The Village People rewind.
Members of the police force supporting the event.
Fishnet is a favorite "fabric."Tuesday, July 10, 2007
Toronto Pride 2007 (Encore 4)
The Village People rewind. Fishnet is a favorite "fabric."
Toronto Pride 2007 (Encore 3)
The event's International Grand Marshall.
Blow it! Blow eeet!!!
Is it because they're noisy?Toronto Pride 2007 (Encore 2)
Ooops, needs parental guidance. I mean, those guys with their buns exposed. They need to be spanked.
Now you have an idea how a gay angle looks like.
It's just a poster I took a snap of from a bookstore at Church St.
I don't know the history of his picture.Toronto Pride 2007 (Encore 1)
Toronto's version of gay may dance.
This is a gay club.
Welcome aboard!
Ooops, plugging.
Shaping a Woman’s Anguish: Gwen Harwood’s ‘In the Park’
In the Park
Gwen Harwood
She sits in the park. Her clothes are out of date.
Two children whine and bicker, tug her skirt.
A third draws aimless patterns in the dirt.
Someone she loved once passes by – too late
to feign indifference to that casual nod.
“How nice,” et cetera. “Time holds great surprises.”
From his neat head unquestionably rises
a small balloon … “but for the grace of God…”
They stand a while in flickering light, rehearsing
the children’s names and birthdays. “It’s so sweet
to hear their chatter, watch them grow and thrive,”
she says to his departing smile. Then, nursing
the youngest child, sits staring at her feet.
To the wind she says, “They have eaten me alive.”
Gwen Harwood’s poem “In the Park” (264) is a postmodernist sonnet that unearths the emotional turmoil of a woman because of the life she has chosen. This is an example of a literary piece where imagery and technique complement the shape and form of the poem. Aside from form, this paper will look into the substance of Harwood’s poem and understand the anguish of the woman in the poem is going through.
There are so many poems that tackle the role of women as wives and mothers. However, the method of expression has become redundant and increasingly annoying. “In the Park” is a Petrarchan sonnet that deviates from the context of “little song.” But as Gerald Stern, in order to erase the readers’ confusion to his use of the sonnet in his collection “American Sonnets,” said, the context should be drawn to the intellectuality of the poems (Stern 9). We should peruse Harwood’s sonnet through its texture and range of intellectual framing. Range is the ultimate test of a poet’s durability. He must sustain the tonal quality of his evocation and must not submit to the raucous shackles of redundancy.
Harwood may breakaway from the formalistic Petrarchan tradition but let us be assured that she is in good company with intellectual poets who have swerved away from the standard literary conventions. The famous for this is T.S. Eliot who, in his poem “The Love Song of J. Alfred Prufrock,” composed the ironic love song of the unloved. “In the Park,” therefore, is a little song of anguish, rather than a Feminist commentary on the role of women in the society.
The first three lines of the poem offer a description of the subject. The first line, however, is a deviation from the sonnet’s principle, “She sits in the park. Her clothes are out of date.” Two sentences in a line. The first describes the woman’s activity; the second is a description of what she is wearing. The words are monosyllabic, suggesting the gravity of her circumstances. This is what the American poet laureate Robert Pinsky refer to as “calling attention to the thrust and arrest of a sentence” (Pinsky 29). Harwood gives value to the order of words by giving them tonal quality. “She sits in the park” is an arresting imagery. By showing what the subject is wearing adds dimension to the line. Women are, in most cases, being judged by their appearance or how they present themselves to the public. While “She sits” is an iamb, “in the park” is an anapest. The succeeding two lines give support to her agony, “Two children whine and bicker, tug her skirt./ A third draws aimless patterns in the dirt” (2-3). The poet is showing that the woman who walked in the park is a mother of three; but it takes a careful summation of facts to show that there is chaos in the woman’s life. The words “whine” and “bicker” connote an annoying situation. Here is a mother who visits the park and was hoping to find solace, even if for a while, but got into a greater disembodiment as two of her children wrangle. One can imagine the world she got into by just the description of the distressing shrills her children make. It was as if she never left their house. Here is where the irony lies, a park is where children can play and the family can enjoy, but the mother was unmindful in the protracted manners of her children. Gordinier, in an article in Details magazine, wrote, “If the usual mode of life on the home front is panic and pandemonium, the world of the domestic goddess is seamless and calm” (174). Gordinier’s statement might as well suggest that despite the arresting commotion the woman in Harwood’s poem faces, she has remained composed. However, we can also interpret this calmness as being stoic, but not to the extent of repressing her emotion. She was conscious of herself, but unconscious of her surroundings. She is away from home, but her domestic role is not limited to the four corners of the house. The word “domestic,” or even “domesticity,” has a surprisingly complex etymology. It would not only indicate someone who is bound to work in the house, but it also subscribes to a prison cell. It is a psychological play, the encapsulation of her anguish. We may refer to the woman in the poem as a domestic slave. In line 3, the youngest child, lost in his own world and innocence, was left playing on the ground. It indicates that the mother is unprepared for her domestic roles. A responsible mother pays attention to the activities of their children and is concerned of their health.
The poem reaches its peak when the succeeding lines describe that her former boyfriend passes by. She felt uncomfortable in that unexpected moment but cannot avoid him. The enjambment in line 4 suggests tension and shift of thought. The words “too late” also indicate an element of surprise, like a person who was caught off-guard when something unexpected happens to his life. However, line 5 shows that she does not really want to avoid him completely, as she still has feelings for him. But she was just embarrassed of her situation. This is supported by the words “feign indifference,” with ellipsis on the second word – thus, “indiff’rence.” The reader is compelled to assume that the woman has lead a different life when she was younger. “Memory composes a story of shames and amazements,” Czeslaw Milosz once wrote (Milosz 21). The effect was instantaneous. What could be more embarrassing than recalling your romantic idiosyncrasy? It is this naked pain of thought that moved the woman to try avoid to her former lover.
A conversation between them ensues, though it seems superficial, “‘How nice,’ et cetera. ‘Time holds great surprises.’”(6) The former boyfriend, on the other hand, pretends to be surprised with his ex-girlfriend’s plight. “How nice” sounds pretentious. Lines 7 and 8 provide poetic punch, “From his neat head unquestionably rises/ a small balloon … ‘but for the grace of God…’” The balloon, though small, suggests his impression of her. To some extent it is to show how his admiration to her has lessened because of her present condition. It is, on the other hand, a symbol for celebration, a kind of triumph. The poet also provides a clue to his position in the society in the words “from his neat head,” indicating a successful career, perhaps. His remark to her condition “for the grace of God…” is an indication of pity and as if as saying “your life could have been better if you ended up with me.” Note that the words “surprises” and “rises” when read in the poem are particularly irritating to hear. They are bare when said invidually but when compounded with other words they become portentous. It is amazing how Harwood kept an eye on the architecture of her poem. Although the words “surprises” and “rises” seemed to elevate the senses, Harwood’s manipulation transformed them sarcastically, with dramatic and ironic impact.
Line 9, an Alexandrine, is a paradox. Though a bench was available for them to sit on, noone took the initiative to sit down. They, however, in their moment of self-consciousness tried to relax by focusing their attention to the children, rehearsing their names and birthdays; never mind if it was inappropriate. The ex-girlfriend pretends that she enjoyed her life as a wife and mother, “‘It’s so sweet/ to hear their chatter, watch them grow and thrive,’” (10-11). The words cost her a painful effect. Her revelation, though, does not make him happy. He went away, absorbed in his own world. Then the realities set in as the mother picks up her burden and complain as to how her children have taken away her youth and vibe (lines 12-14).
Reading through Harwood’s poem is like being invited to taste the most delicious roast turkey at a stranger's house. The first cut of the meat is as good as the last piece. She values form. Form is the push-up bra of poetry. Stern notes, “The task of the poet is to do it in language. The task of the poet is not to stand up personally, and lift an oar, and smash somebody’s bloody fucking head, but rather to do it linguistically” (Stern 11). Harwood’s lines were not ornate with crude images. Her use of images, on the other hand, is her focus to shape the woman’s emotional anguish. Though the rhythm of her lines is narrative, they are fragmentary elements of her style. The reader is treated to the sentiments of the human language. The lines are alluring, picking up rhythm like listening to the ticking of the clock.
Works Cited
Gordinier, Jeff. “Admit It. Nothing’s Sexier than a woman in the kitchen.” Details. October 2006. 174
Gwen Harwood
She sits in the park. Her clothes are out of date.
Two children whine and bicker, tug her skirt.
A third draws aimless patterns in the dirt.
Someone she loved once passes by – too late
to feign indifference to that casual nod.
“How nice,” et cetera. “Time holds great surprises.”
From his neat head unquestionably rises
a small balloon … “but for the grace of God…”
They stand a while in flickering light, rehearsing
the children’s names and birthdays. “It’s so sweet
to hear their chatter, watch them grow and thrive,”
she says to his departing smile. Then, nursing
the youngest child, sits staring at her feet.
To the wind she says, “They have eaten me alive.”
Gwen Harwood’s poem “In the Park” (264) is a postmodernist sonnet that unearths the emotional turmoil of a woman because of the life she has chosen. This is an example of a literary piece where imagery and technique complement the shape and form of the poem. Aside from form, this paper will look into the substance of Harwood’s poem and understand the anguish of the woman in the poem is going through.
There are so many poems that tackle the role of women as wives and mothers. However, the method of expression has become redundant and increasingly annoying. “In the Park” is a Petrarchan sonnet that deviates from the context of “little song.” But as Gerald Stern, in order to erase the readers’ confusion to his use of the sonnet in his collection “American Sonnets,” said, the context should be drawn to the intellectuality of the poems (Stern 9). We should peruse Harwood’s sonnet through its texture and range of intellectual framing. Range is the ultimate test of a poet’s durability. He must sustain the tonal quality of his evocation and must not submit to the raucous shackles of redundancy.
Harwood may breakaway from the formalistic Petrarchan tradition but let us be assured that she is in good company with intellectual poets who have swerved away from the standard literary conventions. The famous for this is T.S. Eliot who, in his poem “The Love Song of J. Alfred Prufrock,” composed the ironic love song of the unloved. “In the Park,” therefore, is a little song of anguish, rather than a Feminist commentary on the role of women in the society.
The first three lines of the poem offer a description of the subject. The first line, however, is a deviation from the sonnet’s principle, “She sits in the park. Her clothes are out of date.” Two sentences in a line. The first describes the woman’s activity; the second is a description of what she is wearing. The words are monosyllabic, suggesting the gravity of her circumstances. This is what the American poet laureate Robert Pinsky refer to as “calling attention to the thrust and arrest of a sentence” (Pinsky 29). Harwood gives value to the order of words by giving them tonal quality. “She sits in the park” is an arresting imagery. By showing what the subject is wearing adds dimension to the line. Women are, in most cases, being judged by their appearance or how they present themselves to the public. While “She sits” is an iamb, “in the park” is an anapest. The succeeding two lines give support to her agony, “Two children whine and bicker, tug her skirt./ A third draws aimless patterns in the dirt” (2-3). The poet is showing that the woman who walked in the park is a mother of three; but it takes a careful summation of facts to show that there is chaos in the woman’s life. The words “whine” and “bicker” connote an annoying situation. Here is a mother who visits the park and was hoping to find solace, even if for a while, but got into a greater disembodiment as two of her children wrangle. One can imagine the world she got into by just the description of the distressing shrills her children make. It was as if she never left their house. Here is where the irony lies, a park is where children can play and the family can enjoy, but the mother was unmindful in the protracted manners of her children. Gordinier, in an article in Details magazine, wrote, “If the usual mode of life on the home front is panic and pandemonium, the world of the domestic goddess is seamless and calm” (174). Gordinier’s statement might as well suggest that despite the arresting commotion the woman in Harwood’s poem faces, she has remained composed. However, we can also interpret this calmness as being stoic, but not to the extent of repressing her emotion. She was conscious of herself, but unconscious of her surroundings. She is away from home, but her domestic role is not limited to the four corners of the house. The word “domestic,” or even “domesticity,” has a surprisingly complex etymology. It would not only indicate someone who is bound to work in the house, but it also subscribes to a prison cell. It is a psychological play, the encapsulation of her anguish. We may refer to the woman in the poem as a domestic slave. In line 3, the youngest child, lost in his own world and innocence, was left playing on the ground. It indicates that the mother is unprepared for her domestic roles. A responsible mother pays attention to the activities of their children and is concerned of their health.
The poem reaches its peak when the succeeding lines describe that her former boyfriend passes by. She felt uncomfortable in that unexpected moment but cannot avoid him. The enjambment in line 4 suggests tension and shift of thought. The words “too late” also indicate an element of surprise, like a person who was caught off-guard when something unexpected happens to his life. However, line 5 shows that she does not really want to avoid him completely, as she still has feelings for him. But she was just embarrassed of her situation. This is supported by the words “feign indifference,” with ellipsis on the second word – thus, “indiff’rence.” The reader is compelled to assume that the woman has lead a different life when she was younger. “Memory composes a story of shames and amazements,” Czeslaw Milosz once wrote (Milosz 21). The effect was instantaneous. What could be more embarrassing than recalling your romantic idiosyncrasy? It is this naked pain of thought that moved the woman to try avoid to her former lover.
A conversation between them ensues, though it seems superficial, “‘How nice,’ et cetera. ‘Time holds great surprises.’”(6) The former boyfriend, on the other hand, pretends to be surprised with his ex-girlfriend’s plight. “How nice” sounds pretentious. Lines 7 and 8 provide poetic punch, “From his neat head unquestionably rises/ a small balloon … ‘but for the grace of God…’” The balloon, though small, suggests his impression of her. To some extent it is to show how his admiration to her has lessened because of her present condition. It is, on the other hand, a symbol for celebration, a kind of triumph. The poet also provides a clue to his position in the society in the words “from his neat head,” indicating a successful career, perhaps. His remark to her condition “for the grace of God…” is an indication of pity and as if as saying “your life could have been better if you ended up with me.” Note that the words “surprises” and “rises” when read in the poem are particularly irritating to hear. They are bare when said invidually but when compounded with other words they become portentous. It is amazing how Harwood kept an eye on the architecture of her poem. Although the words “surprises” and “rises” seemed to elevate the senses, Harwood’s manipulation transformed them sarcastically, with dramatic and ironic impact.
Line 9, an Alexandrine, is a paradox. Though a bench was available for them to sit on, noone took the initiative to sit down. They, however, in their moment of self-consciousness tried to relax by focusing their attention to the children, rehearsing their names and birthdays; never mind if it was inappropriate. The ex-girlfriend pretends that she enjoyed her life as a wife and mother, “‘It’s so sweet/ to hear their chatter, watch them grow and thrive,’” (10-11). The words cost her a painful effect. Her revelation, though, does not make him happy. He went away, absorbed in his own world. Then the realities set in as the mother picks up her burden and complain as to how her children have taken away her youth and vibe (lines 12-14).
Reading through Harwood’s poem is like being invited to taste the most delicious roast turkey at a stranger's house. The first cut of the meat is as good as the last piece. She values form. Form is the push-up bra of poetry. Stern notes, “The task of the poet is to do it in language. The task of the poet is not to stand up personally, and lift an oar, and smash somebody’s bloody fucking head, but rather to do it linguistically” (Stern 11). Harwood’s lines were not ornate with crude images. Her use of images, on the other hand, is her focus to shape the woman’s emotional anguish. Though the rhythm of her lines is narrative, they are fragmentary elements of her style. The reader is treated to the sentiments of the human language. The lines are alluring, picking up rhythm like listening to the ticking of the clock.
Works Cited
Gordinier, Jeff. “Admit It. Nothing’s Sexier than a woman in the kitchen.” Details. October 2006. 174
Harwood, Gwen. “In the Park.” The Norton Introduction to Poetry. Ed. Alison Booth, J. Paul Hunter, and Kelly J. Mays. 9th ed. New York: Norton, 2007. 264.
Milosz, Czeslaw. “I Should Know.” Second Space: New Poems. New York: Ecco 2004 21.
Pinsky, Robert. The Sounds of Poetry: A brief guide. New York: Farrar, Strauss and Giroux, 1998.
Stern, Gerald. Interview. “Number Your Answers: An Interview with Gerald Stern.” Purpura, Lia. The Writer’s Chronicle March/April 2007: 8-17.
(This piece was my mid-term paper for my Literary Analysis class. It took me quite a bit of courage to publish it here.)
Berry Picking
Last Saturday David and I went biking at Mendon Park. We did not know how big a park it was - with lots of trees and vast manicured lawns. We drove around the park several times before deciding to park the car near a pond.
We pedalled around and when we had enough we decided to go back to his car. On our way we saw a couple on the side of the road, picking something from the bushes and eating them. David and I decided to investigate. They were eating wild berries - the kind of berries we saw being sold at the public market for $2 a small tray. So David and I took the opportunity to help ourselves with the berries.
I ate a lot and didn't want to leave.
When we arrived home I rushed to check the bushes at the biking trail on his backyard if there were berries there. To my luck I found several. Now, I just need a basket and a red cape.
But David and I might need to go back to the park to pick some more berries.
We pedalled around and when we had enough we decided to go back to his car. On our way we saw a couple on the side of the road, picking something from the bushes and eating them. David and I decided to investigate. They were eating wild berries - the kind of berries we saw being sold at the public market for $2 a small tray. So David and I took the opportunity to help ourselves with the berries.
I ate a lot and didn't want to leave.
When we arrived home I rushed to check the bushes at the biking trail on his backyard if there were berries there. To my luck I found several. Now, I just need a basket and a red cape.
But David and I might need to go back to the park to pick some more berries.
***
Our effort to trim down, by biking, proved inutile. Whenever we arrive home from a biking "expedition" we open the refrigerator and take out whatever food we can munch with. Ice cream is the number one item on the list.
Instead of losing weight, David gained seven pounds. He'd been announcing that to his friends and his physician isn't impressed. His triglycerides was way beyond the range.
I'm even more sinful. When I arrived here in Rochester I only weigh 140 lbs. Last time I stepped on the machine I only weigh 150 lbs, now I am 160 lbs.
Fact(s) George Bush can't accept
If Arun Gandhi thinks George Bush will listen to his words, he must think a billion times. Not that Gandhi, the grandson of the benevolent and famous Mohandas K. Gandhi, popularly known as Mahatma Gandhi, has been invited to the White House to speak before Bush on issues concerning how to achieve peace in the Middle East. No, Arun Gandhi spoke with Tim Louis Macaluso of Rochester's City Newspaper (on its July 3-10, 2007 issue) about achieving peace and understanding through nonviolent means.
The younger Gandhi was mentioned to me few weeks ago by an American friend at a Church-organized picnic. Gandhi, he said, gave a talk at a college just walking distance from David Smith's house. David, my sponsor, and I were enormously frustrated by not having attended the event, especially that it was open to the public.
The City Newspaper reported that Gandhi relocated his office, the Mohandas K. Gandhi Institute for Peace and Nonviolence, to Rochester after his wife died this year. They had been in the city since 2005 "to be close to their daughter," the report added.
Here's what Arun Gandhi told City Newspaper that might give Bush a fit (and might urge him to commit suicide if his advisors repeat it to him):
Journalists have tried to expose the morbidity of Bush's platform on the Iraq invasion, but their efforts prove to be futile. This country needs serious muckrakers so Bush will realize that the American troops overstayed in Iraq. Most of the soldiers don't even know why they were sent there. What they know is they will be able exercise what they've trained for and spend the bullets they have. It is disappointing that Bush doesn't have a son. We could have convince him to send his son to Iraq and see for ourselves what he will feel about it.
Mr. Bush, we already know that Saddam Hussein didn't have weapons of mass destruction. Hussein is DEAD. It is time to move on. Mr. President, "hear the cry of your people."
Our American friend by the way, whom I mentioned above, was formerly connected with one the US's security agencies. He told me that he had been to the Philippines in the 60s. He said his Filipino friends took his group to places where "tourists were not allowed to see." That made me think about such places. I thought it might beaches or vacation hideaways. However, he revealed to me that they visited the slum areas of Manila. All that time, the areas were being concealed by huge billboards and streamers. He said it was a learning experience for him and his group. That experience, he said, lead him to give opportunity to a lot of Filipinos to work abroad so that they could alleviate their living conditions in their country.
One of my professors even told me last time that when his son had visited the Philippines, as a representive of a company, he was taken by his Filipinos friends to a dump site which proved to be a worthy place to live on despite the living condition. I said the place might be the world famous Smokey Mountain.
Imelda Marcos once said that she hated UGLINESS. She still does. Whenever she sees garbage she looks away and concentrate on what is beautiful. But there is beauty in trash, too, Madam. Even people who are products of an ugly, corrupt and trashy government.
Smokey Mountain, by the way, has become a tourist attraction.
The younger Gandhi was mentioned to me few weeks ago by an American friend at a Church-organized picnic. Gandhi, he said, gave a talk at a college just walking distance from David Smith's house. David, my sponsor, and I were enormously frustrated by not having attended the event, especially that it was open to the public.
The City Newspaper reported that Gandhi relocated his office, the Mohandas K. Gandhi Institute for Peace and Nonviolence, to Rochester after his wife died this year. They had been in the city since 2005 "to be close to their daughter," the report added.
Here's what Arun Gandhi told City Newspaper that might give Bush a fit (and might urge him to commit suicide if his advisors repeat it to him):
"There is nothing we can't accomplish, no problem so great, that we can't learn something from sitting down and talking to one another."
To make Bush come back to smoking pot, Arun Gandhi continues:
"Resorting to violence as a way to resolve differences in an act of desperation that destroys the individual who commits the violence as much as it inflicts pain and suffering on the victim."
Let me simplify that thought: "The American troops should vacate Iraq." At least for my own sense of understanding that is what Gandhi's words mean. But will Bush ever find the heart to "listen" to anybody? No! My conversations with Americans for the past months prove that Bush listens to only one person -- his vice-president. That is why Dick Cheney will not be "persecuted" as long as Bush gets in the way. I believe by the time this write up gets noticed by the White Intellegence I will be monitored.
Journalists have tried to expose the morbidity of Bush's platform on the Iraq invasion, but their efforts prove to be futile. This country needs serious muckrakers so Bush will realize that the American troops overstayed in Iraq. Most of the soldiers don't even know why they were sent there. What they know is they will be able exercise what they've trained for and spend the bullets they have. It is disappointing that Bush doesn't have a son. We could have convince him to send his son to Iraq and see for ourselves what he will feel about it.
Mr. Bush, we already know that Saddam Hussein didn't have weapons of mass destruction. Hussein is DEAD. It is time to move on. Mr. President, "hear the cry of your people."
***
Our American friend by the way, whom I mentioned above, was formerly connected with one the US's security agencies. He told me that he had been to the Philippines in the 60s. He said his Filipino friends took his group to places where "tourists were not allowed to see." That made me think about such places. I thought it might beaches or vacation hideaways. However, he revealed to me that they visited the slum areas of Manila. All that time, the areas were being concealed by huge billboards and streamers. He said it was a learning experience for him and his group. That experience, he said, lead him to give opportunity to a lot of Filipinos to work abroad so that they could alleviate their living conditions in their country.
One of my professors even told me last time that when his son had visited the Philippines, as a representive of a company, he was taken by his Filipinos friends to a dump site which proved to be a worthy place to live on despite the living condition. I said the place might be the world famous Smokey Mountain.
Imelda Marcos once said that she hated UGLINESS. She still does. Whenever she sees garbage she looks away and concentrate on what is beautiful. But there is beauty in trash, too, Madam. Even people who are products of an ugly, corrupt and trashy government.
Smokey Mountain, by the way, has become a tourist attraction.
Saturday, July 7, 2007
Apologies
I am terribly sorry guys if I told you that I posted the entire pictures I took of the Toronto Pride 2007. I didn't. Yesterday, when I checked on my camera I noticed several pictures that I haven't saved yet. There were about 10 to 15. The number doesn't matter but the quality of the pictures. When I say "quality" it means I have more pictures of hot, hot men to be posted. After that I will post pictures of our African Lion Safari trip as well as our trip to Canada's Wonderland. I need to erase most the pictures in my camera. I"ve used up the 1,000 slots. The last shot I took was at the Genesee County Museum. Tomorrow, David and I will be on a guided tour at Buffalo, New York.
Wednesday, July 4, 2007
Toronto Pride 2007: The Superstar
This is probably the most spectacular moment of the Toronto Pride parade. This guy was actually part of a group who has already gone by and was just walking back towards the starting point when the "nudie guys" convinced him to drop his pants. At first he just opened his zipper and showed his "firearm." The "nudie guys" were not satisfied. So the guy pulled down his pants and allowed everybody to get an eyeful view of his "ammunition." Unluckily enough, I began having troubles with my camera. It wasn't working probably as it was earlier on the duration of the parade! The guy was right in front of our face! He actually faced us, but my camera was "too conservative" to take a shot.
***
Look at the faces of the people. They were delighted to have him out there.
Anyway, this is the only angle I captured. So enjoy it while you can!
***
How I wish those buns were mine. I do think that he is a great piece of art.
***
No, he didn't give his name. Sorry to frustrate you guys.
Toronto Pride 2007: The Mayor
Toronto's mayor took part in the celebration of the annual pride. He walked and danced on the street, proud and supportive of the event.***
Kaya ba yan ni Mayor Bing?
(Oops, wala akong sinabi. Wala!!!)
Toronto Pride 2007 Philippine 'delegation'
Of course the Philippines has its own contribution in the parade. The Philippine "delegation" must have shipped their gowns, costumes and accessories all the way from the Philippines. Probably some of the items they have used in local pageants there.
Here they are: the magnificent divas from the Philippines.
Here they are: the magnificent divas from the Philippines.
Day, pangita ka na to ni nanay mo. Ibalik mo na to kuno ang fishnet kay gamiton ni tatay mo. Dayon sag-ob ka kuno tubig kag magtig-ang.
Toronto Pride 2007 (the saga continues 12)
Toronto Pride 2007 (the saga continues 11)
Gays from the academe. I hope they found the equation that explains why gays exist.
Beautiful costumes! Ola!
She was the mermaid you saw earlier. She has shedded her tail and now doing stunts.
Toronto Pride 2007 (the saga continues 10)
They only showed 11 models. I guess there are more at the website.
Pride's version of Ati-atihan.
Gay choral.
I think wearing thongs/t-backs are ingenius, especially when your crack itches. You know what I mean?
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