Toyota Hiace GL Grandia

The Toyota Hiace is a van that has been part of Toyota’s fleet for many years now. Despite some critics suggesting that it might be showing its age, it’s still very difficult to escape from the simple fact that the Hiace is still one of the most reliable vans on the market.

Within the interior everything seems to be extremely well-thought through: there’s good seating and plenty of space no matter what variant you choose. On the outside little has changed since the fifth generation Hiace debuted back in 2005. It’s a big rig with a length of 5.38 metres and an extended height of 2.28 meters, it’s big, burly and not exactly the prettiest car on the road - but who wants a pretty van?

On the road, the Hiace is perky with good acceleration and doesn’t seem to have too many problems with hills. Generally it also controls well and has very little more body roll than you’d expect from a vehicle of its class. Parking is a joy in the Hiace in comparison to other vans thanks to the speed sensitive power steering which also firms up to provide good control at speed.

Overall the Hiace really makes for a superb commercial van: it’s easy to drive, with great space and practicality. Whilst its by no means the fastest van on the market, it does do everything you require of it and is both reliable and safe.

General Details of Toyota Hiace GL Grandia

Year	2014
Body Type	MPV / Minivan / Van
Fuel	Diesel
Transmission	Manual  (5 Speed Manual)
Number of Doors	4
Number of Seats	11

Power and Performance

Engine	2.5 Liter Diesel, 4-Cylinder In-Line, 16V Double Overhead Camshaft (DOHC) (Turbo Charged)
Engine Power	102PS/3,600rpm
Top Speed
Max Torque	260Nm @ 1,600 - 2,400rpm
CO2 Emissions	Euro 4
Fuel Capacity	70 Liters

Safety and Security

Airbags	Driver & Passenger
ABS	0
Alarm System	Without

Comfort and Entertainment

Airconditioning	Standard
Audio	In-Dash CD/Tuner/AUX/USb/ Bluetooth Connectivity/Call Function & Audio Streaming w/ 6 Speaker

Taken from http://www.pinoyautotrader.com.ph/new-cars/toyota-make/hiace-model/gl-grandia-2-5-monotone

It's Showtime (Variety Show)

It's Showtime (formerly known as Showtime) is a Philippine noontime musical variety show broadcast by ABS-CBN. The show is also broadcast worldwide through The Filipino Channel. The show premiered on October 24, 2009 as a morning talent show for over four regular seasons and various special editions. On January 28, 2012, the show aired its final episode with its two-year competition format and ended with a mysterious and impartial farewell. On January 30, the program revealed a teaser showing its reincarnated look as a reformatted noontime show now entitled It's Showtime, which premiered on February 6, 2012. The show simulcasted on Studio 23 during its relaunch week. It aired live daily on CgeTV's website.


The main hosts of the said show were:

• Anne Curtis (2012-present)

• Vhong Navarro (2009–present)

• Billy Crawford (2011–present)

• Karylle Tatlonghari (2011–present)

• Vice Ganda (2009–present)

• Kim Atienza (2009–present)

• Teddy Corpuz (2009–present)

• Jugs Jugueta (2009–present)

• Jhong Hilario (2012–present)

• Ryan Bang (2012–present)

• Coleen Garcia (2012–present)

• Eric "Eruption" Tai (2012–present)

The former and occasional guest co-hosts were:

• Angel Locsin (2013)
• Jericho Rosales (2013)

• Erich Gonzales (2013)

• Maja Salvador (2013)

• Cristine Reyes (2013)

• Carmina Villaroel-Legazpi (2012)

• Iya Villania (2010-2011)

• Nikki Gil (2010-2011)

• Kim Chiu (2011-2012)

Featuring:

• DJ M.O.D. (2009–present)

• DJ Nick (2009–present)

• Ervin "Dumbo" Plaza (2009–present)

• Jonas (2009–present)

• Showtime Dancers (2009–present)

• XB GenSan (2010–present)

Overview of It's Showtime

On October 24, 2009, Showtime premiered as a morning program, airing before the network's noontime shows. The original cast consisted of Vhong Navarro, Anne Curtis, Kim Atienza, Teddy Corpuz and Jugs Jugueta, and Vice Ganda as the permanent judge. During the third season, the show added previously evicted judges – Billy Crawford and Karylle as hosts

In its first four seasons (see below), Showtime had its competition format, wherein three groups, each made up of two to twenty-five members (with no age limit), performing a single performance, whether it is a song and/or dance number or an acting performance. Before the performance, at least one member of the group is given 20 seconds to make an introduction in any way that reflects the group, but should end with the clause "It's Showtime!", but in the All Star Barangayan edition, their barangay will be given 30 seconds of their introduction but same process and the barangay with the best introduction will win ₱10,000. After the performance, the judges, as well as members of the audience, rate the group from 1 to 10. Audience ratings do not count, but can influence the ratings to be given by the judges. Season 4 paved way not only for groups, but also for solo, duo and trio performers to join the competition. The season's change will also have a 1st Runner-Up, every competition, the group or performer with the second highest score will take home ₱20,000. The format spanned four regular seasons, with special editions like Kids Edition and Campus Clash Edition aired within and in-between seasons. (see below for the list of special editions)

A fourth competition spot is randomly given to one of three groups who did not pass the auditions, but are still worthy to perform in the show. After the group's performance, the judges would give a collective yes or no to the group. If the judges give a yes, the group is considered part of the main contest, with the judges' scores to the group's performance to be included in the calculation for the winner. A no would, of course, mean exclusion of the group from the main contest. This segment was removed during season 2. In season 3, during the February 16, 2011 episode, the said segment was returned but no random selection, instead the group automatically performs on stage.

The group with the highest average score from the judges wins and proceeds to the weekly finals. All winners throughout the whole week perform in the weekly finals. Whoever wins in the weekly finals will get the chance to compete in the monthly finals. Lastly, all the monthly finalists compete in a season grand finals.

Aside from the talent competition, Showtime also aired quick and short-termed segments that offer cash prizes to the studio audience. On January 1, 2011, the show was moved temporarily to the noontime slot. It went back to its original timeslot on February 12, 2011 to give way to Happy Yipee Yehey!.

Noontime Variety Format

Showtime ended their pre-noontime slot run on January 28, 2012 to prepare for their noontime-reformatted show which premiered on February 6, 2012 on its new timeslot, 11:30 am, replacing former noontime program Happy Yipee Yehey!. The show retained all of its hosts, including Vice Ganda, while adding former judges Jhong Hilario, Ryan Bang, and Coleen Garcia. Eric Tai was added as a new host during the pilot episode.It's Showtime aired new long-term segments, while the competitive format returned once again as one of its segments. The competitive format was used for one final season, season five. To cater the entire family audience, a new competition called Bida Kapamilya was introduced on April 30, 2012 as season six. Throughout the run of Bida Kapamilya, It's Showtime added Joy Rendon (May 19, 2012) and Red Talimban (October 27, 2012) as part of the cast.

Taken from http://en.wikipedia.org/wiki/It's_Showtime_(variety_show)

High School Musical 3: Senior Year

High School Musical 3: Senior Year is a 2008 American romantic musical film and the third and final installment in the High School Musical trilogy. Produced and released by Walt Disney Pictures, its theatrical release by in the United States began on October 24, 2008. Kenny Ortega returned as director and choreographer, as did all six primary actors.

The sequel follows high school seniors Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor as they are faced with the challenging prospect of being separated after graduating from high school. Joined by the rest of their East High Wildcat friends, they stage an elaborate spring musical reflecting their experiences, hopes, and fears about the future.

The film received positive reviews, relatively better than the first part of the trilogy, and, in its first three days of release, High School Musical 3: Senior Year grossed $50 million in North America and an additional $40 million overseas, setting a new record for the largest opening weekend for a musical film.

The cast of High school Musical 3: Senior Year were mainly:

Zac Efron as Troy Bolton

Vanessa Hudgens as Gabriella Montez

Ashley Tisdale as Sharpay Evans

Lucas Grabeel as Ryan Evans

Corbin Bleu as Chad Danforth

Monique Coleman as Taylor McKessie

Olesya Rulin as Kelsi Nielsen

Chris Warren, Jr. as Zeke Baylor

Ryne Sanborn as Jason Cross

Kaycee Stroh as Martha Cox

Alyson Reed as Ms. Darbus

Plot of the Movie

The Wildcats were trailing the West High Knights, and the Wildcats enter the locker room for the final period feeling bitter. Team captain Troy rallies the team's spirit ("Now or Never") and, thanks to new transfer Jimmie "The Rocket" Zara, the Wildcats win the championship game which is the last one for the seniors on the squad at East High. Later, at Troy's after-match party at his house, Troy and Gabriella are seen thinking about their future and wishing that their last few months at East High would not end ("Right Here, Right Now").

Sharpay meets Tiara Gold, a British exchange student whom she hires to be her personal assistant. When drama teacher Ms. Darbus notices that there were so few sign-ups for the spring musical, Sharpay suggests she could do a one-woman show. This alarms Kelsi, who is writing the show, so she immediately signs up everyone in their homeroom for it instead. This results in Ms. Darbus announcing they will create a play about their final days at East High, called Senior Year. In addition, she reveals that Sharpay, Ryan, Kelsi, and Troy have all been considered for a scholarship at Juilliard School, but only one of them is to be chosen. Troy is confused, because he did not apply to Juilliard. Seeing his friends laughing, he believes they gave his name to Juilliard. Sharpay becomes desperate to win the scholarship, and knowing that Kelsi will give the best songs to Troy and Gabriella in the musical, she gets Ryan to try to persuade Kelsi to give them a song, by predicting her (and Ryan's) future ("I Want It All").

The very next day, Troy asks Gabriella to the dance while on the rooftop (seen previously in the first film as The Garden Club, a place where Troy goes seeking some quiet). She then teaches him how to waltz ("Can I Have This Dance?"). Chad then asks Taylor to go to prom with him with a cheesy pick-up line. She initially refuses, but later agrees when Chad proves he can put in some effort and asks again in front of everyone in school. The group rehearses for the musical, a scene about their prom night ("A Night to Remember"). The next day, Ryan walks in on Kelsi composing in the music room and they start to sing ("Just Wanna Be with You") which leads to Ryan asking Kelsi to prom. While Troy and Chad reminisce about their past ("The Boys Are Back"), Sharpay and Tiara discover that Gabriella has a chance to go to college early to Stanford and Sharpay convinces Troy that he is the only thing keeping Gabriella from her dream. Troy talks to Gabriella about this and after sharing an awkward goodnight, Gabriella sings ("Walk Away") and leaves for college the next day.

Troy's father, Jack, talks to him about his academic future, which he expects will be in the University of Albuquerque. This assumption makes Troy become angry and confused, and he runs away, storming around East High bewildered until he finally screams at the top of his lungs in the theater ("Scream"). Ms. Darbus is secretly watching and reveals that she sent in his application for Juilliard. Troy later gets a call from Gabriella saying that although she loves him, she will not return to Albuquerque for prom or graduation. However, on the day of the prom, Troy visits Gabriella at Stanford University and convinces her to return and they kiss sweetly together during the lunch break (Can I Have This Dance? (Reprise)"). Back at East High, Sharpay is prepared for the last musical at East High and Troy's fellow basketball player Jimmie receives a text from Troy to tell him to cover for him onstage because he is going to be late. The Juilliard representatives are there, and watch as the show seems to go well.

Kelsi and Ryan start out the show followed by a couple other numbers; Jimmie then performs with Sharpay and embarrasses her, although the audience applauds the performance. Troy and Gabriella appear during the second half of the show and sing their duet together. Tiara then betrays Sharpay and tells her how she is going to take over next year in the drama department. Sharpay finally learns how it feels to be manipulated and humiliated, but nevertheless does not wish to go down. While Tiara performs, Sharpay immediately crashes her performance and upstages her ("Senior Year Spring Musical"). At the end of the musical, Ms. Darbus reveals that both Kelsi and Ryan have won the Juilliard scholarship and tells about everyone's future plans, in which Troy reveals he's chosen Berkeley so he can be close to Gabriella where he can play basketball and perform in theatre ("We're All in This Together ("Graduation Mix").

At the graduation ceremony, Troy gives the class speech, because Ms. Darbus selected him, not because he had the best grades. Throwing their caps in the air, the graduates form a giant wildcat before breaking out into song and dance (High School Musical). As the film ends, the cast runs across the field, the curtain falls, and they appear on the East High stage. They do their famous High School Musical jump with a close up of the six before bowing when the curtain falls and the credits roll.

Taken from http://en.wikipedia.org/wiki/High_School_Musical_3:_Senior_Year

Marriage Box ( Relationships Are About What We Put Into Them, Not What We Get Out Of Them)

Taken from realtruelove.wordpress.com

“Some of the biggest challenges in relationships come from the fact that most people enter a relationship in order to get something: they’re trying to find someone who’s going to make them feel good. In reality, the only way a relationship will last is if you see your relationship as a place that you go to give, and not a place that you go to take.” – Anthony Robbins

Most people get married assuming that marriage is a beautiful box full of all the things they have longed for: companionship, romance, sexual fulfillment, intimacy, friendship, laughter, financial security, joys doubled and sorrows and burdens halved.  Most people pick their partner because they think/hope/assume that everything they’ve found with that person will either continue or get even better.

 

But the truth is that, in the beginning, a marriage or an intimate relationship only gives you a taste of these.  The box is loaded with freebees and samples.  Soon the box will be empty.  Unless both people start putting things into the box.

 

Like Love, kindness, appreciation.

 

There is no Love in marriage.  Love is in people.  And people either put the love in marriage or keep it out.

 

There is no romance in marriage; people have to add romance and passion to their relationship or else the relationship will turn tepid and stagnant.

 

A couple must learn the art of and form the habits of giving, sharing, loving, being kind, being affectionate, serving, sacrificing, communicating, appreciating, forgiving, accepting, not sweating the small stuff, being consistent, and so on.  In other words, keeping the box full.

 

Or else the box will empty.

 

That’s what happens when one or both people take out more than they put in, the box soon empties.

 

To keep the Marriage Box full requires that we be willing to work at the relationship (that we have a work ethic; that we give as much as, if not more than, we take; that we try to leave things as good as, if not better than, we found them), and that we be bring a healthy version of our “self” to the relationship (and not a depleted self, not an unproductive exploitative self).

 *           *           *           *           *           *           *           *           *           *           *           *        *

When you love someone, you put things into the box, you give, you invest, you nurture, you build.  When you don’t really love someone—when you say you love a person but actually you don’t—you aren't concerned with the box, you maybe don’t even realize that there is a box, because the “relationship” isn't about the other person, it’s about you and about receiving.

When you love someone, it’s not about you, it’s about them, or it’s about BOTH of you. But it’s no longer just about you.  When the relationship is no longer just about you, then there’s a box.

And when you love someone, you don’t just put into the box what is meaningful to you: you put into the box what is meaningful to the other person, what speaks love to the other person.  That’s what makes it Love, giving, sacrifice, self-extension, going the extra mile, about the other person.

Most people are narcissistic in ways that they cannot even begin to imagine let alone even see. They are blind to how narcissistic/selfish they are.  That also makes them blind to all of the ways that they take in a relationship as well as all of the little and not so little ways that they fail to give in a relationship.

When we love another person the relationship isn't just about us anymore. When we love someone we don’t starve them, we give to them.

When we love someone love becomes a verb that allows us to put stuff into the box, give to the other person in a way that is meaningful to him or her and works with their schedule, not just ours, and works with their tastes and preferences, not just ours.

When we give in a way that works for us and when we give when we want to give or when we’re in the mood to give, we aren't really giving or Loving the other person: that’s just that our narcissism temporarily not interfering with the relationship; that’s just our narcissism happening to coincide with the other person benefiting in some collateral way.

This is what most people call Love: their narcissism coinciding with and benefiting the other person collaterally.  Instead of the focused intentional giving that is done out of Love, or that is about the other, the “giving” is really receiving where the focus is primarily on oneself and what one is getting. When the focus is primarily on oneself in a relationship, one is not actually loving the other person, one is a narcissist who is using/exploiting the other.

When we love someone, the focus is on the other person, what we are putting in the box, the quality and frequency of what we are putting in the box, whether it matters to the other person, and whether it is good for the other person or will bring happiness to the other person.

When we don’t put stuff in the box, we starve the relationship or marriage.  We are takers, not givers; narcissists, not Lovers.

It’s like the story of the two banquet halls. There are two banquet halls that are laid out identically with an abundance of delicious food. In one banquet hall the people are happy and well-fed.  In the other, they are unhappy and malnourished.  In both banquet halls, people have to eat with identical 3-foot long utensils. The difference is that in the unhappy hall, the people are unhappy because they are focused on trying to feed themselves, and the size of their utensils prevent them from doing so and also have them constantly getting in each other’s way.  In the banquet hall where the people are happy, they are happy because they have learned how to feed each other, and to do so courteously, to give each WHAT the other would like to eat (this analogy assumes that the people themselves have a decent idea of what is good for them to eat and what is not).

The oft told inspirational story that compares the Dead Sea with the Sea of Galilee makes the same point.  The Dead Sea is a dead sea because it keeps all of its water—nothing flows out of it and so nothing can grow in it; the water is too salty.  But the nearby Sea of Galilee is full of life because water flows out of it.

When we love another person, we want to give to that person in a way that is meaningful to him or her; we want to be good to that person; our focus is no longer just on ourselves, but is also equally if not more so on the other.  When we don’t Love the other person, our focus is only incidentally or sporadically or peripherally on the other, and not on the other as an end in him- or herself, but as a means, a prop, a tool, a slot machine for the gratification our wants and needs.

When we love another person, we don’t use him or her, we make the other person and his or her well-being and happiness just as important as our own. 

We don’t do things that will benefit us but will disrespect him or her.  When we love another, we have the other person’s best interests at heart—and not just some of the time, but constantly.  We have internalized the other person and their next interests so much that they have become a part of us, inseparable from us.  This is not merging or gloaming on or fusion without integrity; this is self-extension of the highest and most respectful order.  This is fusion *with* integrity.  This is what real Love is all about: knowing another person and their best interests and what they like and what is good for them well enough that we have come to naturally desire to give this to the other and not withhold it from them or starve them of it.

And it takes a certain amount of personal growth and self-development, a certain level of emotional maturity and character development, a certain amount of self-awareness and honesty and getting real and very truthful with ourselves, to get to this place and not be BSing ourselves about being at this place.

Simply put, a good percentage of people are BSing themselves when they say “I Love you” to their partner.  They don’t actually Love their partner, they don’t treat their relationship like a living thing and nurture and tend to it and invest in it; they don’t see their partner as a REAL person, as someone with tastes and preferences (a love language) different than their own, with ways of wanting to be loved and cared for that are different from how they want to be loved and cared for.  Most people say “I Love you” to keep up the ruse, to keep the game going, to maintain the status quo of what they are getting out of the relationship.  Most people say “I Love you” because the truth would end things: “I am using you, and will continue to do so as long as your needs and wants coincide with what I am prepared to give you collaterally, incidentally, peripherally, as an afterthought.  You are not my primary focus, nor are ‘we’ my primary focus; I am primarily focused on myself because that’s the level of emotionally maturity and psychological development that I am at.  I have been stunted by dozens of things—my culture, upbringing, parents, friends, media, even myself—and so I have not grown enough to love and to give consistently.”