By Anna Isabel C. Rodriguez
Isa: My name is Anna Isabel Rodriguez and I'm here to interview Mr. Romeo Gacad. For the record sir, could you please state your name and present employment?
Mr. Gacad: My name is Romeo Gacad. I am the chief photographer of Agence France-Presse
Q: Okay, so for the first question, how do you describe what it is that you do?
A: My work?
Q: Yes, your work
A: Well, so photojournalist we cover (current events) here in Manila, being in charge of what's happening here in the Philippines and in the other parts of the region, in Asia and Mindanao. As chief photographer I’m responsible for delivering, covering pictures of breaking news in Manila as well as events in Mindanao, news about President Gloria Arroyo, politics, environment, human interest and interesting personalities.
Q: So, almost everything?
A: Almost everything because Agence France Presse is an international news agency. So when it comes to news anywhere from human interest to politics to conflict, bloody wars..
Q: How did you get into photography? What influenced you?
A: It’s a long story but just to make it short it started as a simple interest. My brother bought his camera. I saw it and I got to use it and I got to borrow my brother's camera. Right away I was fascinated kasi I was taking pictures and then having developed and I can see my pictures. Then my brother-in-law taught me basic darkroom techniques. So I was shooting and printing my own pictures so that even made my interest stronger because I shoot what I can see. From then on so I got hooked and fascination turned into passion and that is when I finally got my own camera. In high school I became the photographer for the school paper, that was in the third year. In the fourth year I became editor of the newspaper. In college I decided to take up Fine Arts, major in Visual Arts.
Q: So all the while you were geared towards being a photojournalist?
A: Well, I have these thoughts of enrolling in the college of architecture but then I think the Fine Arts became more of my interest and it's related to what my main interest is which is photography so I took up visual communication which is graphic design and photography is one of the subjects for two semesters which is basically (..) but when I took up the photography course I had enough knowledge about what is basic and what is advanced.
Q: How about your brother? Did he become a photographer?
A: My brother, no he was just a, he’s happy snapping pictures and shooting, he’s an engineer so he travels all the time and he was carrying his camera and there were times na its just there in the house no? (…)
Q: Okay so, what made you decide that you wanted to be a photojournalist? That you wanted it to be your profession?
A: Since I started shooting, and uh theres something in photography, can I say, that I fell in love with or I think it’s the medium which is well at the time its not that instantaneous parang you take the picture and it starts with a simple thing like shooting your classmate or your friends or your mom or your dad or your brother, sister so I had fun but then as I was looking at my pictures parang I begin to see that im telling stories with what with my photograph and that’s where I what happens why (..) so I looked at them and studied and how I can improve the pictures. So basically photography for me is self study and I went to photojournalism most of the time. So I bought this bargain photography magazines, modern photography, popular photography, they were just selling it for, at the time, 5 pesos, 10 pesos, and the film at the time was very cheap so black and white something like 5 pesos also, 7 pesos and it was fun. Being in the darkroom also, its another experience that you guys now, you don’t.. kasi its creating your own picture
Q: They just removed the darkroom
A: Yeah
Q: ..in our course
A: Now its gone
Q: Yeah
A: With the new digital camera, everything is simplified, the process has been simplified tremendously.
Q: So, um, okay, How were you able to penetrate the industry, from photography being your hobby to being a serious photojournalist?
A: Well I was a photographer for the school paper so talagang I put my heart into photography and a that was the start of my career then becoming the editor, then taking up Fine Arts, visual communication, parang it honed my artistic skills in the medium. So we learn about composition, we learn about style, we learn about light, we learn about visual perception which is very important when it comes to being a photographer. And then theres you if you get to study the courses in humanities and which gives you a whole or rounded knowledge of the visual arts so fine arts I would apply the artistry, standards in my picture.
Q: So,
A: Oh yes, artistry (..)
Q: So, okay, moving on to journalism in the Philippines, Describe your typical day and how is it different now from before, the early years of journalism..
And to the present?
Q: Yes the present
A: Well, at the time, you know, everything is film, processed, so the basic comparison for this, for you to produce pictures that are to be published, with the film camera, it would take one, or from the time you used to take the picture, you develop and you have it printed and to send the picture to our international clients, so its something 30 minutes to 45 minutes, but with the digital technology, everything is so fast, yeah, it’s a lot faster and in fact one of the Olympic games that I covered and world cup to ah, that I covered, it would take at least from the time you take a picture and the picture will land in the newspaper, just ten to 15 minutes.
Q: Fast ah
A: Yes, That is the technology now.
Q: Wow..
A: With the digital camera
Q: But then, Do you think that, there are perks but in making the whole process faster but then do you think that there’s something lost in the art, because of digitalization? You say that its very fun in the dark room, what do you think got lost, did you think something did or it was like..
A: No, its not lost in a way na talagang lost, how do I say this, its not total lost, in fact, its more like trying to satisfy the demands of time, basically the publication kasi they want news in pictures and immediately that fast so yung ganoong demand, digital technology, is the answer, and the only thing is when it comes to film, digital compared to film, film is something more permanent, digital, unless you have the proper set up, you have a back up system, you have this terabyte files where you can store your mountains of pictures, in one month I will normally have a mountain of digital pictures, something happens to your hard disk, so all your pictures, gone. That’s the sad part. But then you have invested so much that you have to protect your files, your duplicate, then make sure that if one goes down, you have a back up system. But with the film, the film is something permanent. You keep it in the proper archival condition so that it can last a hundred years, even more, now you see a card, a dvd, ten years after so who knows no? Getting smaller, smaller dvds, so that’s the advantage and disadvantage.
Q: So, one by one could you please state the names of the newspapers or agencies you were employed in and for how long you were working in each.
A: I started as a, well, in UP, I became the photographer for the Philppine Collegian, that was sometime 78 and that was the time where the Martial Law was close to the end, There’s so..
I was still there, I was still there in UP during that time, in the college of law
A: So the time na talagang, that was a very interesting period of when I started in photography, parang the period from 76 when I entered college hanggang 83 (..) Marcos, the daily protests and you have this issues on insurgencies all these stories I did, I was in the Collegian, Spent one year with the government, with the Ministry of Human Settlements, That was for Imelda Marcos, but I told myself, ill have one year (…) but it was a good experience because it brought me around the country, Luzon, Visayas, Mindanao. I was basically shooting mga ano, mga housing projects of Imelda Marcos, especially the (..) of the housing project, ofcourse one year, so tama na yun. I started doing freelance again working for alternative publication like Mrs. Who magazine, (…) and then Mr. and Miss, those publications, and these are the, tawag ni Marcos dun, the mosquito press. I think the issue there is there is a semblance of press freedom, you check how much circulation does this publication have, just a few thousand so part of (…) giving freedom but very limited. So from there, I did some freelance work. I became a stringer for Associated Press and also became a photographer for Sigma Picture Agency, these a based in New York, Paris and London, so I was doing assignment for them and that time I made my first cover of Newsweek magazine for Sigma News Agency, it was Marcos and Imelda in an Independence parade in Luneta, it was after, or was it before the Sandiganbayan case ni Ninoy. So from then on, 83, I was freelancing, but then 85 I joined Agence France Presse.
Q: So you’ve been there since?
A: Yes, ever since. 85 to the present. That’s more than 22 years.
Q: Okay so, during the early years, what was it like in, what was it like, what was journalism like? Lets start with physical location, the offices they had..
A: Early years?
Q: Yeah
A: Well early years, what was (..)?
Q: I think they were all near intramuros?
A: Sorry?
Q: Intramuros? And the piers?
A: Oh, well, newspapers, yes. They are based in Manila, most of them Intramuros parang it’s a very convenient location and they have their printing press and the office at the same time. The place offers them the (…) And you have the National Press club but theats the newspaper.. The international news agency most of them were also in Manila at that time until mga later on so they all left manila and moved too Makati, etc.
Q: So moving on, There are such things as cub reporters, are there anything similar to photojourrnalists?
A: Oh yeah, youre (…), a Greenhorn. You get to be initiated by your editors or by your superiors. So superiors and collegues..
Q: So were you ever one of then and what were your experiences as one?
A: Well, not really kasi I know what I was doing so theres not, but I encourage students to do that in journalism, its something like you still don’t know your direction so you enter that job or profession not knowing very well what to expect. But, in my case, I know what im doing, I know what I want and then I relate to people around me. People around me, colleages and the subjects and my stories.
Q: What about your first beat? What was it?
A: The first beat? First beat at the time yun yung protesta period, almost everyday, theres a demonstration, Mendiola, then theres a lot of back biting issues yung mga press violation, election of (…) Ninoy and (…) so.. What was it again?
Q: What was your first beat? So?
A: First beat, oo, protest, a lot of protests.and pag may protests parang its something na if your just a plain photographer you try to cover the protest without really knowing the issue. I think you wont come up with a very strong work or strong pictures. Its important for the journalist and the photographer that what are the issues that he’s covering so you’ll have a way na popost mo yung picture in a way that the viewers will better understand. Its difficult when somebody who doesn’t understand he goes there, stands in one place or one position, takes pictures and then goes back to the office, parang ganun. I know of some photographers who are that way. So its important you have an indepth knowledge of..
Q: How about how journalists relate to their editors, what are their attitudes or deadlines?
A: Well, theres this saying na parang Photographers are second class in the media industry and theres that kind of sentiment. Now I think its improved. Photographers have shown that pictures can tell more stories. As they say no, a picture is worth a thousand words. Kay but then you must have the ability of coming up with a picture that will tell the whole story, kasi in one picture, theres, it’s the story telling value of one photograph.
Q: Ok so, lets go to your experiences as a photographer or journalist. What were your best memories as a young photojournalist?
A: Yeah, well since, something young, (…) I think it was the most interesting period of contemporary Filipino history, di ba? Your dad would say..
That’s true!
A: Diba Atty?
Yeah, yeah.
A: Kasi compared right now diba? Its at the time when the whole country tried to change the government, oppose Marcos, I think it brought the good and the bad to everybody eh. In that period, as a photographer, as a journalist, what you learn in school, you learn more in the street, in theory than in practice. All these protests you do almost everyday and the Ninoy, I think that was the turning point of everyone being (…) Its hard to be detached no? At the same time that’s a professional.. you must be objective fair, you must present both sides. But then, the sentiment was so strong parang you trying to share the same issues but you have to stop at some point so.. or you’ll end up being accused as biased.
But that was the (…) period, 76 to the present, the other interesting assignment that I did was the three US wars that I covered. In 1991, I was there in, I spent two months traveling in Turkey, which Is the northern border of Iraq then finally we went to Kuwait after.. and then the second war, was the war on terror in Afghanistan after the 9/11 in New York. So when I was assigned to get myself to Afghanistan, so I was waiting for the right time in Pakistan, waiting for the right moment. The Mujahideen fighters and that was stopped because I had four close calls. I was there in Tora Bora, Well, Tora Bora is the place where Americans and the Mujahideen were hunting Osama Bin Laden. It was reported that in the mountains of Tora Bora. Anyway, theyre shelling, theyre bombing, its quiet then suddenly its going to fight. I was in one of the captured camp of the Taliban. And then I decided to stay behind when the others left, and we were in a bunker together with the other Mujahideen and just about ten or twenty meters from the bunker there was this tree na very (….) those are the legendary Mujahideen who fought with the Taliban. I went down and stood there trying to take a picture when I heard a gunshot so I looked towards where the gunshot came from and the bullet just landed 6 inches from my foot. There was a sniper.
Q: Trying to shoot you?
Trying to kill me.
A: Okay.
Q: So I run and everybody runs towards the bunker and I just waited until (…) and that’s it,
Mr. Romeo Gacad was born on October 3, 1959 in Quezon City. He attended the University of the Philippines College of Fine arts where he majored in Visual Arts. At the time of the interview, he was chief photographer of the AFP.
Thursday, August 21, 2008
Oral History of Melinda Quintos de Jesus
August 19, 2008
By Kris Ephraim M. Baylon and Joanna Marie S. Eduardo
BAYLON: We’re here for our final project and I’m Kris Baylon and I’m with Joanna Eduardo and we’re here with Miss Melinda Quintos de Jesus for an interview. Miss, for the record, could you please state your name and your present employment.
DE JESUS: I’m Melinda Quintos de Jesus. I am the executive director and founder of the Center for Media Freedom and Responsibility, a private foundation, a non-government organization, NGO as we put it that looks at the issues of press freedom and responsibility.
EDUARDO: So how long have you been a journalist?
DE JESUS: Too long. I still consider myself as a journalist, although I’m not in the current mainstream. So if you count the period in which I have been engaged in, you want to call it print, I started out in television documentary writing in the 70’s.
BAYLON: Miss, what are the factors that made you decide to be a journalist?
DE JESUS: Okay. I actually didn’t decide. In my time, which was several generations from you, most people, women, who graduated, generally did not think of themselves in a career specifically, because most of us ended up getting married, and that was what we were thinking of. And so my career actually developed quite by serendipity and this is what I tell other people who have asked me this question: “How did you become a journalist?” Actually, because the opportunities came out. And I was invited first to write documentaries for then Channel 13, which was one of the first institutions, press institutions, to examine the television documentary as part of public affairs and news coverage. So from there, I had to travel with my husband for his graduate studies, and then I returned. Again, it was by invitation. They would say, “Are you interested in writing for…?” or “Would you join us this…?” And that was how I got in as a columnist of the Bulletin Today. So it was all actually quite by, what they call, happy happenstance, that I became, what you might call, a journalist. I studied English Literature with electives in Journalism. And that’s why I, you know, had some kind of preparation for the demands of the career. And I was also involved in campus journalism, so I was editing Chi Rho, the publication of Maryknoll College. And that was where it all began, I imagine.
BAYLON: Miss, we understand that you’ve worked with several news publications in the Philippines. And Miss, again, for the record, could you enumerate some of the newspapers you’ve worked in?
DE JESUS: Okay. I was a columnist for the Bulletin Today, which was the Bulletin during the period of Martial Law. Just one of the few papers that was allowed to operate almost rather quickly after Martial Law was declared. It was owned by Hans Menzi. And by 1991, when Martial Law was formally lifted, he was ready to test the waters, and invited women columnists to write for the op. ed. So I became a columnist, then, hoping that I would simply write on the issues of education, of family, because those were mainly my concerns, but very quickly became a political critic. Before that, I edited two magazines: TV times, which looked at television during a period when you could not critique anything else and Balikbayan, which was a magazine that was designed for our overseas Filipino workers, which was then only beginning to form themselves as a constituency. I was also associate editor and columnist of Veritas News Weekly. That was during the latter period of the Marcos regime. No longer technically Martial Law, but still with a lot of the features of Martial Law. After the end of the Marcos dictatorship, I wrote a column for Philippine Daily Inquirer, for the Philippine Star. After that, The Manila Times, The Evening News. Those were probably the, you know, the four newspapers. There were probably a few more.
EDUARDO: Was there one newspaper wherein you stayed the longest?
DE JESUS: I would have to count Veritas, where I was associate editor, and then became editor, when Felix Bautista left the paper. And I was writing also as a columnist and the editorials, and, basically, supervised and managed the coverage of Veritas News Weekly. It was a weekly magazine.
BAYLON: Okay. Miss, let’s move to Bulletin Today, your stay in Bulletin Today. I understand that you’ve worked there and I would like to know more about your work experience there.
DE JESUS: I was invited to be one of the women columnists as I said, right? And then after 2 years, in 1983, when Ninoy Aquino, the former senator, was scheduled, it was already reported that he was going to return to the Philippines. We were slowly eased out of our jobs. Basically, we’re asked to stop writing. And I was the last of the women columnists to be asked to leave. And the explanation was that the then President Marcos was very nervous about the imminent return of his most important critic or oppositionist. And after we were asked to leave in August, this anniversary, this month, August 21?
BAYLON: Yes.
DE JESUS: He was shot when he arrived in the airport, and that was what basically blew the lid off the simmering ferment; questions being raised against how the dictatorship could continue for so long. And so the history of it, and it was history in the making, was that the press, the print media, basically took the lead in engaging the citizenry in the task of reviewing and criticizing more openly what was wrong with the Marcos regime. Okay, so if you want me to talk about Bulletin Today, it was the period in which we tested the waters because Martial Law was formally lifted, meaning it was announced that there was no longer any Martial Law. But there were still orders that you can actually arrest, you can detain, without any question. And so the many features of it remain, and so we felt that there were things still that needed to be criticized. And one of the columnists then, Miss Arlene Babst, felt that he should include more women. . . And so that was how I got engaged in the Bulletin. After which was Veritas. And Veritas, to my mind, was the more important kind of publication in which to be engaged, because we were really out there to make sure that the news that was not being shown in the Marcos newspapers, that we would come out and show them.
BAYLON: Okay.
DE JESUS: And print them. Printing stories.
BAYLON: Miss, since you’ve worked with so many publications now, we’re also interested in how these publications were, I mean, in terms of their physical locations and their facilities and how they print.
DE JESUS: They’re basically almost all the same. I mean, in the sense that you cannot operate without the minimum. Okay? So you have to have the minimum resources to be able to operate something, to print something. And much of that is, you know, it doesn’t require very much. Right now, with the kind of software that you have, one or three or four people can come up with a newspaper. The thing that would be raised is that printing it on print, on the paper, in ink, that’s the thing that really costs money. And of course now, with the greater demand for coverage of every kind, then you need a broader staff, etc. So which one had most of that, that question is answered simply: which publications had more money. Okay?
BAYLON: Miss, when you were practicing your journalism career, who were the people you’ve worked with? I mean the prominent people you’ve worked with?
QUINTOS DE JESUS: In what way do you mean? I mean members of the press?
BAYLON: Yes Miss, members of the press.
DE JESUS: So we were working with the publishers or the owners of the publications. So in Bulletin, we were working with Hans Menzi, who had been running the Bulletin Today for as long as anybody can remember, actually, because it was one of the first dailies, okay, that, basically, was able to establish itself as a business. It was able to establish itself as a business because it had primary dissemination. It could distribute itself, which requires a lot of money—so that it could claim national circulation. The Bulletin had that. And therefore, out of which, it was able to establish the classified ads, which, until now, remains one of its major revenue earners. If you want to advertise anything that you want to sell, buy, you put it in the Bulletin’s classified ads. And nothing has matched that. Okay, so you have to have that. But everything else that wants to establish itself in the print media has to have the resources for printing, for buying the paper, for getting the ink, for establishing a news network.
BAYLON: Miss, when you were a columnist in the Bulletin Today, how were your editors? I mean in terms of the deadlines?
DE JESUS: We were given very regular deadlines because we were given the days in which we would come out with a column and, therefore, as a columnist, it’s a completely different ball game from those who are working on the news beats, where they have to look for the stories, and they have to find the stories, and therefore have to file the stories on a daily basis. If you’re a columnist, you have a regular slot that you fill up on a regular time table. I was assigned two days in a week and on those two days, you had to submit on the deadline that was given to you. Basically, we submitted it to the assistant (editor). Was it the editor? And the. . . deputy editor, was Pat Gonzales. ( now dead.) They would read through it, make sure that it wasn’t libelous or it was . . .the kind of criticism that they could tolerate. And so, every now and then, they would edit out a paragraph or so that they found a little bit, you know, too offensive or too sensitive.
BAYLON: Miss, in terms of the grammar and those particular things in the articles that you write
EDUARDO: How were they, the editors?
DE JESUS: They did not have to correct very much because we were established writers. They did not have to correct much grammar in our copy. Today, you have to have copywriters, I think, copy editors. And actually, they have to go through the grammar and through the remarks on how English is written. I mean I don’t have to talk about that, am I right? We are losing the facility for good English and yet we insist that English is our national language for print. And that is where the problem is.
EDUARDO: So who would you consider to be a memorable editor of yours and why?
DE JESUS: You see, I also function as an editor for Veritas News Weekly and in that sense, I was an editor in the most exciting period. I worked with my editor, Felix Bautista, who was in, you know, news editor from cast in the old mode, you know, daily journalism, going after the stories as they came. . . quite a bit of the work actually fell on my shoulder, so I would say working with somebody like Felix Bautista was a good experience for me as we tried to combine the kinds of ways in which we worked together. Who were the other editors? I edited TV Times Magazine. Rod Reyes then was my editor/publisher so I would have to include among the important or significant personalities, Felix Bautista, Rodolfo Reyes, who asked me again to write for him in The Evening News. I also got to know pretty well Raul Locsin, who founded and edited the Business Day, because we worked together as colleagues. He was not my editor. I never worked for him, but basically, we had a lot of meetings where we talked about the issues that confronted us, and I invited him quite a bit as a resource person for the work that we do at the Center for Media Freedom and Responsibility. Who were the others? Teddy Benigno, of course, who was running a ‘Agence france’. He wrote a number of articles for Veritas, and . . . he was one of the older senior journalists that had earned their place in Philippine journalism. Currently, there is Luis Teodoro, who is the editor of Philippine Journalism Review. And Vergel Santos, who is one of our members of the board of the Center for Media Freedom and Responsibility, who is the chairman of the board of advisers, editorial advisers for Business World.
BAYLON: Miss, when you were working as a journalist, how long did you have to work? And did you have rest days?
DE JESUS: I worked on my own time, basically. When I was editing the paper, however, we worked, we planned the issues, and then we put aside a day or so when we were simply putting the issues together. So in journalism, you do not have ‘how many hours do you work?’, you work for as long as the story is there to be written and to be, you know, to be collected and to be reported, to collect the data, so that you could report. So there is no timeframe to do these stories except your deadline. You had to have a deadline. If it was the daily deadline, then you had to have your story at that certain point that the editor gave to you, so time is not the element, you know. ‘How many hours?’ is not a ‘bundy clock’ job, okay?
EDUARDO: How about the salaries back then?
BAYLON: Did you have a fixed salary?
DE JESUS: Yes, we had fixed salaries. They paid columnist per piece which was fixed and as editors also, we were hired on a salary basis. Yes, a monthly salary.
BAYLON: Okay, Miss.
DE JESUS: It’s not functional to compare, you know, how we were paid then, because the cost of gasoline was different then. Alright, so there’s no point in saying we were paid so much. ‘Oh my God! Was that all you were paid?’ Actually, we were, you know, we were probably paid more buying power because of the economy . . .that is a different kind of economy in that period.
BAYLON: Miss, have you ever been a cub reporter?
DE JESUS: No.
BAYLON: No?
M: In that sense, my career is different, okay? I came in. I was asked to write for television, and so I pitched stories. I said I want to do the story to the news director or to the public affairs. Actually, he was the head of Channel 13. He invited me to come in and basically said, ‘Would you like to do a television documentary on a regular basis?’ And basically, I would suggest the topics and I would research it. I would write it up. I would then get a TV team to work with me in the camera, and the editors to work with me on that page so in a sense, I basically came in on a different career track.
BAYLON: Okay Miss, you mentioned earlier about the news beats.
EDUARDO: What was your first beat?
DE JESUS: I did not get in on the beats. Remember, okay? So I did not get hired. I did not come in and they say, ‘Okay, you go to the police beat.’ I got hired as, basically, a writer and producer who, basically, put together the program that they would come out. It’s a completely different ball game when you’re hired on that basis. If you’re looking for different career tracks, my career track was different. So I wrote a column. In my columns, I chose, I did the research, I went and did my own interviews, and when that column was ready, I filed it and submitted it for publication. So go and ask, you know, leave it to the others who are interviewing other people who are going through, you know, what beat were you assigned etc., etc. I chose my beats and I chose the areas that were not being covered by other people.
EDUARDO: So what were the significant events that you have covered like, for one, Martial Law? How? Could you discuss those?
DE JESUS: There’s nothing that can compare with the coverage of 1983-1986. There was a historic change that happened in this country that people have to review every now and then to learn those lessons. Basically, the print media played a critical role. We, in the alternative press, it was called the alternative press or the ‘mosquito’ press.
EDUARDO: Yes.
DE JESUS: We chose to look for the stories that could not be covered in the crony press of the time, and therefore, allowed a significant critical mass of Filipinos to get to know the truth that they could not find in the controlled press. How can you compare that with anything now that everything is free and that people are basically ‘free’ to a certain point, okay? And that newspapers are basically competing more for revenues, for the scoop, for the first to be there, you know, in terms of big stories. Sometimes, what’s happening now is that they miss the stories still that are not told. Why? Because it’s easier to go after the sensationalisms.
BAYLON: Miss, do you have any specific personal experiences that you’ve encountered?
EDUARDO: For example, during coup attempts, EDSA, rallies, any experience?
BAYLON: Encounters?
EDUARDO: Yes.
DE JESUS: Yeah. Well, you know, when you have bombs going over you head, when you have parts of the military fighting other parts of the military. How can you describe going through that and writing about it? I was then both a radio columnist as well as a print columnist. In the coup attempts of 1987 and again in 1989, where basically the city of Manila became a war zone, I would have to say that that is one of the most unforgettable periods. But then, it was not just me as a journalist going through that. It was, basically, a lot of ordinary people going through that experience of seeing clashes on the streets and sometimes, being part of the, you know, exchange of fire or being caught in the crossfire. For example, if you look at what’s happening in Mindanao now, you know, it’s a lot of civilians and ordinary people, not necessarily the media that is experiencing. So it’s good for us to recall the times when we experienced it ourselves, not just as journalists but as ordinary citizens. What other things? It was wonderful to be able to see a new president that was going to open up democratic space. And the Aquino presidency has to be re-revisited again and again for the kind of hard work that it required to be able to establish and recover democracy. And much of my writing in that period, post-1986, focused on the dilemmas of democracy, and how difficult it is to have a democracy work within the limits of our development.
DE JESUS: One last question. I think we can finish. You choose what is your most important question.
EDUARDO: What can you say about the current status of the journalism in the country?
BAYLON: And what’s it’s future?
DE JESUS: Journalism is a continuing, learning experience. You are not a real journalist unless you are willing to learn and re-learn. Why? Because you are covering change. You are reporting on actual changing world. And many journalists don’t see that change. And they have to be taken away from the daily grind for them to realize that the story is actually about the changing institutions, the breaking up of institutions, and the recovery of those institutions. And so, that is what print media and all of media, journalistic media, need to find: the skills to be able to make relevant to a public that needs the press to help them learn about democracy and the requirements of democracy.
BAYLON: In behalf of my partner, Joanna Eduardo, we’d like to thank you for this time that you’ve given for this interview.
EDUARDO: Even if it’s very abrupt.
DE JESUS: Thank you. You’re welcome. And thank you for coming.
_____________________________________________________________
Born on July 20, 1944 in Manila, Ms. Melinda Quintos de Jesus is the current Executive Director of the Center for Media Freedom and Responsibility. Having graduated in Maryknoll College in 1964 with the degree of B.A., Major in English Literature, she has worked in radio, television, film, and print. She has worked as a columnist and an editor in many of the Philippine news publications including Bulletin Today (Manila Bulletin), Philippine Daily Inquirer, Manila Times, Philippine Star, and Veritas News Magazine.
Oral History of Ester Dipasupil
By: Martie Plaza and Andrew Aniceto
Aniceto: I’m Andrew Aniceto. I’m a Commarts major and we’re doing an oral history project for our INTPRIN class
Martie: I’m Martie Plaza and I’m commarts major. I’m partners with Dru Aniceto and we’re doing an oral history report for INTPRIN class
Dipasupil: Hi, I’m Ester Dipasupil. I’m the Metro editor of the Philippine Daily Inquirer
Aniceto: So Miss let’s start napo noh? Uhm..How long po have you been in the Inquirer?
Dipasupil: This is my 4th year. I joined Inquirer..in 2004
Aniceto: 2004 po. Tapos Miss, Did you have prior jobs po..before entering Inquirer?
Dipasupil: Yes but that’s a long story
Aniceto: Ahh long story po. *laughs*
Dipasupil: I think this will be my what.. fifth paper? I worked for “The Journal” (Aniceto: the journal…) I worked for M alaya
Aniceto: uh-huh..
Dipasupil: The Manila Times, Philippine Daily Globe, Manila Standard and then the Inquirer
Aniceto: And then the Inquirer po. (Dipasupil: Yes for six newspapers) Ah okay. So, uhmm.. So.. obviously po hindi niyo po masasagot yung next question which is..
Dipasupil: Obviously because I’m only starting..
Aniceto: Early years noh?
Dipasupil: But I tell you.. I don’t know if I’m lucky.. I would prefer to work on my way down. *laughs* They gave me the job Editor right away except for a very brief period.
Aniceto: Uhmm.. Miss woud you know po if ano.. If Inquirer had a prior office to this one?
Dipasupil: Yes I think they moved three times.
Aniceto: Three times po?
Dipasupil: In Edsa then they went to the Star. It used to be with the Star..
Aniceto: Ah.. in..
Dipasupil: In Port Area and then they had one in Romualdez near United Nations and I think this is their f,ourth.
Aniceto: Ah the fourth po na.. Ah okay.. Miss in terms of work po like what time do you start po? Tapos what time do you end?
Dipasupil: Hmm.. Usually we’re very flexible with hours but then.. You wait for the stories to come from the reporters so.. that means they do their stories in the morning and my job as an editor is to edit the input (Aniceto: The input..) for it so around uhmm.. Except for two days, I’m supposed to be here from 10:30.. As early as 10:30 (Aniceto: As early as 10:30) except for Thursdays and Fridays. The rest of the week, I would come here at around 4, 4:30 (Aniceto: Wow!) and I log off at around 11 (Aniceto: 11 in the evening) um-hmm..
Aniceto: Ah okay tapos miss in terms of Holidays, I’m guessing wala talagang holidays noh?
Dipasupil: No. As you can see, now it’s a holiday and I’m here now working. I have never spent Christmas or Easter or New Year at home with my family (Aniceto: Wow!) I only spend it uhh.. you know.. working on the newspaper. A paper comes out everyday so.. I’m here virtually everyday except on my days off.
Aniceto: On your days off..
Dipasupil: Ay we do have days off.
Martie: And how often is that?
Dipasupil: I think this is the only paper where it allows reporters and editors to have uhmm.. two days (Aniceto: two days?) .. two days off because usually it’s not. The other papers I’ve worked with talagang Monday to Saturday yan. (Aniceto: Monday to Saturday..) So the Inquirer I think it’s something that we women bargained for and it was implemented last year. That was our new arrangement (Aniceto: Sakto..) Two days off.
Martie: Two days a year??
Dipasupil: No two days.. Every week!
Aniceto: Every week?! Grabe kala ko every year.
Martie: Sorry I was like..
Dipasupil: Saturdays and Sundays but then for ano.. I ask to be off on those days.
Aniceto: Ahh.. ok and then.. so like.. kapag nagwowork po, ano yung mga problems usually na na-eencounter niyo po?
Dipasupil: Well usually, it’s the eight daily hours and the deadlines..
Aniceto: Deadlines po?
Dipasupil: Sometimes, oo. We have reporters who don’t report properly as you could, yung language, yung way and it’s expensive because pag na-lalate yung story mo, na-lalate yung pag-edit ko, nalate yun, nalalate.. di siya mapupunta.. (Aniceto: sa paper.. di mapiprint.) sa paper sa eroplano because sa airplane you know.. the paper goes to the provinces. The plane will not wait for you. Diba? So naiiwan.. So yan ang one of the things that we encounter. If you have late stories, late.. deadlines are late, hindi na gagamitin diyaryo mo. So, that’s why we try to strive for yung deadline compliance. So you know.. you sort of.. Linalatigo mo araw-araw, you make all that.. “that’s supposed to be their job”. Sometimes, there are those who work slow (Aniceto: na parang..) yeah.. So, it’s really a daily thing. No matter where I worked for, that’s always the.. (Aniceto: the normal..) the normal. Yeah, Deadline Compliance. Sometimes kasi, ito ha.. It’s difficult to get the interviewee naman there. For example, there’s a fire, an on-going thing, you have to wait for that story. Di mo naman pwedeng sabihin, “Uy patayin mo muna yung sunog!” You know the fire.. (Aniceto: Yes, it ends..) it ends when it wants to end. So, yun. Those are the stories na na-lalate ka kung minsan.
Aniceto: Ahh…
Dipasupil: Floods (Aniceto: or earthquakes) Natural calamities na.. you know.. there are forces beyond our control.. or Coup.. Coup d'etat.. (Aniceto: Coup d' tat)
Aniceto: Tapos
Dipasupil: There’s also one major problem.. yung libel.
Aniceto: Ahh! Libel.. of course libel! Si sir made us memorize it kasi we become part of the media.. We have to really know what it is.
Dipasupil: Pagka- libel, ang editor palaging sabit not only the reporter. (Aniceto: yeah oo nga po..) Uhmm.. Kasi it’s his name.. and my name (Aniceto: your name din po..) is there, then that spells a lot of responsibility. It’s not just all our opinions everyday.
Aniceto: Miss, ano po yung printing press na gamit ninyo ngayon?
Dipasupil: haynaku, ayan ay wala akong alam
Aniceto: ahh printing press. Ayy okay lang
Dipasupil: it’s part of the production. Thats the job of the production, of the production people. Our job is just looking at the copy, seeing it is not libelous, seeing its grammar is good, the facts are right and then I edit it. Because they have the entire media department for that
Aniceto: Miss, would you know anything pa about a ‘cub’ reporter?
Dipasupil: What about a ‘cub’ reporter?
Aniceto: we supposedly encounter the cub reporter…We don’t know what a cub reporter is kasi
Dipasupil: a cub reporter is usually someone who wants to get in. he’s starting for the very first time. So wala pang previous knowledge..for you are actually assigned with a reporter who is on the beat. For example, some of our trainees are some of those who have practicum with us, who want to learn how. minsan, mga graduating students from different schools. They come here, they cub with us. They are somebody who applies out of..Oo. tapos pasasamahin naman ngayon sa reporter..For example we force her to stand in front of the Police. so kasama siya. so he or she learns how it is to be a reporter by being with the reporter the whole day. So ayun ang cub. hindi ko alam yung cub kasi yung ibang cub yung mga bears, tigers na inaalalayan ng mga ano Inaalalayan na ng, ano, ng (Aniceto: parents)
Dipasupil: so sumasama sila. they learn how it is to get a story, to develop a story idea, to write a story and to write it in a framework that’s preferably on time because there are stories that reach the editor late. mumurahin ka niyan. There, that’s what a cub reporter is. Essentially he’s someone who tags along with the reporter to learn by training on the job
Aniceto: ahh parang OJT?
Dipasupil: Oo, OJT. Bali tama ka talaga. Kung may sunog, kasama ka sa may sunog. Kung may..kung meron man coup, kung meron..kailangan kausapin si Ping Lacson or yung president Oo, sasama ka sa reporter and to get the coverage and then he also sends the story to the editor para nakikita ng editor ‘O, meron ba siya natutunan dun sa..’ gagawa rin siya. for example, I will grade him to see if he’s fit na to join us as a regular reporter, or in the case somebody undergoing practicum naintindihan ba niya kung ano talaga. So I will also grade him.
Aniceto: okay
Dipasupil: so he has to submit his own story unedited by the person he’s cubbing with. I always tell them, give me a raw copy, don’t give me a copy that you also already edited kasi, and send it to me, kasi I will be the judge eh kung naintindihan niya. Did he get the skills that he’s supposed to need
Aniceto: Miss, ano po yung, the first beat? We just saw it
Dipasupil: kasi, usually people, the cubs, usually start with.. like the Metro is an ideal page ahhh for people to start reporting because as a Metro reporter you cover the big beat
(Aniceto: opo)
Dipasupil: for example, naka assign ka. Ikaw, reporter ka sa Manila. You will cover Manila Police Department, the mayor’s office-Mayor Lim, mayor and the vice mayor, the counselor and also the Manila court. Like lahat ng..Metro Manila is divided into 17 cities. There are 17 cities in Metro Manila. All of them have courts of their own. So lahat yan may mga kasong naka assign. So they, the reporter, the Metro reporter for Manila will cover the plea, and then the mayor’s office.ayan. lahat yan. And then, kapag nakagraduate (claps) na sila they usually move on to the bigger beat. Hindi na sila Metro. They cover na the Senate, Malacanan, House, and the different government agencies. Department, the different departments..the department of justice, department of labor. All the departments. Yun nga. And as they grow older you can look at it and say na nakuha nila sa Metro. sa Metro lahat nakokoberan mo. Inaasume mo when you move on to the bigger beats which we call the national beat
Aniceto: national beat
Dipasupil: because hindi na Metro Manila yung cinocover niya
Aniceto: National level na siya
Dipasupil: there’s a promotion. It’s sort of a promotion then you move on to business. From there you cub in the Metro then you move on to the national beat
Aniceto: then bigger, national already
Dipasupil: yes. You don’t get to interview the president (dru laughs) right away
Aniceto: of course not
Dipasupil: so you start with the Metro
Aniceto: ahh so hindi pala yung different sectors agad yung cocoverin mo
Dipasupil: ….kailang ka pro-promote, kailangan mas malaking beat. Ayun
Aniceto: okay. Tapos are there any past editors po na you’ll always remember po?
Dipasupil: oh yes I will always remember Joe Burgos. I don’t know if you know Joe Burgos
Aniceto: Joe Burgos? Familiar po
Dipasupil: he was from Malaya. He’s an icon of press freedom. The one paper even
reformed ahead of the Inquirer that fought against Marcos as a result of improper governance. He was put in jail. And we were there. I was in Malaya when he was..malapit na ma-lift ang Martial Law. So we were the first to report on what happened in 1986. People’s power. Wala pang Inquirer noon eh. Kasi wala pang Malaya- sa Inquirer toh. They called it the Mosquito Press because (Aniceto: ay yeah. Pests daw) Oo, they were working underground. We had no faciltity cause although we..kasi takot ka..diba takot ka military lahat?
Dipasupil: we usually borrow phones- phones of the neighbors to get our stories done, to get our stories printed. We were relying on the kindness of people, to you know, get rid of the government. And he was once a very very prolific person. He stood up for what he believed and he’s, he’s my hero you can say. He’s my hero. I’ve never met anyone like him ever. I mean, I’ve been, I’ve had so many bosses.
Aniceto: Besides editors po baka there are other people pa po na..
Dipasupil: ah, influences…maybe I like columnists. I like reading the columns of Conrado De Quiros
Aniceto: ah okay, Conrado De Quiros
Dipasupil: Oo. I like reading ____who used to be my editor. He’s also in the Inquirer
Aniceto: How is he po as an editor?
Dipasupil: ohh..he’s very very particular about accuracy, if your grammar is accurate. Accuracy is very important in getting the story right. He’s very particular about that. And he also wrote in a very clear, simple style everybody understood whether you were trained or worked or in college or a professional. Everybody thinks that for the right paper, Kailangan mabibigat yung salita mo. Ah no, its not a very common agent. everybody should be able to understand. So you write actually for someone whose level of education is from the 6th grade up
Aniceto: oh okay. We’re down to our last question
Aniceto: The last question is uhmm.. the most memorable event po that you can remember as a newspaper editor?
Dipasupil: Ahh.. I think it was 1986 yung people power.
Aniceto: People power po talaga?
Dipasupil: Because talagang everybody.. you know.. Everybody was out and we tell that we had a hand you know in exposing.. it started with an expose of Malaya of the fake war medals ni Marcos for which he jailed Mr. Burgos Kaya nga.. wala pa nga ako doon eh.. I was with the journal then. It was a controlled press so when we were kicked out by Mr. Romualdez, that’s when I joined Malaya. It’s very ironic because now, I work for his daughter-in-law, Cocoy Romualdez who is the brother-in-law of President Marcos. His son married the daughter of the owner of Inquirer.
Dipasupil: Hindi ba sobrang ironic? But then that’s one of my ano.. I think that.. even the other coup’s and the (Aniceto: yeah..) 1986 because it meant a lot of tension. It meant that you know.. the press then was very free before the Marshall law controlled the press. May control then nawala bigla so we were free again and right now we’re doing pretty well with the experience. Although, I’m quite sad na hindi naman na fulfill yung what it meant to fulfill.. I’m quite sad about that because parang.. we’re back to square one. That’s what I feel bad about. So, yun.
Aniceto: So, that’s all po. Thank you po!
Dipasupil: That’s all! Ok!
Martie: Thank you! Thank you so much!
Dipasupil: I dunno if that will do
Martie: It’s ok!
Aniceto: It will po!
Ester G. Dipasupil was born on Sept. 20, 1953 in Metro Manila. She graduated from the University of the Philippines Diliman with a Bachelor of Arts degree in English, and pursued a Master of Arts degree in Magazine Journalism at Ohio State University. People’s Journal, The Leader Magazine, Woman Today, Philippine Daily Globe, Manila Standard, Manila Times, Malaya Sunday Magazine are just a few of many newspapers and magazines which she worked for. At the time of the interview, she was Metro editor of the Philippine Daily Inquirer.
Oral History of Geronimo Briones
By Carissa Quirante and Marvin Conquilla
Q: Sir, what are the circumstances that led you to your work?
A: Graduate kasi ako ng Mass Communication. So, noon pa gusto ko na magsulat so ibig sabihin, gusto ko magpraktis kung ano yung pinag aralan ko.
Q: Saan po kayo nag graduate?
A: Sa FEU po.
Q: Describe your early years as a journalist.
A: Nagstart ako hindi bilang correspondent, kung tawagin nila. Heto yung naka-beat sa pulis, sa Malacanang. Nagsimula ako bilang proof reader-encoder ng isa pang tabloid. So, noong nagsara yung tabloid na yun, kasi meron silang dyaryong Tonite, Inassingn nila ako sa field 1994. Ang unang-una kong beat ay yung customs. Tapos tinanggal nila ako doon after a month, nilagay nila ako sa police beat. Ang unang-una kong police beat ay yung Eastern Police District. Under niya yung Marikina, Pasig, San Juan, Mandaluyong, lahat ng Courts doon, lahat ng NGOs yung mga government units.
Q: Describe the Newspaper, Philippine Daily Inquirer/Tumbok?
A: Sa ngayon under kami ng Philippine Daily Inquirer. Unang-una sa Bulgar ako nanggaling. Tapos nalipat ako sa Pilipino Star Ngayon, nag stay lang ako doon for a month. Tapos nalipat ako sa Bandera Tonite. Yung Bandera hindi pa siya dati sa mga Prieto. Dati siyang nasa Gokongwei’s, So noong nagsara yung Manila Times noong panahon ni President Erap Estrada, napressure yung Gokongwei’s so sinara nila, binenta sa iba. Nagpasya yung mga executives na magkaroon pa ng isang tabloid. So, lumabas yung Tumbok. Noong nagtanong ang editor ng Tumbok kung sino yung pwede nilang makasama, kinuha kami sa field. That was 1999.
Q: So ano po yung mga circumstances na naglipat-lipat kayo? Bakit po kayo nag lipat-lipat?
A: Yung sakin kaya ako nagpalipat-lipat kasi, unang-una nagsara yung tabloid na Tonite ng Bulgar. Medyo matagal nako doon pero yung salary ko masyadong mababa kasi per column inch yung, halimabawa twelve pesos per column inch ganon. Kung maikli lang yung istorya na ibibigay mo, ganon lang yung sukat na babayaran sa iyo. So meron nakapag sabi sa akin, meron kasama doon na bakit di mo itry dito sa ganito na ito. Pero after a month, siguro hindi nila na gustuhan yung performance ko, hindi ako naging regular. So, lumipat ako sa iba pang tabloid, hanggang sa malipat ako sa Bandera.
Q: Describe niyo poi tong newspaper na ito, ito pong pinagtratrabahuhan niyo ngayon. In terms of yung physical location niya, kasi most newspapers were located in Intramuros/Port Areas?
A: Yun yung pinaka bagsakan niya ng mga newspaper. Tsaka nila ididistribute nationwide. So mas concentrated kami sa Metro Manila, iyong dyaryo namin.
Q: How would you describe your office? The environment? The location?
A: okay naman yung opisina namin nakapagwork naman kami ng maayos. Yung air-conditioning, yung computers, ngayon unti-unti namin binabago kasi base din sa budget so iyong mga fax machine, yung email namin, yung internet, kasi halos doon na nagpapadala ng stories yung mga correspondent.
Q: So laganap talaga kayo sa technology advancement? Necessary para mas mabilis mag grasp ng news.
A: Oo. Di kagaya noon na ang ginagawa namin itatype namin yung correspondent, I fafax nila tapos itataype uli at irurush uli ng editor. Dito, pag nacopy paste na sa internet, pwede na niyang ilagay dun sa system. Pwede na niyan i-edit yon.
Q: How would you describe the physical facilities? Yung building? Offices of printing, yung printing niyo po , like, okay ba naman?
A: Ok naman po.yung printing namin yung quantity ng printing, syempre, ***, kasi may tinatawag silang patama, mas tama yung kulay, mas tama yung, maganda yung pagkakaprint nung text. Yung facilities naman, hindi naman kasi kalumaan tong Prieto. Bago palang itong Louie Prieto Building. Ipinangalan ito ng mga may-ari sa kanilang anak na si Lovie.
Q: Ano naman po ang masasabi ninyo sa mga katrabaho niyo dito? Sa mga tao dito sa Tumbok? (Publisher, Editor at Colleagues)
A: Tungkol sa publisher, napaka supportive ng publisher namin. Nakakagalaw din independently yung editorial. Hindi siya panapakeelaman ng publisher. Kung ano ang sa tingin ng editorial/editors ang direksyon na magiging para doon sa dyaryo. Pag nagka problema, supportive nga lagi siyang nandiyan although pwede mo siyang tawagan, email, kasi hindi siya dito nakabase nakabase siya sa Cebu
Q: Kumbaga, sinusupprt niya yung editors, di niya kinokontra?
A: Hindi. Siguro sa ibang publication, pag publisher siya parang walang authority yung mga editors. Pagsinabi ng publisher na ito ang gusto kong ilabas, ito ang ilalabas natin. Samin hindi, hinahayaan niya yung mga editors.
Q: Paano niyo po naman madedescribe yung mga colleagues niyo?
A: Okay naman ang mga katrabaho ko rito. Pero syempre minsan hindi naman lahat ng basket, magaganda yung itlog doon. Meron ding mga taong hindi magkasundo so meron kaming mga policies, mga disciplinary actions, kapag nakagawa ng hindi maganda, kailangan ng disciplinary actions.
Q: Paano niyo po madedescribe yung working conditions niyo dito? Yung hours of working? Yung holidays, salaries at deadlines?
A: Yung deadlines, wala akong masasabi doon, after ng kasi na pinaka dapat namin kunin sa newspaper, nakaksulat naman kami doon at hindi ko masasabi na masyado siyang maaga o masyado siyang late na deadline, para sa akin, tama lang. Ngayon yung salaries, doon ko masasabe na mababa magbigay yung aming employer. Ibig sabihin, above minimum maayos naman ang tinatanggap namin benepisyo. Ngayon during holidays naman, kailangan namin pumasok during holidays. Iba kasi yung nature nuns aming trabaho. Pasko may pasok kami, new year may pasok kami, dalawa lang yata sa isang taon yung talagang wala kaming pasok. Yung biyerne-santo. Ako bilang editor, nag start ako ng two o’clock. Titingan ko na kung ano yung pwedeng kuning story, titingnan ko kung ano yung problema dito sa office, yung problema sa tao, may kulang ba na tao, may kulang ba na staff, may dapat bang papasukin ng day off? Kasi pagka kulang ka sa tao, magkakaroon ng problema sa operation, baka hindi mo mameet yung deadline mo.
Q: Were you ever a cub reporter? What was it like to be a cub reporter?
A: Oo. Napakahirap ng cob reporter, unang-una yung pamasahe at yung pagkain mo lang ay kulang na kulang. Naalala ko noong yung nanay ko kahit na matapos na ako alam na niya na hindi ako kikita doon sa unang trabaho ko. Pero sabi ko gusto kong matuto. Gusto kong matuto kung paano mag-gather ng news. Yung gusto kong makahanap ng mga source. So napaka supportive din niys hinayaan niya ako. Sige ikaw ang bahala. Kahit na sabihin niyan nag tratrabaho ako, pero binibigyan niya parin ako ng allowance. May time naman na pagkamagkakasama kami, may mga newspaper na talagang malaki ang binibigay sa mga correspondent nila o yung tinatawag na cub reporters yun yung ginagawa na nilang reporter na bago. So sila yung regular yung payment.
Q: So, talk about your first beat, what was that beat? What were the important lessons you learned from that beat? Ano po yung unang-unang lessons sa natutunan niyo sa una niyong beat?
A: Ang unang-una ko pong beat ay sa customs. Galing po ako dun sa yun nga, yung sa tabloid. Medyo mahirap dahil yung unang-una yung mga kasama ko dun medyo matanda na. kumbaga talagang mga senior reporters sila. At dahlia siguro sa dami ng source nila, di na nila kailangan umikot soon sa buong customs para kumuha ng information. So ginagawa madalas nila,.. So kung ikaw, ano ka, correspondent ka, kailangan mo maghanap ng news kasi kung wala ka namin ipapasa, wala sila sa iyo ibabayad sa isang araw. So hindi ako kasabay dun sa mga reporters nung unang beat na inassign sa akin. So sinabi ko naman yun sa editor ko noon. Na walang mangyayari sa akin, di ako matututo. So inilagay niya ako doon sa beat na alam niyang halos lahat ng cub reporters, correspondents, o ng strainors kung tawagin nila, halos doon ako lahat nagsimula.
Q: So mas significant sayo yung police beat o kesa sa customs?
A: Oo.
Q: So sino yung mga kasama ninyo sa police beat?
A: Seniors, junior reporters, yung kasama ko sa police beat, matagal na sila mga ten years or four years sakin. Pero mas madaling akong makasunod kasi meron ding mga bago, may mga bago rin na kasama na ako doon. Yung mga taga Inquirer kumbaga dun ka nilalagay. Kumbaga yun yung police beat yung pinaka training ground nila.
Q: We are gonna talk about editors and deadlines, sino po yung mga memorable editors para sa inyo? At bakit?
A: Syempre ang unang una ay si Kris Marcelino. Siya yung pianaka unang editor ko, may time na nanduduon ako, yung bago ako na proof-reader-encoder, di ako na advice nakailangan pala nabago ko dalhin sa stripping, yung kopya kailangan na ipakita ko muna sa kanya. So noong dineretso ko sa stripping, hinahanap niya yung page, galit nag alit siya. Naririnig ko yung sigaw niya na parang halos mag mura na siya. Kaya hindi ko makalimutan yung time na yon. Pero noong medyo lumamig yung ulo niya, kinausap naman niya ako ng maayos, na Ronnie, ganito yung dapat mong gawin, bago mo dalhin doon Kailangan makita ko muna. Kailangan may approval ko muna. Yung sumunod na memorable sa ‘kin ay si Lito Bautista, sobra naman kasing napaka considerate ni sir Lito, kahit kailan hindi naman ako napagalitan noon. Nagbibigay lang siya ng instructions, nagbibigay lang siya ng kug paano mo gagawin. Kung meron man akong pagkukulang, tinatanong lang niya kung bakit hindi mo nakuha ito, walang time naman na sinigawan niya ako o nagalit siya sa akin.
Q: Sino naman ang pinaka influential sa’yo na editor?
A: Siguro masasabi ko si Sir Lito kasi mas matagal ako na nagging editor siya. Tsaka marami akong natutunan sa kanya. Lalo na bilang isang police reporter.
Q: How were your editors? Yung mga naging editors niyo po, how are they when it comes to accuracy, ethics, the grammar aspects of news writing?
A: Lahat naman sila okay pagdating sa ganoon, sa editing, sa grammar, wala kong masabi sa kanila.
Q: What was their attitude toward deadlines? Yung attitudes po nila toward deadlines?
A: Kug masyado ba silang mahigpit?
Q: Paano po nila cino-communicate sa inyo yung attitudes nila towards deadlines?
A: Lagi nilang, almost everyday tumatawag sila, ganito binibigay nila kung may mga changes, kailangan two o’clock nandito na samin yung nandito na samin yun. 2 o’clock ng gabi po, pm; ng hapon. Kasi i-edit pa din iyon. Di naman super strict, lagi silang nagpapaalala kasi may mga late breakig news eh, parang sabihin natin, nagset sila ng deadline, two o’clock eh paano kung may malaking istroya na pumutok ng two-thirty, so ang laging sinasabi saki na i-advice ko, sakaling may malaking istorya.
Q: Any memorable colleagues? And what made them unforgettable?
A: Wala siguro akong matadaan eh.
Q: Ay wala?
A: Meron siguro yung bago ako si Veronica, siya yung nagturo sa aking kung paano guawa ng stories sa courts, pati yung sa Regional Trial Court. Kug papaano mag establish ng source, yug mga ganoon. Siya rin kasi, yung may time sa beat na pagka magkakayaan na yung iba-ibang reporters yan. “ halika kaina tayo, merienda na tayo” kami yung maliliit lang yung kinikita, sabihin namin sige tapos na kami. Though alam nila,na hindi pa kami nag mimerienda. Si Veronica, pag meron siya at malinis naman yung kanyang pagkain, pinatatakpan niya doon sa canteen, tinatawag niya ako o yung ibang colleague ko na alam niyang hindi pa kumakain. Tapos sasabihin niya na kanin nalang ang bibilhin niyo. Parang nagging nanay ko siya doon sa beat, ganoon siya kaalaga sa amin. Lalo na at ahead siya samin ng three years, four years. So ang huling balita ko sa kanya wala na siya sa newspaper. Hindi rin siya nagtagal sa newspaper kasi lahat, siguro hindi naman lahat, pero karamihan ng mga nag dya-dyrayo, tumatagal dahil sa advocacy nila, mahal nila yung kanilang trabaho, yun din yung passion nila.
Q: Ano po yung best memories niyo as a young reporter?
A: Yung coverage, yung best memories ko, siguro hindi ko naman makakalimutan yun no. yung pinakamalaking coverage yung kay Antonio Sanchez, Mayor Sanchez. Mga bata pa kayo noong nangyari iyon. Rape iyon sa Laguna. Rape-slay, may dalawang estudyane sa UP Los Banos. Si Mayor Sanchez yung,
Q: Mayor siya? Tapos ng rape siya?
A: Oo. Tapos may mga bodyguard siya. Isa lang student. Isang babae, isang lalakeng dinukot ng mga body guards niya parang lumalabas eh niregalo yung babae sa kanya. Isang babae, isang lalake yung dinukot nila kasi magkasama eh. Kapag iniwan nila yung lalake may titistigo na eto yung mga ano. So isinama nila yung lalake. So yung lalake iniregalo nila dun sa Mayor. Eto ay base sa dun sa lumabas na testimony dun sa ano kasi nakarecord naman ito dun sa korte. So lumalabas, nung rinegalo yung babae, nirape ni Mayor, tapos nung pagkatapos ni Mayor, ibinigay niya doon sa mga bodyguards niya. Siguro mga pito yung bodyguards niya. Ibiniyahe nila pareho yung estudyante doon sa may liblib na lugar doon sa Laguna, tapos ni rape pa nung mga bodyguards yung babae bago nila binaril yung dalawa. So ang naging testigo doon ay yung driver na awing-awa dun sa babae kasi parang sinasabi “oh, ikaw naman” eh wala na yung babae, hinang hina na. Syempre sobrang dami naman yung nag ano sayo, alam naman natin iyon. Parang tumanggi yung driver, yung driver yung lumabas na testigo, at napaka kontrobersyal noon, nung time na yun, nung 1994 binaba yung verdict sa kanila, kilalang abogado yung kanilang abogado noon si Atty, Panelo, ewan ko narinig na ninyo siya. Siya yung abogado siguro ngayon nung anak ni William Martinez, na nagsampa ng kaso laban kay Baron Geisler. So, yun, buong buhay yung naging verdict dun sa kay Mayor Sanchez.
Q: San na po siya ngayon jail?
A: Oo.
Q: Namatay po ba yung dalawang binaril?
A: Opo patay po. Ang natitira lang yung testigo ay yung driver.
Q: Ano nangyari dun driver? Di po ba na-indanger yung buhay niya?
A: Syempre isinailalim siya, meron siyang protection. Ngayon wala na akong, kasi ’94 mahigit 14 years na hindi ko na alam kung nasaan yung driver, magada sanang kunan ng istorya yung mga ganon tsaka yung mga star witness. Napakamemorable sakin hindi ko makakalimutan kasi from 9-5 pm, nandodoon ako sa court sa kasama ng mga ibang reporters, kasama ng mga cameraman ng mga network, talagang jampacked, punong puno iyong ano. May speaker na inilabas yung judges para hindi na, kasi sa loob punong-puno na. Sa labas ng Pasig City Regional Trial Court, dun sa kanyang hallway, punong-puno padin. Mula als-nwuve hanggang alas-singko, wala akong kain kasama siguro nung iba pang reporters. So nung ibinaba, natapos yung promulgation kung tawagin nila yung magbabasa nung kaso, binasa kasi from cover to cover, medyo makapl iyon. So doon palang ako nakatapos, nag base pa ako, ang ibig sabihin nung base nang pakatapos sa Quezon City yung pinakamain office noong dyaryo, tapos dun pa ako gumawa so, nakakaiin lang siguro ako sa isang araw, dinner na. Tapos, yun yung hindi hindi ko makakalimutan asi, unang- una, yung kasong yon, although maliit lang yung ginamit nung editor pero, i-binanner niya yung story kasi talaga namin pang banner, so kung susukatin mo yung maliit nayun, talagang maliit lang siguro mga nasa one hundred fifty lang yung kinita ko, pero noong nakit ko yung tagline ko, doon sa dyaryo kinaukasan, parang yung pagod ko noong nakaraang araw, atsaka yung gutom ko, yung hirap ko, parang nawala kasi parang naging proud ako kasi mababasa nationwide yung ginawa kong story tutal pinaghirapan ko iyon from 9 to 5. at walang kain.
Q: What significant events did you cover?
A: Yung nga, dadagdagan ko nalang.
Q: And what are your memories as a reporter of World War II, Martial Law, Edsa 1, 2, 3; coup attempts, Abu-Sayaff, NPA, MNLF, campaigns, critical campaigns, Oakwood mutiny, Manil Peninsula siege?
A: Siguro dun ako sa… Edsa 1, highschool palang ako noon, tapos bago yung bike ko, so bale anuduon yung mga relatives ko pero hindi kami nagkita dahil sobrang daming tao. Nagpunta ako dun sa Edsa 1 na iyon na naka bicycle lang ako. Yung Edsa 2, nasa desk na ako, editor na ako, so after nagsara an gaming dyaryo, nag black kami lahat, black yung suot ko kasma yung ibang editors, nagpunta kami sa Edsa at yung nakakatawang experience dun dahil nung Edsa 1, gusto mo magpunta doon sa grandstand, doon sa pinakamalapit kasi wala pang grandstand noon, pero hindi ka makalapit dahil sa sobrang dami ng tao, at may mga bantay. At nung Edsa 2 dahil kailangan pa ng press Id, nakapasok na Cory Aquino, GMA, yun. Sa Oakwood, nandito na ako sa desk so nagmomonitor nalang ako sa TV kung ano ang nangyayari, atska hinihintay namin yung story nung aming nasa field. Yung mga correspondents, yung tungkol sa MILF, MNLF, wala akong experience kasi hindi naman ako pinadala doon sa Mindanao para i-cover yung gyera, yung political naman sa pag cacampaign, isa nalang natatandaan ko, pero hindi ako pinatutok kasi yung dyaryo namin hindi siya kagaya ng broadsheet na more on political, ang sa amin kasi mas nakaconcentrate sa pulis, yung mga ganoon.
Q: How about Manila Peninsula?
A: Yung Manila Pen siege kasi nakamonitor nalang kami sa TV.
Q: Malamang sir wala pa kayo noong World War 2?
A: Wala pa.
Interviewer: Sir, thank you p for your time, thank you for answering our questions, natutunan po namin na sobrang exciting po na trabaho niyo, Sobrang interesting,
Ronnie: Kaya lang siguro maraming tumatagal dito dahil sa advocacy, yung passion nila doon sa trabaho nila. Pero kung sasabihin mong gusto mo yumaman, gusto ko maging journalist, hindi siguro tun. Sa advertising siguro maraming pera doon. Sana may nakuha kayo.
Interviewer: Opo. Sir model po kayo ng passionate na minsan lang po iyon makahanap ng tao na hindi puro pera lang iniisip pagdating sa trabaho. Meron po kayong passion.
Ronnie: Yun din yung sabi ng nanay ko
Interviewer: Mahal niyo po dapat yung trabaho niyo.
Ronnie: Kung saan ka maligaya yun ang sundin mo. Kung ano ang trabahong gusto mo, yun ang sundin mo.
Q: Sir, what are the circumstances that led you to your work?
A: Graduate kasi ako ng Mass Communication. So, noon pa gusto ko na magsulat so ibig sabihin, gusto ko magpraktis kung ano yung pinag aralan ko.
Q: Saan po kayo nag graduate?
A: Sa FEU po.
Q: Describe your early years as a journalist.
A: Nagstart ako hindi bilang correspondent, kung tawagin nila. Heto yung naka-beat sa pulis, sa Malacanang. Nagsimula ako bilang proof reader-encoder ng isa pang tabloid. So, noong nagsara yung tabloid na yun, kasi meron silang dyaryong Tonite, Inassingn nila ako sa field 1994. Ang unang-una kong beat ay yung customs. Tapos tinanggal nila ako doon after a month, nilagay nila ako sa police beat. Ang unang-una kong police beat ay yung Eastern Police District. Under niya yung Marikina, Pasig, San Juan, Mandaluyong, lahat ng Courts doon, lahat ng NGOs yung mga government units.
Q: Describe the Newspaper, Philippine Daily Inquirer/Tumbok?
A: Sa ngayon under kami ng Philippine Daily Inquirer. Unang-una sa Bulgar ako nanggaling. Tapos nalipat ako sa Pilipino Star Ngayon, nag stay lang ako doon for a month. Tapos nalipat ako sa Bandera Tonite. Yung Bandera hindi pa siya dati sa mga Prieto. Dati siyang nasa Gokongwei’s, So noong nagsara yung Manila Times noong panahon ni President Erap Estrada, napressure yung Gokongwei’s so sinara nila, binenta sa iba. Nagpasya yung mga executives na magkaroon pa ng isang tabloid. So, lumabas yung Tumbok. Noong nagtanong ang editor ng Tumbok kung sino yung pwede nilang makasama, kinuha kami sa field. That was 1999.
Q: So ano po yung mga circumstances na naglipat-lipat kayo? Bakit po kayo nag lipat-lipat?
A: Yung sakin kaya ako nagpalipat-lipat kasi, unang-una nagsara yung tabloid na Tonite ng Bulgar. Medyo matagal nako doon pero yung salary ko masyadong mababa kasi per column inch yung, halimabawa twelve pesos per column inch ganon. Kung maikli lang yung istorya na ibibigay mo, ganon lang yung sukat na babayaran sa iyo. So meron nakapag sabi sa akin, meron kasama doon na bakit di mo itry dito sa ganito na ito. Pero after a month, siguro hindi nila na gustuhan yung performance ko, hindi ako naging regular. So, lumipat ako sa iba pang tabloid, hanggang sa malipat ako sa Bandera.
Q: Describe niyo poi tong newspaper na ito, ito pong pinagtratrabahuhan niyo ngayon. In terms of yung physical location niya, kasi most newspapers were located in Intramuros/Port Areas?
A: Yun yung pinaka bagsakan niya ng mga newspaper. Tsaka nila ididistribute nationwide. So mas concentrated kami sa Metro Manila, iyong dyaryo namin.
Q: How would you describe your office? The environment? The location?
A: okay naman yung opisina namin nakapagwork naman kami ng maayos. Yung air-conditioning, yung computers, ngayon unti-unti namin binabago kasi base din sa budget so iyong mga fax machine, yung email namin, yung internet, kasi halos doon na nagpapadala ng stories yung mga correspondent.
Q: So laganap talaga kayo sa technology advancement? Necessary para mas mabilis mag grasp ng news.
A: Oo. Di kagaya noon na ang ginagawa namin itatype namin yung correspondent, I fafax nila tapos itataype uli at irurush uli ng editor. Dito, pag nacopy paste na sa internet, pwede na niyang ilagay dun sa system. Pwede na niyan i-edit yon.
Q: How would you describe the physical facilities? Yung building? Offices of printing, yung printing niyo po , like, okay ba naman?
A: Ok naman po.yung printing namin yung quantity ng printing, syempre, ***, kasi may tinatawag silang patama, mas tama yung kulay, mas tama yung, maganda yung pagkakaprint nung text. Yung facilities naman, hindi naman kasi kalumaan tong Prieto. Bago palang itong Louie Prieto Building. Ipinangalan ito ng mga may-ari sa kanilang anak na si Lovie.
Q: Ano naman po ang masasabi ninyo sa mga katrabaho niyo dito? Sa mga tao dito sa Tumbok? (Publisher, Editor at Colleagues)
A: Tungkol sa publisher, napaka supportive ng publisher namin. Nakakagalaw din independently yung editorial. Hindi siya panapakeelaman ng publisher. Kung ano ang sa tingin ng editorial/editors ang direksyon na magiging para doon sa dyaryo. Pag nagka problema, supportive nga lagi siyang nandiyan although pwede mo siyang tawagan, email, kasi hindi siya dito nakabase nakabase siya sa Cebu
Q: Kumbaga, sinusupprt niya yung editors, di niya kinokontra?
A: Hindi. Siguro sa ibang publication, pag publisher siya parang walang authority yung mga editors. Pagsinabi ng publisher na ito ang gusto kong ilabas, ito ang ilalabas natin. Samin hindi, hinahayaan niya yung mga editors.
Q: Paano niyo po naman madedescribe yung mga colleagues niyo?
A: Okay naman ang mga katrabaho ko rito. Pero syempre minsan hindi naman lahat ng basket, magaganda yung itlog doon. Meron ding mga taong hindi magkasundo so meron kaming mga policies, mga disciplinary actions, kapag nakagawa ng hindi maganda, kailangan ng disciplinary actions.
Q: Paano niyo po madedescribe yung working conditions niyo dito? Yung hours of working? Yung holidays, salaries at deadlines?
A: Yung deadlines, wala akong masasabi doon, after ng kasi na pinaka dapat namin kunin sa newspaper, nakaksulat naman kami doon at hindi ko masasabi na masyado siyang maaga o masyado siyang late na deadline, para sa akin, tama lang. Ngayon yung salaries, doon ko masasabe na mababa magbigay yung aming employer. Ibig sabihin, above minimum maayos naman ang tinatanggap namin benepisyo. Ngayon during holidays naman, kailangan namin pumasok during holidays. Iba kasi yung nature nuns aming trabaho. Pasko may pasok kami, new year may pasok kami, dalawa lang yata sa isang taon yung talagang wala kaming pasok. Yung biyerne-santo. Ako bilang editor, nag start ako ng two o’clock. Titingan ko na kung ano yung pwedeng kuning story, titingnan ko kung ano yung problema dito sa office, yung problema sa tao, may kulang ba na tao, may kulang ba na staff, may dapat bang papasukin ng day off? Kasi pagka kulang ka sa tao, magkakaroon ng problema sa operation, baka hindi mo mameet yung deadline mo.
Q: Were you ever a cub reporter? What was it like to be a cub reporter?
A: Oo. Napakahirap ng cob reporter, unang-una yung pamasahe at yung pagkain mo lang ay kulang na kulang. Naalala ko noong yung nanay ko kahit na matapos na ako alam na niya na hindi ako kikita doon sa unang trabaho ko. Pero sabi ko gusto kong matuto. Gusto kong matuto kung paano mag-gather ng news. Yung gusto kong makahanap ng mga source. So napaka supportive din niys hinayaan niya ako. Sige ikaw ang bahala. Kahit na sabihin niyan nag tratrabaho ako, pero binibigyan niya parin ako ng allowance. May time naman na pagkamagkakasama kami, may mga newspaper na talagang malaki ang binibigay sa mga correspondent nila o yung tinatawag na cub reporters yun yung ginagawa na nilang reporter na bago. So sila yung regular yung payment.
Q: So, talk about your first beat, what was that beat? What were the important lessons you learned from that beat? Ano po yung unang-unang lessons sa natutunan niyo sa una niyong beat?
A: Ang unang-una ko pong beat ay sa customs. Galing po ako dun sa yun nga, yung sa tabloid. Medyo mahirap dahil yung unang-una yung mga kasama ko dun medyo matanda na. kumbaga talagang mga senior reporters sila. At dahlia siguro sa dami ng source nila, di na nila kailangan umikot soon sa buong customs para kumuha ng information. So ginagawa madalas nila,.. So kung ikaw, ano ka, correspondent ka, kailangan mo maghanap ng news kasi kung wala ka namin ipapasa, wala sila sa iyo ibabayad sa isang araw. So hindi ako kasabay dun sa mga reporters nung unang beat na inassign sa akin. So sinabi ko naman yun sa editor ko noon. Na walang mangyayari sa akin, di ako matututo. So inilagay niya ako doon sa beat na alam niyang halos lahat ng cub reporters, correspondents, o ng strainors kung tawagin nila, halos doon ako lahat nagsimula.
Q: So mas significant sayo yung police beat o kesa sa customs?
A: Oo.
Q: So sino yung mga kasama ninyo sa police beat?
A: Seniors, junior reporters, yung kasama ko sa police beat, matagal na sila mga ten years or four years sakin. Pero mas madaling akong makasunod kasi meron ding mga bago, may mga bago rin na kasama na ako doon. Yung mga taga Inquirer kumbaga dun ka nilalagay. Kumbaga yun yung police beat yung pinaka training ground nila.
Q: We are gonna talk about editors and deadlines, sino po yung mga memorable editors para sa inyo? At bakit?
A: Syempre ang unang una ay si Kris Marcelino. Siya yung pianaka unang editor ko, may time na nanduduon ako, yung bago ako na proof-reader-encoder, di ako na advice nakailangan pala nabago ko dalhin sa stripping, yung kopya kailangan na ipakita ko muna sa kanya. So noong dineretso ko sa stripping, hinahanap niya yung page, galit nag alit siya. Naririnig ko yung sigaw niya na parang halos mag mura na siya. Kaya hindi ko makalimutan yung time na yon. Pero noong medyo lumamig yung ulo niya, kinausap naman niya ako ng maayos, na Ronnie, ganito yung dapat mong gawin, bago mo dalhin doon Kailangan makita ko muna. Kailangan may approval ko muna. Yung sumunod na memorable sa ‘kin ay si Lito Bautista, sobra naman kasing napaka considerate ni sir Lito, kahit kailan hindi naman ako napagalitan noon. Nagbibigay lang siya ng instructions, nagbibigay lang siya ng kug paano mo gagawin. Kung meron man akong pagkukulang, tinatanong lang niya kung bakit hindi mo nakuha ito, walang time naman na sinigawan niya ako o nagalit siya sa akin.
Q: Sino naman ang pinaka influential sa’yo na editor?
A: Siguro masasabi ko si Sir Lito kasi mas matagal ako na nagging editor siya. Tsaka marami akong natutunan sa kanya. Lalo na bilang isang police reporter.
Q: How were your editors? Yung mga naging editors niyo po, how are they when it comes to accuracy, ethics, the grammar aspects of news writing?
A: Lahat naman sila okay pagdating sa ganoon, sa editing, sa grammar, wala kong masabi sa kanila.
Q: What was their attitude toward deadlines? Yung attitudes po nila toward deadlines?
A: Kug masyado ba silang mahigpit?
Q: Paano po nila cino-communicate sa inyo yung attitudes nila towards deadlines?
A: Lagi nilang, almost everyday tumatawag sila, ganito binibigay nila kung may mga changes, kailangan two o’clock nandito na samin yung nandito na samin yun. 2 o’clock ng gabi po, pm; ng hapon. Kasi i-edit pa din iyon. Di naman super strict, lagi silang nagpapaalala kasi may mga late breakig news eh, parang sabihin natin, nagset sila ng deadline, two o’clock eh paano kung may malaking istroya na pumutok ng two-thirty, so ang laging sinasabi saki na i-advice ko, sakaling may malaking istorya.
Q: Any memorable colleagues? And what made them unforgettable?
A: Wala siguro akong matadaan eh.
Q: Ay wala?
A: Meron siguro yung bago ako si Veronica, siya yung nagturo sa aking kung paano guawa ng stories sa courts, pati yung sa Regional Trial Court. Kug papaano mag establish ng source, yug mga ganoon. Siya rin kasi, yung may time sa beat na pagka magkakayaan na yung iba-ibang reporters yan. “ halika kaina tayo, merienda na tayo” kami yung maliliit lang yung kinikita, sabihin namin sige tapos na kami. Though alam nila,na hindi pa kami nag mimerienda. Si Veronica, pag meron siya at malinis naman yung kanyang pagkain, pinatatakpan niya doon sa canteen, tinatawag niya ako o yung ibang colleague ko na alam niyang hindi pa kumakain. Tapos sasabihin niya na kanin nalang ang bibilhin niyo. Parang nagging nanay ko siya doon sa beat, ganoon siya kaalaga sa amin. Lalo na at ahead siya samin ng three years, four years. So ang huling balita ko sa kanya wala na siya sa newspaper. Hindi rin siya nagtagal sa newspaper kasi lahat, siguro hindi naman lahat, pero karamihan ng mga nag dya-dyrayo, tumatagal dahil sa advocacy nila, mahal nila yung kanilang trabaho, yun din yung passion nila.
Q: Ano po yung best memories niyo as a young reporter?
A: Yung coverage, yung best memories ko, siguro hindi ko naman makakalimutan yun no. yung pinakamalaking coverage yung kay Antonio Sanchez, Mayor Sanchez. Mga bata pa kayo noong nangyari iyon. Rape iyon sa Laguna. Rape-slay, may dalawang estudyane sa UP Los Banos. Si Mayor Sanchez yung,
Q: Mayor siya? Tapos ng rape siya?
A: Oo. Tapos may mga bodyguard siya. Isa lang student. Isang babae, isang lalakeng dinukot ng mga body guards niya parang lumalabas eh niregalo yung babae sa kanya. Isang babae, isang lalake yung dinukot nila kasi magkasama eh. Kapag iniwan nila yung lalake may titistigo na eto yung mga ano. So isinama nila yung lalake. So yung lalake iniregalo nila dun sa Mayor. Eto ay base sa dun sa lumabas na testimony dun sa ano kasi nakarecord naman ito dun sa korte. So lumalabas, nung rinegalo yung babae, nirape ni Mayor, tapos nung pagkatapos ni Mayor, ibinigay niya doon sa mga bodyguards niya. Siguro mga pito yung bodyguards niya. Ibiniyahe nila pareho yung estudyante doon sa may liblib na lugar doon sa Laguna, tapos ni rape pa nung mga bodyguards yung babae bago nila binaril yung dalawa. So ang naging testigo doon ay yung driver na awing-awa dun sa babae kasi parang sinasabi “oh, ikaw naman” eh wala na yung babae, hinang hina na. Syempre sobrang dami naman yung nag ano sayo, alam naman natin iyon. Parang tumanggi yung driver, yung driver yung lumabas na testigo, at napaka kontrobersyal noon, nung time na yun, nung 1994 binaba yung verdict sa kanila, kilalang abogado yung kanilang abogado noon si Atty, Panelo, ewan ko narinig na ninyo siya. Siya yung abogado siguro ngayon nung anak ni William Martinez, na nagsampa ng kaso laban kay Baron Geisler. So, yun, buong buhay yung naging verdict dun sa kay Mayor Sanchez.
Q: San na po siya ngayon jail?
A: Oo.
Q: Namatay po ba yung dalawang binaril?
A: Opo patay po. Ang natitira lang yung testigo ay yung driver.
Q: Ano nangyari dun driver? Di po ba na-indanger yung buhay niya?
A: Syempre isinailalim siya, meron siyang protection. Ngayon wala na akong, kasi ’94 mahigit 14 years na hindi ko na alam kung nasaan yung driver, magada sanang kunan ng istorya yung mga ganon tsaka yung mga star witness. Napakamemorable sakin hindi ko makakalimutan kasi from 9-5 pm, nandodoon ako sa court sa kasama ng mga ibang reporters, kasama ng mga cameraman ng mga network, talagang jampacked, punong puno iyong ano. May speaker na inilabas yung judges para hindi na, kasi sa loob punong-puno na. Sa labas ng Pasig City Regional Trial Court, dun sa kanyang hallway, punong-puno padin. Mula als-nwuve hanggang alas-singko, wala akong kain kasama siguro nung iba pang reporters. So nung ibinaba, natapos yung promulgation kung tawagin nila yung magbabasa nung kaso, binasa kasi from cover to cover, medyo makapl iyon. So doon palang ako nakatapos, nag base pa ako, ang ibig sabihin nung base nang pakatapos sa Quezon City yung pinakamain office noong dyaryo, tapos dun pa ako gumawa so, nakakaiin lang siguro ako sa isang araw, dinner na. Tapos, yun yung hindi hindi ko makakalimutan asi, unang- una, yung kasong yon, although maliit lang yung ginamit nung editor pero, i-binanner niya yung story kasi talaga namin pang banner, so kung susukatin mo yung maliit nayun, talagang maliit lang siguro mga nasa one hundred fifty lang yung kinita ko, pero noong nakit ko yung tagline ko, doon sa dyaryo kinaukasan, parang yung pagod ko noong nakaraang araw, atsaka yung gutom ko, yung hirap ko, parang nawala kasi parang naging proud ako kasi mababasa nationwide yung ginawa kong story tutal pinaghirapan ko iyon from 9 to 5. at walang kain.
Q: What significant events did you cover?
A: Yung nga, dadagdagan ko nalang.
Q: And what are your memories as a reporter of World War II, Martial Law, Edsa 1, 2, 3; coup attempts, Abu-Sayaff, NPA, MNLF, campaigns, critical campaigns, Oakwood mutiny, Manil Peninsula siege?
A: Siguro dun ako sa… Edsa 1, highschool palang ako noon, tapos bago yung bike ko, so bale anuduon yung mga relatives ko pero hindi kami nagkita dahil sobrang daming tao. Nagpunta ako dun sa Edsa 1 na iyon na naka bicycle lang ako. Yung Edsa 2, nasa desk na ako, editor na ako, so after nagsara an gaming dyaryo, nag black kami lahat, black yung suot ko kasma yung ibang editors, nagpunta kami sa Edsa at yung nakakatawang experience dun dahil nung Edsa 1, gusto mo magpunta doon sa grandstand, doon sa pinakamalapit kasi wala pang grandstand noon, pero hindi ka makalapit dahil sa sobrang dami ng tao, at may mga bantay. At nung Edsa 2 dahil kailangan pa ng press Id, nakapasok na Cory Aquino, GMA, yun. Sa Oakwood, nandito na ako sa desk so nagmomonitor nalang ako sa TV kung ano ang nangyayari, atska hinihintay namin yung story nung aming nasa field. Yung mga correspondents, yung tungkol sa MILF, MNLF, wala akong experience kasi hindi naman ako pinadala doon sa Mindanao para i-cover yung gyera, yung political naman sa pag cacampaign, isa nalang natatandaan ko, pero hindi ako pinatutok kasi yung dyaryo namin hindi siya kagaya ng broadsheet na more on political, ang sa amin kasi mas nakaconcentrate sa pulis, yung mga ganoon.
Q: How about Manila Peninsula?
A: Yung Manila Pen siege kasi nakamonitor nalang kami sa TV.
Q: Malamang sir wala pa kayo noong World War 2?
A: Wala pa.
Interviewer: Sir, thank you p for your time, thank you for answering our questions, natutunan po namin na sobrang exciting po na trabaho niyo, Sobrang interesting,
Ronnie: Kaya lang siguro maraming tumatagal dito dahil sa advocacy, yung passion nila doon sa trabaho nila. Pero kung sasabihin mong gusto mo yumaman, gusto ko maging journalist, hindi siguro tun. Sa advertising siguro maraming pera doon. Sana may nakuha kayo.
Interviewer: Opo. Sir model po kayo ng passionate na minsan lang po iyon makahanap ng tao na hindi puro pera lang iniisip pagdating sa trabaho. Meron po kayong passion.
Ronnie: Yun din yung sabi ng nanay ko
Interviewer: Mahal niyo po dapat yung trabaho niyo.
Ronnie: Kung saan ka maligaya yun ang sundin mo. Kung ano ang trabahong gusto mo, yun ang sundin mo.
Oral History of Alexis Douglas Romero
Interviewer: Alberto Baruelo III
Q: Good morning sir Ace, first question po natin is, describe the circumstances leading you to your employment with the newspaper
A: It all started with the desire to witness history kasi as a student I’ve always been fond of history, kasi naiintriga ka ano yung mga nangyayari sa labas ng iyong comfort zones, ano ba yung nangyayari sa bansa as a whole, at ano yung impact nito sa mga tao so ‘nung student ako parang nandun yung thrill na siguro maganda yung tinitingnan mo yung kasaysayan na nangyayari sa harap mo hindi yung nakikibalita ka lang na, na…halimabawa uhh…nangyari pala ito sa ganitong lugar naibalita ka lang, second hand source ka lang, eh samantalang kapag ikaw yung nandun sa harap mismo nung kasyasayan, iba yung dating, parang diba may mga t-shirt na “I’ve been there”, “Ace was here”, parang ganun…pero mababaw man in a sense na, nandun yung thrill eh, pero pagdating mo dun sa field iba yun dating eh, iba yung dating na, nandoon ako, nakita ko yan, nung sina..sinabi yang polisiyang yan, nanjan ako dun dineklara yang polisiya na yan, nanjan ako nung nangyari yan, iba yung dating so, as a kid I always loved history, hindi math, kaya nga nag journalist, joke lang, nandun yung desire na makita mo yung events as they unfold so I decided to become a journalist, so…nandun yung usual shempre nandun yung usual procedure yung …its like* you go to the office, file the resume napaka naïve mo pa nun ‘hi ma’am’ san po ba mag aapply ah heto…and then magtetest ka, sa businessworld mga 6 to 8 hours ang test dun, mahirap yung test, and then…pero ano ba naman yung mahirap diba kung mafufullfill mo naman yung gusto mong gawin..in this case gusto kong makita yung nangyayari, I want to learn how the leaders think, how they shape your destiny, in fact, ‘tong mga leaders natin, whether we like it or not, they are the ones shaping yung history…although sabi nga ni William Earnest Henley sa tula niya diba yung sa Invictus, I am the master of my faith, I am the captain of my soul, very high school, pero hindi natin maiiwasan na there are some forces outside our control na magccontrol ng ating mga envoironment, and in this case isa dito yung mga leaders natin, hindi mo ba nanaisin na makita yung paano sila nagbebehave, how they act how they think and who knows you might influence the way they think, kasi pag tatanungin mo yung isang question, makiki..makikita nila how the people or kung hindi man yung people, they would have an idea ano yung magiging impact nung gagawin nila, which in turn, will affect history kasi diba pag tatanungin mo sila, tatanungin mo, sir is that policy relevant? How will it impact the rich? How will it impact the poor? and you’re, you’re asking those questions to the leaders who will make history, so nandun yung…parang, nakikita mo yung mangyayari, maaring mangyari sa bansa, na may epekto sa ‘yo, so yun yung driving force. kaya gaano man kahirap yan, gaano kababa yung sweldo, gaano ka-dangerous…sa Pilipinas dangerous sabi nila 2nd tayo sa pinakadangerous, pero its does not matter, if you really want to witness history as it unfolds or sige para mas cliché public service, tell the truth, eh di dito ka sa journalism. Para sa akin tatlo yung senses, or rather, tatlo yung nakikita kong mga rewards dito eh: sense of relevance, sense of commitment, sense of fulfllment. Hayaan mo na yung pera wag na natin pag-usapan yan kasi kung kukumpara mo naman sa ibang profession, daliri lang ng, ng sweldo ng ibang profession ang sweldo ng journalists.* Pero sense of relevance, bakit relevance, natatalakay mo yung paksa na may epekto sa lahat ng tao, relevant…hindi yung kung saan saan lang, hindi lang yung kung sino sino, but rather lahat, kasi nandito ka sa news eh, although depende rin yan sa iyong beat, pero in this case sa malacanang lahat ng policy ginagawa dito so lahat ng tao may epekto. Commitment, kasi kapag na follow up mo na yung isang issue na may epekto sa lahat, halimabawa…Ano yung ginagawa ng government para I- address yung kahirapan or yung paano tutulungan yung mga tao dahil tumataas ang presyo ng langis at pagkain, sense of commitment, parang na-commit mo na sa sarili mo na I should guard or I should uhh..be vigilant, ‘tong policy ba to nakakatulong sa lahat o baka naman, uhh hindi naman, baka naman, tinuturuan lang ng nito yung mahihirap na umasa, o baka naman kinukurakot yung pera, so parang may commitment ka na sa taong-bayan na bantayan yan at tingnan muna yung kapakanan nila ay pinaglalaban mo diba? Yung sense of fulfillment nga, fulfillment kasi nga nakikita ko yung history eh, eh parang fulfillment na yun kais nung bata ako, magbabasa ako ng dyaryo o nakikinig ako ng radyo, I’m a radio junkie that time, imbis na FM dati, pinakikinggan ko yung mga balita, ewan ko pero na-engrain na sa consciousness ko na makikinig ako ng balita ng radyo, elementary palang ako nakikinig nako ng radyo, dati naririnig ko lang tong mga taong to, naririnig ko lang, ngayon naiiinterview ko na, tapos yung mga ibang newscaster diyan dati pinapanood ko lang siya sa TV Patrol or sa Saksi pero ngayon kasama mo na, and pareho na kayo ng ginagawa so parang may sense of fulfillment yun eh, iba yung dating, kasi nga, yun nga, yung history, plus yung public service eh..they’ve come hand in hand sa profession na ‘to. So, what’s the next question?
Q: Okay, desc…the early years, as a reporter, or journalist, uhm..How were they? Describe your early years as a journalist.
A: Katakot-takot na adjustment, katakot-takot na unlearning, katakot-takot na pangangapa. Adjustment, shempre iba yun school, iba yung journalism talaga, although kagagaling ko lang naman ng schools, two years, so very fresh pa sa memory ko what, what I’ve learned from school, and what I have to unlearn as a journalist. Mag-aadjust ka kasi dati sa school yung professors mo eto yung dapat mong isulat, ito yung dapat mong pag-aralan…Dito, kanya-kanyang diskarte yan, masuwerte ka kung may tutulong sa’yo. pero…para yun jungle na you have to be independent, kailangan alam mo yung ginagawa mo kasi, maraming mga reporters jan that they have no patience for yung mga newbies na hindi alam yung ginagawa, so kailangan handa ka, so kailangan mo i-adjust. Ah iba, mag-iiba yung lifestyle mo kung dati after ng classes, magbasa ka lang sa bahay tapos na. Eto hindi, events happen when you least expect it. Kagabi for example, uhh…Uhh, for example, kagabi although nangyari narin ‘to sa mga dati kong beat, alas siyete y medya, ano ba ang ginagawa ng isang bata ng alas siyete y medya, baka nanonood na lang ng TV or may gimmick, alas siyete y medya magtatawag ng press con so adjustment talaga, maiiba yung lifestyle mo eh. Ngayon, yung sinasabi ko naman na unlearning, maraming mga bagay sa field na hindi tinuro sa school at marami kang natutunan sa school na kailangan mong i-unlearn. Ahh…tingin ko mas maganda kung kayo mismo maka-experience nun pero sa pagkaka, sa aking pagkaka-alam, halimabawa, may mga tinuro sa paaralan mo na hindi mo mapapakinabangan talaga, at least immediately, hinid ko naman sa sinasabi na itapon niyo na lang pero meron mga bagay talaga na sa field mo lang matututunan, how to get sources, how to communicate with your sources, hindu yan tinuturo sc school. or how to get yung story na hindi nakuha ng iba, hindi yan tinuturo sa school, it depends on the ability and it will come in time uhh…kapag nasanay ka na….So yun yung unlearning.,.Sa school kasi diba sinasabi nila dapat, heto yung mga theories, now dito, unlearning kasi dito practical and you’ll realize that these theories, these, no..wala tayong tinatawag na pure eh, pure truth dun sa theories na yun kasi lahat yan maghahalo-halo, you get from this you get from that and that’s the practice. Ngayon, pano ba ito…Sinabi ko kanina mayroon tayong adjustment, mayroon tayong unlearning…Uhh…Katakot-takot na pangangapa kasi kapag una kang reporter na bago ka pa lang sa beat mo, saan kaya ako kukuha ng story? Saan kaya ako mag-iinterview? Sino kakausapin ko? Kung mayroong ganitong isyu, sinong rereact? So talagang mangangapa ka…Pero tulad nga ng sabi ko, masasanay ka rin. At kapag nasanay ka, at least you can enterprise na pwede ka na gumawa ng ibang stories at pwede kang mang scoop. Kaya pag nasanay ka di…di all these things will be part of your system..eh di it will not be difficult.
Q: So describe the newspaper, Businessworld, in terms of its physical location, diba most newspapers were locationed…ay traditionally located in Intramuros..in Manila?
A: Kung hihingi kayo ng background ng Businessworld, yung nature niya, marami pang tao sa Businessworld na mas may pos…may authority para sabihin yun kasi nga magttwo years palang ako sa paper and sa tingin ko kung location ang pag-uusapan maganda naman yung location kasi its in New Manila, Quezon City, para siyang melting pot ng lahat ng establishments tapos melting pot din siya ng mga…ng mga beats kasi malapit naman dun yung mga, for example yung elliptical road, tapos, hindi naman gaano malayo yun sa Malacanang, isang jeep lang so okay na rin tapos kakaiba kasi kung hindi ako nagkakamali yung Businessworld lang ang nasa New Manila, I’m, I’m not sure pero tingin ko lang siya lang yung nasa New Manila eh kasi yung iba nasa Makati , nasa Intramuros. Yung physical faciltity, okay naman yung, may build, yung building mayroon naming mga enough facilites, may sariling lupa naman sila and facilities, printing and office equipment, may office equipment, kumpleto naman may archives, may…very condusive for working. Yung printing I think they, they have the paper printed somewhere in Antipolo yata, I think its in Antipolo so very particular ang Businessworld sa deadlines, i-check niyo na lang kung saan I think its in Antipolo eh. Ahh, very conscious sila sa deadlines kasi kapag hindi nila naipadala yung paper for printing, malalate yung labas ng dyaryo mo, hapon matatanggap yung dyaryo mo eh kumusta naman wala naman magbabasa nun kung hapon diba? Dib a with the advent of the internet, uhh bakit ka maghahanap ng balitang late na. People, publisher, editors. Editors are very particular with accuracy. They’re very particular with “value-added.” Value what do we mean by “value-added?” Kasi ngayong mga panahon na ‘to halimbawa mamaya magpepress-con, lahat kayo pare pareho ng isusulat eh, kanya-kanyang style lang yan ng pagsusulat pero basically yung sasabihin niya yun ang isusulat niyo, hindi mo naman pwedeng baguhin kasi inaccurate na yun, pero there should be something in your story na wala sa iba. You should have something na i-ooffer mo na ikaw lang, for example, bibigyan kita ng concrete example, ang balita ngayon 33 billion ang deficit natin, when we say deficit, yun yung parang pera na mas nau..na mas malaki yung expenditures natin, ngayon, ang.. anung, anung point nun? Eh di shempre sinulat ng lahat, sasabihin naman nila sa inyo lahat yun eh. So magbabasa ka ng dyaryo yun ang balita lahat 33 billion deficit, ano yung “value-added” dun? Why not talk to an analyst? Why not talk to a…siguro uhh someone na may knowledge dun…na hindi taga government, para i-validdate yung facts mo. Ano ibig sabihin nito, so what? Yun yung ‘value-added’ na gusto i-stress nung editors kasi mahal ang Businessworld, sa totoo lang, 25 pesos ang Businessworld, magkano ang Inquirer? *15, 20, 18…Eh kung walang value added yung story mo at pare-pareho lang naman yung isusulat, bakit ko bibilhin yung Businessworld, dun na lang ako sa mura, o kaya mag-internet na lang ako libre pa, so dun papasok yung value-added at very particular yung editors that there should be something in your story na you could say, ako lang yung meron nito, and it requires a lot of effort, tatawag ka, mangungulit ka, kakatok ka ng source para may perspective yung story mo hindi yung lang sinabi ng government dapat may validation yun. Editors are particular with aside from value-added, yun nga yung deadlines and…
Q: About your publisher and colleagues?
A: Publisher…Publisher in its strictest sense kasi binubuo na ng board yung Businessworld. Dati yung publisher is yung mga Locsin pero ngayon its, its composed of a Board. Board na yung nagdedecide on matters. Ah we don’t directly deal with them kasi they are administrative a people and they handle administrative matters, pero I think, nasa…tama naman yung ginagawa kasi these people are at least knowledgeable in their field, merong ekonomista, merong ambassador, so I think they are doing the right…the right…uhhh…paano ba sasabihin to, they’re doing or they’re handling the company well….although we don’t really directly deal with them. Colleagues, paano ba ito…Sabihin na lang natin na kung ikukumpara sa ibang dyaryo, mas madalas magkita ang mga taga Businessworld, bakit? Tuwing Sunday kasi, required ang mga taga Businessworld na pumunta sa opisina, dun kayo gagawa. Yung ibang dyaryo kahit saan, minsan nga sa bahay eh. Sa Businessworld kasi ahh, kapag magkaka…magkikita-kita kayo ng colleagues, o ano kumusta? Hello ano storya mo? Kumusta ka na? O anong tatawagan mo? Parang mas may close bond kayo, I think ang rationale dun ng editors, eto opinion ko lang, para may close coordination yung stories at para naman, bukod sa magkakakilala kayo, ahh magiging mas maganda yung working relationship. At saka aminin natin yung mga stories multi-faceted eh, for example Malacanang, dineclare, eto sisimplehan ko nalang, kunwari sa Malacanang yung MILF, you now **hold to the cities of MILF di ba…Yung Malacanang ngayon ahh sabihin na lang natin na dineclare ni President Arroyo na we need to review yung negotiations with MILF kasi nanggugulo sila. It’s a multi-faceted thing. Hindi lang Malcanang ang bida sa storya don. What do you think are the other stakeholders sa story na yun? Di ba we have the military, you don’t handle the military, although kung gusto mo magsipag ikaw din magtatawag si military, now what will you do? Ideally you can contact the defense reporter, uyy sabi dito sa Malacanag irereview yung panel, ano masasabi ng military jan? Ah o sige tatanungin ko yung taga AFP para meron naman silang side sa story natin. Ano pa? Yung DSWD could also be a, a player in the story kasi sabihin natin diba kapag nagkaroon ng war sa Mindanao, ano susunod jan? Relief efforts, so pwede mong kausapin yung nagcocover ng DSWD. Uyy sabi dito, kunwari, ahh, apatnapu (40) na yung namatay, anung gagawin ng DSWD, kunin mo naman o? Pero di…di ka nag-uutos! Wala ka karapatan mag-utos pero tingin ko maganda yun eh, nagcocoordinate yung mga tao, and then after that nakikita niyo yung story buong buo nandun yung lahat ng mga sides ng story, nandun lahat ng stakeholders, hindi ba maganda basahin yun? Kasi halimbawa yung Malacanang sinulat ko, si Ermita, sinabi niya, okay we are reviewing the peace policy, mapapanood ko yun sa TV eh, nood ako TV Patrol, libre pa. Bakit ko bibilhin ang Businessworld? Bukod sa mahal na, pareho lang naman, di ba? So, eh kung yung Businessworld, nakita mo coordinated yung storya, nandun yung reaction ni ganito, ni ganon, kumpleto, wala sa TV…
Q: So Sir, how about your working conditions, hours, holidays, salaries, deadlines?
A: Meron namang bayad ang holidays. Ang hours, on-call ka, kaya…uhh…hindi naman ‘to yung parang office people na 8 to 5, 8 or 9 to 5, on call ka, kahit anong oras pag may tinawag na event, pupunta ka, pero okay naman yung compensation. Ang, ang, deadli.. ang overtime na binabayad lang kung holiday at kung Sabado na day-off mo, kung nagtrabaho ka nun. Pero kung halimbawa Friday, kahit 24 hours ka magwork, the same…same pay, pero di naman mangyayari yun, pero walang oras, flexible yung time. Maganda yung working conditions naman, well-compensated and makikita mo naman yung relationship ditto, maganda naman yung relationship eh so I don’t think wala naming reklamo doon at maganda naman yung…very condusive yung working environment.
Q: Okay…
A: Yun ang ikli nun! (laughs)
Q: So, were you ever a cub reporter? What was it like to be a cub reporter?
A: Lahat ng tao nagdadaan ng cub…pagiging cub reporter, when you say dib d cub reporter, bago ka…Sa Businessworld, ahh…Ang equivalent ng cub reporter is trainee reporter, for the first 6 months, trainee ka, di ka pa regular, meaning hindi ka pa regular employee, pero isasabak ka na sa beat, isasabak ka na sa beat, na parang tunay, parang regular na reporter, pero ang tawag sa iyo trainee reporter. Trainee reporter, pero ganun din , pareho kayo ng ginagawa..Ahh…Ano yung tanong? How was the experience? How was it like to be a cub? Tulad ng sinabi ko kanina, na mangangapa ka uhh…hindi mo alam kung saan ka kukuha ng source…ahh…meet and greet quotation marks yung mangyayari dun sa kasama mo sa beat. Ang una kong beat, yun, yung, ang una kong beat yung Defense, Armed Forces of the Philippines at saka Philippine National Police, eh sa beat na yun kahit yung mga matagal na nagsasabi na hindi pangkaraniwan yung beat na yun kasi tandaan niyo yung mga Military ahh they tend to be secretive kasi operational matters. Eh paano pa kaya kung cub reporter ka di ba? So..pero you have to go…you have to undergo muna yung mga usual, pag-aralan mo yung basics. Sino yung tatawagan, sino yung kakausapin, paano magwowork yung beat. Ah actually, nung una, yun nga, nung una uhh…mahirap kasi…di mo alam kung saan ka pupunta, magjeep ka from AFP to PNP, tawid ka ng AFP to PNP baka may nangyayari pero, nasanay din, and then, dun mo mapag-aaralan yung art of dealing with people. Tandaan mo lahat ng tao may iba-ibang moods, iba-ibang preferences, iba-ibang styles so makikiramdam ka muna eh. Sa first, sa first, ahh days mo..mapa..ka..tahimik ka lang, nagoobserba, pero to…nothing different really from other jobs. So, unang beat, basically ganun eh, familiarization phase and then you see yourse…your rawest, rawest self, wala ka pang alam, pero yun yung ahh first step ahh towards mprovement naman talaga eh.
Q: So yun…You’ve talked about your beat. So let’s move to your editors and deadlines. Any memorable editors and why?
A: Memorable editors…pare pareho lang naman sila ng ano eh, ng gusto eh, actually sa totoo lang yung accuracy, dapat maaga, at saka dapat may value added. Siguro ang lesson lang na matututunan mo eh dapat maging obedient ka sa editors, obey before you complain and…Memorable editors, marami rin eh pero siguro ang pinakamemorable na editor siguro, nandyan pa siya ngayon, yung editor na, hindi ko papangalanan, baka ikaw pa, isumbong niyo ‘ko. Yung editor na talagang siya yung mangungulit sa’yo na, o heto yung story, tinwagan mo ba si ganito for reaction, tinawagan mo ba si si ganito for his reaction kasi stakeholders yan for example, ahh merong dineclare na policy on mining, halimabawa, kunwari sasabihin ng government na may…may mga limit kami on mining. Itatanong niyan kung tinawagan mo na ba yung mining groups? Para ganito, kasi sila yung maapektuhan nung policy. Una maiisip mo ano ba ‘to, ang daming pinagagawa hindi ko naman ‘to beat, Malacanang beat eh, hindi ko naman to beat eh bakit ko ‘to gagawin pero alam mo yun pag nagawa mo amy sense of fulfillment na wow, nagawa ko yun. Yun ngang…demanding yung editor pero kapag nagawa mo yun or okay ka sa kanya, yun ,magkakasundo naman kayo. Pero when you say yung memorable, lahat ng editors memorable. It’s a love-hate relationship eh, love-hate relationship yun pero…generally, yun lang, template, template lang ang editors, you have to get the story right and yung value added.
Q: How about ethics and the grammar aspects of news writing? Yung deadlines yun nga madali, And any memorable colleagues? What made them unforgettable?
A: Ethics, shempre particular din sila sa ethics. Actually sa Businessworld ang policy kapag nagbigay yun, binigyan ka ng pera, you have to surrender them to the desk and they’ll write a letter, they’ll send back the letter to the one who gave it to you saying that it’s not our policy to accept this and, and your generosity will not be unrecognized because we donated them to charity. Kasi bawal eh, kasi kapag binigyan ka ng pera, parang ang dating ehh…magiging diluted na yung balita. Parang mejo ang dating sa’yo eh, compromised na, so what else? Ahhh
Q: Colleagues mo? Colleagues….
A: Colleagues. I’ve seen a lot of people resign from Businessworld and colleagues..unforgettable colleagues…Marami rin naman, although ang pinaka hindi ko makakalimutan na colleague yung isang colleague naming na talagang matingi yung kopya na, na…masakit sa ulo…pero di ko na eelaborate baka sabihin niyo sinisiraan ko siya, pero wala na siya, resign na siya. and then…Hi Jen…Ahh…paano ba ‘to…So colleagues, meron ding magagaling na colleagues they transferred to other papers and sabi ng mga nakakausap ko dun sa isang paper na yun, magaling sila. Kasi ewan ko, I attribute that to the training of Businessworld eh, sa Businessworld hindi ka pwedeng halimbawa, may pumutok na isyu, bukas na lang yung reaksyon ng ibang panig. Sa Businessworld hindi, kung pwedeng kunin mo na lahat ng reaksyon ng mga panig gawin mo, kasi bukas, kapag reaksyon mo yun, kapag headline ang isyu na yun at bukas hindi na
yun headline, unfair na…hindi na kasing-init yung issue eh, di ba? So magaling daw sila, magagaling daw sila sa Businessworld nung dumating sila sa ibang paper nag-excel sila. I attribute yun sa training dun sa Businessworld. So I think they are really unforgettable kasi until now, I read them eh, and, okay sila.
Q: So, what were your best memories as a young reporter?
A: Hmm.I’m still young, hindi… (laughs). Hindi..
Q: Guys..Parang yung mga, yung mga…earlier days?
A: (Still laughing)… Siguro cover yung…ano ba…earlier days…kasi after Defense nag House of Representatives ako eh, yung mga Congressman, ang pinakagusto kong me..coverage nun nung naglalaban sa Charter Change and until now Charter Change na naman yung pinag-uusapan. Doon ko nakita yung best and worst , best and worst ng isang politician. Ahh doon ako…doon nasira yung idealism ko about uhh…these people should protect the people, these people should serve their constituents. Lahat yun nasira agad, kasi reality bites sabi nga nila. Nakita ko kung paano nila pinush yung changes in the constitution para pag na-amend yun maeextend yung term nila sa power at idedeprive nila yung tao ng eleksyon kasi magiging parliamentary , sila sila na lang magboboto ng leaders nila. So yun ang favorite ko kasi , yun yung unang beses sa buhay ko na hindi ako umuwi. Nag cover ako hanggang alas singko y medya nung umaga. Pumasok ako alas nuebe ng umaga. Umuwi ako ng sandali, alas singko y medya, natulog tapos alas siyete balik uli ako dun baka may nangyayari, yun yung Charter Change, yung constituent assembly na hindi rin natuloy dahil sa popular outcry. Yun ang tingin kong pinakagusto ko nung nasa House ako…Malacanang, ang pinakagusto ko una yung sa Manila Pen, nagdeclare ng, nagdeclare, pero early parts yun ah, mag-iisang taon nako sa Malacanang nung mga unang bahagi ng stint ko sa Malacanang, ah hindi ko umuuwi ditto hanggang alas onse kasi nag curfew pa and then bawat five minutes may press conference about the updates..nasaan na si Trillanes, nasaan na yung mag rebelde,..uhh basically yun yung pinakamagagandang coverage. Marami eh, pero, tingin ko pinakahistoric yun nga sa Manila Pen at saka yung sa push for Charter Change. Doon mo makikita yung mga forces nag-iinterplay.
Q: So yun, what significant events did the informant cover?
A: Nabanggit ko na nga.
Q: Yeah, the Manila pen siege…
A: Edsa tres, hindi pa naman ako …Ah coup attempt, yun nga yung kina Trillanes and ngayon I think maganda rin ‘to kasi bukod sa, yun nga, Charter Change sa House of Representatives 2006 tapos yung ahh maganda rin icover dati yung Manila…Yun nga kung kay Trillanes, Manila Pen. Ngayon feeling ko magiging magandang coverage yung ngayon kasi hindi natin alam kung itutuloy natin ang peace negotiations with MILF or mag-aall-out war tayo. So I think this is a beautiful coverage for a best memory in the making? Tama ba yung grammar? Ahhh marami naman pero siguro yung top three yun, although marami pang iba baka di ko rin nasabi yung iba pero ang unang pumapasok sa isip ko yung mga yun. Ano pa?
Q: Uhm sir yun na tapos na po.
Q and A: Yehey (clapping hands)
Q: Thank you Sir!
‘
Q: Good morning sir Ace, first question po natin is, describe the circumstances leading you to your employment with the newspaper
A: It all started with the desire to witness history kasi as a student I’ve always been fond of history, kasi naiintriga ka ano yung mga nangyayari sa labas ng iyong comfort zones, ano ba yung nangyayari sa bansa as a whole, at ano yung impact nito sa mga tao so ‘nung student ako parang nandun yung thrill na siguro maganda yung tinitingnan mo yung kasaysayan na nangyayari sa harap mo hindi yung nakikibalita ka lang na, na…halimabawa uhh…nangyari pala ito sa ganitong lugar naibalita ka lang, second hand source ka lang, eh samantalang kapag ikaw yung nandun sa harap mismo nung kasyasayan, iba yung dating, parang diba may mga t-shirt na “I’ve been there”, “Ace was here”, parang ganun…pero mababaw man in a sense na, nandun yung thrill eh, pero pagdating mo dun sa field iba yun dating eh, iba yung dating na, nandoon ako, nakita ko yan, nung sina..sinabi yang polisiyang yan, nanjan ako dun dineklara yang polisiya na yan, nanjan ako nung nangyari yan, iba yung dating so, as a kid I always loved history, hindi math, kaya nga nag journalist, joke lang, nandun yung desire na makita mo yung events as they unfold so I decided to become a journalist, so…nandun yung usual shempre nandun yung usual procedure yung …its like* you go to the office, file the resume napaka naïve mo pa nun ‘hi ma’am’ san po ba mag aapply ah heto…and then magtetest ka, sa businessworld mga 6 to 8 hours ang test dun, mahirap yung test, and then…pero ano ba naman yung mahirap diba kung mafufullfill mo naman yung gusto mong gawin..in this case gusto kong makita yung nangyayari, I want to learn how the leaders think, how they shape your destiny, in fact, ‘tong mga leaders natin, whether we like it or not, they are the ones shaping yung history…although sabi nga ni William Earnest Henley sa tula niya diba yung sa Invictus, I am the master of my faith, I am the captain of my soul, very high school, pero hindi natin maiiwasan na there are some forces outside our control na magccontrol ng ating mga envoironment, and in this case isa dito yung mga leaders natin, hindi mo ba nanaisin na makita yung paano sila nagbebehave, how they act how they think and who knows you might influence the way they think, kasi pag tatanungin mo yung isang question, makiki..makikita nila how the people or kung hindi man yung people, they would have an idea ano yung magiging impact nung gagawin nila, which in turn, will affect history kasi diba pag tatanungin mo sila, tatanungin mo, sir is that policy relevant? How will it impact the rich? How will it impact the poor? and you’re, you’re asking those questions to the leaders who will make history, so nandun yung…parang, nakikita mo yung mangyayari, maaring mangyari sa bansa, na may epekto sa ‘yo, so yun yung driving force. kaya gaano man kahirap yan, gaano kababa yung sweldo, gaano ka-dangerous…sa Pilipinas dangerous sabi nila 2nd tayo sa pinakadangerous, pero its does not matter, if you really want to witness history as it unfolds or sige para mas cliché public service, tell the truth, eh di dito ka sa journalism. Para sa akin tatlo yung senses, or rather, tatlo yung nakikita kong mga rewards dito eh: sense of relevance, sense of commitment, sense of fulfllment. Hayaan mo na yung pera wag na natin pag-usapan yan kasi kung kukumpara mo naman sa ibang profession, daliri lang ng, ng sweldo ng ibang profession ang sweldo ng journalists.* Pero sense of relevance, bakit relevance, natatalakay mo yung paksa na may epekto sa lahat ng tao, relevant…hindi yung kung saan saan lang, hindi lang yung kung sino sino, but rather lahat, kasi nandito ka sa news eh, although depende rin yan sa iyong beat, pero in this case sa malacanang lahat ng policy ginagawa dito so lahat ng tao may epekto. Commitment, kasi kapag na follow up mo na yung isang issue na may epekto sa lahat, halimabawa…Ano yung ginagawa ng government para I- address yung kahirapan or yung paano tutulungan yung mga tao dahil tumataas ang presyo ng langis at pagkain, sense of commitment, parang na-commit mo na sa sarili mo na I should guard or I should uhh..be vigilant, ‘tong policy ba to nakakatulong sa lahat o baka naman, uhh hindi naman, baka naman, tinuturuan lang ng nito yung mahihirap na umasa, o baka naman kinukurakot yung pera, so parang may commitment ka na sa taong-bayan na bantayan yan at tingnan muna yung kapakanan nila ay pinaglalaban mo diba? Yung sense of fulfillment nga, fulfillment kasi nga nakikita ko yung history eh, eh parang fulfillment na yun kais nung bata ako, magbabasa ako ng dyaryo o nakikinig ako ng radyo, I’m a radio junkie that time, imbis na FM dati, pinakikinggan ko yung mga balita, ewan ko pero na-engrain na sa consciousness ko na makikinig ako ng balita ng radyo, elementary palang ako nakikinig nako ng radyo, dati naririnig ko lang tong mga taong to, naririnig ko lang, ngayon naiiinterview ko na, tapos yung mga ibang newscaster diyan dati pinapanood ko lang siya sa TV Patrol or sa Saksi pero ngayon kasama mo na, and pareho na kayo ng ginagawa so parang may sense of fulfillment yun eh, iba yung dating, kasi nga, yun nga, yung history, plus yung public service eh..they’ve come hand in hand sa profession na ‘to. So, what’s the next question?
Q: Okay, desc…the early years, as a reporter, or journalist, uhm..How were they? Describe your early years as a journalist.
A: Katakot-takot na adjustment, katakot-takot na unlearning, katakot-takot na pangangapa. Adjustment, shempre iba yun school, iba yung journalism talaga, although kagagaling ko lang naman ng schools, two years, so very fresh pa sa memory ko what, what I’ve learned from school, and what I have to unlearn as a journalist. Mag-aadjust ka kasi dati sa school yung professors mo eto yung dapat mong isulat, ito yung dapat mong pag-aralan…Dito, kanya-kanyang diskarte yan, masuwerte ka kung may tutulong sa’yo. pero…para yun jungle na you have to be independent, kailangan alam mo yung ginagawa mo kasi, maraming mga reporters jan that they have no patience for yung mga newbies na hindi alam yung ginagawa, so kailangan handa ka, so kailangan mo i-adjust. Ah iba, mag-iiba yung lifestyle mo kung dati after ng classes, magbasa ka lang sa bahay tapos na. Eto hindi, events happen when you least expect it. Kagabi for example, uhh…Uhh, for example, kagabi although nangyari narin ‘to sa mga dati kong beat, alas siyete y medya, ano ba ang ginagawa ng isang bata ng alas siyete y medya, baka nanonood na lang ng TV or may gimmick, alas siyete y medya magtatawag ng press con so adjustment talaga, maiiba yung lifestyle mo eh. Ngayon, yung sinasabi ko naman na unlearning, maraming mga bagay sa field na hindi tinuro sa school at marami kang natutunan sa school na kailangan mong i-unlearn. Ahh…tingin ko mas maganda kung kayo mismo maka-experience nun pero sa pagkaka, sa aking pagkaka-alam, halimabawa, may mga tinuro sa paaralan mo na hindi mo mapapakinabangan talaga, at least immediately, hinid ko naman sa sinasabi na itapon niyo na lang pero meron mga bagay talaga na sa field mo lang matututunan, how to get sources, how to communicate with your sources, hindu yan tinuturo sc school. or how to get yung story na hindi nakuha ng iba, hindi yan tinuturo sa school, it depends on the ability and it will come in time uhh…kapag nasanay ka na….So yun yung unlearning.,.Sa school kasi diba sinasabi nila dapat, heto yung mga theories, now dito, unlearning kasi dito practical and you’ll realize that these theories, these, no..wala tayong tinatawag na pure eh, pure truth dun sa theories na yun kasi lahat yan maghahalo-halo, you get from this you get from that and that’s the practice. Ngayon, pano ba ito…Sinabi ko kanina mayroon tayong adjustment, mayroon tayong unlearning…Uhh…Katakot-takot na pangangapa kasi kapag una kang reporter na bago ka pa lang sa beat mo, saan kaya ako kukuha ng story? Saan kaya ako mag-iinterview? Sino kakausapin ko? Kung mayroong ganitong isyu, sinong rereact? So talagang mangangapa ka…Pero tulad nga ng sabi ko, masasanay ka rin. At kapag nasanay ka, at least you can enterprise na pwede ka na gumawa ng ibang stories at pwede kang mang scoop. Kaya pag nasanay ka di…di all these things will be part of your system..eh di it will not be difficult.
Q: So describe the newspaper, Businessworld, in terms of its physical location, diba most newspapers were locationed…ay traditionally located in Intramuros..in Manila?
A: Kung hihingi kayo ng background ng Businessworld, yung nature niya, marami pang tao sa Businessworld na mas may pos…may authority para sabihin yun kasi nga magttwo years palang ako sa paper and sa tingin ko kung location ang pag-uusapan maganda naman yung location kasi its in New Manila, Quezon City, para siyang melting pot ng lahat ng establishments tapos melting pot din siya ng mga…ng mga beats kasi malapit naman dun yung mga, for example yung elliptical road, tapos, hindi naman gaano malayo yun sa Malacanang, isang jeep lang so okay na rin tapos kakaiba kasi kung hindi ako nagkakamali yung Businessworld lang ang nasa New Manila, I’m, I’m not sure pero tingin ko lang siya lang yung nasa New Manila eh kasi yung iba nasa Makati , nasa Intramuros. Yung physical faciltity, okay naman yung, may build, yung building mayroon naming mga enough facilites, may sariling lupa naman sila and facilities, printing and office equipment, may office equipment, kumpleto naman may archives, may…very condusive for working. Yung printing I think they, they have the paper printed somewhere in Antipolo yata, I think its in Antipolo so very particular ang Businessworld sa deadlines, i-check niyo na lang kung saan I think its in Antipolo eh. Ahh, very conscious sila sa deadlines kasi kapag hindi nila naipadala yung paper for printing, malalate yung labas ng dyaryo mo, hapon matatanggap yung dyaryo mo eh kumusta naman wala naman magbabasa nun kung hapon diba? Dib a with the advent of the internet, uhh bakit ka maghahanap ng balitang late na. People, publisher, editors. Editors are very particular with accuracy. They’re very particular with “value-added.” Value what do we mean by “value-added?” Kasi ngayong mga panahon na ‘to halimbawa mamaya magpepress-con, lahat kayo pare pareho ng isusulat eh, kanya-kanyang style lang yan ng pagsusulat pero basically yung sasabihin niya yun ang isusulat niyo, hindi mo naman pwedeng baguhin kasi inaccurate na yun, pero there should be something in your story na wala sa iba. You should have something na i-ooffer mo na ikaw lang, for example, bibigyan kita ng concrete example, ang balita ngayon 33 billion ang deficit natin, when we say deficit, yun yung parang pera na mas nau..na mas malaki yung expenditures natin, ngayon, ang.. anung, anung point nun? Eh di shempre sinulat ng lahat, sasabihin naman nila sa inyo lahat yun eh. So magbabasa ka ng dyaryo yun ang balita lahat 33 billion deficit, ano yung “value-added” dun? Why not talk to an analyst? Why not talk to a…siguro uhh someone na may knowledge dun…na hindi taga government, para i-validdate yung facts mo. Ano ibig sabihin nito, so what? Yun yung ‘value-added’ na gusto i-stress nung editors kasi mahal ang Businessworld, sa totoo lang, 25 pesos ang Businessworld, magkano ang Inquirer? *15, 20, 18…Eh kung walang value added yung story mo at pare-pareho lang naman yung isusulat, bakit ko bibilhin yung Businessworld, dun na lang ako sa mura, o kaya mag-internet na lang ako libre pa, so dun papasok yung value-added at very particular yung editors that there should be something in your story na you could say, ako lang yung meron nito, and it requires a lot of effort, tatawag ka, mangungulit ka, kakatok ka ng source para may perspective yung story mo hindi yung lang sinabi ng government dapat may validation yun. Editors are particular with aside from value-added, yun nga yung deadlines and…
Q: About your publisher and colleagues?
A: Publisher…Publisher in its strictest sense kasi binubuo na ng board yung Businessworld. Dati yung publisher is yung mga Locsin pero ngayon its, its composed of a Board. Board na yung nagdedecide on matters. Ah we don’t directly deal with them kasi they are administrative a people and they handle administrative matters, pero I think, nasa…tama naman yung ginagawa kasi these people are at least knowledgeable in their field, merong ekonomista, merong ambassador, so I think they are doing the right…the right…uhhh…paano ba sasabihin to, they’re doing or they’re handling the company well….although we don’t really directly deal with them. Colleagues, paano ba ito…Sabihin na lang natin na kung ikukumpara sa ibang dyaryo, mas madalas magkita ang mga taga Businessworld, bakit? Tuwing Sunday kasi, required ang mga taga Businessworld na pumunta sa opisina, dun kayo gagawa. Yung ibang dyaryo kahit saan, minsan nga sa bahay eh. Sa Businessworld kasi ahh, kapag magkaka…magkikita-kita kayo ng colleagues, o ano kumusta? Hello ano storya mo? Kumusta ka na? O anong tatawagan mo? Parang mas may close bond kayo, I think ang rationale dun ng editors, eto opinion ko lang, para may close coordination yung stories at para naman, bukod sa magkakakilala kayo, ahh magiging mas maganda yung working relationship. At saka aminin natin yung mga stories multi-faceted eh, for example Malacanang, dineclare, eto sisimplehan ko nalang, kunwari sa Malacanang yung MILF, you now **hold to the cities of MILF di ba…Yung Malacanang ngayon ahh sabihin na lang natin na dineclare ni President Arroyo na we need to review yung negotiations with MILF kasi nanggugulo sila. It’s a multi-faceted thing. Hindi lang Malcanang ang bida sa storya don. What do you think are the other stakeholders sa story na yun? Di ba we have the military, you don’t handle the military, although kung gusto mo magsipag ikaw din magtatawag si military, now what will you do? Ideally you can contact the defense reporter, uyy sabi dito sa Malacanag irereview yung panel, ano masasabi ng military jan? Ah o sige tatanungin ko yung taga AFP para meron naman silang side sa story natin. Ano pa? Yung DSWD could also be a, a player in the story kasi sabihin natin diba kapag nagkaroon ng war sa Mindanao, ano susunod jan? Relief efforts, so pwede mong kausapin yung nagcocover ng DSWD. Uyy sabi dito, kunwari, ahh, apatnapu (40) na yung namatay, anung gagawin ng DSWD, kunin mo naman o? Pero di…di ka nag-uutos! Wala ka karapatan mag-utos pero tingin ko maganda yun eh, nagcocoordinate yung mga tao, and then after that nakikita niyo yung story buong buo nandun yung lahat ng mga sides ng story, nandun lahat ng stakeholders, hindi ba maganda basahin yun? Kasi halimbawa yung Malacanang sinulat ko, si Ermita, sinabi niya, okay we are reviewing the peace policy, mapapanood ko yun sa TV eh, nood ako TV Patrol, libre pa. Bakit ko bibilhin ang Businessworld? Bukod sa mahal na, pareho lang naman, di ba? So, eh kung yung Businessworld, nakita mo coordinated yung storya, nandun yung reaction ni ganito, ni ganon, kumpleto, wala sa TV…
Q: So Sir, how about your working conditions, hours, holidays, salaries, deadlines?
A: Meron namang bayad ang holidays. Ang hours, on-call ka, kaya…uhh…hindi naman ‘to yung parang office people na 8 to 5, 8 or 9 to 5, on call ka, kahit anong oras pag may tinawag na event, pupunta ka, pero okay naman yung compensation. Ang, ang, deadli.. ang overtime na binabayad lang kung holiday at kung Sabado na day-off mo, kung nagtrabaho ka nun. Pero kung halimbawa Friday, kahit 24 hours ka magwork, the same…same pay, pero di naman mangyayari yun, pero walang oras, flexible yung time. Maganda yung working conditions naman, well-compensated and makikita mo naman yung relationship ditto, maganda naman yung relationship eh so I don’t think wala naming reklamo doon at maganda naman yung…very condusive yung working environment.
Q: Okay…
A: Yun ang ikli nun! (laughs)
Q: So, were you ever a cub reporter? What was it like to be a cub reporter?
A: Lahat ng tao nagdadaan ng cub…pagiging cub reporter, when you say dib d cub reporter, bago ka…Sa Businessworld, ahh…Ang equivalent ng cub reporter is trainee reporter, for the first 6 months, trainee ka, di ka pa regular, meaning hindi ka pa regular employee, pero isasabak ka na sa beat, isasabak ka na sa beat, na parang tunay, parang regular na reporter, pero ang tawag sa iyo trainee reporter. Trainee reporter, pero ganun din , pareho kayo ng ginagawa..Ahh…Ano yung tanong? How was the experience? How was it like to be a cub? Tulad ng sinabi ko kanina, na mangangapa ka uhh…hindi mo alam kung saan ka kukuha ng source…ahh…meet and greet quotation marks yung mangyayari dun sa kasama mo sa beat. Ang una kong beat, yun, yung, ang una kong beat yung Defense, Armed Forces of the Philippines at saka Philippine National Police, eh sa beat na yun kahit yung mga matagal na nagsasabi na hindi pangkaraniwan yung beat na yun kasi tandaan niyo yung mga Military ahh they tend to be secretive kasi operational matters. Eh paano pa kaya kung cub reporter ka di ba? So..pero you have to go…you have to undergo muna yung mga usual, pag-aralan mo yung basics. Sino yung tatawagan, sino yung kakausapin, paano magwowork yung beat. Ah actually, nung una, yun nga, nung una uhh…mahirap kasi…di mo alam kung saan ka pupunta, magjeep ka from AFP to PNP, tawid ka ng AFP to PNP baka may nangyayari pero, nasanay din, and then, dun mo mapag-aaralan yung art of dealing with people. Tandaan mo lahat ng tao may iba-ibang moods, iba-ibang preferences, iba-ibang styles so makikiramdam ka muna eh. Sa first, sa first, ahh days mo..mapa..ka..tahimik ka lang, nagoobserba, pero to…nothing different really from other jobs. So, unang beat, basically ganun eh, familiarization phase and then you see yourse…your rawest, rawest self, wala ka pang alam, pero yun yung ahh first step ahh towards mprovement naman talaga eh.
Q: So yun…You’ve talked about your beat. So let’s move to your editors and deadlines. Any memorable editors and why?
A: Memorable editors…pare pareho lang naman sila ng ano eh, ng gusto eh, actually sa totoo lang yung accuracy, dapat maaga, at saka dapat may value added. Siguro ang lesson lang na matututunan mo eh dapat maging obedient ka sa editors, obey before you complain and…Memorable editors, marami rin eh pero siguro ang pinakamemorable na editor siguro, nandyan pa siya ngayon, yung editor na, hindi ko papangalanan, baka ikaw pa, isumbong niyo ‘ko. Yung editor na talagang siya yung mangungulit sa’yo na, o heto yung story, tinwagan mo ba si ganito for reaction, tinawagan mo ba si si ganito for his reaction kasi stakeholders yan for example, ahh merong dineclare na policy on mining, halimabawa, kunwari sasabihin ng government na may…may mga limit kami on mining. Itatanong niyan kung tinawagan mo na ba yung mining groups? Para ganito, kasi sila yung maapektuhan nung policy. Una maiisip mo ano ba ‘to, ang daming pinagagawa hindi ko naman ‘to beat, Malacanang beat eh, hindi ko naman to beat eh bakit ko ‘to gagawin pero alam mo yun pag nagawa mo amy sense of fulfillment na wow, nagawa ko yun. Yun ngang…demanding yung editor pero kapag nagawa mo yun or okay ka sa kanya, yun ,magkakasundo naman kayo. Pero when you say yung memorable, lahat ng editors memorable. It’s a love-hate relationship eh, love-hate relationship yun pero…generally, yun lang, template, template lang ang editors, you have to get the story right and yung value added.
Q: How about ethics and the grammar aspects of news writing? Yung deadlines yun nga madali, And any memorable colleagues? What made them unforgettable?
A: Ethics, shempre particular din sila sa ethics. Actually sa Businessworld ang policy kapag nagbigay yun, binigyan ka ng pera, you have to surrender them to the desk and they’ll write a letter, they’ll send back the letter to the one who gave it to you saying that it’s not our policy to accept this and, and your generosity will not be unrecognized because we donated them to charity. Kasi bawal eh, kasi kapag binigyan ka ng pera, parang ang dating ehh…magiging diluted na yung balita. Parang mejo ang dating sa’yo eh, compromised na, so what else? Ahhh
Q: Colleagues mo? Colleagues….
A: Colleagues. I’ve seen a lot of people resign from Businessworld and colleagues..unforgettable colleagues…Marami rin naman, although ang pinaka hindi ko makakalimutan na colleague yung isang colleague naming na talagang matingi yung kopya na, na…masakit sa ulo…pero di ko na eelaborate baka sabihin niyo sinisiraan ko siya, pero wala na siya, resign na siya. and then…Hi Jen…Ahh…paano ba ‘to…So colleagues, meron ding magagaling na colleagues they transferred to other papers and sabi ng mga nakakausap ko dun sa isang paper na yun, magaling sila. Kasi ewan ko, I attribute that to the training of Businessworld eh, sa Businessworld hindi ka pwedeng halimbawa, may pumutok na isyu, bukas na lang yung reaksyon ng ibang panig. Sa Businessworld hindi, kung pwedeng kunin mo na lahat ng reaksyon ng mga panig gawin mo, kasi bukas, kapag reaksyon mo yun, kapag headline ang isyu na yun at bukas hindi na
yun headline, unfair na…hindi na kasing-init yung issue eh, di ba? So magaling daw sila, magagaling daw sila sa Businessworld nung dumating sila sa ibang paper nag-excel sila. I attribute yun sa training dun sa Businessworld. So I think they are really unforgettable kasi until now, I read them eh, and, okay sila.
Q: So, what were your best memories as a young reporter?
A: Hmm.I’m still young, hindi… (laughs). Hindi..
Q: Guys..Parang yung mga, yung mga…earlier days?
A: (Still laughing)… Siguro cover yung…ano ba…earlier days…kasi after Defense nag House of Representatives ako eh, yung mga Congressman, ang pinakagusto kong me..coverage nun nung naglalaban sa Charter Change and until now Charter Change na naman yung pinag-uusapan. Doon ko nakita yung best and worst , best and worst ng isang politician. Ahh doon ako…doon nasira yung idealism ko about uhh…these people should protect the people, these people should serve their constituents. Lahat yun nasira agad, kasi reality bites sabi nga nila. Nakita ko kung paano nila pinush yung changes in the constitution para pag na-amend yun maeextend yung term nila sa power at idedeprive nila yung tao ng eleksyon kasi magiging parliamentary , sila sila na lang magboboto ng leaders nila. So yun ang favorite ko kasi , yun yung unang beses sa buhay ko na hindi ako umuwi. Nag cover ako hanggang alas singko y medya nung umaga. Pumasok ako alas nuebe ng umaga. Umuwi ako ng sandali, alas singko y medya, natulog tapos alas siyete balik uli ako dun baka may nangyayari, yun yung Charter Change, yung constituent assembly na hindi rin natuloy dahil sa popular outcry. Yun ang tingin kong pinakagusto ko nung nasa House ako…Malacanang, ang pinakagusto ko una yung sa Manila Pen, nagdeclare ng, nagdeclare, pero early parts yun ah, mag-iisang taon nako sa Malacanang nung mga unang bahagi ng stint ko sa Malacanang, ah hindi ko umuuwi ditto hanggang alas onse kasi nag curfew pa and then bawat five minutes may press conference about the updates..nasaan na si Trillanes, nasaan na yung mag rebelde,..uhh basically yun yung pinakamagagandang coverage. Marami eh, pero, tingin ko pinakahistoric yun nga sa Manila Pen at saka yung sa push for Charter Change. Doon mo makikita yung mga forces nag-iinterplay.
Q: So yun, what significant events did the informant cover?
A: Nabanggit ko na nga.
Q: Yeah, the Manila pen siege…
A: Edsa tres, hindi pa naman ako …Ah coup attempt, yun nga yung kina Trillanes and ngayon I think maganda rin ‘to kasi bukod sa, yun nga, Charter Change sa House of Representatives 2006 tapos yung ahh maganda rin icover dati yung Manila…Yun nga kung kay Trillanes, Manila Pen. Ngayon feeling ko magiging magandang coverage yung ngayon kasi hindi natin alam kung itutuloy natin ang peace negotiations with MILF or mag-aall-out war tayo. So I think this is a beautiful coverage for a best memory in the making? Tama ba yung grammar? Ahhh marami naman pero siguro yung top three yun, although marami pang iba baka di ko rin nasabi yung iba pero ang unang pumapasok sa isip ko yung mga yun. Ano pa?
Q: Uhm sir yun na tapos na po.
Q and A: Yehey (clapping hands)
Q: Thank you Sir!
‘
Oral History of Raffy Lerma
Interviewers: Joe Lorenzo Alimagno and Kady Wilson
KADY WILSON:
So... Uhhh... My name is Kady Wilson and I'm here with an interview with Mr. Raffy Lerma of the Philippine Daily Inquirer. Okay sir, let's start. Sir, for the record, could you please state your name and your present employment?
RAFFY LERMA:
I'm Raffy Lerma. I'm 30 years old and I work for the Philippine Daily Inquirer as a staff photographer.
KADY WILSON:
Uhhhm... When did you start as a photo journalist?
RAFFY LERMA:
I started... Well time yun nung when uhm, I started when I was uh covering the EDSA 2, uhm, uprising of uh, Joseph Estrada. So... I started out as student. I was discovering. I was taking up [map] photography. Just photography noh, hindi pa photojournalism eh.
KADY WILSON:
For the school paper?
RAFFY LERMA:
No actually, wala pa. From my own... I was just trying to cover then I knew, parang, history to in the making eh. So I just covered it on my own. I wasn't part of any, uh, print or, wala 'kong, wala 'kong release. Wala 'kong nalabas sa, na sarili sa newspaper. But eventually the photos uh, there was one person who was uh, uh, asking for photographs. I was... Student of the College of Fine Arts in UP Diliman. So I just gave my photos. So... For a few months I found my photos in a book. There's a book in uh, Pilipinas: The EDSA 2 Revolution. Parang na, syempre parang ... Wow part na-
KADY WILSON:
Your name was credited?
RAFFY LERMA:
Was credited (laughs). And after nun I joined the, uh, Philippine Collegian. It's the student paper of the UP Diliman. So I wanted more on... Journalism side. Hindi yung photography on the arts side or the commercial side. Meron akong part na mas gusto ko mas, mas journalism, mas tao, basta yun. Yun na, from there, I worked as a staff photographer for the Collegian for 4 years and wala talagang pay, I mean you get mga 150 pesos per photo.But, wala, talagang -
KADY WILSON:
Masaya?
RAFFY LERMA:
Struggling pero masaya yung na-release ko yung photos ko. Then from that stint, uh, from that stint naka-build ako ng sarili kong portfolio. And from the portfolio may mga peers ko, mga peers, nakita nila yung mga photos ko, and I was sent to Vietnam to cover for a World Press Photo For Young Photographers...
KADY WILSON:
Who's [sent them]?
RAFFY LERMA:
Uh, it was a group, it's an organization, [ata] it's called uhm, Philippine Center for Photojournalists. So, nakikita nila yung work, uh, parang young photographers: 30 and below. So they sent me along with uh, I was the Philippine representative. Then there were 10 Europeans, 10 Asians. We had to cover um, something about uhm, urbanization yung theme. From there, from dun, nag shoot na yun doon. Pag balik ko dito, uhm, the PCP head for that time, the chair, was the chief photographer of the Philippine Daily Inquirer. So, they asked me if I wanted to work, uh, sa Inquirer. First, as a correspondent. Bilang correspondent I had to work uhm, not only news din, mga lifestyle ganon mga fashion, food, entertainment -
KADY WILSON:
Hindi muna yung gusto mo?
RAFFY LERMA:
Oo ganon kase hindi ka mabubuhay sa news eh. I get only paid by the picture eh. I get paid 250 pesos per picture even though good shot, so minsan sa isang week, even though I wanted to do more on news I mean the journalism side, I had to live also. So... I had to shoot mga ganyan mga fashion, food... Eventually, after 2 years, kase Inquirer, they only hire, uhhh, mga employees na nag-graduate eh, I wasn't graduate kase eh, so parang during the time sa college talagang nakita ko na... Journalism, ah photog- ah, photojournalism, 'to na talaga yung gusto ko. Tinuloy ko na siya even though hindi na ko mag graduate. After nun, after two 2, uhm, binigya- ah, ginawa na nila akong regular so, hanggang 2008, dito parin ako.
KADY WILSON:
So, you mentioned yung during nung, EDSA 2 -
RAFFY LERMA:
Yeah?
KADY WILSON:
Mga how old were you?
RAFFY LERMA:
Oh my...
KADY WILSON:
(laughs)
RAFFY LERMA:
Wait, ha...
KADY WILSON:
Early 20s...
RAFFY LERMA:
Mga early 20s.
KADY WILSON:
(laughs)
RAFFY LERMA:
Safe to say mga early 20s. Mga ganon uh, wala lang, talagang nakita ko lang na parang history siya in the making. I wanted to be part of it also. So parang, shoot shoot lang ako, tas yung -
KADY WILSON:
What year were you in college? Start palang?
RAFFY LERMA:
I... I entered college '96. '96 yung college but uh, ang dami kong course eh -
KADY WILSON:
(laughs) Shift ng shift?
RAFFY LERMA:
Ang dami ang dami... Actually ang dami kong shift. I was into... Actually football pa dati ako, varsity varsity...
KADY WILSON:
Wow. Astig ah.
RAFFY LERMA:
Pero... Wala. Walang future, so somewhere in the middle parang kailangan mo nang humanap ng... Yung parang mas gusto mong gawin sa buhay, diba?
KADY WILSON:
So if not photojournalism, what did you intend to pursue for life?
RAFFY LERMA:
Oh, football!
KADY WILSON:
laughs
RAFFY LERMA:
Sa totoo lang yeah football lang kwan ko dati. Tas yun parang in the middle of there parang naging out of... Tambay lang ako sa UP, and then I didnt know what to do. Parang nakita kong release, photography. I mean nakaka-adventure ka nakaka-travel ka, I mean I don't get to really be part of what I, kunyari mga people na kinukunan ko, subjects ko, pero I can see yung mga kwan ng lives nila. Somewhere there parang... Interesting diba? Medyo parang doon mas na hook ako ng photojournalism.
KADY WILSON:
So uhmmm, why photojournalism? Why not like, uh, why not be a journalist- Why... Why did you get into the hobby of taking pictures? Like, ever since you were young pa ba-
RAFFY LERMA:
No-
KADY WILSON:
Or just... Instant?
RAFFY LERMA:
Parang instant yun eh it was uh, yun nga in between yung mga period na yun sa college na wala kaong ginagawa naghahang-out lang ako sa mga bookstore... Titingin-tingin... I always loved looking at photos. Parang, minsan, alam ko masama, minsan titingin ako ng book, hindi ko na binabasa (laughs) tinitingnan ko nalang yung picture.
KADY WILSON:
(laughs)
RAFFY LERMA:
Pero parang ganon parang mahilig talaga akong tumingin ng photos even before pa tagal na akong, tumitingin lagi ako ng Life. Uh, photos from Life, and Time, yung mga ganon. Old photos. Nacu-curious lang ako, tapos, eventually yung father ko, he was a hobbyist before, then yung, meron lang siyang camera dun sa bahay na hindi niya ginamit for so many years. Parang, "Sige, gamitin ko kaya." Tinesting ko tas yun na. Tuloy-tuloy na-
KADY WILSON:
So that's the camera you used rin?
RAFFY LERMA:
Oo, before. It was the... Still the old kind of camera. Film... Film parin pero from... Ngayon syempre digital na yung age na. Pero, sabihin ko, yung time na spi-nend ko with that film na... Na-discipline ako. Kasi it was still film, I mean, costly siya, so I had to make every frame count. Yung nakikita ko yung... Coz I used to process my own film. I had, I... Printed my own so yung creativity nandun and at the same time... Siguro journalism... Parang ang hirap nun eh-
KADY WILSON:
(laughs)
RAFFY LERMA:
Ang dami kasi eh, ang daming, kwan, reasons siguro kung bakit journalism. One, siguro... Alam ko cliche pero parang... Gusto mo ng change or something. Gusto mo na... Alam mo, you're willing to put yourself into... Things, na hindi karaniwang tao ilalagay sarili niya. Andun yung parang service, gusto mo yun. Yun, change or uh, you want people too. I want to work with people siguro. May mga times kasi before, nakita ko rin yung photos nun na I... Yung sa college, during my college years. I was doing... Shooting stuff na... Parang nakikita ko I was doing something. I was doing something. I was part of something.
KADY WILSON:
And you just wanted to continue.
RAFFY LERMA:
Oo. I just wanted to continue.
KADY WILSON:
So, uhm, has anyone else in your family been into photojournalism?
RAFFY LERMA:
No... No. Pero-
KADY WILSON:
Just you?
RAFFY LERMA:
Just me. Pero lahat ng brothers ko, all... Parang lahat sila sa arts eh. May brother ako nasa band, 'tong brother kong isa parang... Dati siyang art curator sa Ateneo. Yung isang brother ko pa painter.
KADY WILSON:
Parang runs in the family? In a way?
RAFFY LERMA:
I dunno. Possibly. Possibly.
KADY WILSON:
(laughs) So uhm, have you ever tried any other journalistic endeavours like, have you tried, aside from picture-taking have you given like, writing a shot or hindi na?
RAFFY LERMA:
Uhm, yun lang.
KADY WILSON:
(laughs)
RAFFY LERMA:
Writing, medyo masaya yun. Aminado, hindi ako ganun kagaling magsulat. So I try to express kung ano mang kailangan kong sabihin sa photos. Pero I wish I could have been also a writer. Para kase, yun ang Waterloo eh I mean, sasabihin ng iba na... Iba eh, iba yung photographer eh pero... What if... Sana nga ako gusto ko, nainggit nga ako din sa mga writers eh. Kase... I mean, kaya nilang maging isang... One-man gang diba? One-man army ka na kaya mo magsulat, at the same time, kaya mo mag take ng photo, would be better... Wala eh. Di kayang sumu- yung mang-ganon.
KADY WILSON:
(laughs)
RAFFY LERMA:
Pero sa Inquirer naman they... They uhm, they have to write small captions also... So yun mga, yun sila always fill in mga-
KADY WILSON:
[fine]
RAFFY LERMA:
Yeah. Pero I can always write naman siguro. I've wanted to. In the future. Pero... As of now-
KADY WILSON:
Why not?
RAFFY LERMA:
Why not.
KADY WILSON:
Do you have any journalist or photojournalist that serve as your inspiration?
RAFFY LERMA:
Yeah. Uhm, actually ang daming hindi kilala na, uh, photojournalists sa Philippines, pero there are so many good photojournalists here. Sila [Sonny Ambrao], uhm, [Migs Baluyot]. One is, pinaka siguro one of the most famous, si [Romy Gacad]. I don't know if you've heard of him, works for a [wire] agency, works for, [Alliance France Press]. So he was one of the, he's... Siya nalang siguro photographer na-nominate sa Pulitzer. So, ganun-
KADY WILSON:
From the Philippines?
RAFFY LERMA:
Yeah, from the Philippines! Uh, na na-nominate siya ng best film. Marami. Maraming magaling sa Philippines pero internationally, marami din. Syempre marami din dyan sila {indistinct words}, sila... Marami pa actually, marami pero... I will try to promote yung-
{CUT}
RAFFY LERMA:
Hindi, marami. Hindi lang sila nabibigyan ng much credit. Kasi, siguro, ang photojournalist, I mean hindi pa siya ganun ka... Yung audience ng Philippines hindi pa ganun ka mature. So in some way yung grupo din namin tina-try rin namin i-promote yung photojournalists.
KADY WILSON:
So next, sir, your inspiration. Do you try to uhm, copy their style or more of-
RAFFY LERMA:
Actually hindi yung style kasi, each photographer has his own style naman eh. Siguro may mga naco-copy ka rin in some way pero hindi yun eh. Hindi yun yung parang gusto ko eh. Parang it's more of the attitude. Yung, they try to... Linalabas lang dun sa, sa photography nila. It's more of the attitude na kailangan mong ilabas sa, uhm, parang lives out through the, throughout... Pwede sila mag commercial. I mean ngayon, matanda na sila-
KADY WILSON:
Parang versatile?
RAFFY LERMA:
Oo versatile, pero talagang chi-noose nila yung profession, hindi sila nag sell-out. I mean everyone could be... Kung gustuhin lang namin mag commercial photography nalang kami para-
KADY WILSON:
Mas kumita.
RAFFY LERMA:
Mas kumita, diba? Pero, sayang naman yung work nila for so many years tapos... Yun.
KADY WILSON:
Okay, sir, so moving on... One by one, could you please state the newspapers you've been employed in, and for how long you've worked for each?
RAFFY LERMA:
First I started out yung sa Philippine Collegian. I worked there for maybe 4 years. It was a student publication but I treated it as work narin.
KADY WILSON:
What position did you hold?
RAFFY LERMA:
Well first I was a kwan,ah, correspo- ah, yung kwan lang ah, regular, I mean, anung tawag dun ah, probie. I was a probationary, for 2 years. Then I became regular for 1. Then I became a parang photo chief. Photo editor. For the last year. 1 year, photo editor. So I treated it as work na talaga. Then after nyon, I worked freelance for siguro... 6 months lang (laughs). Nung college rin naman ako, when I was working sa Collegian, I was freelancing-based already. I was giving work to other... I know I gave work sa PCIJ... Then there was a book that came out. Tas uh, uh, yun na, yun tas after nun sa Inquirer I... I worked as a correspondent for 2 years, and 2 years as a regular, til the present.
KADY WILSON:
So... At the present you are... In the Inquirer?
RAFFY LERMA:
Yes.
KADY WILSON:
So can you describe the newspaper in terms of its physical location before, dun sa Inquirer like when you stayed there. How was the place?
RAFFY LERMA:
To compare sa? Inquirer before?
KADY WILSON:
Hindi naman like, where was the place located?
RAFFY LERMA:
Hmmm... Kasi yung na... When I started nandun na siya sa Makati eh.
KADY WILSON:
Yung bago?
RAFFY LERMA:
Yung bago na. I wasn't part of the... Was moving around... Hindi pa siya I think part of its prime eh, yung Inquirer. Dati. Pero ngayon, when I work there, kwan na siya eh, established na siya eh. So, smooth naman yung work sa Inquirer eh. Okay lang naman. Pero syempre, daily na siya. Kasi Collegian days ko, weekly siya eh. So yung pressures ngayon, it's a daily newspaper so grabe yung pressure. At the same time, competition. Na-experience ko yung, talagang matinding competition I mean, among your, kwan, among other newspapers, tv, and, ano pa ba... Ngayon nga may bago na kaming kalaban it's called citizen's journalism yung (laughs)
KADY WILSON:
Yeah. (laughs)
RAFFY LERMA:
With the... (laughs)
KADY WILSON:
Cellphones. (laughs)
RAFFY LERMA:
Cellphones, and everything. Yun na. Yun na yung mga biggest threat na ngayon namin. (laughs)
KADY WILSON:
So what about yung physical facilities, like how is the building?
RAFFY LERMA:
Ah, it's okay. Parang maganda naman yung lupa, you know. What can I say I mean hindi naman ako biased ano pero, na compare ko naman sa ibang mga newspaper, I think maganda na yung stature sa Inquirer. Maganda na yung work... Pay (laughs)
KADY WILSON:
So, airconditioned?
RAFFY LERMA:
Yeah. It's uhm...
KADY WILSON:
What about yung mga offices? The office equipment, printing equipment, like how is it?
RAFFY LERMA:
Yeah masaya sa Inquirer eh. Kase we have the... Sariling printer eh. Then, ang maganda sa Inquirer, which I recently found out from my trip to Mindanao, recently, last week. Yung sobrang lakas ng Inquirer sa Mindanao. Because, unlike other newspapers, they print it in Manila then they get shipped to other places in the Philippines, pero sa, sa, it depends on sa, sa flights, ng mga planes, diba? Ngayon with the Inquirer they have their own printing system sa Manila, then meron sila sa Visayas, meron sila sa Mindanao. So the newspaper gets... On the place... On time. Parang newspaper talaga. Other places yung dyaryo, a day after, or afternoon na late na in the afternoon na so parang nawawala yung purpose ng newspaper, diba parang, wala na, late na eh. So, yun.
KADY WILSON:
So uhm, like, when you started, how did you submit your photos? Like, email? Do you just email it or do you go to the office, give it to them?
RAFFY LERMA:
Before, we used to. Kase since before, naka-film pa ako eh. Kailangan ko pa, pupunta pa akong office, I have to process my film, I have to scan it-
KADY WILSON:
You process it at the office?
RAFFY LERMA:
Yeah, ay actually hindi na siya yung physical na ako [magkakabit]. Meron doon parang print... Uh... Photo lab. On the, on the other street. Parang, dun na kami nagpapa-develop. Then from the developed we scan it. Pero recently, yun na nga digital na nga, we have, we can... Go to the office, download our photo. Pero on field, when we have field assignments, we can always just email it.
KADY WILSON:
So... Uhm... Now, what about the people you work with, like how's your editor? Does... Your first editor. Was he... How was he?
RAFFY LERMA:
Ah, his name's uh, [Ernie Sarmiento]. He's okay, he's a very considerate boss. And he knows what he's talking about. Unlike other, uhm, siguro mga other photo editors or, photo chiefs, uh... They don't know photography that well. (laughs) I'm sorry to say but, ganun talaga yun, meron iba pero... My boss, he works in uh, I think, alam ko yung father din kasi photographer so he knows the, uhm, world ng photography. So, nakita niya yun. Tas very kwan naman siya lenient naman siya, pero he's strict also pag yung kailangang maging strict. Tama rin yun. Ako I prefer that eh. Gusto ko yung ganun eh. Yung boss din talaga.
KADY WILSON:
What about your publisher?
RAFFY LERMA:
Ah si kwan? (laughs)
KADY WILSON:
(laughs)
RAFFY LERMA:
Ako I always see him sa functions pero... I'm sorry pero hindi ko talaga kayang magbigay ng much dun sa publisher namin kasi panay department na, may photo department, tas lahat uh, parang kasama sa buong, I mean, kasama siya sa Inquirer [but they have another] place sa loob so yung, what, the other, editors, writers, nasa isa silang malaking parang lugar tas kami nasa isang maliit na lugar dun sa tabi (laughs) so parang hindi namin nakikita yung dynamic side. So hindi namin masyado nakakahalubilo... Basta kami sa photo lang, okay...
KADY WILSON:
So pero he's hands-on naman?
RAFFY LERMA:
Yeah. Si, si... [Gani Yambot] we see him sa mga... Usually pag siya yung sumasagot sa mga... Pag kailangan sumagot ng Inquirer about certain issues, siya yung sumasagot tas very present naman siya sa mga, ano ba yon sa mga {indistinct words} or functions ng Inquirer.
KADY WILSON:
He's strict also?
RAFFY LERMA:
Yeah yung... Actually hindi. Never ko siya nakitang nagalit. At hindi ko nga alam kung nagagalit siya. Hindi ko naman nakita siyang nagalit.
KADY WILSON:
So, so what about your first colleagues? Who were they? What were they like? Yung mga kasama-sama mo in the industry.
RAFFY LERMA:
Colleagues? Uh, industry? Okay naman, I mean, actually magandang makita yan eh. Kase, I work for a broadsheet, yung, for Inquirer. Syempre medyo established na. Pero there are people who I worked with also who are, yung less fortunate sa work nila. Yung nasa tabloids, so sana makita niyo rin yung side na yun. So, kawawa sila eh, kawawa talaga yung work nila eh. So, hindi ako... Wala akong reason mag-complain sa work ko. Kasi they work mga 100 pesos per photo. Kaya maraming mga bad habits ang nangyayari sa photography and sa journalism
{CUT}
RAFFY LERMA:
It brings out the worst sa people, some people eh. So yung ganon, they... Envelope culture na nangyayari kasi they need... Hindi na nga sila na, I mean, hindi na nga sila kumikita sa photos nila. They need to result to other means para... To live. Tapos-
KADY WILSON:
So, what about sa Inquirer, who were the other people you worked with when you entered? Yung other photojournalists?
RAFFY LERMA:
When I entered, uhm, nag work rin kasi dati yu- most of the photographers for the Inquirer din kasi came from the Collegian.
KADY WILSON:
So kasama mo na before pa?
RAFFY LERMA:
De, actually hindi. Yung isa, kasama ko before. Pero I mean yung mindset [takbo ng utak] naiintindihan mo na yung, kwan nila. Sila [Joan Bondoc], don't know if you've heard, one of the, uh, first women photogra- photojournalists sa Philippines so... Marami kang matututunan sa kanila eh. Experiences nila. Very kwan naman sa, sa Inquirer hindi naman kami yung parang kwan sa... Parang they're very competitive ganyan themselves very kwan naman eh, maganda yung cammaraderie within dun sa, sa loob. Napu-push talaga sa...
KADY WILSON:
So what about the working conditions like how is the hours?
RAFFY LERMA:
Yun lang... Yun lang.
KADY WILSON:
(laughs)
RAFFY LERMA:
Minsan di karin maka-complain naman kasi, when you're a photojournalist, when you're looking for photos, hindi mo na talaga [recommend] yung time eh. I mean, we don't, we don't have overtime pay, so... Wala kaming overtime pay. Pag ah, it's ah, I start out at 7 am in the morning and end up at uh, 4, I think 4 in the afternoon. So I go around the city, usually Quezon City. We have a beat system kasi eh. It's a yearly beat. Either we cover certain areas of responsibility, but on times, may malaking story, we get sent to other provinces like what happened in Mindanao, before nun si Ces Drilon, we covered Ces Drilon. So yun, if it calls, the national issue, or the issue of the day, calls for the, for us to go out to provinces, mangya- nangyayari din yun. Pero... Yun nga eh. I worked sa Mindanao I start out 6 in the morning I end around 9, 8 in the evening, okay lang sakin.
KADY WILSON:
That's your own choice?
RAFFY LERMA:
Yeah. Choice naman. Choice naman.
KADY WILSON:
Do you have like, uhm, holidays or wala na?
RAFFY LERMA:
Yun na eh, la na eh. Yung totoo? When I, parang wala na yun sa bokabyularyo namin eh (laughs). Kasi yung, yung holidays is usually a photo day for us. Kunyari, cancel of classes because of typhoons, it's usually, we have to cover. So yung ganun na yun, wala na yun.
KADY WILSON:
Pero, you don't look for the holidays naman?
RAFFY LERMA:
Syempre meron. Syempre, syempre, sana naman, sana meron parin. Pag nagkataon na sabay siya, nagkataon na day of yan... So, as much as- ngayon talaga talagang tinatanggal na namin sa vocabulary namin ang holidays.
KADY WILSON:
So, what about the salary like when you started how much was the salary like? Just starting.
RAFFY LERMA:
It's tough yung first kasi I worked out as a correspondent, I get paid 150 per photo, published. It has to be published eh, for you to get paid. So... [Yeah rin], I needed to work sa- I did shoots mga fashion uhm, mga lifestyle-lifestyle, mga damit-damit. Pero ngayon, regular na, okay naman siya eh.
KADY WILSON:
Like how much is it per-
RAFFY LERMA:
I can't (laughs)-
KADY WILSON:
Oh-
RAFFY LERMA:
No, today? Today? Ngayon? I don't get paid by the photo. It's a kwan na, regular salary. Na mas maganda narin. [May pulutan na]. (laughs) Maganda na ngayon. Mas maganda na ngayon.
KADY WILSON:
So what about deadlines, like, when's your deadline?
RAFFY LERMA:
Uhm, sa Inquirer kailangan naka-submit [kami ng photos] by 4 in the afternoon.
KADY WILSON:
Everyday?
RAFFY LERMA:
Yeah. If we work on the, if we work on the major beats. So we have to submit the photo at least by 4 in the afternoon. It's always pa naman, adjustable pa naman, when it's a big story, syempre you have to wait for the subjects. They always push the, yung, deadline, 5, 6, pero pag sobrang late, baka mahirap na. 6, 7, medyo magagalit na yung editors nyan.
KADY WILSON:
So what do you consider the major beats? Qc?
RAFFY LERMA:
Yan, QC-
KADY WILSON:
Makati?
RAFFY LERMA:
Ah, QC, Makati's kwan, uh, they call it CPD. CPD's also kwan uh, Quezon City. Then the Eastern side, then the Northern part of Metro Manila. Isipin mo isa kang photographer you have to cover all of those. Then they [cover] the next major beat, it's the WPD, Western Police, which covers Manila, Makati, yung nasa huling portion. So minsan ang hirap eh. Ikaw lang mag-isa, kung hindi mo kaya i-cover lahat?
KADY WILSON:
So, do you have contacts that tell you where to go?
RAFFY LERMA:
Yeah, meron namang ganun... [I-aakap ka pa nga nung guy, to cover the- sabihin-]
KADY WILSON:
{indistinct words}
RAFFY LERMA:
No, no, makikita mo naman eh, yun parang, "What's the big story here?" or you can always follow... You listen to the radio. You listen to the radio if you're looking for uhm, ideas also, some, or, at the same time you're looking for, or you're listening to the spot news. Spot news which means uh, crime, fires, so yun sa, yung immediately you have to respond. Pero if it's not a big story, there's sometimes they're the big, scheduled to, scheduled stories, kunyari sa... Hearing sa Supreme court. Usually may time naman diba yun? So yun ah, uh, another major beat is the Malacanang, which, syempre, you have to cover, movement of the President. And uh, there's another beat, they call it the roving, so around, they start at around 10 in the morning, to... In the af- basta late in the afternoon. They have to go around, look for yung mga human interest. Minsan kasi, when there's no big story, you can always go to... Yung mga photos na human interest lang. Pwedeng ganun.
KADY WILSON:
So do you like, do you have friends who, like, text you and say, "Come here,"
RAFFY LERMA:
Uhm-hmm (nods in confirmation)
KADY WILSON:
They're from other newspaper rin? Or-
RAFFY LERMA:
Not, not necessarily other newspapers. You build sources din eh. Try to build sources. Then, syempre may reporters din kayo on the field.
KADY WILSON:
They call you up?
RAFFY LERMA:
Yeah, they call us up.
KADY WILSON:
So uhm, do you have like a specific, uhm, technique or method for gath- for getting your pictures?
RAFFY LERMA:
Ah, technique...
KADY WILSON:
(laughs)
RAFFY LERMA:
Uhm, kasi may standards rin naman talaga eh, you ha- you have to give uh the, general photo, which means yung general shot, you have to... Tas may kailangan kang ibigay rin, details, important details, yun. Parang, you cover from like this (motions hands far apart, then slowly towards each other) then you're closing down. On certain details. Parang ganun lagi, dapat. Tas syempre yung pinaka-peak na moment, minsan, yun ang kailangan [mong hintayin], yung peak ng action. Pero you always have to give the general photo, then try to go down.
KADY WILSON:
So... Have you ever been a cub, a cub reporter?
RAFFY LERMA:
Ano yun?
KADY WILSON:
It's sort of uhm, like an apprentice reporter, like you go around with a more exprienced one...
RAFFY LERMA:
Yeah. I... When I started sa Quezon City, uhm, buntot ako ni [Joanne Bondoc]. [Joan Bondoc] kasi yung senior photographer na namin sa, so, she's been around sa Quezon City and the industry for some time, siguro mga 1 year I was watching how she was covering... I learned rin some... I got some contacts also. And I learned a lot from her.
KADY WILSON:
What was it like? Mahirap?
RAFFY LERMA:
Okay naman, mahirap din, mahirap din. Syempre naman when you're starting out maraming ka pang mga... Marami ka pang gustong gawin, tapos... Basta mahirap i-explain parang... Basta ang hirap i-explain. Mamaya na. (laughs)
KADY WILSON:
Have you ever had your own, like subordinates or apprentices?
RAFFY LERMA:
Yeah, talaga oo. When I was in the Collegian palang, marami na kong subordinates, pero ang nakakatuwa, yung mga subordinates ko, they're also working now for Manila Bulletin, uh, Tempo, yun ngayon yung isa ko pang uh, subordinate she works now for a [wire] agency. [So marami yan]. Maliit lang naman kasi world ng kwan eh, ano to, ng photog- uh, photojournalism sa Philippines, so we know each other. So we try to push... One... Kung nakikita naming may talent, we try to help.
KADY WILSON:
Encourage.
RAFFY LERMA:
Oo, encourage.
KADY WILSON:
So, what about your first beat, do you still remember it?
RAFFY LERMA:
First beat... Yeah. Yung sinabi ko kanina yung sa Quezon City, then I was also assigned to night shift na night duty so na- I also experienced the, all the crimes and the killing of the police beat. Yun.
KADY WILSON:
Do you have a memorable experience, covering... Any memorable stories, or events that-
RAFFY LERMA:
Ang rami na nun yung... Ang dami na sobra eh. Hindi ko na ngayon ma-
KADY WILSON:
Specify.
RAFFY LERMA:
Ma-specify kung ano yung mga- pero yung isa siguro yung isa is stampede, one, Ultra stampede, then the, ano pa ba... When I was starting out yung sa Magdalo yung Oakwood mutiny... Ang dami na ang dami, mga typhoon, each one naman has its own, parang, special something na tumatatak sayo eh. Yun lang kidnapping...
KADY WILSON:
So you've always been on the QC beat? Mostly?
RAFFY LERMA:
Uhm... Past two years, yeah. Past two years.
KADY WILSON:
So have you learned any important lessons then, like, from the field...
RAFFY LERMA:
Important lessons...
KADY WILSON:
Wala naman?
RAFFY LERMA:
(laughs) Marami naman. Pero yun, [nakikita natin yun]. Ang maganda kasi niyan, when you're starting talaga, dapat maganda yung foundations mo eh. Foundations mo in journalism. I mean kasi hindi lang dun yon sa ethics mo, kasi once you out on the field, mas mahina yan. You can always be led to, you could always be led to yung... Ibang klaseng journalism. The envelope-mental journalism. Or you use media as a source of... Hindi na information eh, parang power na yan. So kailangan maganda yung foundations mo nyan. Then parang makikita mo rin, pag nasa field ka, laging, lagi siyang napu-put on, di naman lagi but pero, napu-put on siya on the test, paminsan-minsan. Tas mapapansin mo rin yung fears mo, yung medyo yung, may mga takot ka sa maraming bagay yung, mare-realize mo in this profession, ulitin mo lang ng ulitin, mamaya-maya yung unang takot mo nag subside. Kunyari yung, sakay ka ng helicopter, yung first ko talagang, wow. The worst eh. Pero after nun sakyan mo... Tas when you hear yung gun... Gun shots at first talagang manginginig ka talgang... Pero after a while, parang pansin mo is yung, "Uy, galing ah." Parang hindi na ako nagrereact in the same way. Na-assess mo na yung situation. Na-assess mo na "Oy hindi, malayo pa yan."
KADY WILSON:
(laughs)
RAFFY LERMA:
Yung mga ganon. Hindi lang yon, hindi lang yung mga that kind, pati yung mga how to deal with people, maganda rin yon when you're a journalist also. Kailangan magaling ka magbasa ng tao eh. Marunong ka dapat maki-ramdam. So yun, para makuha mo yung kiliti nila so, sometimes hindi the best na approach is yung strong na approach na, "I need to..." Ganito-ganto...Sometimes mas magandang approach yung softer, tame na ano para maka pasok ka sa world nila eh. Yun, maganda, kailangan na, naka-kwan mo rin yon, natututo ka sa field eh. Uhm, engage mo yung sarili mo tapos [tatansta ka nalang].
KADY WILSON:
So, uhm, moving back dun sa editor mo, uhm, so basically isa palang yung editor mo sa Inquirer.
RAFFY LERMA:
Uh-hmm (confirms). Dati kasi, sa uh, Inquirer, we had a photo chief, yun si [Ernie Sarmiento] then we had another one na [Boy Cabrido], he was the photo editor. So... Pero ngayon, ah, parang si sir... Ernie Sarmiento na, siya na yung lahat. Photo chief and photo editor.
KADY WILSON:
So how is he when it comes to like, like [playing with the flash] specific, may hinahanap?
RAFFY LERMA:
Hindi naman. Ang maganda sa kanya he allows us to...
KADY WILSON:
Experiment?
RAFFY LERMA:
Hindi naman talagang wild, experiment, he... Ina-allow niya samin mag shoot na, the way we shoot, pero at the same time, hindi naman yung sobra-sobrang artsy na... Ikaw nalang makakaintindi niyan.
KADY WILSON:
(laughs)
RAFFY LERMA:
It still has to be on the parang...
KADY WILSON:
On track?
RAFFY LERMA:
Oo and it has to be na yung photo mo maiintindihan.
KADY WILSON:
So what's his attitude naman towards your deadlines?
RAFFY LERMA:
Yun medyo kwan din siya sa deadline. Pero syempre, bilang kwan rin, alam niya yung mundo ko. He was also a photographer, a photojournalist, so he knows na sometimes yung deadlines kailangan talagang i-kwan-in... I-move.
KADY WILSON:
Do you have any memorable colleagues?
RAFFY LERMA:
Colleagues... Yeah-
KADY WILSON:
Really memorable.
RAFFY LERMA:
Hmmm... Marami. (laughs) Pero... Maraming characters din kasi sa yun, photographers. Especially sa area ko sa Quezon City there... Mga ibang character eh. Mga nagpapatawa, and ano, na yun, yung night shift ako maganda yung mga nakasama ko. Okay yung mga nakasama ko, I mean, mga older peers ko tinuturuan narin ako. Marami eh. Yun yung okay sa work ko na to, I mean you meet people, new people, every time tapos parang, yun nga, minsan, small amount of time tas maya-maya di mo na sila makikita pero all the time marami kang nagiging kaibigan.
KADY WILSON:
So what's your most, like your favorite assignment? Most favorite picture or assignment you've ever been on.
RAFFY LERMA:
Actually when I was starting out yun yung pinaka favorite ko. We had to cover, yung nasa Collegian ako, uhm, there was this issue about parang, internal refugees. Parang there were people caught between the military and the NPA. Sa fighting nila, they're usually the people who can't, alam mo yung mga nadadamay. Nadadamay sa gitna, so yun. On my own, wala akong assignment no, pero pumunta ako, I wanted to know, I wanted to. Naging curious ako about the... Ginamit ko sarili kong pera, tas [gave some of this]. Yung mga best photos ko, parang, may pers- naging personal sakin eh. Naging personal sakin yung stories nila. I spent mga 1 month sa isang lugar dun. Mga Mangyans? Yung mga indigenous people sa [Northern yan, mga Mangyans]. So I stayed with them for mga 1 month. Then, nakita ko talaga yung fear, yung gulo doon. Instead na they're just rallying in Manila. So minsan, it's not enough for me yung nakikita ko yung mga taong nagrarally-rally, so I was curious, "Totoo ba to?" I wanted to see for myself. Yon. Mga photos ko doon, yon mga naging memorable yun.
KADY WILSON:
You still have them up to now?
RAFFY LERMA:
I th- yeah. Yeah.
KADY WILSON:
Naka-frame? (laughs)
RAFFY LERMA:
Hindi naman. Hindi naman naka-frame. Though, meron dun yung isang place dun yung mga Mangyan sa isang, uh, evacuation center. Kasi dun nakikita mo talaga eh, yung talagang takot nila eh. Kasi usually yung I go to some place like evacuation center, lalo na when yung, when you're with kids, nga, ganyan lang sila ng ganyan don (makes funny gestures), smile ng smile no, diba? Pero dun, kita ko, dahil sa takot nila, they, they weren't, at gutom nila, wala hindi na sila nag (makes funny gestures again), yung, wala nang yung ganon. Wala na yung ganung moment, yung nagpapatawa sa tv, talagang nakita mo natural talaga silang...
KADY WILSON:
What about your most dangerous assignment?
RAFFY LERMA:
Dangerous... Eto isa, North Cotabato, isa rin yung Sulu,. Isa yung sa North Cotabato eh, kase, recent- last week, there was, yung ti- yung time na nandun kami, we were, were going inside this place, yun yung occupied ng MILF, so we were going inside the place na, the baranggay, and napansin namin, siguro mga, mga ilan ba kaming journalists non, mga around 6 or 7 journalists, from print and tv, nakita namin sa- sa road yung mga civilians they were on the ground, na sa tree sila naka ganun (makes hand gestures), so parang, "Bakit?" So we came, and we... Bumaba sa s- sa car tas tinanong na "Bakit? Bakit?" tas sabi nila "Down! Down!" Sa baba. So we went down tas yun pala nagf-fir-, nagda-, nagka-kwan na sa, gunfire na. So, yun. Shoot ka, syempre [mabilis to] pero dun, yung time na rinig ko yung gunfire it was- it was high, it was close, but it was high. Kasi you could hear the... Yung [bus] ng bullet "Pyoo!" that means it's high. Once you hear nagpo-pop na sa mga trees-
KADY WILSON:
It's close na.
RAFFY LERMA:
Oo yun na medyo ano... So yun, isa yun. Uh, ano pa ba? Yung Ces Drilon kidnap, we were the- going around the city, delikado yan eh sa Sulu. So places of Mindanao, pero hindi the greater Mindanao pero yung mga islands na Sulu... Target ka eh. Kase dala mo yung camera mo, you're seen as a journalist, "Wow, ganda ng gamit." Target ka. You can always be lia- pwede, yung possible na kidnap, ganun. Yun isang dan- dangerous assignment.
KADY WILSON:
So, what about like, your best memories of people you've met like, any key people that you've met, that you'd like to mention that you've met on the job na parang memorable talaga sa yo?
RAFFY LERMA:
Ang dami. Ang dami.
KADY WILSON:
Mention a couple.
RAFFY LERMA:
Mention a couple... One was the Mangyans I was working with before. So... Yun from the- from there, parang, I wasn't... Ito-to-to medyo drama ah, pero, I wasn't born parang, parang ma-, hindi, I was born na parang kwan, di naman parang [ginto], yung... May suot ka lagi, I mean sheltered. Pero when I went there, when I talked to some people there, actually yung isang family dun, tas nakita ko yung buhay nila. Parang pag balik ko ng Manila, di na ko maka-complain. So like, before pag pagkain ko palang ayoko na, nagco-complain na ako. Siguro from there nakita ko yung dinadaanan na usually they just eat yung mga root crops, crops for the whole week. Ako mga ilang days palang yun na kinakain ko, galit na ako eh. Sila they have to live with that for their whole lives. Parang, pag balik ko nga ng Manila parang nag change yung perception ko ng... Yun na, natanggal yung mga arte ko sa-
KADY WILSON:
(laughs)
RAFFY LERMA:
(laughs) In some way, ah, marami yun. Marami. Tas uhm, simple families, yung mga nasunugan ng bahay... Or caught-
KADY WILSON:
So sir, si hindi ka more of yung mga big names? More of yung mga...
RAFFY LERMA:
Oo... Pero meron din. Sino ba yung mga big names na nakakatuwa saakin? Yung isa si kwan, si, hindi big names pero, I get fond of people, yung artists eh. Yun ang pinaka gusto kong i-shoot eh, artists, musicians, kase, pag nakasama mo sila parang, parang wala nang kwan eh wala nang... Yung parang...
KADY WILSON:
Plastikan?
RAFFY LERMA:
Oo. (laughs) Sige lang, pag na-shoot ko sila, "O sige, ano gusto mong gawin ko?" Pero at that moment lang yon. Yung iba kasi mga maarte mga artista-
KADY WILSON:
Gays?
RAFFY LERMA:
Oo, gays, sila. And mga, nare-reveal nila sarili nila agad. Unlike some people, you have to really work hard para makita yung talagang totoong sabihin.
KADY WILSON:
Any particular artists?
RAFFY LERMA:
Si kwan si... Neil Gaiman. Yung sa-
KADY WILSON:
Ah, oh yeah.
RAFFY LERMA:
Cool siya, yung nakita ko isa siyang, yung writer na rock and roll star.
KADY WILSON:
(laughs)
RAFFY LERMA:
Bihira ako makakita ng ganun eh, writer na rock and roll star talaga eh, no? Astig siya talagang yung... Okay siya na tao. Sina... Marami pa eh si... He's from Cebu eh, guy na panay dread... Sino nga ba from Cebu... Yeah yun basta marami.
KADY WILSON:
What about your... The favorite places that you've gone to for the job?
RAFFY LERMA:
Hmmm... Marami din, Thailand, it was... Okay yung experience ko sa Thailand. Vietnam... Sa Philippines?
KADY WILSON:
Anywhere.
RAFFY LERMA:
Ah, anywhere?
KADY WILSON:
Can be anywhere, if you've even to Mars...
RAFFY LERMA:
(laughs) Kung pwede lang! (laughs) Maganda rin Palawan, gusto ko nga sana eh yung, bana- yung, Batanes? Gusto ko nga makita yun eh yung Batanes. Pero yung mga nakita ko so far na maganda, yun yung Palawan, Bohol.
KADY WILSON:
Boracay?
RAFFY LERMA:
Hindi ako masyado kase into yung Boracay. Masyadong maraming tao. Masyadong... Gusto ko medyo laid-back. Uh, mountain province. Sa Abra, yung places sa Abra, not the mga Kalinga, Baguio type ah yung talagang yung mountain province na talagang yung bare, makikita mo yung tao on horse-back...
KADY WILSON:
(laughs)
RAFFY LERMA:
Mga tipong ganun. Astig. Naaaliw ako sa mga ganun eh. Kasi napaka-pure. Yung kung ano nakikita mo sa mga painting, "Wow parang mga painting mga tao dito ah."
KADY WILSON:
... So uhm, so syempre as a photojournalist, you've witnessed a lot of mga critical and explosive events, so uhm, what are your memories from the time na start narin sa EDSA 2 and 3. How are your memories of those?
RAFFY LERMA:
Uhm, sad to say pero parang, EDSA 2, syempre you were part of that, parang may- may inexpect ka rin na mga things na nagch-change rin in society... Ngayon, parang it's all the same. Yun ang nakakalungkot. May mga things- may mga realizations ka rin na... Well syempre meron konti, may mga konti improvement pero yun, yung time na yun parang, I was hoping sana talagang... Nag revolution na, maraming- baka yung mga makikita mo baka...
KADY WILSON:
{indistinct words}
RAFFY LERMA:
On a general note uhm, halos pareho lang.
KADY WILSON:
What was it like as a journalist being there?
RAFFY LERMA:
On EDSA 2 at tsaka... It was, parang hope eh.
KADY WILSON:
Hope in what ways?
RAFFY LERMA:
In some way parang nabigyan ka ng hope.
KADY WILSON:
Marami kayo dun, sa scene?
RAFFY LERMA:
Madami. A- actually maraming naging journalist, photojournalist who covered EDSA 2 who are now practicing.
KADY WILSON:
So that's what really started a lot ng-
RAFFY LERMA:
A lot. Actually hindi lang yun eh, pati yung mga dating '86, from that moment rin, marami na ring journalists at that time.
KADY WILSON:
So, do you have any memories with uhm, aside- yung mga coup attempts?
RAFFY LERMA:
Yeah. Syempre I, it wasn't... Yun nga yung kwan eh, the coup attempts we know are the ones yung mga, yun pang panahon ni Cory. Tas, yun talaga yung talagang totoong coup. These days yung mga coup parang short-lived, tapos parang... It was a show eh. Weird, hindi siya... Hindi ko naman sinasabi na there has to be blood and guts to, diba, spill, pero... It was a show, parang, ano- ano yung purpose ng coup na yun? So I covered yung, uh, Oakwood. And the other one, yung Pen. Pero nakita ko nalang... It wasn't that...
KADY WILSON:
Were you, uhm, arrested dun sa Pen?
RAFFY LERMA:
No no, no. Yung Pen, basta at that time I was covering the night shift, duty. So I came in around late na eh, mga 5, almost 4 or 5, so we were the people outside. We were covering those who got arrested.
KADY WILSON:
(laughs)
RAFFY LERMA:
(laughs) So we weren't those who got arrested. We were covering those who got arrested.
KADY WILSON:
So what was it like naman?
RAFFY LERMA:
Uhm, actually sa totoo lang mer- merong other people who played yung situation, who played to the handcuff-handcuff. Pero it was, kung titingnan mo siya, uh, mali talaga na... Uh... Mali rin yung ibang journalists na maluwag na yung kwan, maluwag na yung handcuff, tina-tighten pa nila. They wanted to make a show out of it also. Parehong mali, actually.
KADY WILSON:
So what about yung sa Oakwood mutiny? Anything to say about that?
RAFFY LERMA:
Oo. Natatawa nga ako nun eh. Kasi I was starting there, that time din. Parang, sobra pa 'kong baguhan. So I, talagang spur, parang "Sige, cover ako." tas I was still in UP din, college student pa ako nun tapos ako lang mag-isa. I went to Oakwood, around mga, almost 11 or 12 in the... Yan na. Tapos, I was, ako lang mag-isa tapos I walked inside dun sa parking lot ng Glorietta tapos I saw this parang soldier. He was parang collecting something tas I talked to him, sabi ko eto, "Pare, san na yung mga rebelde?" Tas pag lingon ko, he was wearing this red thing in his... (laughs) Minura niya ako, "Gago! Tarantado! Kami yun! Dun ka sa kabila!" So siya pala yun! "Ay, sorry boss!" Sila na pala yun... So minsan yung {indistinct words} experience, parang yung tatanong-tanong ka, parang yung sa...
KADY WILSON:
Uhm, any encounters like the, from [Abu Sayyaf], NPA, or MNLF...
RAFFY LERMA:
Sa [Abu Sayyaf] wala pa. Buti nalang wala pa. Pero, covering Mindanao for the past... Recently lang naman ako nag Mindanao situation... Pero you get to... Hindi ko naman sinasabing completely na-understand ko sila, pero if you go to Mindanao and you see the place, mahirap talaga ang Mindanao eh. Parang, you see why rebellion... May nagkakaganoon. Tapos, I can't defininitely say na parang I agree with all their... Gusto nila. Pero minsan naiintindihan mo rin yung situations. Pero minsan yung mga... They go too far rin. Sobra na yan yung mga bombing, terrorist attacks, beheadings... Pero with the MNLF, yun napuntahan ko yun. Recently pumunta ko dun sa camp [ng MNLF]... Some are okay, yung parang normal people-
KADY WILSON:
Kausap mo-
RAFFY LERMA:
Oo! We went inside the camp and we took photos of them pero syempre they weren't the main group that was wreaking havoc sa North Cotabato. They were just people who.. Siguro mine-mislead sila ng mga higher people. Minsan kasi ayun eh, wala silang trabaho-
KADY WILSON:
So, so far okay naman yung encounters mo sa mga rebels?
RAFFY LERMA:
Yeah. So far. So far, okay naman.
KADY WILSON:
What about NPA?
RAFFY LERMA:
Uh, wala pa ako talagang kausap na... Pero minsan naiintindihan mo narin yung situations. Ganun na rin eh. Actually lahat naman ng mga rebellions... Hindi naman parang, they start out because they, they start out na wala lang, "Gusto ko lang pumatay ng tao." Di naman sila ganun. May reasons and kailangan ma-address din yung issues kung talagang gusto mong ma-solve yung problems.
KADY WILSON:
I read this article that you were a signatory along 368 na young student journalists, 44 international colleagues, and 21 local as well as international media organizations in a petition, and I quote, "condemning the growing problem of libel suit harassment against journalists... {indistinct words}" You were specifically demanding that, quote, "the First Gentleman Jose Miguel Arryo cease and desist from exploiting libel as a tool to cow the media... {indistinct words}" What spurred you to sign the petition?
RAFFY LERMA:
Actually yung time na yun dun sa... Actually sa Inquirer din... Pero yung kwan mo rin, yung field mo rin, yung government, yung attorneys, yung lawyers, minsan hindi rin tama na... If you really want to know the truth, wala kang itatago... Why, why... Minsan ayaw niya sumagot eh. Nakita ko yun, mali rin. Syempre they will never openly admit. They'll always use yung mga libel to silence media. Hindi naman... Tas eventually drop rin yan, pero panakot siya eh. So, I mean, kasi yung ibang countries sa may US, they can always... Pag talagang mature naman yung tao, diba? Okay lang yun. Part of democracy rin yun eh yung part na, yung media. Eh dito siguro, ginagawang personal masyado. {indistinct words}
KADY WILSON:
You have any personal experiences with being accused of libel?
RAFFY LERMA:
None so far. Buti nalang eh, I just take photos. (laughs) Photos don't lie.
KADY WILSON:
What is your stand on the bill in Congress and the Senate right now regarding the decriminalization of libel?
RAFFY LERMA:
Ah... Mahirap sagutin yan eh. Sorry ah, hindi ako masyado ma-kwan sa... Pero... Wait lang, gather ko muna yung thoughts ko. (laughs)
KADY WILSON:
It's okay. Take your time.
RAFFY LERMA:
Pero kasi rin, yung mga other people rin kasi... Kasi ang hirap i-explain din eh kasi may mga other people na use media as power eh. Yung mga iba talagang meron silang demolition job. Yun ang trabaho nila, to write wrong stuff about people. Yun ang nakikita kong mali. Pero if you have facts naman to back you up, you can always write about certain things, pero hindi rin eh, kailangan may responsibility ka... On how you write it, kailangan may back up ka rin. Some people wala na eh... Pero syempre in a bigger kwan, kailangan mo talaga... Ako, for me, kung iga-gauge ko naman, mas gusto kong tanggalin na yung... Decriminalize... Tanggalin na yung kwan sa libel. Kung titingnan siya kung mas makakaganda ng media or mas ma-professionalize or mas gaganda yung media as a whole, siguro nga. Para mas free yung mga salita. Kaya lang, dapat rin matuto yung media to be responsible enough for what they're saying or what they're writing. Kasi yung iba, demolition job eh. Some people use it also to... Yung...
KADY WILSON:
For their own gain?
RAFFY LERMA:
Uhm-hmm (nods in confirmation)
KADY WILSON:
So I also read about an incident back in 2003 that happened during the UP rally wherein you, I quote, "suffered concussions throughout his body after being dragged and repeatedly kicked by Senate guards". Can you tell us about it?
RAFFY LERMA:
{indistinct words} Memorable. Yung, yon. Nung nasa student paper pa ako, nasa Collegian. Photo chief, photo editor at that time. I was covering the event. It was about the uhm, ah, parang commercialization of [UP]... They were apssing a bill in the Senate. I was covering the event, then, there was one of the Senate guards. There was a rally int he Senate, they... Mga nagra-rally dun. One of the Senate guards, I caught him on film, he was punching students. Nakuha ko- nakunan ko siya, eh he saw me. He saw me taking his- so he pushed me, we scruffled a bit, sinapak niya ako. Sinapak kaagad niya ko, tas I was wearing my ID, ang laki-laki nga eh, imposisble na ano... So yun edi, sinuntok niya ko, sinuntok ko rin siya. So when I punched him, nakita ko na yung mga other... Yung mga kasama niya. So they ganged up on me. Yun. Dun nakita ko yung kwan yun ako yung naging... Ako yung naging photo eh. Ako yung naging sub- ako yung naging... {indistinct words} Imbis na yung-
KADY WILSON:
Highlight.
RAFFY LERMA:
Ako yung naging highlight kasi ako yung pinaka kawawa dahil I was beaten and he... Nag charge pa siya eh, nag kwan pa siya ng charges against me. I was the one who started everthing, pero bakit ko naman gagawin yun? Pero ang nakakatawa dun, recently, I met him again sa Senate, I saw him again. It was uh, the time of Lozada coming out, diba? Went to the Senate and I saw him. You know what he told me? "[Bro], natatandaan mo ko?" "Oo, natatandaan kita." Tas he, he apologized. After na gulpihin ako ng ganun.
KADY WILSON:
(laughs)
RAFFY LERMA:
Pero grabe yun. Grabe yung... Talagang bruised up ako. Pinalo ako ng... Hindi lang talagang 1 hit eh, it was, talagang I was beaten.
KADY WILSON:
Yeah so, when I read that I "Woah." (laughs) So, uhm, what equipment do you use, like what kind of camera?
RAFFY LERMA:
Ah these days... Before, syempre mga film-film pa. Pero these days I work using the Canon professional camera... {indistict words} [Usually what I use is the best] siguro kasi, it's built, tough yung build niya. Pero medyo kwan siya, na, parang kahit umuulan kaya niya mag shoot plus uh, okay siya for news and sports. Pero I don't really recommend this for beginners or amateurs or hobbyists. Kasi ito it's built for ano, professional talaga eh. Professionals na talaga eh. You don't really need all the functions in this camera.
KADY WILSON:
Do you use them all? I mean th-
RAFFY LERMA:
Uh, pag kailangan. Kunyari sports, pag nag-shoot ng mga-
KADY WILSON:
Do you also cover sports?
RAFFY LERMA:
Yeah, I cover everything. Pag nasa Inquirer ka...
KADY WILSON:
Kailangan.
RAFFY LERMA:
Kailangan mo... You need to know how to shoot everything.
KADY WILSON:
Do you use special lenses?
RAFFY LERMA:
Yeah, I use. For sports kailangan yung mga mahahaba na lens.
KADY WILSON:
So you have your own or does Inquirer-
RAFFY LERMA:
No, Inquirer provides.
KADY WILSON:
But this is your own? (points to camera)
RAFFY LERMA:
No, [mahal to]. I don't have my own digital camera. I still have my old uhm, film camera, but I never invested on one. Coz I plan to stick around for the entire... For the next couple of years pa naman. Coz yung pag digital it only lasts for around, a couple of years. So, mahirap nanaman ang... Get my own camera, you spend, then it gets busted, you will die for it (laughs). Pero mga ganito, it's built for usually news and-
KADY WILSON:
So they lend it to you as long as you're working for them?
RAFFY LERMA:
Yeah. Usually yung mga ganto gina-guard na namin ng... Parang buhay na namin. Kasi totoo naman eh, it's so expensive to buy.
KADY WILSON:
What happens if you damage like the lens-
RAFFY LERMA:
Ah, the company will pay for it... {indistict words}. And Canon, syempre pino-promote ko Canon, pero Canon has a good system dito na they, uh, customer service nila, unlike yung... Di ko na sasabihin, pero (laughs)... Gawa ng...
KADY WILSON:
Canon to (laughs)
RAFFY LERMA:
Ah, Canon din ba yan? (laughs)
KADY WILSON:
Okay so uhm, you've been in newspapers, around newspapers for pretty much around a decade na diba, so could you describe some of the most significant changes in terms of, for example, equipment nila?
RAFFY LERMA:
Yun talaga makikita mo talaga yung... These past few years, grabe yung change sa equipment. Technology. Yung system, yung work flow nag-change na. Kasi, isipin mo dati, dati naka-film pa. So they had to... Ano yun, yung sa province ka, shooting, they had to run to airplanes, they had to courier the film, to bring to Manila. Unlike now diba, you can always send by email...
KADY WILSON:
What about sa attitude of journalists?
RAFFY LERMA:
Attitude of journalists compared to... Wha-
KADY WILSON:
Has anything changed?
RAFFY LERMA:
You know I- I'm sure marami nang nag-change from before. Marami na. Marami nang... Kasi yun, because of the technology also, mas maraming naging spoiled. Mas marami nang naging spoiled sa mga ginagawa nila uhm... Mas ma- mas madali na yung trabaho, kasi tulad dati, others talagang, I could think before talagang nag-hirap sila just to get a single photo... You need... Nakikita mo talaga yung hirap. Eh these days, ang dali ngayon eh. Hindi ko naman sinasabing {indistinct words} pero, yun. Naging mas lax na sila kasi sa...
KADY WILSON:
If you could choose, mas gusto mo yung film or digital?
RAFFY LERMA:
Uh... I would choose film parin.
KADY WILSON:
So, what can you say dun sa mga... What can you say sa printing and circulation ng newspapers nowadays?
RAFFY LERMA:
I have to admit, yung newspaper industry hindi na siya masyadong lumalaki eh. It's keeping...
KADY WILSON:
Stable?
RAFFY LERMA:
Oo, oo. It's just there. Just there. Kasi print naman is always... You need also, print. Kasi kunyari you need to... Yung hard copies? You need print. Pero... Makikita mo yung emergence ng internet. Yun na ngayon yung mode... People don't really buy newspapers these days. You have to admit that and... Tapos uhm, syempre before, the most popular media, siguro mga ilang years ago was still print. Tas naging tv na yan eh, tv na ngayon ang syempre popular media. Pero ngayon emergence na ngayon ng internet...
KADY WILSON:
What about yung circulation? Do you think yung mga newspapers nag e-exaggerate sa mga numbers?
RAFFY LERMA:
Hmmm... I can't really say much about that eh kasi hindi naman ako yung... I mean... Ewan ko, sila-sila. Battle nila yan eh. But uh, pero nakikita ko rin talaga, on other places, I mean I- I can always base it on what I see sa field. So mga nakikita ko dun newspapers, yung mga ibang newspapers di ko nakikita. Sa mga news stands, or sa mga... Or siguro greater Manila, makikita mo talaga yung presence niya. Pero in the provinces...
KADY WILSON:
So do you think that maybe lately, journalism ethics nagsu-suffer?
RAFFY LERMA:
I'm sure. I'm sure na marami narin because of people... Mas mabilis na ngayon mag... Everyone could be a photographer now. These- everyone could be a writer these days - yung mga blogs. So yun nga maraming mga misconceptions, hindi talaga formally-trained... I for one wasn't really formally trained to be a journalist. I was a photographer first then I became a journalist after. So that's why I needed to study rin... Pinaaral nila ako nun, there's this new course in Ateneo... This uh... [Connected] in our photo journalism course, at least one year. They teach you write- ano, how to write... Hindi naman how to write, talagang a, b, c (laughs)
KADY WILSON:
Basic.
RAFFY LERMA:
Oo, basic journalism skills. Then yung ethics. I think everyone should know about the ethics part. Kasi yun nga eh, marami naring journalists... Journalists kuno (makes air quotes), pero they're not really journalists. Maraming nagsu-suffer na... Laging kailangan... Rine-refresh o natuturo dapat yung both sides...
KADY WILSON:
So, do you- do you have one biggest mistake that you did like, on the field that if you could, given the chance, you want to re-do? Like maybe a shot that you could have done better...
RAFFY LERMA:
I'm sure marami narin ako nyan. I'm sure marami narin akong mga missed moments.
KADY WILSON:
Is there one main one, like missed moment or you wish that you were there or you wish you did the shot-
RAFFY LERMA:
One, one thing na I'm sorry {indistinct words} pero it wasn't a missed shot but it's one of those na parang nakita ko rin doon yung hunger ko for... To get the best photo. Yun there was a time dun sa stampede, Ultra stampede. So... I was talagang into the moment, that, may time na I was shooting o, shooting like this (acts out), I was... Parang umaatras ako eh, I was shooting tas gumaganon. Tas sa, sa hindi ko alam, natapakan ko yung isang patay. Naapakan ko siya. So nung na-realize ko yun, pag-li- talagang patay nga so umikot ako dun- "Sorry! Sorry! Sorry!" Talagang hindi ko- di ko naman sinadya yun. Pero nakita ko rin yung... Minsan nawawala na yung parang... Conscience mo or... Because of the competition. Because if you think too much of the photo or what photo you have yun minsan may mare-realize ka na... Yung... "Easy lang. Photo lang yan."
KADY WILSON:
Okay so sir, for the closing remarks, what advice would you give to the young photojournalists just starting out nowadays, in the newspaper business? Any final words of wisdom?
RAFFY LERMA:
Final words of wisdom? (laughs) Wait ah, wait...
{CUT}
KADY WILSON:
Uhm, so, so... Okay sir uhm, what was your biggest mistake as a young reporter, or is there any... Anything that given the chance you would like to re-do? A shot that you'd have the opportunity to take again...
RAFFY LERMA:
Repeat ko yung kanina ah, so... There was a time, yung sa Ultra stampede. When I was covering... It wasn't a photo per se but it was a... What I did while I was covering so... I was taking photos, I was so into the moment while covering... I didn't realize, I was already stepping on a dead... Person. So... Yun. Unang nag-react ako, tao na pala yun, nag sorry ako. Napa-lingon ako, "Sorry! Sorry! Sorry!" Syempre hindi ako sinagot, diba? (laughs) Pero after nun, pag-uwi ko sa bahay, "Nako, baka lumaki na paa ko, baka..." De loko lang. Pero yun nga yung parang na-realiza ko na after nun na... It's not worth it rin naman na parang bastusin mo na yung tao... For a photo... Kailangan mong mambastos ng ibang tao. Mangapak ka para lang maka-get ka ng photo talaga na... Hindi worth it.
KADY WILSON:
Okay so sir, for the closing remarks, what advice would you give to the young photojournalists just starting out nowadays, in the newspaper business? Any final words of wisdom?
RAFFY LERMA:
Final words of wisdom? Probably uh, hindi naman words of wisdom pero... Dapat nila ma-realize na first, if you really want to go into photojournalism you have to know sa... Start palang talaga... Ngayon na... Hindi ka talaga yayaman. Dapat talagang ngayon you just... Kailangan yung hinahanap mo is yung experiences sa buhay. Yun yung dapat. Dapat talagang may passion sa ganon. So... Dun ka yayaman. I think dun ka yayaman. Uh... And siguro talagang mga... Shoot. As much as possible. Talagang everyday, try to. Lalo na pag sinabi mong sa journalism, yun you have to be interested on what happening around you. It's not because you want to shoot people outside your house. It's not- that's not photojournalism. You ha- you really have to know the issues. You have to be... Aware of what's happening around you... Yun. And wag kayo maging kwan, maging... Slaves sa technology. I guess yun yung maraming kwan na they always think na, "My god." They think na the best digital camera will make them a photographer. Uh, I think mali yung mga ganung conceptions. If you really want to be a photojournalist uh, kailangan you really have to... Blood, sweat, and tears (laughs) kailangan lumabas eh. Talagang papag-hirapan mo siya. At nakikita yun sa mga photos, pag pinag-hirapan mo. Makikita yan, lalabas yan.
KADY WILSON:
I just thought of another question! Okay lang?
RAFFY LERMA:
Sige!
KADY WILSON:
Uhm, do you guys like, edit your pictures pa ba, now that it's digital?
RAFFY LERMA:
Yeah. We-
KADY WILSON:
Photoshop?
RAFFY LERMA:
Yeah Photoshop. We have uhm, dito rin yung ethics on how to edit. We're only allowed yung mga darkroom techniques, which is hindi yung talagang nagma-manipulate or changing the sceneries. You can always just uh, adjust yung contrast, lighting, uh, tweak ng konti but not to the point na nagcha-change ka na ng scene. You can always crop in Photoshop. Basic lang. Basic. Once na-change yung scene, you add another element, hindi na siya... Bawal na yun samin, sa journalism. Sa mga photo illustration na. And you really have to say, put on writing, it's a photo illustration, it's not a photo by... Ganyan-ganyan. You put photo illustration. So, you have ot be honest also with your photos. Uh, you don't have to... Parang yun na eh. Some photographers they really want to... Parang gusto nila yung... Masyadong naging artist, yung perfectionist, na sometimes nawawala yung pagka... Yung ethical... Ethical... Ethics behind journalism. Kasi once you change things, you're manipulating, hindi ka na naging honest sa readers mo or... You have to be honest also with your readers. Yun lang. You have to say it. Kung may mali ka, may mali ka.
KADY WILSON:
What was it like yung seeing your name sa byline for the first time?
RAFFY LERMA:
At first, syempre nakakatuwa rin. I have to admit, nakakatuwa rin. Pero hindi na siya talagang napaka important sakin. At kailangan yun. There are so many photojournalists, photographers, who are so addicted with their bylines. The reason why they shoot is... Or they do... To inform, is because they want their names to be seen. Which is mali. For me, I think mali yun. Your purpose is to really cover, and inform people. Uh, kung makakikita naman ng mga editors mo yun, sa tingin ko they will always put your byline. Na trinabaho mo yun. Pero hindi siya dapat maging priority bilang isang journalist. Should only be...
KADY WILSON:
So what's the future for Mr. Raffy Lerma? Still photojournalist?
RAFFY LERMA:
Sa palagay ko na naman I think I will... Ito na yung work ko. Ito na yung profession na [gusto ko talaga]. And... You could just see me around (laughs). I'll just be around, covering whatever news there is... Yun.
KADY WILSON:
Thank you so much sir, thanks.
RAFFY LERMA:
Okay! Uy, I have to fill up... Uy! (sees cake) sobra naman yan.
KADY WILSON:
(laughs) Thank you so much.
RAFFY LERMA:
Uy thank you, thank you. Uy, fill up-an ko pa pala, di ko pa tapos.
KADY WILSON:
Thank you!
RAFFY LERMA:
Thank you ah.
Raffy Lerma was born on June 10, 1978 in Manila. He studied briefly in UP Diliman, taking up visual communication, before fully chasing his dreams of becoming a photographer and photojournalist. At the time of the interview, he was a photojournalist for the Philippine Daily Inquirer.