Tuesday, February 20, 2007
If you blur your eyes
...Hanoi is an amalgam of many European cities. Tree lined boulevards and cafes recall Paris. The houses along green canals evoke Amsterdam. And if you look out onto the West Lake, and blur your eyes, it's like your looking at the Arno in Florence. And then parts of the teeming city are a little like old Manila and a little like Bangkok.
Funny
They took it off its frame and rolled it up. They almost forgot about the certificate of authentification. When they brought out the file, there was no signature.
"No problem. We'll take it to his house for his signature...and bring it to your hotel room by nine o'clock tonight," Ms. Lan assured me. Alright, I agreed absently, distracted by the rather novel idea that Dao Hai Phong himself lived in a house in Hanoi, that there he worked, and gallery owners came to take his signature. How strange. Dao Hai Phong himself, working in his studio.
It was mind boggling.
"What if he's not home?" T asked.
"It's the lunar new year. He's probably at home with friends and family. Maybe he's entertaining. Maybe he's working."
But at nine o'clock sharp, the certificate came, signed, sealed and delivered.
"No problem. We'll take it to his house for his signature...and bring it to your hotel room by nine o'clock tonight," Ms. Lan assured me. Alright, I agreed absently, distracted by the rather novel idea that Dao Hai Phong himself lived in a house in Hanoi, that there he worked, and gallery owners came to take his signature. How strange. Dao Hai Phong himself, working in his studio.
It was mind boggling.
"What if he's not home?" T asked.
"It's the lunar new year. He's probably at home with friends and family. Maybe he's entertaining. Maybe he's working."
But at nine o'clock sharp, the certificate came, signed, sealed and delivered.
Philosophising the search of Dao Hai Phong
It was much more difficult than we thought. Due to the limits of wall space as well as the limits of our pocketbook, we had to confine ourselves to certain parameters. But even then, even within those, it was not a cut and dry decision that was easy to make from the very outset.
For one, almost every painting I saw, I felt I would love and be proud to own. Amazingly, each and every one. It was further complicated by Phong's titles - all of which are pleasingly poetic, pleasantly provocative. "Quiet Evening" was a fishing boat, docked into a house on stilts, lit from within. "Twilight Moment" was a small village nestled behind a grove of three trees on a hill, the houses reflected in the still waters of the lake. "Countryside" was a row of houses on red. In his recent work, the artist seemed to be responding to more modern inspirations, the walls of his houses had graffiti - not a bad, there was something there.
"But what do you want most? What do you want to look at every day?" All of them, I thought greedily. I'd like to look at all of them. But T was right, I knew. We are not the kind of people to buy any number of work by one artist. You buy one. The one you like best; the one that likes you. And then you stop.
Being perhaps more existentialist than we needed to be, we asked ourselves, what makes a Dao Hai Phong truly Dao Hai Phong, without which it would not be a Dao Hai Phong? We locked upon his trees like clouds of cotton candy, we liked hills and churches. True, his fishing villages were charming - the house on stilts with the light emanating from it, bouncing of the surface of the water - a rhapsody in deep blue that is at once the sky, at once the sea. Beautiful, without a doubt, but there was just something different about those billowing trees.
"It's not like the fishing scenes are not powerful, they are. But we're not fishing people as much as we are tree people," I said, testing out my theory out loud to see if it held any water. T agreed. Fishing and the sea are great. But we are more about hills and trees and houses.
Finally there was the issue of colour. To make the choice between Phong's blueness or redness or yellowness was tough, as each had its merits. K hazarded her rather mature opinion that red was too hot, and that she preferred the serene of deep blue or the calm of the yellow. But I pointed out to her that because of the way Phong paints, even the red, as bright as it is, is calm and quiet and placid...some kind of magic that he is able to achieve, a gentle message from the eye to the brush, spelt out in the canvas.
In a red one called "New town" there is a cluster of houses on a hill and two trees. There is also the unexpected gift of falling yellow leaves, like the season of autumn.
"New town" had real hope and it grew in all of us. On our final day in Hanoi, we decided to
take it home.
For one, almost every painting I saw, I felt I would love and be proud to own. Amazingly, each and every one. It was further complicated by Phong's titles - all of which are pleasingly poetic, pleasantly provocative. "Quiet Evening" was a fishing boat, docked into a house on stilts, lit from within. "Twilight Moment" was a small village nestled behind a grove of three trees on a hill, the houses reflected in the still waters of the lake. "Countryside" was a row of houses on red. In his recent work, the artist seemed to be responding to more modern inspirations, the walls of his houses had graffiti - not a bad, there was something there.
"But what do you want most? What do you want to look at every day?" All of them, I thought greedily. I'd like to look at all of them. But T was right, I knew. We are not the kind of people to buy any number of work by one artist. You buy one. The one you like best; the one that likes you. And then you stop.
Being perhaps more existentialist than we needed to be, we asked ourselves, what makes a Dao Hai Phong truly Dao Hai Phong, without which it would not be a Dao Hai Phong? We locked upon his trees like clouds of cotton candy, we liked hills and churches. True, his fishing villages were charming - the house on stilts with the light emanating from it, bouncing of the surface of the water - a rhapsody in deep blue that is at once the sky, at once the sea. Beautiful, without a doubt, but there was just something different about those billowing trees.
"It's not like the fishing scenes are not powerful, they are. But we're not fishing people as much as we are tree people," I said, testing out my theory out loud to see if it held any water. T agreed. Fishing and the sea are great. But we are more about hills and trees and houses.
Finally there was the issue of colour. To make the choice between Phong's blueness or redness or yellowness was tough, as each had its merits. K hazarded her rather mature opinion that red was too hot, and that she preferred the serene of deep blue or the calm of the yellow. But I pointed out to her that because of the way Phong paints, even the red, as bright as it is, is calm and quiet and placid...some kind of magic that he is able to achieve, a gentle message from the eye to the brush, spelt out in the canvas.
In a red one called "New town" there is a cluster of houses on a hill and two trees. There is also the unexpected gift of falling yellow leaves, like the season of autumn.
"New town" had real hope and it grew in all of us. On our final day in Hanoi, we decided to
take it home.
Visions of Vietnam
Apparently, the fairly advanced development of the art scene in Vietnam took place largely because of the French occupation and such institutions as Ecole des Beaux Arts d'Indochine, set up by the colonialists in 1925, the harbinger for schools like the Hanoi Institute of Fine Art. Techniques like painting and sculpture were taught intensively, and later, indigenous art forms were added to the curriculum like lacquer painting and silk painting.
As it happens with all colonial histories in which one more powerful country actively takes over one weaker one, there were a few good things that happened amid the bad. And for Vietnam, visual art is one of them. Walking through the galleries in Hanoi alone, one finds many artistic voices worthy of attention - each with a personal vision, a particular discipline, an eye for meaning that is unique, powerful, and beautiful.
Years before we visited the city, I had spent many hours journeying through the websites of various galleries, visiting and revisting my favourites - the pure simplicity of Nguyen Thanh Binh (b. 1954), his serene, creamy spaces, elegantly singular compositions and the colour white which he expertly makes use of as a colour, as opposed to a non-colour. The subtle, single-hued panoramas of Hong Viet Dung (b. 1962)and the joyful street scenes of Le Than Son (b. 1962)
And then there are the poignant, surreal storybook visions of Dao Hai Phong (b. 1965) that never fail to elicit my wordless satisfaction. Most of his paintings enchant, because they deftly achieve the rare but keen pleasure located in the intersection where brightness and quietness meet and sometimes fall in love.
See http://www.thavibu.com/vietnam/dao_hai_phong
So when at last we paid the city of Hanoi a visit, it was my heartfelt wish, my intent to find a Dao Hai Phong that called my name. I wanted to find one and take it home that I might escape into it everyday, if I so chose. Not merely to look at it and admire it as a possession. But to actually engage in it, enter it, be one with it.
In the end, this, is what art is ultimately about.
As it happens with all colonial histories in which one more powerful country actively takes over one weaker one, there were a few good things that happened amid the bad. And for Vietnam, visual art is one of them. Walking through the galleries in Hanoi alone, one finds many artistic voices worthy of attention - each with a personal vision, a particular discipline, an eye for meaning that is unique, powerful, and beautiful.
Years before we visited the city, I had spent many hours journeying through the websites of various galleries, visiting and revisting my favourites - the pure simplicity of Nguyen Thanh Binh (b. 1954), his serene, creamy spaces, elegantly singular compositions and the colour white which he expertly makes use of as a colour, as opposed to a non-colour. The subtle, single-hued panoramas of Hong Viet Dung (b. 1962)and the joyful street scenes of Le Than Son (b. 1962)
And then there are the poignant, surreal storybook visions of Dao Hai Phong (b. 1965) that never fail to elicit my wordless satisfaction. Most of his paintings enchant, because they deftly achieve the rare but keen pleasure located in the intersection where brightness and quietness meet and sometimes fall in love.
See http://www.thavibu.com/vietnam/dao_hai_phong
So when at last we paid the city of Hanoi a visit, it was my heartfelt wish, my intent to find a Dao Hai Phong that called my name. I wanted to find one and take it home that I might escape into it everyday, if I so chose. Not merely to look at it and admire it as a possession. But to actually engage in it, enter it, be one with it.
In the end, this, is what art is ultimately about.
Monday, February 19, 2007
High Tea at the Metropole
As we wait for our vittels, K studies the Apricot Gallery brochure intently while C checks out what we should do the tomorrow...Friday, February 16, 2007
Salin 'ko PO ng Nakapagtataka (Apo Hiking Society)
Thanks to my sis, I now have the tribute to the Apo Hiking Society album. Which means I have Nakapagtataka on loop. My colleagues asked what does it mean. So I tried my hand at translation. Sing it in English to the same heart-haunting strain...
A never ending whirl
Keeps swirling through my mind
The moment we agreed to go our separate ways
Decided we can't get along the way it stays
It's hard to figure out, what's it all about...
How strange it comes to this
The way it's all turned out
The countless times that we keep saying our goodbyes
And each and every time, regret is in our eyes
It's hard to figure out, what's it all about?
REF
Aren't you tired of all the pain
All the anger and disdain
So many times we fight it out
The ugly words, the hurt, the doubt
And when it's done, the tears, they fall
Our hearts are breaking after all
There's nothing left to do or say
And only sadness to convey
If we were truly meant to be lovers
Why can't we get along with each other
woooh wooh
The rain keeps pelting down
And where have you gone, sunshine?
What happened to the love that once was ours to share?
There's only emptiness and heartache and despair
It's hard to figure out, why do we even care...
A never ending whirl
Keeps swirling through my mind
The moment we agreed to go our separate ways
Decided we can't get along the way it stays
It's hard to figure out, what's it all about...
How strange it comes to this
The way it's all turned out
The countless times that we keep saying our goodbyes
And each and every time, regret is in our eyes
It's hard to figure out, what's it all about?
REF
Aren't you tired of all the pain
All the anger and disdain
So many times we fight it out
The ugly words, the hurt, the doubt
And when it's done, the tears, they fall
Our hearts are breaking after all
There's nothing left to do or say
And only sadness to convey
If we were truly meant to be lovers
Why can't we get along with each other
woooh wooh
The rain keeps pelting down
And where have you gone, sunshine?
What happened to the love that once was ours to share?
There's only emptiness and heartache and despair
It's hard to figure out, why do we even care...
(Back to refrain)
Hanoi holiday
Such a pretty city. Little houses in pastel colours. Stately streets lined with trees. Quiet green lakes and canals. French colonial buildings. And don't you just love all that zany traffic -- the complete craziness of cars, bicycles, motorbikes, cyclos - and by some miracle, everyone avoids a collision. It's the beauty of lunacy.
Wednesday, February 14, 2007
Balentymes
Remember, while it's just a day like any other day, you can make it special for those you love and consequently in turn, for yourself. Which is not a bad way to treat any other day, actually.
Tuesday, February 13, 2007
A girl after my own heart
" For what do we live, but to make sport for our neighbors and laugh at them in our turn?"
-Jane Austen
-Jane Austen
Monday, February 12, 2007
Monday meetings
I ran off to have a quality Japanese food and much needed quality time with M today. That was meeting one. Then in the afternoon meeting 2 with Dapper Y. I call him Yoda in my mind - He took me aside to make sure I was back on track.
He is Yoda for his wisdom and for the great force that he emanates. To my mind, he is the best of the Dappers. What's more, we have affinity, which is a good thing I think, and should serve me well in the long run.
In the meantime, closing goes on. Will there be a CNY break? Could be. Who knows.
Something's coming. I don't know what it is but it is gonna be great...
Or that could be wishful thinking. No workout today. But tomorrow, I hit the track again - literally.
He is Yoda for his wisdom and for the great force that he emanates. To my mind, he is the best of the Dappers. What's more, we have affinity, which is a good thing I think, and should serve me well in the long run.
In the meantime, closing goes on. Will there be a CNY break? Could be. Who knows.
Something's coming. I don't know what it is but it is gonna be great...
Or that could be wishful thinking. No workout today. But tomorrow, I hit the track again - literally.
Sunday, February 11, 2007
Excesses
It's my own fault. Nobody asked me to stay out till 3am. Nobody insisted that I sing ABBA or Joan Jett or Billy Joel or Madonna or The Corrs. I did it to myself. So if today seemed like a longer day than it actually was, I have no one to blame but myself. I have to say though, it was great fun while it lasted.
But today was fun, too. We had perfect weather to manage 8 eight year olds rambling through an old historic park on a green hill with wide expanses of grass and gigantic trees. There was a scavenger hunt and a game of tag and lots and lots of water gun fights. Our menu of vampire blood muffins (pizza pan de sal), mud sludge pies (chocolate cup cakes) and lady witch fingers (cheese sticks) went over well, along with the goober alien flow (apple and grape juice packs).
The wind blew and the little boys played, dragging the adults in. Even K who was on duty as assistant game master was seen madly tearing after a boy who had open fired on her. She caught him, too. At one point, I was being chased by two litte twer-- er little boys...as they shot me with what can only be described as a water bazooka. Finally, I changed my tack and chased them, grabbed their weapons from their hands and blasted them full on on the face till they yelled in surrender. The birthday boy was properly pleased, and his sister got her reward for doing such good work - developing a pop quiz as one of the major games.
Now, as I contemplate the crafting of a relationship piece when all I really want to do is crawl into bed, I think, this day went pretty well, actually. If only work happens to suffer, that should be a small and unimportant thing in the long run that is life.
But today was fun, too. We had perfect weather to manage 8 eight year olds rambling through an old historic park on a green hill with wide expanses of grass and gigantic trees. There was a scavenger hunt and a game of tag and lots and lots of water gun fights. Our menu of vampire blood muffins (pizza pan de sal), mud sludge pies (chocolate cup cakes) and lady witch fingers (cheese sticks) went over well, along with the goober alien flow (apple and grape juice packs).
The wind blew and the little boys played, dragging the adults in. Even K who was on duty as assistant game master was seen madly tearing after a boy who had open fired on her. She caught him, too. At one point, I was being chased by two litte twer-- er little boys...as they shot me with what can only be described as a water bazooka. Finally, I changed my tack and chased them, grabbed their weapons from their hands and blasted them full on on the face till they yelled in surrender. The birthday boy was properly pleased, and his sister got her reward for doing such good work - developing a pop quiz as one of the major games.
Now, as I contemplate the crafting of a relationship piece when all I really want to do is crawl into bed, I think, this day went pretty well, actually. If only work happens to suffer, that should be a small and unimportant thing in the long run that is life.
Saturday, February 10, 2007
What are eight year old boys made of
Sunday picnics and water guns and eight other eight year old boys in the park, whooping and zipping around and being there own paradoxical selves. We've got the cup cakes, the mini pizzas, the cheese sticks and the juice packs. Not to mention ten well-packed goodie bags. Please don't let it rain.
Apocalypto
Last Friday Babel, this Friday Apocalypto.
Which is not to say that these films are not well-done nor well worth watching. They are. But I wouldn't say they were feel-good movies or even movies that are pleasurably gripping. In fact, they are quite definitely unpleasurably gripping.
For me, the best sub-plot in Babel was the Tokyo sub-plot. It was, at least, the most interesting and the most unexpected, in contrast to the others where you could see the anguish coming a mile away. The couple's Moroccan vacation nightmare was saved from sentimentality by Cate Blanchette who is just a brilliant creator. She doesn't have much to do, but she's so invested. Even when acting opposite Brad who is at his most wooden, it seems, and very diametrically uninvested. In the Mexican sub-plot, you can't take your eyes off Gael Garcia Bernal. But then, really, why would you want to? And weren't those children impossibly blonde - as in ghostly blonde?
In Apocalypo, the most joyful moment is "Almost's" transformation into the Jaguar's Paw - and that phenomenal leap into the falls. That and the water birth. If you're going to deliver a child sans doctor, hospital and epidural...it is best to push him out while submerged in a caveful of rain water.
All this action, all this cinematic tension.
And yet all I seem to be in the mood for are small domestic dramas. I would love to watch Little Children. T will say to me, "What, another infidelity movie?" Maybe I'll book tickets for Valentine's Day. Happy Valentine's Day to me.
Which is not to say that these films are not well-done nor well worth watching. They are. But I wouldn't say they were feel-good movies or even movies that are pleasurably gripping. In fact, they are quite definitely unpleasurably gripping.
For me, the best sub-plot in Babel was the Tokyo sub-plot. It was, at least, the most interesting and the most unexpected, in contrast to the others where you could see the anguish coming a mile away. The couple's Moroccan vacation nightmare was saved from sentimentality by Cate Blanchette who is just a brilliant creator. She doesn't have much to do, but she's so invested. Even when acting opposite Brad who is at his most wooden, it seems, and very diametrically uninvested. In the Mexican sub-plot, you can't take your eyes off Gael Garcia Bernal. But then, really, why would you want to? And weren't those children impossibly blonde - as in ghostly blonde?
In Apocalypo, the most joyful moment is "Almost's" transformation into the Jaguar's Paw - and that phenomenal leap into the falls. That and the water birth. If you're going to deliver a child sans doctor, hospital and epidural...it is best to push him out while submerged in a caveful of rain water.
All this action, all this cinematic tension.
And yet all I seem to be in the mood for are small domestic dramas. I would love to watch Little Children. T will say to me, "What, another infidelity movie?" Maybe I'll book tickets for Valentine's Day. Happy Valentine's Day to me.
Wednesday, February 07, 2007
What's a garden without Weeds?
Just finished the second season. It's dark, depraved, deadly funny and completely addictive. But not for everyone, though. The show is by turns heinous yet oddly heartbreaking due to Mary Louise Parker and Elizabeth Perkins. Quite definitely not for everyone. Just those who are tickled by what's sometimes seen as downright perverted; these people will take a fancy to it. Granted, only a few people's names come to mind from my life, but they exist. Oh boy, do they exist.
And you just gotta love the theme song. Listen to it here
http://www.youtube.com/watch?v=eXLWa1UZIS
If you can't, here are the lyrics - lovely, lovely satire.
Little boxes on the hillside, Little boxes made of ticky-tacky, Little boxes on the hillside, Little boxes, all the same. There's a green one and a pink one And a blue one and a yellow one And they're all made out of ticky-tacky And they all look just the same.
Nah.
And you just gotta love the theme song. Listen to it here
http://www.youtube.com/watch?v=eXLWa1UZIS
If you can't, here are the lyrics - lovely, lovely satire.
Little boxes on the hillside, Little boxes made of ticky-tacky, Little boxes on the hillside, Little boxes, all the same. There's a green one and a pink one And a blue one and a yellow one And they're all made out of ticky-tacky And they all look just the same.
And the people in the houses All went to the university, Where they were put in boxes, And they came out all the same. And there's doctors and there's lawyers And business executives, And they're all made out of ticky-tacky And they all look just the same.
And they all play on the golf-course, And drink their Martinis dry, And they all have pretty children, And the children go to school. And the children go to summer camp And then to the university, Where they are put in boxes And they come out all the same.
And the boys go into business, And marry, and raise a family, In boxes made of ticky-tacky, And they all look just the same. There's a green one and a pink one And a blue one and a yellow one And they're all made out of ticky-tacky And they all look just the same.
Why...why...it almost sounds like...dare I say it?Nah.
Saturday, February 03, 2007
Accu-amazing
Pardon my going on about accupuncture. But it really is amazing. My accupuncturist, a Chinese physician, holds clinic on the second floor of an HDB commercial complex in Chinatown and refuses to give appointments. "Come when you come," she shrugs.
She is a card, a real character - and I warmed to her in the same way I find myself inclining toward quirky women. She takes cash only. She and her receptionist have a very giggly schoolgirlish relationship. And although her English is on the elemental, primordial side - she has that winning instinct of making herself very easily understood.
Yesterday, perhaps as a result of a difficult week, I was inspired to make time to escape to her for an hour. I got there at 11:30, blissful that the clinic was empty and she could see me right away. I went through the restorative cupping along my entire spine and the exhilerating needling and she gave me unlabelled pills to take - so that I could get "an - bocked".
She also showed me (with the help of a rubber and plastic model) that the human ear is
exactly like a human fetus. How great is that? Last night, once again, I slept like a baby and rose this morning with verve and energy - completely ready for doctor's appointments, a hundred errands, writing homework and choir practice.
Am so going again next week.
She is a card, a real character - and I warmed to her in the same way I find myself inclining toward quirky women. She takes cash only. She and her receptionist have a very giggly schoolgirlish relationship. And although her English is on the elemental, primordial side - she has that winning instinct of making herself very easily understood.
Yesterday, perhaps as a result of a difficult week, I was inspired to make time to escape to her for an hour. I got there at 11:30, blissful that the clinic was empty and she could see me right away. I went through the restorative cupping along my entire spine and the exhilerating needling and she gave me unlabelled pills to take - so that I could get "an - bocked".
She also showed me (with the help of a rubber and plastic model) that the human ear is
exactly like a human fetus. How great is that? Last night, once again, I slept like a baby and rose this morning with verve and energy - completely ready for doctor's appointments, a hundred errands, writing homework and choir practice.
Am so going again next week.
Who are the Van der Luydens
Edith Wharton's Age of Innocence is a novel about New York society as most of her novels were. To put it bluntly, who is in, who is out, who are the right people and who are the wrong people. And "right" seems to have no other discernable meaning beyond that of shared family and or socio-economic background - not necessarily shared interests, world views or humour.
The explores what happens when someone wants to leave the "right" people, deciding that he will no longer adhere to the usual conventions of who is right and who is wrong, but simply be with the person he wants to be with - in fact be himself, the person he wants to be. Of course, he is thwarted in the end. The book strikes a real chord with me every time I read it, because of its parallels with Pinoy society - and perhaps most especially, Pinoy society outside of the Philippines.
And while the whole Ellen Olenska-Newland Archer-May Wheeland triangle is the central plot, certain details and sub-plots have taken permanent residence in the way I understand social patterns today. The Van der Luydens, in Wharton's world, are an older couple whose approbation and estimation is valued, whose opinion is sought even though they studiously make their presence quite scarce as Ellen Olenska intimates, in part perhaps to ensure
that value.
It can be a tremendously amusing past time to characterise real people according to the roles of characters in a Wharton novel. Who is the Ellen Olenska who finally and irrevocably turns her back on the conventional norms, preferring instead to live life according to her own choosing despite the loss of a love affair? Who is the Newland Archer who struggles to with his desires for a different kind of life but is too trapped in the rules and norms of the society he himself has helped create. Who is the May Wheeland who has no other thought nor interest beyond what she has been taught to value and find worthy of attention. And who, who are the Van der Luydens?
One of the many wonderful things about great literature is the truth that it lends to what would otherwise be mundane, fairly ordinary life.
The explores what happens when someone wants to leave the "right" people, deciding that he will no longer adhere to the usual conventions of who is right and who is wrong, but simply be with the person he wants to be with - in fact be himself, the person he wants to be. Of course, he is thwarted in the end. The book strikes a real chord with me every time I read it, because of its parallels with Pinoy society - and perhaps most especially, Pinoy society outside of the Philippines.
And while the whole Ellen Olenska-Newland Archer-May Wheeland triangle is the central plot, certain details and sub-plots have taken permanent residence in the way I understand social patterns today. The Van der Luydens, in Wharton's world, are an older couple whose approbation and estimation is valued, whose opinion is sought even though they studiously make their presence quite scarce as Ellen Olenska intimates, in part perhaps to ensure
that value.
It can be a tremendously amusing past time to characterise real people according to the roles of characters in a Wharton novel. Who is the Ellen Olenska who finally and irrevocably turns her back on the conventional norms, preferring instead to live life according to her own choosing despite the loss of a love affair? Who is the Newland Archer who struggles to with his desires for a different kind of life but is too trapped in the rules and norms of the society he himself has helped create. Who is the May Wheeland who has no other thought nor interest beyond what she has been taught to value and find worthy of attention. And who, who are the Van der Luydens?
One of the many wonderful things about great literature is the truth that it lends to what would otherwise be mundane, fairly ordinary life.
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Kids on break
So what are you going to do about it?
Reminder: Buy fruit
Likewise, Quintosians rule
on with family business
FLASHBACK MANILA
Isang Sandali
Sisterhood rules
Here's to being the best we can be!
Apparently, this is me. Now which card are you?
You are The Wheel of Fortune
Good fortune and happiness but sometimes a species of intoxication with success
The Wheel of Fortune is all about big things, luck, change, fortune. Almost always good fortune. You are lucky in all things that you do and happy with the things that come to you. Be careful that success does not go to your head however. Sometimes luck can change.
What Tarot Card are You?
Take the Test to Find Out.