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*350. Shine Bright Like a Diamond: THE OCAMPO JEWELLERS OF ANGELES

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GEM OF A MAN. Lawyer, banker, businessman, socio-civic leader, Mr. Ricardo Ma. Ocampo of Minalin, togther with his wife, Evansuida (nee Gueco), started the well-known Ocampo's, the jewelry and watch chain store that continues to operate today.

 For over sixty years, the name OCAMPO’s was synonymous to fine jewelry and quality watches. The name needed no other descriptor as almost all Kapampangans of good taste hied off to this shop to get the best imported wristwatches and the most stylish gold pendant necklaces, wedding rings, brooches and other jewelry pieces of superb value.

From a smalltown enterprise, OCAMPO’s grew to become a large, nationally-known enterprise, with branches and extensions all around Pampanga and even in the posh malls of Manila and Makati. Pampanga’s premiere jewellery store was founded by Atty. Ricardo “Rickie” Ma. Ocampo.

He was born in the town of Minalin on 23 October 1919, the son of Santiago L. Ocampo, a noted pioneer in jewelry merchandising and owner of a chain store of local jewelry stores. Ricardo’s mother, Felipa vda. De Ocampo, on the other hand, hailed from Guagua. For his primary education, Ricardo attended the Minalin Elementary School, before moving to Guagua National Institute. He then transferred to Pampanga High School, where he graduated in 1936.

Upon completion of his secondary school, he enrolled at the University of Santo Tomas and earned his Commerce degree in 1940. He then proceeded to take up and finish Law at Francisco Law Schoo, and passed the Bar Exams in the nick of time—just before the War. Ricardo sharpened his business acumen by assuming the managership of his father’s business, “Ocampo’s for Everything”, beginning in 1945.

With his marriage to Evansuida Gueco, daughter of Lorenzo Gueco and Saturnino Ocampo, he decided to venture on his own in 1947. Settling in the hometown of his wife, the couple put up Ocampo’s Angeles, which was primarily a small jewelry shop. To this shop, they eventually added jewellery services, a gift shop, a pawn shop, and an optical department. The Ocampos became direct importers of clocks and watch parts, which proved to be their bestsellers, after their jewelry products.

 As their fortunes grew, so too their social standing. Ricardo’s financial occupation was made busier with socio-civic activities. Ricardo became President of the One and Only Club, the Jolly Youngsters Club and Selegna Club. He also headed the popular Bato-Balani Club and Kundiman Club as Governor. Likewise, he was a lifelong member of the Angeles Jaycees, the Rotary Club of San Fernando and the Holy Name Society.

 Evansuida, on the other hand, honed her skills in the art and science of jewelry by enrolling in special gemology courses. As a gemologist, she earned international recognition for her jewelry expertise. The Ocampo couple would have four children, all daughters-- Corito, Divina, Evita and Finina, who grew up studying at the local Holy Family Academy.

 By the 1950s, OCAMPO’s would have lucrative branches in Angeles, San Fernando and Guagua, which encouraged customers to “Buy with Confidence”. The company logo incorporated images of a clock face and a gem—the banner products of their business.

 The 70s were a time of expansion and diversification to respond to the imperatives of the times. OCAMPO’s added household appliances to their product line, and put up a large warehouse-shop along MacArthur Highway in Balibago, a strategic location to capture both the local and large American base market. With the prominence of malls in the late 70s and 80s, branches of OCAMPO’s sprouted in Shoemart (SM) and Ayala Commercial Center, joining other Kapampangan-owned shops like those operated by the Dayrits (Miladay’s) and Fe Sarmiento-Panlilio (Fe Panlilio Jewellers).

 Just when things were going along very well with the Ocampos, a tragedy struck the family on 28 September 1983. Ricardo, Evansuida and their then 14 year old adopted daughter, Rosemarie Pineda, were attacked by their houseboy, Eddie Malonzo, at their posh Villa Teresa all-white mansion. The couple were killed, but their daughter survived the carnage which was reported in national newspapers.

 Despite the Ocampos’s tragic deaths, their legacy lives on in their shops which continues to operate today in Angeles and in Manila. It still enjoys a loyal following especially by a generation of Kapampangans who grew up wearing Ocampo’s wedding rings, gold chain necklaces and fine wristwatches, among others.

*351. JESS LAPID: Guagua's Last Action Hero

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LIPAD, LAPID, LIPAD!. Jess Lapid Sr., at the height of his career, ranked among the bigtime action stars of the 60s, led by Fernando Poe Jr. and Joseph Estrada. Photo from Philippine Free Press, Ca. 1964.

 “Divina Valencia, 
Stella Suarez, nagbu-burles” 
Sa ngalan ng pag-ibig, 
Fernando Poe’ng makisig, 
Pangalawa si Jess Lapid.” 

 In the more innocent days of the 1960s, children all over the country used to sing this ditty to the tune of the Beatles’ ”A Hard Day’s Night”, as a tribute to the local showbiz’ most-talked about stars. Divina and Stella were obvious picks as they were the leading names that paved the way for “bomba” films in the 70s. Rising star Fernando Poe, was already a name to reckon with in action films, and hot on his heels was Poe’s discovery, Jess Lapid, who was popular enough to earn a line in the lyrics of this nonsense song, which alludes to his handsome-ness, second only to Da King. Indeed, Jess Lapid’s star could have shown brighter in Philippine moviedom, had he not met an early and untimely death.

He was born, Jesus Lapid in 1933, in Guagua town; an older brother, Jose, is the father and grandfather of movie stars-turned politicians Lito Lapid (now on his last term as Senator), and son Mark Lapid (former governor of Pampanga and now TIEZA Head), respectively. Jess started as an extra in his first film from Premiere Productions, “Larawan ng Pag-Ibig” in 1961. He then shifted to being a stuntman, after finding out that they earned more than extras.

He rose to become the top stuntman of Premiere, often doubling for more established stars—riding horses, falling from cliffs, getting shot at by villains. He had the good fortune for doubling for Fernando Poe Jr., and soon, the two would become fast friends.

When Poe ventured into film productions, he made Jess one of the regulars in his films, giving him roles that required real acting, rather than choreographed stunt actions. Jess rose to the occasion and proved to be a convincing character actor. He tried him out in “Pasong Diablo”, in 1961.

 It was in the FPJ Productions, “Sierra Madre” (1963) that Poe decided to give Jess the full star treatment—from a more prominent billing to major publicity exposures. But it was Jess himself who pulled it off, by turning in a sensational performance that erased all doubts about his just being a “mere stuntman”.

 It was Tagalog Ilang-Ilang Productions picked him up and eventually made him into a superstar in the movie “Kardong Kidlat” (1964) which became such a smashing success at the box office tills. At the Globe Theater where the movie was launched, a long queue of movie fans lined up around the building just get get in and watch the talk-of-the-town film.

 1964 proved to be a bright and busy year for jess, appearing in movies like “Bilis at Tapang” with Romeo Vasquez and “Deadly Brothers” with Joseph Estrada. He co-starred with Vic Vargas in “7 Kilabot ng Barilan”. In 1968, Jess appeared alongside action movie greats Fernando Poe Jr. and Joseph Estrada in “3 Hari”, an FPJ productions offering.

 As he was raking it in, he invested in his own film outfit, Jela Productions, and began producing his own movies.

 He had just wrapped up the movie “Simaron Brothers”with Jun Aristorenas, when, on the night of 13 July 1968, he was shot to death at the Lanai Nightclub after an altercation between two groups of movie personalities. Persistent reports linked the incident to another Kapampangan actress, Nancy Roman, also his leading lady. A suspect, Mario Henson, gave himself up to the police, and at least one gunman from Angeles was implicated in the crime. Jess was brought to the National Orthopedic Hospital but was pronounced dead on arrival. He was just 35 years old when he passed away.

 “Simaron Brothers”was shown post-humously at the Globe Theater, and the blurb capitalized on his sensational death by touting his last movie as a“picture that will project the living image of Jess Lapid in the hearts of millions..”.

 As a belated tribute, nephew Lito Lapid appeared as Jess Lapid in the biopic “The Jess Lapid Story”, released in 1978. He also immortalized the iconic role of Leon Guerrero, first originated by Jess in the 1968 film, “Leon Guerrero: Laban sa 7 Kilabot”"

 Of his 3 children, one went on to follow in his footsteps. His namesake, Jess Lapid Jr. also became a movie actor, and a film and fight director. He appeared in a 1980 spin-off film that made his father famous, “Ang Bagong Kardong Kidlat”. Jess Jr. capped his career with a Best Supporting Actor award for the movie “Lumayo Ka Man Sa Akin” in 1993.

 The senior Jess can very well rest happy with the thought that the Lapid name, through his son, nephew and grandnephews, continue to contribute to the lively art of film-making in the Philippines.

*352. THE OLD SCHOOL CANTEEN

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WHERE EAT'S AT. The Pampanga High School canteen, located at the school grounds, was just a modest wooden structure built to serve as an eating area for students during their recess and breaks. Ca. Late 1950s

 Who can forget the old school canteen? The sound of the bell indicating the start of recess would have us scampering towards our school canteen—that ramshackle building that sold more than refreshments and snacks for hungry students, but also provided a casual place for lively discourses, from the trivial to the sublime, while partaking of cheap spaghetti, Chiz Curls and Sunkist in tetra-packs.

 The concept of a canteen was nonexistent in my elementary years. Always, we ate our food in the classroom, bought from student vendors (recruited from the Home Economics classes) who went from room to room selling kakanins like kalame, palitaw and mochi. Otherwise, we would buy snack items from makeshift stalls around the perimeter of our school, to be eaten within the school grounds during our break time.

 It was different when I set my foot in my new high school in the city—it had a separate structure for food and refreshments. Every 9:30 a.m., all hell broke loose in the mad dash to be first in line at the canteen—the sooner you were served, the more time you can indulge in eating and socializing. 

Oh yes, it was in the canteen that various clicque were formed and friendships forged for a brief 15-20 minutes, and one’s station in the school could be gleaned from the composition of students in one table. Nerds and runts would occupy one table, and the more boisterous ones in another.

 Our school canteen was managed by the family of one student, who happened to be a classmate, and it had the basic stuff we needed to satisfy our growing appetites. Manning the fort was the loquacious Mrs. Antonio, who exuded a Mother Earth-ly aura with her matronly girth. She could not keep still at her post, making sure everyone was served efficiently, promptly.

 A typical morning merienda included such choices as spaghetti with ketchup-y sauce laced with hotdog slices (my favorite!), recado-less pancit guisado, watery sampelut, siopao, assorted sandwiches (cheese pimiento was a staple) , Chippy, Chiz Curlz –which we downed with softdrinks and orange juices in triangular cartoons—plus candies galore. The scene would be repeated come lunch time, and the canteen would be full to the rafters by noon.

I shied away from the canteen at this time, preferring to eat my packed lunch elsewhere with my best friend. Our secret break spot was at the rear of the school, under a thick canopy of bonggabilya leaves. Here, hidden by the thick foliage, we could enjoy our lunch, wrapped in banana leaves, away from the bullies whose nasty habit it was to mooch for ulam! There was not a week that I did not have porkchop or fried chicken for lunch, for some reason, I never had vegetables.

 Since the break time was a full hour, students had more time to linger—perhaps to review Physics lessons, learn a few chords from the latest issue of Jingle Magazine, character assassinate a teacher, and for the more daring ones—sneak a few puffs of smoke.

 A more serious transgression done to the canteen was the constant disappearance of plates and utensils. I remember Mrs. Antonio making a plea to our class, to please, please return the plastic yellow plates lest she gives up the canteen. I don’t know if the plates were returned, but the Antonios operated the canteen till we all finished high school.

 The sound of the bell after an hour would indicate the end of lunch, and the start of the afternoon session, which would invariably lull students to sleep, including me. The saving race would be the 3:30 pm. bell, signalling our final trip to the canteen. I would buy only a few pieces of candy like Lipps and Vi-Va by this time, preferring to save my appetite for dinner.

 I continued to be a canteen habitué in my university years, even if the big canteens there were impersonal and cold. There were no Mrs. Antonios to warm you up with a smile and a “good morning”, only uniformed attendants who served then swiped your tables cleaned, then moved on to the next . The menu was more sophisticated, with fancy entries like “flying saucer”, “club sandwich”, “sloppy joe sandwiches”. But where, oh where is my“putung babi” and “sampelut”?.

 Then and now, school canteens continue to serve the same purpose for both idlers and socializers. For the latter, a canteen is a place to see and be seen, to display trophy friends, grab a bite--and attention. As for the bored and the lonely, here’s a friendly advice: ”If you have nothing to do, do it here—in your old school canteen!!”

*353. Pampanga's Churches: STA. CATALINA CHURCH, Arayat

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STA. CATALINA CHURCH, as it appears in 1911. The 3-level Renaissance-style facade gives it a signature look, that has earned a reputation as among Pampanga's most beautiful churches. Luther Parker Collection

The ancient town of Arayat rests on the foothills of Pampanga's mountain landmark, that has also come to be called by the same name. Its actual founding, however, is shrouded in mystery; with some sources naming either Prince Balagtas or his son, Araw--both Madjapahit Empire nobles, as the founder. But what we do know was Arayat was already a viable settlement as early as the 14th century, and 1571, it was one of the most important riverine towns of Pampanga, becoming a hub for trade and commerce.

The coming of Augustinians ushered in a brisk period of evangelization and, on 29 August 1590, Bishop Domingo Salazar approved a request to establish the first mission in the town, which was subsequently set up by Fray Juan de Valderrama. By 1600, the Arayat parish was already firmly established , under the ministry of Fray Contreras.

The early church was dedicated to Santa Catalina de Alejandria (St. Catherine of Alexandria), a 4th century virgin-martyr killed under the reign of Maxentius. Considered as one of the most important saints of the Medieval period, Sta. Catalina was also a popular Augustinian devotion.

The stone and brick structure was erected in 1753; cacnonical books indicate that the first baptism was conducted there in 1758, by a certain Fray Villalobos. The church was rebuilt by Fray Jose Torres starting in 1858. Fr. Juan Tarrero continued with the project only to become an unfortunate victim of the Philippine Revolution. It was finally finished in 1892, under the able supervision of Fr. Urbano Beduya, although several renovations continued through the first 2 decades of the 20th century.

The beautiful Sta. Catalina Church features a multi-levelled Renaissance style fachada. measures 70 meters long and 16 meters wide and stands12 meters high. It belongs to the parish of the Vicariate of Mary, Help of Christians in the Archdiocese of San Fernando. An image of its titular patron, Sta. Catalina, stands on the church portico. A separate antique image also resides in the main altar. Her  feast day is celebrated on November 25. 

*354. SURVIVING PINATUBO

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 THE EARTH TREMBLED, THE DAY TURNED INTO NIGHT. The fearsome volcano in calmer days, as it looked from  Fort Stotsenburg (now Clark Field) in the first two decades of the 20th century. The caption reads: "West End Stotsenburg, Showing Mt. Pinatuba (sic)".

 The onslaught of the twin catastrophes in the Visayas—first, the earthquake in Bohol, and then the powerful super typhoon Yolanda—brought back horrific memories of Pampanga’s own disaster that are forever etched in the minds of Kapampangans and in our province’s history. The images of utmost destruction and of hopelessness recall those of ours, which happened over 20 years ago, when Mount Pinatubo was roused from its 300 year- sleep after and erupted with all its fury in 9-15 June 1991, threatening to destroy everything in its path.

 To make things worse, a crossing typhoon (Yunya) dumped rain on the region, resulting in a rain of ash that covered all of Pampanga. It also loosened debris on the slopes of the mountain and depositing mud on the plains. Rivers and streams swelled with lahar and pyroclastic materials, which overflowed and engulfed whole towns, erased roads, vaporized trees, buildings and bridges. When the eruption simmered, Pampanga and neighboring Zambales and parts of Tarlac became virtual wastelands, with hundred and thousands of people displaced, and its economy shattered.

 But hardy Kapampangans allowed themselves only a short time for grief and despair. Days after the big bang, with Pinatubo still smoldering and with the earth still shaking, Kapampangans rolled up their sleeves to clean up their roofs and homes.

 Itinerant Negritos who had come down to the lowland for safety, walked around communities in droves, offering their services to clean galvanized rooftops, cut trees, sweep streets, clean mud-caked cars and dig up backyards and doorsteps. I remember employing a band of enterprising Aetas to clean my roof and its gutters, a job that was done quickly, thoroughly. 

The eruption had also destroyed Abacan bridge in Balibago—a vital link to Angeles where many employees from my town, Mabalacat, come to work. Foot bridges made of bamboo quickly appeared, which one can cross to get to the other side, where jeepneys for the city proper await. One could also opt to be ride an improvised cart, to be carried by paid lifters. For years, this became the mode of transport for many people.

 Enterprising minds put up backyard businesses that capitalized on the catastrophe. In Bamban, pumice stones ejected from Pinatubo were encapsulated in clear plastic and sold as souvenirs while lahar ash was molded into religious sculptures. Larger stone pieces were turned into garden sculptures that found their way in landscaping and gardening shops around the country. Bestsellers among Americans were the T-shirts that had silk-screened messages alluding to Pinatubo: “I Was There When Pinatubo Blew Its Top”, “We Have Ash Fall, But No Cash Fall”. Even a favorite watering hole on the red light strip was renamed“International Lahar Bar”.

Suddenly, there was a Pinatubo drink, a Pinatubo song, a Pinatubo this and that. Just when Kapampangans thought the worse was over, in came 1995 when the most destructive lahar inundation buried Bacolor, raising the town level 37 meters above sea level. The cascading lahar also came dangerously close to the cities of San Fernando and Angeles. Refugees relocated to the higher grounds of Mabalacat where resettlement centers had sprung up. To create a sense of familiarity, they named the streets of their new community after their own in Bacolor, in their hope to replicate and regain what they had lost.

 The cataclysmic Pinatubo eruptions in 1991 would have deep and far-reaching effects that would last for decades. No other natural disaster could compare to the extent and impact of devastation wrought on a province and its people. There are permanent marks and scars to remind us of that nightmare—the half-buried San Guillermo Church in Bacolor, the changed landscape of Bamban, the vanished rivers of Guagua and Mabalacat, and the building ruins of Clark Air Base.

 Pinatubo had united us, rallied us, transformed us into better people, wisened and toughened by our collective experience. One need only to look around us to see the milestones in the progress we have reached, from the day we decided to bounce back to rebuild our future. We have not just risen from our fall, but today, we, the people of Pampanga, stand proud and tall. The people of Yolanda-stricken Visayas will certainly do the same.

*355. Power Couple: MAYOR RICARDO P. RODRIGUEZ AND ZENAIDA D. ANGELES, Bacolor

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 ANDONG< DADING & A WEDDING. Wedding picture of Ricardo P. Rodriguez, two-term mayor of Bacolor in the 1960s,  and wife Zenaida D. Angeles, both from San Vicente, Bacolor. 

The large Rodriguez Clan originally came from Zambales and Bataan, but through marriages and exigencies of work, branches of the family spilled out into Pampanga, with Rodriguezes fanning out into Bacolor and San Fernando.

 Belonging to the Bacolor branch, is one of the most well-loved mayors the town has produced—Mayor Ricardo Rodriguez, of San Vicente, Bacolor.“Andong “, as he was called, was a descendant of Don Olegario Rodriguez, who settled in Bacolor and established a long line of Rodriguezes who were noted for both their affluence and influence.

 Ricardos’s parents were Marcelo Alimurung Rodriguez and Narcisa Pineda. The Alimurungs were an ancient family of Bacolor, and members of this family too were looked at as among the town elites. The Rodriguez-Pineda family, however, was of more modest means, however, with income derived from farming, enough to sustain Ricardo and his siblings, Carmelita, Angustia, Emilia, Norberto, Ricardo, Rosario and Conrado.

 On the other hand, his wife was the accomplished Zenaida “Dading”Angeles, the daughter of Mariano Miranda de los Angeles and Sixta Cajator Dizon. They were married at the San Guillermo Church and established their residence in San Vicente, raising a large brood of 10 children: Narcisa, Wilfredo, Cecilia, Genato, Manuel, Rico, Roy, Cynthia, Jose Ma. Raymundo and Francis. Ricardo left his work as a gentlemen farmer to enter politics in the 60s.

He was elected and proved to be a popular leader, serving the town of Bacolor for two terms. He was known for his road-building as well as infrastructure projects that included a hospital during his tenure. Unfortunately, he passed away in 1969, leaving a grieving widow to fend for her father-less children.

Her elder sisters, Aurora (wife of PASUDECO planter Gerry Hizon Rodriguez, a relative of Ricardo from the San Fernando branch) and Eufrocina, (wife of Ciceron Baso Angeles), however, helped and guided her in raising them all successfully. Zenaida herself would pass way in the early 90s.

 Today, a hospital put up by purpose-driven Bacoloreños, erected a hospital to honor his nameand legacy: the Ricardo P. Rodriguez Memorial Hospital.

*356. Pampanga's Churches: SAN ANDRES APOSTOL CHURCH, Candaba

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SAN ANDRES APOSTOL CHURCH. Candaba's center of worship, as it appeared around 1911-1912, from the Luther Parker Collection.

Watermelons, swampy lands, migratory birds—all these conjure images of one of Pampanga’s oldest towns during the wet season—Candaba, which is located on the plains near the Pampanga River, characterized by a large swamp in its midst. The “pinac”, formed by estuaries and rivers from Nueva Ecija, is a rich source of income for most of the people of Candaba, yielding fish, farm produce and the sweetest “pakwan” around.

 Centuries before, Candaba had also impressed the Spaniards for its flourishing economy, not to mention its antiquity, calling it“Little Castilla”. Augustinians quickly descended upon the wetlands to claim Candaba as house of their order in 1575, appending it to the Calumpit convent with Fray Francisco de Ortega as prior. Its first recognized cura, however, is Fray Francisco Manrique, who came all the way from the Visayas.

 The Bishop of Manila, Fray Domingo de Salazar, cause Candaba to become an important mission center for the evangelization of other towns like Arayat and Pinpin (Sta. Ana). A church of light materials, dedicated to the apostle San Andres, was erected and by 1591, a convent had also been built.

 As the town progressed, a stone edifice replaced the primitive church, built from 1665-69, under the helm of the dynamic church builder, Fray Jose dela Cruz. There is an account of a certain Fray Felipe Guevara building a grimpola and a campanario as early as 1875.

A later successor, Fray Esteban Ibeas, added the dome in 1878. He added bells from 1879-81, dedicated to San Agustin, San Jose, San Andres, Sagrado Corazon de Jesus and Virgen dela Consolacion. In 1881, Fray Antonio Bravo constructed the bell tower and added one more bell, dedicated to the Holy Trinity. All bells were cast by Hilarion Sunico of Binondo.

 By the time the“pisamban batu” was done, it measured 60 meters long, 13 meters wide and 13 meters high. The campanario was repaired in 1890. In 1897, parish duties were transferred to the Filipino secular clergy. The first Filipino priest to serve was Padre Eulogio Ocampo.

 In modern times, the church interior was damaged by a typhoon in the 60s, and was restored that same year. Previous to this, there are no records of damages caused by the acts of nature.

 Today, the church has a very simple architecture, with not much ornamental details. A series of columns and depressed arches define its façade, while its protruding triangular pediment echoes that pleasing plainness. The arcaded convent front features semi-circular arches. The Church of San Andres Apostol of Candaba observes the fiesta of its patron every year, on the 30th of November.

*357. MAKING A JOYFUL NOISE!

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BOOM-TARAT! Children make noise during the holiday season with a "kanyun kwayan", a cannon made from a sturdy bamboo post, fueled with calcum carbide and lit with kerosene to welcome the season with a bang. Photo from 1934.

Pasku na! For Christian Kapampangans, no other holiday has more meaning and merriment than the Christmas season. We usher it in with the traditional trappings of the holidays—lavish decorations with our colorful “parols”as outdoor centerpieces, noche buena fare consisting of the best in Kapampangan cuisine, generous aguinaldos and regalos in envelopes and wrapped boxes.

But the loudest welcome perhaps, comes from the sounds of Christmas that we produce—from the soaring voices of street carollers, the strains of commercial holiday songs blaring from the radio, to the burst of bamboo cannons and “turutut” (paper horns) that punctuate our New Year.

As soon as the “-ber”months come in, mood-setting music filled the air through familiar Christmas carols. As we didn’t have local carols, we took to singing traditional and popular carols from the West—O Holy Night, Jingle Bells, Silent Night, Santa Claus is Coming To Town, It Came Upon A Midnight Clear. There were a few Pilipino carols available, but we sang them with gusto anyway—led by “Ang Pasko Ay Sumapit”, a carol composed by Levi Celerio, based on the lyrics written in 1933 by poet Vicente Rubi.

Today, of course, we have a whole range of Kapampangan carols to choose from, courtesy of Mr. Marco Nepomuceno of Historic Camalig Restaurant, who, in 2005, produced the first-ever Kapampangan Christmas CD album, “A Camalig Christmas”, featuring both Kapampangan originals as well as local adaptations of all-time favorite carols, as performed by Jimming Bini and the Starlicks. “Joy to the World” became “Alang Kapupusang Ligaya”, while “Pasku Na” borrows the tune of “Jingle Bells”. Even “Angels We Have Heard on High”, of French origin, has been Kapampanganized into “Dios A Pekamatas”.

 For its part, Holy Angel University sponsored a competition of original carol competition in 2005, and the entries were compiled in a CD album entitled “The Kapampangan Christmas Album”. Performed by the HAU Chorale and Elementary Choir, the album features selections like “Pasku na,Magsadya Ta Na”, “Parul”, “Ing Panalangin Ku Ngening Pasku, “King Paskung Daratang”, and “Pascua N’Indispu”. 

Slowly, but surely, these new carols with traditional feel are finding their way into the repertoire of carolling groups. Carollers on the streets, armed with tansan (soda tin caps) tambourines and tin cans, systematically moved from house to house, in the hopes of making a few pesos in exchange for a Christmas carol or two.

Neighborhood competition among carollers was intense; talented carollers were rewarded with a peso or more, while bad ones were completely ignored. Carollers met with such reception would have the last retort, however, by chiding the residents with “Tenk you, Tenk you, ang babarat ninyo, tenk you!” (Thank you, for being so stingy).

Competing alongside carolling groups are the Drum & Bugle Corps from different barangays. In my place alone, Mabalacat, we have been regaled since the 60s by such musical bands as the San Francisco, Poblacion and San Joaquin Drum & Bugle Corps, with their lively, marching band re-arrangements of familiar Christmas songs.

The sounds of the holidays permeate the atmosphere till the days leading to the New Year, when joyful noise takes over –generated by“kalburo”-fed kanyun kwayan (bamboo cannons), turutut , matraca ( wooden noisemakers) and booming firecrackers of the most noisome variety—watusi, kwitis, perminanti, trayanggulu, Judas Belt, Sawa, SuperLolo, Lolo Thunder, Macarena, Marimar, and of late, My Husband’s Lover, Yolanda and Napoles.

For most Kapampangans, Christmas is not only the merriest, but also the noisiest and loudest—to give vent to our overflowing feelings of mirth and joy at the coming of the King of Kings--singing, shouting, yes, even screaming in our trademark over-the-top way—“munta ka Bunduk Arayat, at gulisak mu I Hesus, mibait ne”. (Go to the top of Mount Arayat, and scream out that Jesus is born!)


Masayang Pasku at Mainge a Bayung Banwa!!

*358. ALDO ATLUNG ARI

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WE THREE KINGS OF ORIENT ARE. Young boys play the roles of the gift-bearing Three Kings (or more accurately, the 3 Magi or the Wise Men) in a Christmas school play. Ca. 1920s.

As Filipinos, we pride ourselves in having the longest Christmas season in the world—a period that begins with the 1st day of Simbang Gabi on December 15, and ending officially the liturgical holidays on the Feast of the Three Kings, January 6. It is also known as the Feast of the Epiphany, marking the appearance of Jesus to the Gentiles as represented by the three royals—who wereactually not Kings, but Magis or Wise Men.

 As a school kid in the 60s, I always looked forward to my over-extended vacation for it meant not just weeks of do-nothing days, but it also gave me more chances to receive gifts!! As every ninong and ninang knows, the Aldo ning Atlung Ari gives them the last opportunity to dispense gifts and Aguinaldo to their ina-anaks. The long holiday gives them no excuse to be remiss in their gift-giving duties, lest they are branded as “kuriput” or “makunat”.

 Indeed, it was not just Santa Claus who was looked at as the official purveyor of gifts; the Three Kings too, were regarded in Spain as bearers of generous treats and gifts. After all, the three made the long travel to Bethlehem to present the newborn Jesus with gold, myrrh and frankincense, thus, starting a tradition of gift-giving.

 This tradition is still alive and well in Madrid, where the arrival of Melchor, Gaspar and Balthazar from the East was eagerly awaited by children. Melchor was depicted as a hoary man with a long grey beard while Gaspar was known as the ‘white one’ with his closely-cropped blonde beard. Balthazar, the lord of treasure, was known for his swarthy complexion.

 On the eve of their feast day, the 3 Kings take to the streets of Madrid, accompanied by a cavalcade of soldiers in a parade full of Oriental fantasy, pomp and splendor. The evening procession begins at Retiro and circles the residential areas where kids have placed their shoes on the window sill, in hopes of having them filled with presents the next day. This tradition has caught on in some provinces in the country, particularly in Nueva Ecija where the Three Kings are the acknowledged patrons of Gapan. Children also leave their shoes out so that they will be filled with money or candy. In America, the shoe has been replaced with stockings. 

Club Español, an organization of civic-minded Spanish-descent members and Hispanophiles, has also helped perpetuate this custom in the Philippines by holding its own“Dia De Los Reyes”, capped with a festive parade of the 3 Kings distributing presents to indigent children.

 The Feast of the 3 Kings has been moved to the first Sunday of January, which caused the instant shortening of the Philippine Christmas break. The present generation barely knows the significance of”Aldo Atlung Ari”, and elsewhere in the country, it has become a hybrid celebration, known also as “Pasko ng Matatanda”, a day to pay respect to senior citizens.

In Pampanga, the Kuraldal—the famous dancing fiesta of Sasmuan in honor of its patroness, Sta. Lucia-- coincides with the Sunday feast of the 3 Kings, hence the event has been termed as “Kuraldal Atlung Ari”. For oldtimers though, the spirit of this feast lives on as they still wish one another with the now-incongruous greeting-- “Happy 3 Kings!”—consistent with the observation that holidays are "more fun in the Philippines!". 

*359. 1965 Miss Press Photography: ELVIRA PAMINTUAN GONZALES

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THIS GONZALES GIRL. Budding beauty Elvira Pamintuan Gonzales, in her early years in showbiz. She held many beauty titles but nothing as precious as being the mother of 1993 Miss Universe finalist Charlene Gonzales.

Elvira Gonzales, the beauty queen-turned actress who would one day become the mother of another world-class beauty, Charlene Gonzales, was born on 27 September 1947 to parents Perfecto Gonzales and Aurora Pamintuan.

The Pamintuans were a large Kapampangan clan with Angeles origins, to which Elvira belonged. The Pamintuans, under the patriarch Don Florentino Torres Pamintuan, were an influential family in Pampanga, and their historic mansion still stands today, the site of the inauguration of the first Philippine Republic.

 The Manila family of Elvira, however, was more modest; she and her parents resided in busy Sta. Cruz, along G. Camarines street. Elvie’s beauty was apparent at a young age, and she wasn’t even 16 when she joined a beauty tilt sponsored by the biggest dance program on television in 1963—Dance-O-Rama. She clinched the title and was soon on her way to collecting more beauty crowns.

 She signed up for the 1st ever Bb. Pilipinas Beauty Pageant in 1964 and when all the votes had been counted, she found herself in third place, behind Kapampangan winner Myrna Panlilio of San Fernando. After the contest, she went back to school at the University of Santo Tomas.

 Elvie was again, prevailed upon by her friends and talent agents to enter the 1965 Miss Press Photography of the Philippines, a nationwide competition launched by the leading association of photographers in the country. Previous winners and candidates had used this pageant as a stepping stone to greater fame in showbiz, like Mila Ocampo (Snooky Serna’s mother), Cynthia Ugalde (she would later win Miss Philippines and compete in the 1962 Miss International) and Helen Gamboa (another Kapampangan who would rise to stardom as a song-and-dance star of the ‘60s). This time, Elvie surprised everyone—including herself—by romping off with the crown.

 Feeling more prepared, she decided to join again the premiere beauty search for the Philippine representative to the Miss Universe, that same year. By then, Elvie was 18 and a 3rd Year Foreign Service student at the University of Manila. Competition, however, more was formidable at the 1965 Bb. Pilipinas, with Ilongga beauties prevailing, led by eventual winner Louis Vail Aurelio. Still, Elvie placed a respectable 5th.

 It was only a matter of time that the movies beckoned, and in 1967, she was signed up to do a lightweight movie that was right down her alley, "Together Again", with Rico Roman, supporting Nida Blanca and Romano Castelvi. This was quickly followed by“Let’s Go Merry Go Round” and "Crackdown". The next year, she had two movies released, “Hari ng Slums”and “Siete Dolores”. It was in showbiz that Elvie met the current toast of action movies, Bernard Bonnin (b. 8 Sept. 1939/ d. 21 Nov. 2009). The handsome Negrense had originated the role of “Palos” in 1961, for which he became well-known for. He would do a string of “Palos”movies and even a counterpart “Palos” TV series as late as 2008.

 Elvie and Bernard were soon married and two children were born of this union: Richard Bonnin and Charlene Mae. Their marriage ended when the children were still young, and Elvie married again, this time, to Jose Vera-Perez in civil rites, in 1972. She then retire from showbiz permanently, didviding her time between the Philippines and the U.S.

 In 1993, daughter Charlene came home to join the Bb. Pilipinas Beauty Pageant, the same contest Elvie competed in, 28 years before. Charlene was the same age as Elvie when she copped the plum title of Bb. Pilipinas-Universe. At the Miss Universe tilt held in Manila that same year, Charlene paid homage to her mother Elvie and her legacy of beauty that she too had pursued with more success. She placed among the Top 6 finalists, in the contest won by India’s Sushmita Sen. Today, the Gonzaleses are settled contentedly in retirement in the U.S. Charlene, Elvie’s daughter, Charlene, is married to to movie hearth throb Aga Muhlach, and is a is a proud mother of two.

360. PAMPANGA'S GENDER BENDERS

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ARO, KATIMYAS NA NITANG LALAKE! A man from Sta. Ana, curiously dressed in women's clothes and with a head covering to match, strikes a pose between two ladies. Ca. 1930s.

A few years back, I was leafing over my Apung Tiri’s old expense ledgers dating back from the 1940s. Apung Tiri was my grandmother from my father’s side whom I have never met (she died in 1952, before I was born), and she was known for being fastidious about household expenses, writing down every money spent, every debt paid, and every cash advanced.

 Several entries in her journal piqued my interest especially those parts that mentioned her payments to “Juan Bacla”, apparently a tailor who made pants and shirts for Apung Tiri’s boys, sons Manuel, Mateo and Gerardo, my late father. Descriptive labels appended to people’s names were commonplace in the old days, and I remember people in the neighbourhood called Inggong Taba, Tsoglung Intsik and Rey Duling.

I was not prepared to see a “Juan Bacla” in my Apu’s old ledger, for I thought people then were not as open with their sexual orientations, making me wonder if “Juan Bacla” was already as swishy and as flamboyant back in the ‘30s as today’s Vice Ganda.

 As early as the 19th century, however, gayness was known and observed in the Philippines; a Spanish photographer, Felix Laureano, even shot a photo of a gay lavandera in the company of 3 washerwomen, He writes of the photo: mentioned “Three dalagas and a tao, sitting on the green grass beside the river and washing clothes, their minute feet being lapped by the crystal clear current. The tao, who can be identified by his manners, is binabayi, agui, and has the balutan of dirty clothes near him.”

 “Binabayi” was a general term to describe effeminate people—and at one point, even our national hero, Jose Rizal was labelled as one. “Bakla”is another appellation, but its deeper meaning is “to weaken”, hence a line in a Pasyon describes “si Kristo ay nababakla..”.

 In Minalin, there is a quaint festival involving cross-dressing—the Aguman Sanduk (Fellowship of the Ladle) . Started in 1934 by a group of drunken Minalin revelers who thought of a way to brighten up the New Year. The macho men dared each other to dress up in women’s clothes and parade on the main street. The culminating activity was the election of the Aguman muse—the ugliest of the cross-dressers. The honor of becoming the first queen went to husky Hilarion Serrano, who oldtimers remembered as “pekamatsura, maragul atyan, and delanan ane lupa” (the ugliest, pot-bellied, termite-ridden face).

 The celebration was capped with cultural activities “crissotan”competitions, and partaking of “lelut manuk”(chicken porridge). It is remarkable that the participants are all hot-blooded, heterosexual males. In the ensuing years, the Aguman Sanduk has grown even wilder and more daring: men and boys go on a beautifying frenzy: unabashedly donning blonde wigs, putting on fake lashes and mascaras and wearing brassieres in preparation for the New Year’s Day parade.

 On that much awaited day, the men in their micro-minis, sequinned evening gowns and outlandish costumes turn on their coquettish charms as they take to the streets—walking, dancing, sashaying in a spectacle in transvestism that would put any Miss Universe contestant to shame. On the sidestreets, the women cheer their men, husbands, sons and fathers as the freaky procession of pulchritude wends its way around town.

 Kapampangans have embraced this unique festival to this day, an original cultural tradition that pays tribute by poking fun at the ideals of machismo and beauty melded together in one celebration—two qualities that are valued by Kapampangans like no other. But Aguman Sanduk may also be looked at as a festival of liberation from gender discrimination and repression, expressed in gay abandon for all the world to see and eventually, accept, the way Kapampangans have.

*361. MANUEL ABAD SANTOS: The Fighting Mayor of Angeles

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GO FIGHT! The fighting-est mayor of Angeles, Manuel Abad Santos, known for his mettle,  unflinching conviction and his will to serve, this despite a physical handicap. 1965 photo.

 Dubbed as Angeles’s fightingest mayor from the day he was elected in 1951, Manuel Abad Santos is best remembered as a town leader who stood firmly on one leg and a crutch, sticking firmly to his principle of standing up for the common good of his people.

 That, however, is no wonder for this selfless and fearless town executive, descended from illustrious Kapampangan patriots and leaders. Born on 26 March 1907 to parents Irineo Abad Santos of San Fernando and Teofila Dizon of Angeles, Manuel counts the late martyr-jurist Jose Abad Santos and the great people’s leader, Pedro Abad Santos as uncles.

 He grew up in comfortable surroundings—his family were operators of the first moviehouse in Pampanga. His primary education began at the local Angeles Elementary School, then enrolled at Pampanga High School in San Fernando for his first three years of high school. Manuel then transferred to Ateneo de Manila for his senior year. But an unfortunate incident in 1926 would leave him physically maimed for the rest of his life. While in a San Fernando entertainment place, he was caught in a gunfire started by a PC trooper who suddenly went on a shooting rampage. He lost his left leg in that carnage.

 Once recovered from his wounds, however, he went back to Ateneo and earned a pre-law degree, an Associate in Arts which he finished in 1927. Manuel, however, opted to work right after college, joining his parents in expanding their burgeoning moviehouse business by adding on two more: Cine Eden and Marte, which became well-known centers of showbiz entertainment in 50s Angeles.

 He married Leonarda Atienza of Capas, Tarlac, and their union was blessed with a large brood of 8 children: Manuel Jr., Hollanda, Immaculada, Irineo, Manolita, Antonio, Pedro and Filipinas. In later years, two of their children (Hollanda and Irineo) would be connected with the management and operation of the Angeles Telephone Co.; two boys took up medical studies (Manuel Jr. and Pedro), while another son, Antonio finished Law.

 He was already in his mid 40s when, in 1951, he joined the political fray. Running as a minority candidate, he won the mayorship of Angeles by a landslide, signalling the beginning of a long and fruitful career.

 In 1955, he replicated his monumental victory at the polls, winning a second mayoral term. This time, however,, his term was marked with bitter and contentious moments with Clark Field and local socio-civic groups.

 In 1956, the Clark commander, Col. Karl Barthelmess declared Angeles ”off limits” to military personnel, owing to intimidations allegedly made on servicemen by the local police. Accusations flew back and forth, but even with the ban hurting the local economy, the mayor could not be cowed. “Sovereignty”, he said, “could not be had for a couple of greenbacks”.

 In another separate incident, the local Jaycees took offense to a billboard put up by the Mayor which proclaimed his accomplishments. This cause a rift between the mayor and Jaycee members who also happened to be important businessmen—movers and shakers of the town’s economy.

Indeed, this mayor proved once again his pluck and mettle as “the only one-legged mayor of the Philippines and the one with the most kick inspite of his handicap”. He would continue running the affairs of the town with nationalist zeal, and for him, no other accomplishment can be greater than protecting the rights of the people to the best of his ability. “The greatest good for the greatest number”, was the principle he lived by, maintaining that the welfare of his people is above the law. Manuel Abad Santos was succeeded by his nephew Rafael del Rosario after he finished hi term in 1959.

*362. MUSICUS: The Sound of Our Fiestas!

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MAJOR, MAJOR, MAJORETTES. Lovely Kapampangan majorettes pose for a shot before joining the local 'musicus' in their rounds around the town, lending a festive air to Pampanga fiestas. ca. 1950s.

It’s our Mabalacat city fiesta as I write this article---and it’s a pity that I am not there to enjoy the festivities, not to mention the colorful sights, smells and sounds that accompany the yearly February 2 proceedings. You just know it’s fiesta season when blue and white buntings start lining the streets and tiangge stalls begin popping up along the church perimeter, offering all sorts of goods, from the useful to the bizarre.

 But nothing says “fiesta” more than the presence of music-making bands—“musicus”—staples of every fiesta, in every town and barrio of the Philippines. With their gleaming brass horns, cymbals, lyres, trumpets, drums and bugles, uniformed band members--preceded by a bevy of pretty, baton-twirling majorettes—are always a striking sight when they take to the streets, making stirring melodies as they march, with a bit of choreography on the side.

 Evolved from the roving “musikung bumbung” (bamboo bands), today’s bands drew early inspirations from the acclaim gained by the Philippine Scouts Band at the St. Louis World’s Fair in 1904. The band was the largest at the fair, and it had a large repertoire of 80 pieces, against Fredric Sousa’s 65. “They were good and had temperament which the other bands lacked”, wrote one visitor.

 Needless to say, they took the world’s fair by storm, often performing in drills with “Little Macs”—young Macabebe veterans who enlisted for service to fight for the Americans in the Philippine-American War. Certainly, the incredible feat of that Philippine band helped fuel interest back in the islands for organized bands.

Just 4 years after that U.S. triumph, the Philippines had its own national fair—the Manila Carnival—and in 1909, the band from Angeles outplayed its rivals to clinch first place in the musical band competition. It was during town fiestas, however, that local bands gave rein to their musical creativity.

In the Betis fiesta of 1959, a local band—Banda 46—was tasked to march around the town starting on the fiesta eve, from 3 a.m. to 5 a.m.— to rouse people from their sleep—for a period of nine days! The day was capped with musical duel between bands---Serenata ning Musicus—in which Banda Sexmoan 12 played against Banda Sexmoan 31 at the church patio in a test of musical endurance and bravado.

 On 29 December, an exhibition was staged by a bevy of band majorettes, displaying their dancing and baton-twirling skills while band members in their gala uniforms played their best. On the fiesta day itself, 12 bands paraded along the streets, with some, invited from different provinces: Banda Baliwag, Banda Cabiao 96, Banda San Leonardo, Banda Bocaue, Banda Sexmoan 31, Banda Sexmoan 12, Banda Pulilan, Banda Candaba, Banda Duat Bacolor, Banda San Antonio Bacolor, Banda 48 Betis, Banda 26 Betis and the 600 Clark Field Air Force Band thru the courtesy of Mr. Salvador Pangilinan.

The bands then converged to escort the carrozas of the town patrons for the grand procession. The 1939 Lubao town fiesta from 4-5 May, was also made exciting with the presence of 3 “musicus”: Banda Lubao, Banda Sinfonica (Malabon) and Banda Buenaventura (Baliwag). The 3 bands were gathered at the municipio before they set out for the Poblacion, treating Lubeños to a musical extravaganza never before seen in the town.

 A 1946 fiesta souvenir program from Sta. Rita detailed also the arrival of 3 bands that played on the eve of the fiesta, the first one held after the Liberation: Banda Sta. Rita, Banda 31 from Sexmoan and Banda San Basilio. The next day, May 22, they gave it their all at the Serenata ding Banda de Musica. Even a small barrio could very well afford to pay a local“musicus” to lend gaiety to its fiesta.

In 1957, Valdes, a barrio of mostly agricultural families in Floridablanca, had two bands performing for their May 19 fiesta: the popular Banda 31 of Sexmoan which delighted residents in Gasac and Talang, and Banda Juan dela Cruz which came all the way from Cabiao, Nueva Ecija, to play at Looban and Mabical. On May 18, Saturday, a free concert was mounted featuring the two bands, highlighted by a military drill.

 I just can’t imagine a fiesta without a “musicus”. Bands just don’t set the stage and the mood for a celebration. But long after the food, the drinks, the rides, the sideshows and the baratilyos are gone, it is the voice of the band that will live on—inspiring, rousing, uplifting airs, that may as well be the theme music of our joyous lives!

*363. PAMPANGUEÑAS AT LA CONCORDIA

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CAPAMPANGAN CONCORDIANS. Kapampangan internas of La Concordia College, most from well-known families of the province, are shown in this 1928 photo at the school grounds.

 In the 20s and 30s, class pictures were taken and classified not just by grade levels or sections, but also by the provinces from where the students came from. This custom of regional classification arose at the same time as school clubs were being formed based on one’s provenance. In the early days of the U.P. , there were officially-recognized clubs such as the Pampanga High School Club, which counted as its exclusive members, only PHS alumni.

 I have seen many group pictures bearing captions as “Seminaristas de la Pampanga”,“Pampango-Speaking Students at Philippine Normal School”, and most recently, this snapshot of a bevy of young Kapampangan ladies, identified as“Pampangueñas at Concordia”. This picture, which dates from 1928, not only identified the La Concordia students by number, but also the towns from which they originated.

 Colegio de la Inmaculada Concepcion de la Concordia was a school founded by Dña. Margarita Roxas de Ayala in 1868, built on her estate located on Pedro Gil in Paco. She donated this land for the erection of a girl’s school which was run by the Daughters of Charity of St. Vincent de Paul. The school, with its initial staff of “imported”teachers, attracted students like Rizal’s sisters—Olimpia, Saturnina and Soledad, and other children of prominent families, from nearby provinces, Pampanga included.

 This photo shows young Kapampangan“internas” (student boarders) whose surnames reveal their privileged background. Detached from the comforts of their homes and familiarity of families, these girls were sent to Manila, with their board and lodging paid for monthly by their parents, with the goal of giving them proper education, befitting young women of their generation.

 So, whatever happened to these La Concordia Girls of 1928. I tried my best to find out what happened after their school years in one of Manila’s elite girls’ schools, guided by the names written on the back of the photo.

Fil-Am Barbara Setzer (1) and her younger sister Estela (15) were both from Angeles. Their parents were George Seltzer, and American, and Maria Dolores Lumanlan, who were married sometime in 1912. All 6 children (including Mercedes, Frank, John and Clara) were born in Angeles. Barbara was their second eldest, born on 4 December 1912. She died in San Francisco, California. Benita Estela Seltzer or Estela (born 21 March 1918) was just 10 years old when this picture was taken; she too, moved to the U.S. when she came of age.

 Catalina Madrid (2) is listed as having Macabebe as her hometown while Girl #3 is unidentified. Another Macabebe lass is Gregoria Alfonso (10); Alfonso descendants continue to reside in the town to this day.

 Araceli Berenguer (4) comes from the prominent Berenguer family of Arayat; she has three other kabalens in this photo, Maria Tinio (16), Flora Kabigting (6) with a familiar surname now associated with the halo-halo that made the town famous, and Rosario Dizon (13), who grew up to be a national Philippine Free Press Beauty of 1929.

 Little is known of Salud Canivel (5) who is from Candaba as well as Girl No. 14, identified only as Natividad R. Margarita Coronel (7) comes from the well-known Coronel family of Betis, Guagua. After La Concordia, she went to the University of Santo Tomas, where she excelled in Botany. A rare angiosperm she collected in Betis in 1934 is included today at the UST Herbarium. 

Loreto Feliciano (8) and her younger sister, Luz (17) are natives of Bamban, Tarlac. Loreto is better known as the wife of the late Robert ”Uncle Bob” Stewart, the pioneer TV broadcaster who founded DZBB Channel 7, and host of the long-running TV show, “Uncle Bob Lucky 7 Club ”. 

The Nepomucenos of Angeles are represented by cousins Pilar (9) and Imelda (12). Feliza Adoracion Imelda Nepomuceno (b. 29 Nov. 1912) was the daughter of Jose Fermin Nepomuceno with Paula Villanueva. She married Dr. Jose Guzman Galura later in life. 

Her first cousin Pilar, (Maria Agustina Pilar Nepomuceno, b. 13 October 1911) was the daughter of Geronimo Mariano (Jose Fermin’s older brother) and Gertrudes Ayson. As Miss Angeles 1933, Pilar represented the town in the search for Miss Pampanga at the 1933 Pampanga Carnival and Exposition. She later married Dr. Conrado T. Manankil and a daughter, Marietta, also became Miss Angeles 1955.

 What we know of their later lives as adult women suggests that they did fairly well, making good accounts of themselves as mostly successful mothers and homemakers. But in 1928, they were just a bunch of young Kapampangan La Concordia interns, bound together by a common tongue and culture—sweet and giggly as all other typical girls of their age---with the prospects of the future still far, far away.

*364. MSGR. DIOSDADO G. VICTORIO, Lubao's Man of Letters, Man of Light

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REV. FR. DIOSDADO G. VICTORIO, as a young  J.C.L. Classical Studies graduate of the University of Sto. Tomas in 1939.

The town of Lubao counts not just presidents and acting families as its native children, but also accomplished men of the cloth like Rev. Frs. Francisco Cancio, Pedro Punu and Fidel Dabu.

One other Lubeño religious who stands out for his brilliant intellect was Rev. Fr. Diosdado Victorio y Galang.

The young Diosdado entered the San Carlos Seminary, which had a large population of Kapampangan seminarians in 1928. He graduated in 1932 with a degree in Philosophy, but stayed on to earned another major in Theology, completed in 1934. After which, he took up Canon Law from 1934-1938.

In 1938, he entered the University of Santo Tomas to earn a Licentiate in Canon Law (Juris Canonici Licentia)-Classical Studies. That same year, he was ordained as a deacon on 21 December 1938. He gained his licentiate in 1939.

As a student at the pontifical university, he was member of the Lambda-Sigma, and was a Librarian on the side. Rev. Fr. Victorio was assigned to Lubao after his studies, and quickly played an important part in the Catholic education of the youth. When the Lubao Central High School was founded on 28 October 1950, it was under his direction that the administration of the school flourished. The school, started in the large house of Felicidad Manuel, would eventually be known as the Holy Rosary Academy of Lubao.

In February 1952, when Bishop Cesar Guerrero conceived of organizing the Crusade of Penance, Charity and Goodwill revolving around the veneration of Virgen de Los Remedios (Patroness of Pampanga), he named Fr. Victorio as its Spiritual Director. He was then serving as the cura of the Sta. Lucia Church, in Sasmuan. The cruzada was launched and it successfully ward off the polarizing effects of Socialism which was on the rise in the province.

From 1969 to 1973, now a Monsignor, the very reverend father was assigned at the Archdiocese of San Fernando, succeeding his kabalen, Msgr. Pedro Puno. His next stop was in Angeles, where he served at the Most Holy Rosary Parish until 1980. The good father from Lubao finished his earthly mission when he passed away in 1982,

*365. LETTER TO LOLA

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(In January of 2009, my mother, Estrella del Rosario Castro or simply, "Imang Ecteng" to many people, was diagnosed with a terminal illness. After learning of her sickness, her first-born grandchild, Charisse Diane Hamada wrote this letter to her Lola Ester. Charisse had grown up under her watch in Mabalacat, while waiting to be reunited with her U.S-based parents. Before Ima expired in June, she had the pleasure of seeing her first great-children-Mia and Ethan-twins of Charisse, who flew them home in March 2009 to see their 'Lola Easter' for the first--and the last time. The picture accompanying this article shows my young Ima with daughter, Celine, mother of Charisse, in 1952)

January 29, 2009
10:14 PM

 My Dear Lola,

As I put Mia and Ethan to bed this evening, we said a prayer for you. We prayed that your illness will not cause you unbearable pain. We are saddened that you are going through this Lola, but we know that you are a very strong person and can face what's to come.

I often wondered how you managed your life with 8 children! Edgar and I have 2 and already we are saying "no more". Reflecting back on the years we lived with you, I want to tell you how forever grateful we are for your love and support (and Lolo's, too).

 I know you made a lot of sacrifices for my family. I remember that you had to build an extension to Sta. Ines to house our family of 6! I remember you helped us out financially, tirelessly tried to help us get visas to come to the States, raised Charmaine and I while Mom/Pa were in the States. That must have been so taxing on you. You never complained about the responsibility. I also remember giving you so much heartache growing up.

So Lola, I want to take this opportunity to say how sorry I am for ever hurting you. Who I am now is a reflection of how well you and Mom/Pa raised us and I am proud to be your oldest apo. As an adult - a mother like you - it's all very clear to me where my independence, resourcefulness, perseverance, drive and loyalty comes from - it's from you, Lola.

You have set a role model for your children and your apos. I will remember you always as being generous of yourself - so selfless and devoted to your family, always putting your family first before yourself.

You love and you give unconditionally, Lola and this is how I strive to live my own life and hope my children do the same.

Lola, I am honoring you by bringing Ethan and Mia to meet you and know you even for a short time. You are not a stranger to them as you might think. They give me and Edgar laughter and love and that is what I'm hoping they would bring to you during our short visit.

When God calls you, remember those you are leaving behind as we remember and cherish you. Know that WE will be alright. Know that it is okay to let go and be at peace. You will no longer have to feel pain or worry as you've done all your life.

We will all be OK, we have each other no matter the distance. Lola, we love you - we always have and we always will. Thank you for everything you've done for us, from the bottom of our hearts. Give our love to Lolo and Tito Eric and to all our family who have gone before us. May God Bless You and watch over you.

Your apo, Charisse

P.S. Lola, how could I forget to mention? Your cooking! You've shown us love through the food you've fed all us these years. We will never forget you... I just wished I learned (even a little) how to cook like you...

*366.THE APOSTLES OF MALELDO

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 APOSTLE'S CREED. Ceremony of the Apostles' Washing of the Feet. ca. 1955. Pampanga.

Every year, during Holy Week, Pampanga’s devouts are not only treated to a spectacle of saintly characters during the traditional processions, but they are also introduced to a host of biblical personalities—the angels of the Resurrection, Roman centurions, and perhaps the most visible and busiest—the twelve apostles of Christ, personified by select male members of the community.

To be chosen as one of the disciples of Christ was an affirmation of one’s respectability and standing in local society. Once chose, an apostol has to fulfill a vow or panata of carrying out whatever responsibilities and duties are assigned to him during the entire Lenten season. First comes the assumption of the identity of a particular apostle’s name. No fast rules are observed in the naming of the chosen apostoles—although the title of San Pedro often goes to the most senior member and San Juan, to the youngest.

The members of Christ’s court are then given white sutanas to wear, with sashes of different colors that often have their written names on them for proper identification—not unlike pageant sashes that proclaim one’s beauty title: Miss Universe, Miss International, Mutya ning Kapampangan and so forth.

Nowadays, like in my city of Mabalacat, Pampanga parishes garb their apostoles with robes that adhere strictly to the liturgical colors assigned to every apostle saint: deep yellow and green for San Pedro, red and green for San Juan.

On Palm Sunday (Domingo de Ramos) , the apostoles make their first major appearance: they accompany the parish priest in the re-enactment of Jesus’ triumphant entry into Jerusalem as he enters the church to a throng of palaspas-bearing churchgoers.

Once inside, the apostoles enjoy preferred seating in the church, occupying the front pews or chairs in the altar area. It will also be the first time for the parishioners to scrutinize up close the chosen twelve, often with a touch of amusement, as it’s not every day that one sees a neighborhood grocer dressed up like San Andres or Santo Tomas. Hushed arguments would be heard in the church as to aptness of the role assigned to this person who is deem either“ too short.. too fat..or has no hair”, and so on and so forth.

 On Maundy Thursday, the apostoles are in full force again as they participate in the “Dakit Cordero”. Held in mid- afternoon, the apostles lead the way in fetching the holy lamb of God , shaped from flour, kamote or potato, from the house of a designated hermano. They accompany the cordero, conveyed on a tray by the hermano, to the church, where it is blessed.

The afternoon event culminates with the celebration of the Mass of the Last Supper, that features the procession of the Blessed Sacrament and its enshrinement at the monumento or Altar of Repose . Here, the apostoles are put on spotlight with the traditional washing of their feet by the priest, in imitation of Christ’s act of humble service.

The apostoles, smartly dressed in robes and sporting newly-shined shoes, fresh socks and professional pedicure take to the altar for this sacred re-enactment, attended by a gawking audience and a flurry of camera flashes. Must-join too, are the processions for both Miercoles Santo and Viernes Santo.

At the latter, the apostoles escort the most important figure of the prusisyun, the Santo Entierro or Apung Mamacalulu, the carved figure of the dead Christ encased in a gilded and flower-bedecked calandra. It simulates a real funeral procession, winding along the town’s main street and ending in the church. Easter Sunday will find the apostoles busy too, as they participate in the ritual of Salubong, in a show of solidarity with their Master and of course, the people.

For an apostol, there’s not an idle moment during the season of Lent. Though just a temporary role lasting no more than a week, it is a role that he embraces and takes seriously, a special privilege to serve God and humanity in a way that emulates and imitates Christ. Lucky indeed is he, for as Christ himself proclaimed, many are called, but few are chosen.

*367. Good Times, Great Eats: SPIC 'N SPAN

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SPIC TO ME. A 1950s advertisement of Spic 'n Span, one of Pampanga's premiere and  popular restaurants founded by Pilar Mendez-Gomez, widow of Vicente Gomez of Angeles. 

 “Let’s have ice cream at Spic ‘n Span!” 

Whenever my dad was in the mood for treating us kids, he would holler those words, and we would all respond with squeals of delight at the prospect of having a good time over at Angeles’ most popular haven of refreshment.

 Long before McDonald’s and Jollibee, there was Spic ‘n Span, located along the national road in Balibago, Angeles City, near the Mabalacat town boundary. It was not exactly a fastfood restaurant, but it billed itself as a “cocktail lounge and restaurant”, catering to banquets, wedding receptions and parties at popular prices. But to us, Spic ‘n Span represented everything that was cool, clean and refreshing, a break from our humdrum routine and a special time for family to bond and recharge.

 In fact, it was the latter that became the guiding light of the Spic ‘n Span founder, Mrs. Pilar Gomez, in the successful management of her restaurant business, elevating it as one of Central Luzon’s best.

Pilar Mendez was born in Paco, Manila on 2 October 1899, the daughter of Manuel Mendez, a Tabacalera executive, and Benita Bautista of Victoria, Tarlac. Of Spanish stock, Pilar grew up speaking Spanish, and was educated at Sta. Isabel College and St. Scholastica College.

 Just a few years into college, she met Vicente “Centi” Gomez (b. 24 Nov. 1889), the son of Esteban Gomez and Josefa Pamintuan of Angeles. Esteban was the first-born of Nicolas Gomez (aka Fray Guillermo Masnou, cura of Angeles) with local lass Patricia Mercado.

Their short courtship culminated in their wedding on 19 Mar. 1920. Their children—11 of them-- would come in quick succession, and to help fend for the family, Pilar set up a small restaurant in 1945—“Linda’s Nook and Drive In”, which was to become the forerunner of “Spic ‘n Span”.

 In 1953, her husband, Centi, died leaving the widow alone to run the restaurant business. Her devotion to her family spurred her in steering Spic ‘n Span to greater heights, which eventually became one of Pampanga’s finest and well-known restaurants and caterers. For over two decades, Spic ‘n Span would serve hundreds of thousands of food-loving local and international guests (it was a favorite watering hole of Clark Air Base personnel), cater to countless wedding receptions, graduations and other milestone events. 

To hone her knowledge in the food industry, Pilar enrolled as a member of the Hotel and Restaurant Owners Association of the Philippines, and joined the delegation for observation tours to Japan and Hongkong.

 In all these years, Pilar managed to preserve the unity of her family despite time and distance. All but one (Pilar Ines, who died in infancy) would finish their education and move on to other fields of endeavour: Esteban (Commerce, La Salle), Pacita, Angel (Mechanical Engineering, Mapua), Hermelinda, Floriana (H.E., Sta. Paul) , Vicente Magno Jr. (Commerce, La Salle), Manuel Benito (Mechanical Eng., La Salle) , Pilar Vicenta (Secretarial Science), Benita Paula (Bachelor of Arts) and Salvador Senen (Bachelor of Arts, La Salle).

 Spic ‘n Span’s heyday would continue on till the 70s, and so did our regular after-school hours stop. On the long drive back to Mabalacat from Angeles, we would drop by for a scoop or two of my favorite chocolate ice cream—which was what my dear father could afford in those days.

By then, the area had become crowded, and alternative eating places, like A&W Drive-in (Open 24 hours! Angeles’ newest and most fascinating!), Shanghai Restaurant, Kentucky Fried Chicken and even Didi’s Pizza, had started burgeoning in far more spacious and developed locations. In a few years, Spic ‘n Span was no more.

 Mrs. Pilar Mendez would pass away on 21 October 1983, but her legacy lives on in the happy recollections of satisfied customers like me, who regularly had a dose of wholesome fun at her special place that brought hospitality, excellent taste and warm service together under one roof" Spic 'n Span!!

*368. JULIAN MANANSALA , The Father of Philippine Nationalist Films

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MASANTOL'S MOVIE MAN. Julian Manansala, director, producer, film makee, was known as "The Father of Philippine Nationalist Films" for his many movies with patriotic themes.

 The esteemed director-peliculero from Masantol who would leave a name in Philippine movie history as a foremost producer of patriotic and historical films, was born Julian Manansala on 28 January 1899, to Miguel Manansala and Leoniza Mendoza. Julian, ho also was an accomplished layer, comes from an artistic family that counts Vicente Silva Manansala as a member; the future national artist is his nephew.

 In his teens, he was quite a popular figure in his hometown, heading social clubs like “Bulaclac ning Pamacalugud  in 1913 and as an adult, “Batis ning Tula” and ‘’Panyulat Capampangan’’, a literary group. He moved to Manila for his high school education, which he finished at the National University in 1915. Manansala next pursued his Bachelor of Laws, at Escuela de Derecho, which he completed in 1919.

 After taking the bar, he opted to work in Washington D.C. as a Solicitor for Pensioners for over 200 Filipino veteran soldiers who fought for America, helping them secure their benefits and rights as provided by the Law of Pensions and Compensations. He held this post at the Bureau of Pension from 1921-28.

Upon his return to the Philippines, Manansala surprised everyone when he jumped into the fledgling Philippine movie industry bandwagon, joining pioneers Juan Nepomuceno, Atty. Vicente Salumbides, Sen. Jose Vera and Dña. Narcisa vda. De Leon. After all, he had always believed in taking risks and capitalizing on opportunities: ‘’Samantalanan me at gamitan ing guintu mung panahun, qñg pamagaral ang metung a cabiasnan a talagan cajiligan mu, ebala ing nung emu man abalu ing aliwa,uling mayap at pakinabangnan mu nung lunto cang especialista qñg metung a cabiasnan, kesa qñg abalu mu ing sabla, dapot puguit naca man dili.’’ (Grab and use your time of gold to learn one field of interest. Do not worry if you cannot learn everything—it is better to be a master of one, than to be a Jack of all trades).

 Manansala directed his first movie, ‘’Patria Amore’’ in 1929, and proved to be a masterful film make. The movie created quite a stir with its direct reference to Spanish abuses. Considered as discriminatory, the Spanish community filed a case in court, asking to stop the screening of the movie for fear of a backlash against them. The request for a restraining order was denied. From thenceforth, Manansala continued to produce a list of movies with strong nationalistic themes.

 The next year, in 1930, he completed ‘’Dimasalang’’, starring Mary Walter and kabalen, Dr. Gregorio Fernandez, who would also foray into directing. He next signed up with Banahaw Pictures Corp. as its Technical Director and megged ‘’Ang Kilabot ng mga Tulisan’’ (1932), with Dolly Garcia and Salvador Zaragosa.

Unhappy being an employee, he resigned to put up his own Liberty Cinema Corp. Manansala directed and produced ‘’Pag-ibig ng Kadete’’, headlined by the Kapampangan poet, Amado Yuson. He next shot “Mutya ng Katipunan” (1939), with favorite actress, Arsenia Francisco, whom he would use again in one of his last films, “Tawag ng Bayan’’(1940).

 His political interest was piqued when he became the Secretary-General of Manila-based ‘’Nais Capampangan’’. Later, he would also join the consolidated Nationalist Party in Manila as a committee president, for 6 years.

 When his heyday as a filmmaker was over, Manansala returned to his first love--Law. A full 26 years after his graduation, he was finally admitted to the Philippine bar on 19 November 1945, and practiced his profession. He was married to married Donata Quito, 1921, with whom he had 4 children: Antonio, Bonifacio (who would also become a very successful criminal lawyer , at times, working side-by-side with his father), Carolina and Donata.

 Manansala lived by his life credo: ‘’Ing catapatan qng sinta qng calupang cayanacan, qñg meguing cabislac na ning caldua, at qñg Indung Balen, landas neng tune ning pamagtagumpe at caligayan.’’ (Your faith in your young love, in your soul mate, and in your Motherland are the real paths to achieving personal glory and fulfillment). Manansala has certainly treaded on the right path; today, lawyer-director is known as the First Father of Philippine Nationalist Films.

*369. KAPAMPANGANS AT THE 1904 ST. LOUIS’ WORLD’S FAIR

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FILIPINAS AT THE FAIR! The Philippine Exhibit was assigned the largest space in the fairgrounds of the 1904 St. Louis World's Fair, and a multitude of structures were built to serve as exhibit halls and residences of some 1,100 Filipinos (mostly tribal groups)  flown in to animate the event. No wonder, the Philippine Exhibit caused a major sensation

 “Meet me at St. Louis…meet me at the Fair!” 
So goes the lyrics of the period song that served as the unofficial theme of a magnificent American fair that was dubbed as “the greatest of expositions”, surpassing everything the world has seen before, in terms of cost, size and splendor, variety of views, attendance and duration.

 The 1904 Louisiana Purchase Exposition, popularly known as the St. Louis World’s Fair, opened officially on 30 April 1904, to mark the 100th anniversary of the purchase of Louisiana from France by the U.S.- a vast area that comprised almost 1/3 of continental America. From this land were carved the states of Arkansas, Iowa, Kansas, Missouri, Montana, Nebraska, North and South Dakota, Oklahoma and sections of Colorado, Minnesota and Wyoming.

 Save for Delaware and Florida, all the states and territories of America participated in all the activities at the sprawling 1,275 acre fairgrounds that took all of 6 years to build. As a U.S. territory, the Philippines joined 45 nations in organizing a delegation as well as the construction of its own exhibit grounds—the largest in the fair-- to house pavilions, recreated villages, presentations and native Filipino groups.

 Much have been said about the Philippine representation that included “living museums” with ethnic tribes (Samal, Negrito, Igorottes, Bagobos), and regional groups (Visayans, Tagalogs) showing their traditional way of living in replicated villages.

Before large audiences, Igorots demonstrated their culinary practices by eating dogs, while Negritos shot arrows and climbed trees. A pair of Filipino midgets were also featured stars, together with English-speaking, harp-playing Tagalas who represented the more “civilized’ side of the Philippines.

 On a more positive note, the Philippine Constabulary Band dazzled and thrilled crowds with their impressive and stirring performance of march music while the Philippine Scouts, composed mostly of smartly-dressed Macabebe soldiers ("Little Macs", as they were called by their American fans) , performed military drills with precision and aplomb.

 Then there were the superlative government exhibits that showcased the richness of Philippine talents and resources. There were exhibits in various categories: Forestry, Arts, Crafts, Cuisine, Education, Agriculture and Horticulture, Fish, Game and Water Transport and other industries. Tasked with the purchase of collecting and installing these distinctively Filipino exhibits for the St. Louis World’s Fair was the Philippine Exposition Board, specially created by the Philippine Commission.

The Board was allotted an initial budget of $125,000, with a further appropriation of up to $250,000 to mount a world-class exhibit that would show the commercial, industrial, agricultural, cultural, educational and economic gains made by our islands under Mother America.

 Recognitions were given by the organizers of the World’s Fair for country participants where their entries were judged by an international jury. Over 6,000 of various colors were won by the Philippines. Among those granted the honors were many outstanding Kapampangans who were represented by their inventive and creative works that wowed both the crowds of St. Louis and also the esteemed jury. 

In the category of Ethnography, the Silver Prize went to the Negrito Tribe (tied with the Bagobos) that counted Aetas from Pampanga as among the tribe members. They wre represented by Capt. Medio of Sinababawan and Capt. Batu Tallos, of Litang Pampanga.

 The Products of Fisheries yielded the following Kapampangan winners who produced innovative fishing equipment. Bronze Medals: Ambrosio Evangelista, Diego Reyes (Candaba); Fulgencio Matias (Sta. Ana); Macario Tañedo (Tarlac). Honorable Mentions: Alfredo Arnold, Epifanio Arceo, Pedro Lugue, Jacinto De Leon, Pascual Lugue, Mario Torres (Apalit); Eugenio Canlas, Teodoro de los Santos (Sto. Tomas); Andres Lagman (Minalin); Rita Pangan (Porac); Thos. J. Mair, Medeo Captacio (identified only as coming from Pampanga).

 Pampanga schools also performed commendably, with various winners in the Public School Exhibits, Elementary Division. Bronze medal winners include the town schools of Apalit, Arayat, Bacolor, Candaba and San Fernando, while Honorable Mentions were merited by Betis, Guagua and Mabalacat.

In the Secondary School division, Pampanga High School of San Fernando too home the Bronze. From among entries in the General Collective Exhibit category, Mexico was chosen to receive a Silver Medal. The Bronze went to Macabebe and San Fernando, while Honorable Mentions list included Bacolor, Candaba, Floridablanca, Magalang and Sta. Rita.

 The Fine Arts competition produced two Pampanga residents: Rafael Gil who won Silver for his mother-of-pearl art creation. Gil, and the highly regarded Bacolor artist, Simeon Flores (posthumous), also won Honorable Mentions for their paintings.

 The culinary traditions of Pampanga were made known to the world at the St. Louis World’s Fair through the sweet kitchen concoctions of several ‘kabalens’. Angeles was ably represented by Trifana Angeles Angeles (preserved orange peel) ; Irene Canlas (preserved melon); Carlota C. Henson (preserves and jellies); Januario Lacson (santol preserves); Isabel Mercado (preserved limoncito); Atanacio Rivera de Morales (santol preserves, buri palm preserves); Zoilo and Marcelino Nepomuceno (mango jelly); Aurelia Torres (santol preserves) andYap Siong (anisada corriente, anis espaseosa) Mabalaqueñas also tickled taste buds with their homemade desserts: Rafaela Ramos Angeles (preserved fruit, santol preserves); Maria Guadalupe Castro (santol jelly) and Justa de Castro (kamias fruit preserve).

 The World’s Fair at St. Louis closed at midnight on 1 December 1904, and was declared a huge success—thanks in part to the blockbuster Philippine exhibits enriched by the modest contributions of Kapampangans who proved equal to the challenge, to emerge as world-class citizens.
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