions with her sense of humor intact.

Paula grew up in Brunei, and moved to Kuala Lumpur, Malaysia, ten years ago; she's been a VJ for Channel [V] for about three years now. She's on no less than seven shows: The Ticket, The 10, The US Billboard Countdown, The Rock Show, Video[Scope], Remote Control and The Inter[V]iew. "I have the best job in the world," she says, in her quite frankly mesmerizing accent. "I think if you talk to a lot of VJs, they'll agree. I'm in a very privileged position; I do travel so very much. I mean, I've been traveling nearly every two weeks." Just before her stint in Manila, she had been on jaunts to Los Angeles and Singapore. "I think that could well be why I'm kind of sick today. Exhaustion."

Still, the perks of the job are undeniable: I ask her about the artists she's interviewed. "Alicia Keys was very gorgeous and very warm. Sting -- I enjoyed Sting, 'cause I'm a fan. It's nice when you're a fan of these people, and you meet them. Norah Jones gave me a nice interview." She thinks for a moment, and concludes, "A lot of the girls gave me very nice interviews... Duran Duran gave me a hard time. They were difficult." Difficult in what way? "Simon Le Bon was defensive. I don't know what he was defensive about. But, you know, there's something to be said for interviewing Duran Duran." She was, apparently, a fan of theirs, growing up.

Which leads us to the question of what she's listening to these days: "I find I'm getting really regressive with my music tastes, I think because my job calls for 'the latest, the hippest, the trendiest' music. So I've really gone back to my 80s roots -- 'cause I'm a child of the 70s -- and my 80s music has become something I really enjoy. My Wham, my Lionel Richie -- I'm quite unsophisticated like that." This amusing revelation leaves an opening for me to ask her about something one normally does not discuss with a lady. "You mentioned that you were born in the 70s," I begin. "I realize it's not polite to --"

"I'm 31," she says bluntly, saving us both some trouble. Most people think of VJs as bubbly young things in their teens and early twenties -- so I ask her what it's like, being a VJ at her age. "I'm sure I probably would have gotten this job in my early twenties as well, if the audition had come then," she muses, "but I would've not been as comfortable and confident as I am today. I just think, in terms of my personal approach, I'm glad I got this job when I was in my late twenties, because I feel a lot more dignified in it, I feel confident in it." It shows: the handful of extra years gives her a kind of casual authority that callow hosts lack. Aim a silent prayer to the gods of TV for their wisdom in bestowing VJhood on this particular thirtysomething.

"I don't ever want to be one of these VJs that is just wearing a really gorgeous top and is just talking complete rubbish," Paula continues. "'Cause you can get away with talking complete crap, you really can. But I never want to be that person that is just like 'blah blah blah, white noise white noise.' That's not my job." I ask her for more specifics on how she goes about her job. "I try to really make it my own, you know? Because I have a personality, and I want it to come through... I ad lib a lot, much to the chagrin of my crew -- they're like, aw, we have to edit that now, dammit!"

It's interesting to note that such an independent, feisty spirit is also the wife of a prince: Tengku Kudin, nephew to the Sultan Kedah, to be exact. I ask her what it's like, being married to royalty. "It's, um -- you know, I'm fascinated by it, because the particular family that my husband is from is one of the oldest royal families in the world. So it's interesting when I go back to the palace when we have to attend functions or whatever -- I see a lot of history. You know, I find it fascinating, and I love the fact that they have so much of a past... They're so proud of their heritage, and they love to tell me of their family tree. To me it's been a cultural lesson, more than anything else. I didn't suddenly change my lifestyle, and go around wearing a tiara. I drive myself to work, I'm renting a house, you know?"

As the theme of this issue of FUDGE is "Sins", our talk naturally turns towards that always-fascinating topic. "My sins are quite tame," Paula asserts. "I like salt, that's my sin. I'm a sodium-sinful girl. Anything with salt on it. I like potato chips and..." At this point she trails off, perhaps contemplating the dizzying array of salted snacks this plane of existence has to offer. She names another sin, something many Filipinos can identify with: "My phone bill is too high. That's a sin, it's sinfully high every month. There's my roaming fees, and I call my twin sister up like every day -- it's crazy. We just spend too much money on the phone."

Aiming for a nice round number of three deadly sins, I encourage Paula to talk some more about her transgressions. "Another sinful thing I do is that I have a tendency to be a bit too frank. Has this gotten me into trouble?" she asks, anticipating my next question. "Yeah. I need to really work out the wiring in my head sometimes, because -- have you seen that episode of Friends where Phoebe says, 'Did I just say that out loud?' I do that. -- 'Did I just say that out loud?'"

"I think the latest example is when I was interviewing Robin Williams two weeks ago, in L.A.," Paula says. It was time for her to wrap up her interview with the Academy Award-winning comedian and actor, when she realized -- "Well, I've got nothing. You've given me nothing," she told him. "Because he was doing his voices and his characters and not addressing my questions," she explains. (Immediately afterwards, the thought flashed in her brain: "Damn, why did I say that?") And did he give you something after that?, I ask. "No -- I don't think he was really there. He was just doing his thing."

Robin Williams doing his thing may be an interviewer's nightmare, but the exact opposite is true for Channel [V] VJ Paula Malai Ali. Long may she continue to charm and enlighten viewers and reporters alike, by bringing a unique perspective and determination to her work, by remaining true to her personality, by doing her thing.

Sunday, April 09, 2006

Burn, Baby, BURN

It's here! It's here! Or at least, I hear it's here. The first issue of new music magazine BURN is available at magazine stands and bookstores now, according to texts I received from Kristine and Denise. Am heading to a mall later to get a copy myself. :)

As you can see, for our debut issue, a decision was made to go with four different covers: Orange and Lemons, Pussycat Dolls, Pupil, and Christian Bautista + Nina. Aside from our four cover subjects, there are also features on Up dharma Down, Pedicab, Itchyworms, Kitchie Nadal, The Bitter Pill, Jason Mraz, Barbie Almalbis, and many more artists, as well as columns by Quark Henares and Lourd de Veyra, and of course, a CD compiled by Zach Lucero, which has interviews and songs by Nyko Maca, Morse and others. There's a lotta great stuff, if I may be so immodest. :) Get it now! Woo hoo!

Friday, April 07, 2006

Narda Now

Narda lead singer Katwo lookin' good as always, while the boys get their sulk on

There are a couple of gigs this Saturday, April 8, that look promising. The 18th installment of Revolver has a killer lineup: Isha, Itchyworms, Pedicab, Sino Sikat, and The Bitter Pill (yay!), plus a couple more acts. It's at SaGuijo though, and while I do like SaGuijo, it's kind of far from where I live, and transpo to and from is always a bother. On the other hand, there's a gig that same night at Big Sky Mind on E. Rodriguez, which will feature -- among "many others" -- Narda, a band that I haven't seen in far too long.

Narda was one of the first bands I wrote about when I joined the staff of PULP magazine; I had seen their EPs on sale at the Sarabia Optical in the UP Shopping Center before, but it was when I covered a gig at Ateneo that I first saw them perform live and was hooked. Here's the first draft of a short feature I wrote about them, back in 2003:
Narda's members claim a variety of influences. Katwo Librando, the lead singer, likes bossa nova. Ed Ibarra, guitarist, is a grunge fan. Wincy Ong, bassist, listens to the mods, the punks -- "everything European". JV Javier, guitarist, likes the blues and heavy metal. Happily, instead of forming an incomprehensible and unlistenable mess, these elements have come together in catchy, stick-in-your-head compositions. It is worthwhile to note that drummer Ryan Villena's favored act, the Beatles, is also the entire band's common denominator.

Ryan, one of the band's main songwriters and a veteran of various local indie acts, formed the band Narda during August of last year, with three objectives in mind. One, to have fun; two, to perform and hone original material; and three, to help the community. The first two objectives are common enough for any rock band. The third needs some explanation. "Our label, Ponkan Music, it's a non-profit organization," says Ryan. "We use rock n' roll music to promote good causes, and to give money to charitable institutions." The first beneficiary of their cause is Tulong Dunong. "It's this scholarship program for deserving public school students." JV sums everything up: "We record our music, we help people -- everybody's happy!"

Of course, as Wincy (who is the band's other main songwriter) points out, they make music that people would want to buy and listen to anyway -- it's not like the charity factor is the only, or even the main, draw. He stresses that these are really songs -- writer-based, lyrics-based songs, as opposed to glorified jamming sessions.

Anyone watching one of their gigs -- or listening to their recordings -- would agree. Songs like 'In the Afternoon' and 'Santong Paspasan' are full of the kind of straightforward pop-song goodness that is all too rare nowadays. The sound on their two most recent EPs is still a bit raw, befitting its DIY roots, and yet rich too, with some charming trumpet flourishes on Suwerte, and the sweet strains of a viola, not to mention the spiralling guitar sound of their mysterious guest, 'Gaddi Shankar', on Burador. At P50 and P30 each, respectively, you'd be hard pressed to get better musical value for your money. (The EPs can be found at their gigs, or at Sarabia Optical at the UP Diliman Shopping Center).

The band name, as you may have guessed, comes from the all-too-human secret identity of local komiks superheroine Darna. "Naaliw kasi ako sa character ni Narda, kasi siya yung hindi Darna, kung baga, siya yung tao," says Ryan. He points out the symbolism involved. "Lahat tayo, pilay, at gusto nating lumipad."

In just a little over half a year, Narda have played a great number of gigs, released three 4-song EPs (with another one due this May), gotten airplay on NU, and filmed two videos -- not bad at all for a bunch of mere humans.

Judging from the photo above -- a recent addition to Katwo's Friendster page -- only two faces I'm familiar with remain in Narda: Ryan, on the far right, and Katwo herself. (Ed left before the fourth EP, and guitarists JV and Nico Africa "amicably resigned" last July.) The last time I saw the band perform, at one of those Terno gigs, Wincy was still with them. Their sound had already changed by then; I wonder what they sound like now.

Sunday, April 02, 2006

Cryogenics, He-Man, and "Eggy in a Basket"

Yay, reading material! And a recipe.

Click here for a scan of a complete single-issue story from Warren Ellis' Transmetropolitan -- "Another Cold Morning." For those of you unacquainted with the comics, it's a series set in a half-nightmarish, half-utopian urban future starring Spider Jerusalem, a journalist who bears more than a passing resemblance to the late Hunter Thompson. This issue focuses on someone from our time, however, who is frozen and revived in Spider's present. I've always thought that the best parts of Transmet were the ones that told a complete story in one go rather than in a multi-issue arc, and this is a good example.

And here's one feminist's account of how she was inspired by a certain cartoon when she was growing up. The cartoon? He-Man and the Masters of the Universe. No, really.

Those of you who have watched the excellent V for Vendetta (and if you haven't, what are you waiting for? Hurry, it's still showing in some theaters) may remember a breakfast-cooking scene -- actually, two breakfast-cooking scenes -- involving something called "eggy in a basket." Here's a recipe for this simple dish, and here's an account of one blogger's attempt to make it. We could argue about the merits of the movie as opposed to the original graphic novel, Alan Moore's insistence on removing his name from the credits, the responsibility or lack thereof in glorifying alliteration, knifing people, and blowing up buildings, or even about the authenticity of "eggy in a basket" (zero, acording to Moore; it's not an English invention, apparently), but one can't argue with butter, eggs and bread. Mmm. Okay, unless you're a vegan.

Saturday, April 01, 2006

The Definition of Skongkrang

skongkrang - n. sobrang chaka ng pagka-jologs. As in kung ang jologs na-jologan sa iyo, sorry na lang, chief, skongkrang ka.

. . .

Ano man ang unit cellphone mo at marami kang load, kung Gn2 k nMn mgTxT (e.g. Wer n Ü d2 na me KninA p aQ), tas puro walang kwentang cryptic messages at higit sa lahat alam mo ang pangalan ko at di ka nagpapakilala (at pahinga-hinga ka lang kapag tinawagan ka), ay potah, skongkrang ka.

Thank you, Jovan, for making me laugh today. :)