'Tang-Init! 'Tang-Inis!

Lagpas 100 degrees Fahrenheit ang init sa Downtown L.A. nitong Labor Day weekend. Brutal, pare! Pinagpapawisan ka kahit wala kang ginagawa. Maging mga haligi at kagamitan sa bahay mainit. At ang kama ko parang ihawan; may init na nagmumula sa ilalim nito na para akong dahan-dahang nililitson habang natutulog.

Malas ko nga dahil suwak ang init sa oras ng pagtulog ko - mula umaga hanggang hapon kasi nga night shifter. Pero kahit sino 'di paututulugin ng init (lalo na kung walang erkon tulad ko), at lagi akong napapagising bandang ala una o alas dos ng hapon. Sa pangangailangang makatulog ng kahit anim na oras pumupunta ako sa kusina, binubuksan ko ang refrigirator at doo'y sumasandal at sinusubukang humimbing uli. Hindi naman ako makatulog kasi siyempre nakaupo ako. Hay, 'tang-init talaga!

Kaya ang sarap maligo nung mga araw na 'yon. Kung puwede lang magbabad sa bathtub na puno ng yelo, ginawa ko na. Kasi presko man ang pakiramdam mo matapos maligo, pawis ka naman na bago ka pa lumabas ng bahay. Hindi na nga ako nagtutuwalya no'n, eh. Air dry na lang - ambilis pa! Tapos maya-maya basa ka na uli dahil sa pawis. 'Tang-inis!

Naisipan ko ngang mag-hotel pero malayo sa kinaroroonan ko ang disenteng hotel at sobrang mahal daw ayon sa mga katrabaho ko. Pinayuhan ako bumilli ng portable aircon, yung nilalagyan ng tubig o yelo; kaya lang bukod sa wala akong sasakyan para pumunta ng appliance store, wala akong panahon mamili dahil duty nung tatlong gabing 'yon.

Nagsimulang bumaba ang temperatura nung Lunes, simula ng day off ko; pero mainit pa rin na nakatatlong beses akong paligo. Buti na lang malamig na ang ihip ng hangin ngayon tuwing umaga at gabi. Naku, sinusumpa ko talaga ang summer heat dito sa L.A. Sa tanang buhay ko 'di pa ako nakaranas ng ganitong init, kahit sa 'Pinas. Kaya ngayon pa lang kinontrata ko na ang ilang kakilala (na may erkon) na baka makitulog ako about the same time next year sakaling umabot muli sa unbearable degree and init dito.

The Force is with John Williams

None in my new immediate circle of friends knew who John Williams is, so I set myself up for a "solitary" night of movies music with Hollywood's most accomplished and acclaimed film scorer. Having no car, I took the red line and alighted at Hollywood & Highland where a shuttle to Hollywood Bowl was waiting - plus a complimentary beverage of your choice from Starbucks.

It was my first time at the Bowl and no one better to raise the curtains for me but a film artist whose work I have tremendously admired and religiously followed since childhood, being oriented to his masterful works through his soaring and award-winning score for E.T. the Extra-Terrestrial (1982). His many collaborations with filmmaker Steven Spielberg, an artist I hold in equal esteem, provided nourishment to my soul growing up in an environment where access to and expression through art was limited.

The mood was festive as the bus pulled up near the box office. Clusters of people camped on the lawns enjoying a little pre-concert picnic; some laid out blankets, others folded out collapsible chairs, and there were those who chose to commune with nature by ensconcing themselves on the gentle, green grass. Wine sampling booths added boost, or should I say booze, to the occassion.

The humungous ampitheatre was abuzz with activity as I entered. I was amazed at the sheer volume of people in attendance. I couldn't help but say to myself, "So this many people know who John Williams is? I must be hanging out with the wrong crowd."

Activity and its accompanying noise gradually dissipated as the lights faded out, the crowd waiting in anticipation for the appearance of the man of the show. The great John Williams received warm applause as he entered the stage. He started the show as soon as he stood on the pedestal.

Act One was an homage to film composers of Hollywood's Golden Age. He offered his own rendition to some of the finest compositions during the era which served as inspiration for his works: Miklos Rozsa's "Parade of the Charioteers" from Ben-Hur (1959), Erich Wolfgang Korngold's "March" from The Adventures of Robin Hood (1938), Bernard Herman's "Scene d'Amour" from Vertigo (1958), themes from Gone With the Wind (1939) and Now, Voyager (1942) by Max Steiner, and Maurice Jarre's scores for director David Lean's Dr. Zhivago (1965) and Lawrence of Arabia (1962); the last two with excerpts from the movie.

Watching John Williams perform live was a dream within reach when I came to America, and I could not believe I was fulfilling that dream that night as the concert unfolded. I was wide-eyed amazed at the man whose work I have loved from such a long distance, relishing his work from a creaky audio cassette player and expressing admiration by telling people about his work as I listen to his music or while walking out of a theater after watching a movie he scored.

Act Two was dedicated to the man of the show, and his opening salvo was the iconic heroic "March" from director Richard Donner's Superman (1978). The crowd went wild as the orchestra blasted the first five notes of the piece. Goosebumps crawled up from my ankles to my nape. He followed it up with the accompanying "Love Theme", an instrumental version of the song "Can You Read My Mind?" which he also composed.

His underappreciated score for Catch Me If You Can (2002) is most distinctive and surprising for a Steven Spielberg film. I honestly did not retain the tune after watching it unlike most of his collaborations with Steven Spielberg. But listening to "Closing In," "Reflections," and "Joyride" with live alto saxophone, vibraphone and bass accompaniment provided me new opportunity for appraisal.

Three pieces from the Harry Potter movies followed, evidence of his successful reinvention that has allowed him to connect with the millennium generation. He began with the atmospherically eerie "Chamber of Secrets" from Harry Potter and the Chamber of Secrets (2002); segued to "Aunt Marge's Waltz" from Harry Portter and the Prisoner of Azkaban (2004) that brimmed with mischievous bouyancy; and concluded with a sumptous summation of fantasy and wonderment through "Harry's Wondrous World" from Harry Potter and the Sorcerer's Stone (2001) .

As the orchestra began to blast with the triumpaht "Throne Room and Finale" from Star Wars Episode IV: A New Hope (1977) the dark ampitheatre lit up with faux lightsabers. Fans of the man and the movie brandished the trademark weapon in the air throughout the whole piece. It was an exercise of unbridled fanaticism.

An encore was definitely in the offing as he waved the audience goodbye. The spotlight followed his exit and stayed right at the door. As he reentered the stage, the crowd gave a loud applause and took a while to sette. He delivered his encore with a bang starting off with the spellbinding main theme from Star Wars Episode V: The Empire Strikes Back (1980). He followed it up with "Sayuri's Theme" from Memoirs of a Geisha (2005), a movie I have yet to see. The piece unfolded like a romantic rhapsody of melancholy and joy.

Everyone was up on their feet as he exited the stage again - only to come back to appease the people's clamor for his immediate return. To my delight his third encore piece was the main theme from "E.T. the Extra-Terrestrial". I roared out adulation in a heartbeat, and was a tad embarassed realizing it was the only cry of admiration heard throughout the huge ampitheatre. It seemed I was the only one who recognized the first few playful notes of the piece.

The audience's thirst for his music was unquenable that cheers crescendoed again as he walked off the pedestal and out of the stage for the third time. And the shouts of approval and encouragement persisted. The fans just wouldn't let him go. And to return his audience's appreciation, the artist returned to the stage. A fourth encore piece! Now that's a concert! He capped the night of musical adventure with a most befitting piece - the main theme from the Indiana Jones trilogy.

As the music faded out, applause was again fading in. John Williams, beaming with gratitude at the appraisal endowed him, stood still for a moment smiling at the populace before him. It has been almost three hours since the concert started. He put his palms together and rested his right cheek on them as he tilted his head to the side gesturing sleep. The crowd broke into laughter and clapped their hands firmly as if letting him go. And he exited. Stagelights dimmed and floodlights filled the ampitheatre.

Excitement brewed anew as the crowd marvelled about the concert while walking out - from the ramps, to the parking lot, and even to the train station. John Williams, along with the L.A. Philharmonic Orchestra, may have bowed out for the night, but the little evening of wonderful music will remain in the minds and hearts of the audience for a long time.

Ilusyong Nar$

Akala ng marami, madali ang pera kapag nars ka sa Amerika. Siguro totoo 'yon 'pag matagal ka nang nagtatrabaho at mainam ang patakbo ng ospital na pinapasukan mo. Pero sa isang nagsisimula pa lang tulad ko, maraming bayarin na kailangan tuparin bago maging financially stable.

Kapag bagong salta ka, halos mamulubi ka sa mga bayarin kaugnay sa pagproseso ng legalidad mo dito. Nariyan ang mga immigration fee para sa gobyerno at lawyer's fee. Puwede ring hindi ka kumuha ng abogado at ikaw na lang ang mag-ayos ng sarili mong papeles, pero mahirap sumabak ng gano'n lalo pa't nasa ibang bansa ka't hindi pamilyar sa mga batas nito. At kapag meron kang mga pending document tulad ng VisaScreen, may mga kaakibat na bayarin din iyon.

Bukod diyan kailangan mo rin magtabi para sa upa sa bahay, kuryente, tubig, telepono, pang-araw-araw na pagkain, at iba pang pangangailangan. Kung may sasakyan ka, na isang pangangailangan dito, may buwanang bayarin iyon. Hanggang ngayon pinag-iipunan ko pa hindi lamang ang pambili ng kotse kundi pati mga monthly payment na kaakibat nito. Buti na lang puwedeng lakarin mula bahay ang ospital na pinapasukan ko.

At hindi lahat ng ospital maganda ang pasahod. Kung matatag ang pundasyong pananalapi nito, maganda ang benepisyo at suweldo; kung palugi, tulad ng sa 'min, titipirin ka sa lahat ng paraang maari. Halimbawa na lang, anim na araw sa dalawang linggo ang tinuturing na regular work period. Kapag pumasok ka ng isa o dalawa pang araw, double time na 'yon at mas malaki ang bayad. Pero sa 'min, magsisimula lang ang double time sa ika-walong araw. At kakaunti ang gumagawa no'n kasi pagod ka na, eh.

Ba't kami nananatili? Inisponsor kami, eh. At kahit natanggap na ng ilan sa 'min ang pinakamimithing green card at bagamat wala namang kontrata, nagpasya kaming manatili para makapundar ng karanasan at kasanayan.

Matapos kong ikuwento na marami akong kailangan ayusin sa apartment ko, sabi ng isang dati kong katrabaho sa Maynila, "Buti ka pa nakabili ka na ng bahay. Makikitira kami kapag nagawi kami diyan, ha." Sa loob-loob ko lang, magdadalawang buwan pa lang akong nagtatrabaho, may sariling bahay na? Sana nga.

Ito naman ang akala ng isang dati kong kamag-aral: "Uy, balita ko nars ka na raw sa Amerika! You must be raking millions!" Ikaw kaya i-rake ko diyan. Tinatawa ko na lang ang konting inis na nararamdaman ko sa mga ganitong sitwasyon.

Nakakadismaya dahil hindi nagtutugma ang pag-aakala nila sa katotohanan. Nakakainis dahil hindi nila batid ang hirap ng paggiging nars sa Amerika. Marahil hindi ko sila masisi dahil ito ang pananaw ng marami, subalit isang matatawag na misguided assumption dahil hindi totoo para sa lahat ng nars.

Mas malala ang kuwento ng iba kong kasamahan tungkol sa mga tao sa paligid nila na nagpaparinig tungkol sa pera. Pinakamasaklap ang walang pakundangan at labis na paghingi ng pera na para bang inuutot mo lang ang dolyar, kung kailan at saan mo "feel" maglabas meron, puwede. Hindi yata nila batid na ang perang pinagpapawisan namin ay ginagamit dito din sa Amerika, alinsunod sa ekonomiya at daloy kalakaran ng bansa.

Nang umuwi si Rosie, niyaya siyang mamasyal sa mall ng mga kamag-anakan. Hindi na niya ikinagulat na siya ang taya tuwing kainan. Ang hindi niya ikinatuwa ay ang pag-udyok ng mga tiyahin niya sa kanilang mga anak: "Sige na, pumili ka ano'ng gusto mo't ibibili ka ni Ate Rosie!"

Gusto naman nang umuwi ng 'Pinas ni Perry para makapiling ang mga mahal sa buhay pero isang "kamahalan" ang gumimbal sa kanya nang makatanggap ng sulat na nagsabing: "Nagpapiyesta kami dito. Sumobrang gastos namin. Padala ka naman. Marami ka na naman 'atang ipon diyan, eh."

At si Marie, buwisit na buwisit tuwing nirereto sa mga lalaki: "Pare nars 'yan! OK yan!" sabay laki ng mga mata at muwestra ng hinlalaki na nagsasabing "aprub!"

Hindi ako tutol sa pagbigay tulong pinansiyal sa mga taong mahalaga sa atin. Maging ako'y nakapagbigay na ng pera sa nanay at mga kapatid nang bukal sa kalooban at walang hinihinging kapalit. At kung mangailangan sila'y hindi ako magdadalawang-isip na muling magpaunlak. Ang tinutukoy ko ay ang pananaw na nag-oobliga o nagdedemanda sa mga nars na maglabas o magbahagi ng pera komo't mas malaki ang kita nila.

Hindi madali ang trabahong nars. Kuwento ni Grace, nang minsang pag-uwi niya sa bahay matapos ang ikatlong araw na trabaho, bigla na lang daw siyang napaupo at napaiyak. Marahil umabot na raw sa sukdulan ang kapaguran niya. Gayundin ang kuwento ni Gerry habang papauwi at naghihintay ng "go" signal sa ilaw trapiko. Siya raw ay napakunot-noo, napatulala, at walang anu-ano'y napaluha.

Lalong hindi madali maging nars sa ibang bansa dahil hiwalay ka sa mga kinagisnang kaibigan, at lalo na kapag hindi mo kasama ang iyong pamilya. Kaya't kami-kami ang nagsisilbing pamilya ng isa't-isa. Sinisikap naming magkita-kita sa kabila ng magkakataliwas na skedyul para magkaroon ng kaunting kasiyahan, mistulang mga OFW sa ibang bansa na nagtitipon-tipon tuwing day off.

Sinulat ko ito para sa kalinawan ng mga may maling akala at sa kapakanan ng mga kapwa ko nars na nagsusumikap dito sa Amerika para maitaguyod ang buhay nila at ng kanilang mga mahal sa buhay.