Saturday, January 3, 2026

Stories Old and New... That's Right, Folks... It's Just Stories... Stories Within Stories!

My Family Constellation
(with 3 missing siblings who didn't survive entry)
HIStory is just the story of the Father Principle - which, many thousands of years ago supplanted HERstory, the story of the Mother Principle. When the Father and Mother Principles realign, reattune and reharmonize - we experience the Sacred Union of Sun and Moon, Yang and Yin, Male and Female. 

Then the world - or our collective experience of reality - becomes OURstory (although such a word and such a world does not yet exist, but as soon you have read and understood this sentence, it shall!)... and then I can continue to write MYstory, which has always been, and shall always be, a Mystery.

On the fourth day of the 11th Gate Master Cylinder, Solara got all of us into small groups so we could write the closing chapter of our Old Stories. Then one day after the Activation Ceremony, we got together again to write the first chapter of our New Stories. Every one of us is essentially a Story - either well or badly told but nonetheless a Story. A Story badly told can be rewritten so it becomes readable. A Story well told will eventually be made into a Blockbuster!


LAST CHAPTER OF MY OLD STORY

Blessings upon my Godfather (Dr Peter Tong Kwok Kee) for pointing out the stars to me when I was just a few months old - and for igniting in me the spark of intelligence.

I was pretty normal until my 18th year when I stumbled upon the Book of Tao, read the first verse, and had goosebumps.

A year later I realized - much to my surprise and delight - that I was, in truth, God incarnate.

That got me in the mental asylum for three months. The only way I could secure my release was to renounce my divinity.

The next 20 years of my life were a slow process of reassembling the scattered pieces of the gigantic jjgsaw puzzle of my multidimensional being.

Finally most of the pieces fell into place and I regained access to the whole enchilada.

The problem now was, I was afraid to reveal who I truly was - in case I got put away again.

Just as well, because my 40 years in the desert gave other aspects of myself time to awaken and reclaim their vastness - so it became safe to finally proclaim my Godhood - safety in numbers!

But the greatest joke of all, it was no longer necessary, no longer important nor significant to be "divine" or to even identify with any primordial, deific, or noble lineage.

I was content to simply be a human being.

I still am. And although I'm a little curious about how it might feel to NOT exist, I'm in no hurry to experience the Ultimate Nothingness - since that's where it all began.

End of my old story. Time for tea. And, yes, a cigarette break is always welcome.

Antares Maitreya
(formerly known as the Ancient of Days)
18 November 2012



FIRST CHAPTER OF MY NEW STORY

What next? Who knows and who cares? Well, I do.

I know the meaning and purpose of my life - all Life! And I care for every living atom of it. Why? Simply because all of it is ME.

On a more "personal" level I want nothing - and everything. I know that acceptance, recognition and reward for being what I am and who I am is already flowing in, like the first rush of water from taps that have long been dry (or just dripping).

I know that whatever happens - or doesn't - to the financial system will make no difference to the abundance that I have finally, consciously, learned to receive - and to recirculate freely and universally.

I know that the planetary awakening of which my own has been an integral part will accelerate at the speed of love.


As more souls emerge from their cocoons, they will go in search of guidance and advice - and I will be here to serve in my own unique capacity.

I enjoy teaching and also learning. Aeons of ignorance and misapprehension of what Reality is all about have to be cleared. I happily lend my energies towards this joyful task.

I can't think of any specific desires I wish fulfilled - but whatever I wish for will manifest much more swiftly now that I no longer resist being all that I am and more.

At this juncture, it makes little difference whether I continue using my physical vehicle a little longer and then surrender it to the elements - or if I will be among the ones granted immortality through complete transmutation of my molecular structure.

Immortality is only acceptable in a self-regenerating, self-rejuvenating, non-degrading physical body. In a body subject to constant wear and tear, extreme longevity may not be such a  pleasant prospect - unless the body remains capable of enjoying everything bodies were designed to enjoy.

Antares
~^@^~

2:30PM
23 November 2012
Huayllabamba, Sacred Valley of the Incas, Peru


[First posted 6 January 2013, reposted 9 April 2018, 7 November 2018, 
26 October 2019, 25 Aoril 2022 & 31 December 2023]

Beyond Hierarchies and Hierophants... (repost)


THE LOVER HOOD

It has no fabric, only understanding. It has no membership, save those who know they belong. It has no rituals, because it is non-competitive. It has no ambition, it seeks only to serve. It knows no boundaries, for nationalisms are unloving.

It is not defensive of itself, because it seeks to enrich all groups and religions. It acknowledges all good teachers, of all the ages, who have shown the truth of love. Those who participate practice the truth of love in all their being.


There is no walk of life or nationality that is a barrier. Those who are, know, and seek not to teach, but to be. And by being, enrich.

It recognizes that the way we are may be the way of those around us, because we are that way.

It recognizes the whole planet as a being of which we are a part. It recognizes that the time has come for the Supreme Transmutation, the ultimate alchemical act of conscious change, of the ego, into a voluntary return to the Whole.


It does not proclaim itself with a loud voice, but in the subtle realms of loving. It salutes all of those in the past who have blazed the path, but have paid the price.

It admits to no hierarchy or structure, for no one is greater than another. Its members shall know each other by their deeds and being, And by their eyes and by no other outward signs, save the fraternal embrace.

Each one will dedicate their life to the silent loving of their neighbor, their environment and planet, while carrying on their task, however exalted or humble.


It recognizes the supremacy of the great idea which may only be accomplished if the human race practices the supremacy of love.

It has no reward to offer, either here or in the hereafter, save that of the ineffable joy of being and loving.


Each shall seek to advance the cause of understanding, doing good by stealth and teaching only by example. They shall heal their neighbors, their community and our planet.

They shall know no fear and feel no shame, and their witness shall prevail over all the odds.

It has no secrets, no arcanum, no initiations, save that of true understanding of the power of love.

If we want it to be so, the world will change - but only if we change ourselves first.

All those who belong, belong, to the Church of Love.

[Recorded & transmitted by Mitchell “Elijah” Gittoes. First posted 14 January 2011.
Reposted 6 January 2024]



Friday, January 2, 2026

Trapped by their own greed and stupidity! (reprise)


Umno/BN, after 22 years of Mahathirism, has degenerated into a robber baron regime paralyzed by a complete failure of imagination and rendered powerless to adapt to changes in the political terrain by the sheer inertia of its own overweening arrogance and greed.

Najib Razak and his grotesque wife Rosmah Mansor were pushed into power by 191 corrupt and inept Umno division chiefs - just as George W. Bush was muscled into the White House in 2000 - to take the flak and serve as a target of public ridicule, so that the nouveau riche Umnoputra elite could continue to rob the nation with impunity and hide the loot in numbered accounts and property investments abroad.

With their control of the law enforcement agencies, the judiciary, civil service, the armed forces and the tribal monarchies, Umno believes it can continue to misrule - by brute force if necessary - through deliberate aggravation of artificially engendered racial and religious differences.

The majority of urbanites have long woken up to Umno/BN's dirty strategies and will never again be fooled. In the rural areas where the only source of news are the mainstream media, the awakening is slightly more sluggish but inevitable. 

Mahathir and Daim Zainuddin created a financial buffer against political defeat by nurturing an ultra-rich entrepreneurial class to feed the Umno/BN electoral juggernaut (hence the lopsided contracts signed with Independent Power Producers and utility corporations privatized to political cronies). This unwholesome conspiracy between centralized government and capitalist self-interest to bamboozle the public will grind to an abrupt end when Umno/BN is booted out - and that's why we see panic breaking out in the hysterical headlines and perverse spins of crony media like Utusan Malaysia and TV3. 

It's time to draw a clear line in the sand, people. It's time to open your windows, stand on a street corner, and shout...

"We're as mad as hell and we're not going to take this anymore!"



[First published 19 June 2011... reposted 5 January 2013... 6 January 2014... now one LAST time!]


Thursday, January 1, 2026

"Braided Hair" (from 1 GIANT LEAP) ~ repost



Photo by Richard Ecclestone

In October 1999 Duncan Bridgeman and Jamie Catto embarked on a crazy adventure - going around the world for six months with a couple of DVcams, a Powerbook G3, a digital mixer, a few good mics, and a powerful sense of serendipity - which resulted in a phenomenal DVD and CD called 1 Giant Leap. When I first heard the CD in 2003 I felt it was the perfect album to celebrate the spirit of the new millennium, serving as a cogent artistic and cultural counterforce to the Project for a New American Century.

January 6th is what some folks call Epiphany (according to the official story, it's the day the Three Magi were guided by a flashing star to the 12-day-old infant Christ). It's also the eve of my birthday. So what better way to mark the beginning of a yet another solar orbit than to share a special moment from 1 Giant Leap with whoever lands on this blog.

There's a superb feature on how Duncan and Jamie went about producing 1 Giant Leap. Below is a brief excerpt detailing the technical aspects of Bridgeman and Catto's stupendous accomplishment.
HAVE LAPTOP, WILL TRAVEL: 1 Giant Leap's Portable Studio Setup

The initial work on 1 Giant Leap's tracks was done on Eilean Shona off Scotland in Emagic's Logic Audio running on Duncan's 400MHz G3 Powerbook laptop. A variety of hardware was used, including an Emu sampler and numerous synths, such as a Roland JV2080 and JD800, a Korg Prophecy, Wavestation and Wavestation AD, and an Oberheim Matrix 1000, as well as guitars and basses. These were all recorded into the laptop as audio before Duncan and Jamie left the UK.

The G3 400 laptop running Logic Audio also formed the heart of the 1 Giant Leap portable setup. Two AKG C1000 condenser mics, and Shure SM57 and 58 dynamics, plugged into a compact Roland VM3100 digital mixer, the stereo digital output of which plugged into a Digigram VXPocket PCMCIA soundcard in the G3 Mac (the VXPocket was, for a while, the only PCMCIA I/O card suitable for use with laptops). "I only had a stereo input to the computer, and it meant I had to balance all the mics quite carefully in the mixer, but it wasn't much of a problem, as it was only at the beginning that we attempted to record groups of people — we soon realised that it wasn't really practical."

For monitoring, Duncan took five pairs of Sony headphones, and a Yamaha DJX keyboard with built-in speakers, which he'd had modified. "Whenever I put a jack into it, it killed the internal sounds, and whatever I put in came out of the speakers. So I used the keyboard for monitoring. I'd come straight out of the laptop, into the DJX, and then I'd have my headphones in the back of the DJX. My contributors would all be listening to headphones, and I'd play them a bit of whatever music I had at that moment. I could juggle the mix and control what they had to react to; sometimes I'd only give them one thing, if I particularly wanted them to listen to that."

The Yamaha DJX also doubled as a table, onto which Duncan usually put the G3 laptop. "I had it all worked out. I had a guitar with me in a flightcase, so I could sit on that, and get my legs under the DJX, which had a metal panel on top with velcro for the laptop to sit on so that it wouldn't fall off... the Roland mixer was down at my side, and in the metal box that I took, there was a MIDI interface, so I could play MIDI in from the DJX into Logic, and a half-rack Roland JV1010. There were no proper virtual instruments then, you see, so the JV1010 was my main synth for composing on the road.

"I had 12V battery belts, with 12 elements, like cameramen wear, and I fed that into the metal box. That powered the DJX, the laptop, the mixer, and the JV1010. The power requirements weren't too bad — I could work for about five or six hours before the belt pack was exhausted."

The visual side comprised two cameras (operated by 1 Giant Leap's cameraman Ben Cole and Jamie's girlfriend Jessica Howie), a tripod, and a circular blue screen, so the background could be replaced later at the video-editing stage.

"And that was it! Oh no, it wasn't — there was also a mic stand. That was a bastard to carry around..."
Read the entire story here.

Jamie Catto and Duncan Bridgeman


[First posted 6 January 2008]

Wednesday, December 31, 2025

Some images to end a dramatic era with...

Beauty and truth serve us better than money and power 
Eternal symbol of the perfection of imperfectness
Life is always mysterious
When the walls crumble...
Hang on to that paddle!
There are beings with much larger brains than humans 
Planetary metamorphosis
The genius of Nature
The sacred geometry of eternal renewal 
The only health warning we need to heed!
TAKE IT EASY, FOLKS!

[First posted 31 December 2012]


Monday, December 29, 2025

Fuck Yourself ~ A birthday tribute to Zappa





FUCK YOURSELF ~ A BIRTHDAY TRIBUTE TO ZAPPA

CLASSIC ZAPPA QUOTES

A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians.

All the good music has already been written by people with wigs and stuff.

Art is making something out of nothing and selling it.

I never set out to be weird. It was always other people who called me weird.

If you want to get laid, go to college. If you want an education, go to the library.

It isn't necessary to imagine the world ending in fire or ice. There are two other possibilities: one is paperwork, and the other is nostalgia.

Most people wouldn't know music if it came up and bit them on the ass.

Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read.

Music is always a commentary on society.

Music, in performance, is a type of sculpture. The air in the performance is sculpted into something.

One of my favorite philosophical tenets is that people will agree with you only if they already agree with you. You do not change people's minds.

Politics is the entertainment branch of industry.

Some scientists claim that hydrogen, because it is so plentiful, is the basic building block of the universe. I dispute that. I say there is more stupidity than hydrogen, and that is the basic building block of the universe.

The computer can't tell you the emotional story. It can give you the exact mathematical design, but what's missing is the eyebrows.

The United States is a nation of laws: badly written and randomly enforced.

Without deviation progress is not possible.

Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.

You can't always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe filled with whipped cream.

You can't be a real country unless you have a beer and an airline. It helps if you have some kind of a football team, or some nuclear weapons, but at the very least you need a beer.

FRANK ZAPPA (21 December 1940 - 4 December 1993) was a massive influence on me. I first heard about Zappa and his band at the time, The Mothers of Invention, in 1967 when I spent a year in New Jersey as an exchange student. In 1968, shortly before I returned to Malaysia, I attended a Zappa concert at Billy Graham's Fillmore East in New York City, and had the singular honor of shaking Frank Zappa's hand and chatting with him for about 3 minutes. I also nodded at Jimmy Carl Black ("the Indian of the group") and crossed the street with Ian Underwood (keyboardist with the Mothers) to buy a few beers. We had a nice little chat, though I can't remember what about.

Before he excused himself to pack his gear, Frank presented me with a chocolate teardrop wrapped in foil. I ate it on the latenight bus heading home - and have never been the same. I realized, over subsequent years, that I had encountered one of the Most Intelligent Humans on Earth. Forty-two years after that initial meeting in New York, that still remains true for me. Thank you, Frank. You live on in my heart and in my neural circuitry.

P.S. Upon my return from the US, I actually wrote several letters to Zappa. Imagine my joy and delight when an envelope arrived on 29 April 1977 bearing Frank Zappa's personal logo. Frank would have been 70 today. I'm sure he won't mind my sharing this letter with you ;-)...

Would you believe I have been meaning to answer your letter since I first received it and just now got around to doing it? Well, you'd better ... anyway, yours was perhaps the most interesting piece of correspondence of the year (was it two or three years ago?)

Who are you? What the fuck are you doing over there? Why are you "almost Chinese"?

Hope to hear from you again.

Your friend,
Frank Zappa

P.S. The photo with the simulated green complexion was most amusing.


[First posted 21 December 2010]




Saturday, December 27, 2025

"SELAMAT HARI KOTAK!" (reprise)



My #2 daughter Belle knows I'm never particularly jolly whenever the great annual consumer festival known as Xmas rolls along - so she graciously waited till Boxing Day to leave a greeting on my facebook wall. It made me chuckle, so I'll share that chuckle with you right away. Hari Kotak ought to be Malaysia's most important national holiday - because we're so crazy about packaging, branding and marketing.

[First posted 26 December 2011, reposted 26 December 2023]

Saturday, December 20, 2025

The Fig Leaf Syndrome (revisited)

“Is that a gun in your pocket, Big Boy, or are you just happy to see me?”– Mae West

IT’S ALL A COVER-UP, FOLKS!

How often I’ve heard this uttered in connection with financial and political shenanigans of every strain which, disappointingly, always seem to fade from the public memory before anything can be resolved, or anyone brought to book.

And each time I hear about cover-ups, the image of a fig leaf pops unbidden to mind. Is there a connection? Of course there is. In moments of luminous clarity, the universe has always shown itself to me to be essentially one inexhaustibly funny, punny conundrum.

TRANSPARENCY is a much bandied about term these days. I’m not too comfortable with the word “transparent.” It implies invisibility – which, in turn, suggests unaccountability – a hidden hand, someone or something difficult to see. Like the Emperor’s multibillion dollar new suit. So why don’t we use the more organic description: NAKED?


Why do we get so steamed up by the idea of nakedness that we actually have laws against it? Indeed in some countries there are laws to prevent Official Secrets from being exposed. In effect, the Cover-Up is actually a protected form of official behavior, and my thesis is that this inbred fear of public exposure is ultimately linked to our attitude towards sex - whether we view it as a profane or sacred act.

The fig leaf was the preferred form of cover-up in Europe for parts of the human anatomy deemed “private.” You find it in old paintings depicting Adam and Eve after their expulsion from the Garden of Eden. Why the fig leaf? Why the need to conceal this unmentionably delectable portion of our bodies? After all, the human body has been described as a Temple of Divinity, the Sacred Abode of God.

The Old Testament explanation is mind-bogglingly simplistic: having disobeyed God by eating the Forbidden Fruit from the Tree of Knowledge, Adam and Eve lost their innocence and knew Shame. But why did the Maker set them up for such a Fall? Is God basically a cosmic Peeping Tom masquerading as Scientific Curiosity?

Interestingly, the Malay word for genitalia is kemaluan – from malu which means (what else?) shame. However, the Arabs allude to the female sexual organs with the richly suggestive expression, al ghaib – “the concealed” or “the invisible” – in other words, “the Mystery of Mysteries.” (Male genitals do not enjoy such poetic licence, for obvious reasons. Colloquially, the penis is given names like batang and butoh – the onomatopoeic equivalents of “dong” and “dick” – with all their bluntly bellicose and brutal, yet cute and comical, connotations.)

Famous Nudes

SINCE THE FIG LEAF SYNDROME gained prominence during the Renaissance, we must assume that it was a purely aesthetic choice, reinforced by convenience – for, in Italy, which produced the famous nudes of Raphael, Rubens, Da Vinci and Michelangelo, the fig tree grows ubiquitously. It’s easy to imagine how the first fig leaf cover-up was conceived: here’s Leonardo happily painting his mistress in her garden under a fig tree, but when he reaches below the waistline he suddenly realizes that he can’t go for complete realism without inflaming papal passions and getting hauled up by the Almighty Church of Rome. Just then the fig tree sheds a leaf which flutters lazily down in front of his model – and gets strategically integrated into the final portrait.

In the Middle East such problems did not arise. Patriarchal notions of modesty forbade the realistic depiction of biological forms, so artists confined themselves to the abstractions of sacred geometry - wherein maleness could be represented by lines and angles, and femaleness by arcs and orbs. The dome-and-spire leitmotiv found in Christian and Islamic architecture gained wide popularity, not least because of its potent subliminal reference to forbidden pleasures. And don’t forget the genital worship suggested in the design of all pagan temples: lingams and yonis, phalluses and vulvas, lines and circles, plugs and sockets everywhere one looks.


At the root of the Fig Leaf Syndrome, a primal trauma lies buried beneath countless generations of guilt and resentment. All myths point to the source of our existential angst and collective schizophrenia: SEX! SEX! SEX! Yes, what Adam and Eve discovered after eating the Forbidden Fruit.



Plants have been doing it for aeons – but, really, you can’t get too worked up over the mechanics of pollination. Animals do it but can’t really help it and, then, only seasonally – and therefore they feel neither good nor bad about it. With animals, sex is totally guilt-free and rarely kinky. However, when WE decided to get into the act by sliding down the Timechute into physical space, we externalized our male-female polarities and got titillated by the principles of attraction and repulsion: at last we could experience the hormonal rollercoaster ride of biological necessity and non-specific year-round lust. It was so wonderfully heady and exhilarating. At least for a while…

Then we realized with profound horror that we had traded in our original, immortal, asexual androgyny for the ephemeral delights and infernal agonies of mortal, animal being. We were packaged in meat. We were The Word made Flesh!

Wherever we turned we saw images of ourselves. This Hall of Mirrors was a regular funhouse, but narcissism eventually gets out of hand. As sexually-split entities inhabiting gender-differentiated bodies, we could now enjoy sticking our protruding bits into every inviting orifice and eventually turn SEX into the biggest business of all time – simply by making it illicit unless sanctioned by a secular or religious authority.

Moral Responsibility

I USED TO WAKE UP in a cold sweat, heart pounding, from dreams in which I would find myself attending a grand buffet where everyone was formally attired, and all of a sudden I’d realize I was wearing a T-shirt – and nothing else! Worse still were the episodes in which I would walk through a door and onto a stage, facing a packed hall, with absolutely no idea how to entertain the audience and no memory of any script. Slowly it would dawn on me that my predicament was even more ludicrous than I’d thought: people were squirming in their seats and tittering because I was completely starkers. Classic nightmares, boringly Freudian – but what did they reveal, apart from my modest assets?

Some people are very secretive. I’m the complete opposite. No question of right or wrong: it’s the way we’re horoscopically or psychologically constituted. However, I’ve always felt that one has a moral responsibility to evolve towards greater openness, greater honesty, greater transparency… in other words, NAKEDNESS.

In which case my scary dreams of public exposure weren’t necessarily a bad thing – merely an indication that deep down I was still afraid of getting hurt. To be more precise, my social ego was afraid of losing status. Without the protection of one’s fig leaf or sarong or double-stitched jeans, one is susceptible to malicious attack or ridicule. One is vulnerable – but is it such a healthy thing to be invulnerable? Isn’t it much healthier to be in direct contact with RAW REALITY and the NAKED TRUTH?

I’ve tried it. It doesn’t hurt. And once your reputation is ruined you never have to worry about it again.

All You Gotta Do Is, Act Naturally…

“… for Heaven, just Heaven, sends a fearful religion to cruel souls.” – Jacques-Henri Bernardin de Saint-Pierre, 1788

THE PATRIARCHAL RELIGIONS - the ones that see God as a father figure - have one thing in common: the misguided notion that the naked human body is an utterly reprehensible, prurient object – a terrible thing that must be covered up from public view. In such a society, it’s okay to exploit the poor and deceive the masses – so long as you keep your trousers on!

How else is it possible that some humans can wander into an old-growth forest with all its splendor and majesty and breath-giving beauty – and whip out their chainsaws? Me, I could only think of whipping off my clothes and jumping into the nearest river with a wild whoop of pure abandon. Call me a pagan. The raw beauty of Mother Nature is the only embodiment of divinity on this Earth that can make me fall to my knees and weep for joy.

A few years ago I was walking with a friend through the jungle towards a magnificent waterfall when I came upon a Land Rover full of forestry officers. I nodded a friendly greeting and one of the men came over, ogled my companion, and asked me point blank: “Have you seen anyone swimming naked around here?” I was taken aback. Was this guy a mind reader or something? I responded evenly: “Why do you ask?” The fat forestry officer with the sleazy aura of a Hollywood-type South American border guard explained conspiratorially: “We don’t want people to come into our state forest reserve and do immoral things.”

If I could beam myself back to that instant in time and space, I would have retorted: “Do immoral things? What, you mean like LOG the place? You don’t wish to see this beautiful country DENUDED, is that right?”

Instead, I merely smiled sardonically and walked on, shaking my head in disbelief. For hours afterward I felt an involuntary shudder whenever the image of that hypocritical sleazebag flashed into my head. Good heavens, the wriggling can of worms some folks have for brains! Perhaps I ought to put up a sign outside every forest reserve: “SNOG, DON’T LOG!” Or “DON’T BE RUDE, COME IN NUDE!”


Is it any wonder, then, that in a patriarchal society, prominent people are often the target of sexual innuendoes and outright scandal? The idea of “immorality” is always applied to sexual indiscretion, but never to breaking the Golden Rule - Do as you would be done by – which is, essentially and ultimately, the only true measure of morality.

[Originally published in JOURNAL ONE, 1996. First posted 1 February 2007. Reposted 7 August 2014, 5 June 2015 & 30 December 2016]

Thursday, December 18, 2025

LOMEO & JURIET (Act II, Scene 2) ~ Terangslated from the Shakespeare into Proper Manglish by Antares


The Story So Far

There has been little peace in the new township of Jinjang Utara ever since the long-drawn and gruesome War of the Seafood Palaces caused a serious rift between two influential clans – the Ngs and the Chans. At a lavish Chap Goh Meh party hosted by Datuk Chan, trouble brews when a bunch of rowdies from the Ng clan decide to gatecrash and are immediately spotted. Not wishing to ruin the festivities, Datuk Chan orders his hotheaded nephew and his gang to ignore the intruders. And so, while the rest of the guests are merrily lambadaing the night away, Lomeo Ng (youngest son of Towkay Ng) encounters the lovely Juriet Chan (favorite daughter of Datuk Chan) and Fate (or Biochemistry and/or Electromagnetism) takes over. They fall desperately (or rise ecstatically) in love; and after the party Lomeo finds himself drawn to the luxurious Chan Villa where, as our hero lurks libidinously in the shadows, he sees the moonstruck Juriet on her second floor balcony, sighing and calling for her true love…


                               Shakespearean                                                      Manglish

JUL:  O Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name; or, if thou wilt not, be but sworn my love, and I'll no longer be a Capulet.
JUR:  Aiya Lomeo, Lomeo! Where are you ah, Lomeo? Donkair your farder lah, simply chain your name olidi can; udderwise ah, you plomise to love me orways and I will tlade in my surname Chan.
ROM:  [Aside] Shall I hear more, or shall I speak at this?
LOM: [Aside] Watudu ah, keep quiet and rissen summore, or say hurro to her now?
JUL: 'Tis but thy name that is my enemy: thou art thyself, though not a Montague. What's Montague? It is nor hand, nor foot, nor arm, nor face, nor any other part belonging to a man. O, be some other name. What's in a name? That which we call a rose  by any other name would smell as sweet; so Romeo would, were he not Romeo call'd, retain that dear perfection which he owes without that title. Romeo, doff thy name, and for that name, which is no part of thee, take all myself.
JUR: Your name oni got ploblem one; you yourself okay, so what your family name called Ng. Arfter all, what is Ng? Not your finger, or your foot, or your nose, or your toes, or any udder part of you called Ng wat. Aiya, why notchew call yourself some udder name? Name is name oni wat. Loh’s frower we call sumting else steel smelling nice wat; so Lomeo oso nice, sahpose he not called Lomeo Ng, evelyting about him ngam-ngam oni. Lomeo, cancer your name lah; your name not rike gum to your body wat. Give up the Ng and take me lah.
ROM: I take thee at thy word. Call me but love, and I'll be new baptis'd; henceforth I never will be Romeo.
LOM: Orait lah, I take, I take! You oni have to call me sayang, and olidi I got new name; Lomeo Ng habis!
JUL: What man art thou that, thus bescreened in night, so stumblest on my counsel?
JUR: Alamak! Got olang minyak or wat? Who de hell are you ah, and why you spy on me one?
ROM: By a name I know not how to tell thee who I am: my name, dear saint, is hateful to myself, because it is an enemy to thee. Had I it written, I would tear the word.
LOM: My name I skad to tell you, bekos now I oso hate my name: arfturds you ting I am your anneemee, dear moon goddess. Sahpose my name wlite on piece of paper, better I tear it up.
JUL: My ears have yet not drunk a hundred words of thy tongue's uttering, yet I know the sound. Art thou not Romeo, and a Montague?
JUR: Oni a few words flom your mouf enter my ear, but olidi I know your voice: you are Lomeo, your farder Towkay Ng, istlu ornot?
ROM: Neither, fair saint, if either thee dislike.
LOM: Not tlue, cantik, if you doan rike my farder name or mais one.
JUL:  How cam'st thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, and the place death, considering who thou art, if any of my kinsmen find thee here.
JUR: How you kum here and waffor, yutelme? Got high-high wall outside, summore bubwire and 24-hour sikhulity; dailah, sahpose my family catch you.
ROM: With love's light wings did I o'erperch these walls, for stony limits cannot hold love out, and what love can do, that dares love attempt: therefore thy kinsmen are no stop to me.
LOM: My hut feeling so right one, can fry olidi; so hauken stonewall stop me? Bekos of love lah I bekum helo, and helo kennot die one.
JUL:  If they do see thee, they will murder thee.
JUR: Aiyo, eef my brudders see you ah, dey weel hantam you kau-kau.
ROM: Alack, there lies more peril in thine eye than twenty of their swords. Look thou but sweet and I am proof against their enmity.
LOM: Adoi, your rooks arone enuf to kill, no nid twenty palangs and bearing sclaper; you rook so sweet, hauken anyone fill beetter?
JUL:  I would not for the world they saw thee here.
JUR: Better dey doan see you here, udderwise mampus lah.
ROM: I have night's cloak to hide me from their eyes, and, but thou love me, let them find me here; my life were better ended by their hate than death prorogued, wanting of thy love.
LOM: So dark one, how dey can see me? And eef you doan love me, better dey catch me; better to die flom their hate dan leeve widout your love.
JUL:  By whose direction found'st thou out this place?
JUR: Who show you de way here?
ROM: By love, that first did prompt me to enquire. He lent me counsel, and I lent him eyes. I am no pilot, yet, wert thou as far as that vast shore wash'd with the furthest sea, I should adventure for such merchandise.
LOM: Love lah, love orways find a way, izzenit? I kennot dlive Ploton or sail boat or fry aeloplane, but even eef you leeve overseas, steel I weel find you; how far oso nevermain, I doan brarf you.
JUL:  Thou knowest the mask of night is on my face, else would a maiden blush bepaint my cheek for that which thou hast heard me speak tonight. Fain would I dwell on form; fain, fain deny what I have spoke. But farewell compliment.

Dost thou love me? I know thou wilt say 'Ay', and I will take thy word. Yet, if thou swear'st, thou mayst prove false. At lovers' perjuries, they say, Jove laughs. O gentle Romeo, if thou dost love, pronounce it faithfully: or if thou thinkest I am too quickly won, I'll frown, and be perverse, and say thee nay, so thou wilt woo: but else, not for the world. In truth, fair Montague, I am too fond; and therefore thou mayst think my 'haviour light: but trust me, gentleman, I'll prove more true than those that have more cunning to be strange. I should have been more strange, I must confess, but that thou overheard'st, ere I was 'ware, my true-love passion: therefore pardon me; and not impute this yielding to light love which the dark night hath so discovered.
JUR: Lucky tonight vely dark, so you kennot see my chik turn led-led one olidi. Aiya, shy oni lah wat you hear me spik just now! But wat I said you olidi hear, so nemmain lah; no nid to pletend anymore, too rate to save face.

You love me ornot? Sure lah, you say yes; can sumpah summore, but mebbe tipu oni. The God oso he orways raughing at peeple’s plomises of love. Aiya Lomeo, tell me tluly one lah: you love me ornot? Sahpose yuting I am too easy to get? Mebbe I better talik harga and say dowan! Den you weel chase a bit lah; but I oso dowan to lun too fast. Ackchwurly, my dear Mr Ng, I feel vely geli lah: plis doan ting I am phooling alaun wid you, I am vely stletford one, my hut kennot chit people one, not rike dose womans wid swit-swit tongues. Mebbe sum people weel say I am too flenly to you, a stlanger summore, but olidi you heard me saying all kind of tings, so nemmain lah. Solly ah, I kennot acting one: I give myself to you, even doh I kennot see you one, so gelap tonight.
ROM: Lady, by yonder blessed moon I vow, that tips with silver all these fruit-tree tops…
LOM: Chah Bor, I sumpah by the silver moon which makes all de tlees in your garden shiny
JUL: O, swear not by the moon, the inconstant moon, that monthly changes in her circled orb, lest that thy love prove likewise variable.
JUR: Cheh, doan sumpah by the moon, he not vely steady one, evely week chain size and shape. Arfturds your love rike dat oso, den how?
ROM: What shall I swear by?
LOM: Den how to swear?
JUL: Do not swear at all. Or if thou wilt, swear by thy gracious self, which is the god of my idolatry, and I'll believe thee.
JUR: Better not to swear at all; or else you sumpah on your own hut, which is the awltar where I can pray; like dat I can belif lah.
ROM: If my heart's dear love...
LOM: Sahpose my hut pumping too hard…
JUL: Well, do not swear: although I joy in thee, I have no joy of this contract to-night: it is too rash, too unadvised, too sudden; too like the lightning, which doth cease to be ere one can say 'It lightens.' Sweet, good night! This bud of love, by summer's ripening breath, may prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest come to thy heart as that within my breast!
JUR: Aiyah, den doan swear lah. I am vely happy to see you, but not so happy to see you rike dis: hauken so fast, so culi-culi one, rike rightning which doan last more dan a few seckands. Let us meet again later lah, and see eef dis tender fluit of love is masak ornot. Now our lomance rike frower bud oni, not open foolly yet. So I say goonight; go home and sreep first, okay?
ROM: O, wilt thou leave me so unsatisfied?
LOM: Aiyo, I nochet satisfied.
JUL: What satisfaction canst thou have tonight?
JUR: How you wan me to satisfy you?
ROM: The exchange of thy love's faithful vow for mine.
LOM: I wan to hear you sumpah your love for me.
JUL: I gave thee mine before thou didst request it: and yet I would it were to give again.
JUR: Podah, oridi swear wat, even before you arsk. But you wan, I can swear again, no ploblem. I take back my plomise.
ROM: Wouldst thou withdraw it? for what purpose, love?
LOM: Oi, doan take back lah; waffor you take back?
JUL: But to be frank, and give it thee again. And yet I wish but for the thing I have: my bounty is as boundless as the sea, my love as deep; the more I give to thee, the more I have, for both are infinite. [Nurse calls within] I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again. [Exit]
JUR: So I can geeve you again lah, bodoh. But you got olidi wat. Arfterall I filling open rike the sea, and my love vely deep one you know: I geeve and geeve you, steel kennot habis, just rike sea orways got water one. [Amah calls from insideSomeone bising olidi. Okay lah, sayang, goodbye! - Ah Soh, why you shouting? – Mr Ng, manis, you wait reetle while ah, I come out again. [Exit]
ROM: O blessed, blessed night! I am afeard. Being in night, all this is but a dream, too flattering-sweet to be substantial.
LOM: Wah, shiok oni lah! Hope I am not dleaming oni; why I so rucky bugger one?
[Re-enter JULIET, above]
JUL: Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable, thy purpose marriage, send me word tomorrow, by one that I'll procure to come to thee, where and what time thou wilt perform the rite; and all my fortunes at thy foot I'll lay and follow thee my lord throughout the world.

NURSE [Within]: Madam!

JUL:  I come, anon. -- But if thou mean'st not well, I do beseech thee --

NURSE [Within]: Madam!

JUL: By and by, I come: -- To cease thy suit, and leave me to my grief: to-morrow will I send.
[Re-enter JURIET on 3rd floor of Chan Villa]
JUR: Tlee words more, Lomeo sayang, or mebbe tlee hundled; den distaim really goonight oridi. Eef you love me enuf to marry me ah, tomollow you must pass me message  showing orspeeshus date and which lestoran we can have beeg dinner; and my holaif I weel put infrun of you lah, and all alaun de world I weel forrow you.

AMAH [Within]: Meees!

JUR: Kahming, kahming – But eef you are not really selious one, aitelyu –

AMAH [Within]: Meees Juriiiiet!

JUR: Okay, okay lah!stop praying dis game and let me suffer hut pain by myself. Tomollow I contact you ah.
ROM: So thrive my soul --
LOM: Hweeyoh, my hut so happy can die one --
JUL: A thousand times good night! [Exit, above]
JUR: Goonight, goonight, lepeat one tausend taims goonight! [Closing 3rd floor window]
ROM: A thousand times the worse, to want thy light. Love goes toward love, as schoolboys from their books, but love from love, toward school with heavy looks.
LOM: One tausend taims more susah to see you go away. Love ah, going near love orways rike rong weekend coming up; but when love reaving love ah, just rike must go for extla tuition.
                                                 
Antares © 1995-2019

Antares now heads the Department of Advanced Manglish at the University of Pertak. He has initiated a RM42 million program to "terangslate" the World's Great Books into Manglish - which has yet to be formally acknowledged as Malaysia's de facto national language, even though many have actively campaigned for this since 1989. 

The infamous balcony scene in Manglish from Lomeo & Juriet has twice been staged in Kuala Lumpur. It also inspired a full-scale Malaysian adaptation in 2005 by Gavin Yap, titled Romi & Joo Lee (dan lain-lain)

Thanks to Sheryll Stodhart (glowingly described by an Umno rightwing dickhead as a "diehard socialist, Anwar Ibrahim apologist, and rabid anti-government writer") and Men's Review for being the first to publish my Manglish-Lit series in 1995.


[First posted 2 October 2012, reposted 11 August 2016, 7 May 2019
& 11 August 2024]