Paano nabuo ang Maneouvres, SexBomb, at BigMen? | SiS (Stream Together)
Alamin ang kuwento kung paano nga ba nabuo ang mga sikat na dance group na Maneouvres, SexBomb, at BigMen.
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00:00We walk hand-in-hand, we dream together, we giggle and laugh like kids forever.
00:07We're two different people, but we're having fun, we talk about anything under the sun.
00:14We are sisters, we are friends, we've got magic that never ends.
00:22We are sisters, we are friends, we've got magic that never ends.
00:28I got you sis, you got me.
00:32The best of friends we'll always, always be.
00:39We always have fun, being together.
00:43You know me the best, we're friends forever.
00:47Through good times and bad, I'm here for you sis.
00:51Right by your side, hit or miss.
00:54We are sisters, we are friends, we've got magic that never ends.
01:01I got you sis, you got me.
01:06The best of friends, the best of friends, the best of friends we'll always, always be.
01:14We are sisters, we are sisters.
01:19You're so good at comedy.
01:25Good morning sis, good morning to all of you.
01:32You're so beautiful.
01:33You danced today, Jen.
01:35It's a beautiful day today because we woke you all up this morning.
01:40We prepared for you this morning.
01:43It's a lively and fun morning.
01:47Is that why you're dancing?
01:54Well, we've got something to do, of course, with bodies and motion.
01:57That's what our show is all about.
01:58In short, dancing.
02:02We're tired today.
02:04That's right.
02:05Because we have with us today, the best dancers in the dance floor.
02:08Groups that are known in the showbiz when it comes to dancing.
02:18And we are the dance bomb girls.
02:22Let's get down.
02:29We're the dream girls.
02:31Of course, we'll talk about how they were born.
02:34And behind the success of their group.
02:36And what else, what else, what else.
02:39Of course, some of them went through dancing to continue being artists.
02:44Of course.
02:45And we can't forget the body portion.
02:47Of course, where every group will show off their moves.
02:50They'll show us why they were known here in the industry.
02:53Am I right?
02:54Correct.
02:55So, join us for an hour of dancing.
02:58We'll be right back with SIS.
03:03We have with us the famous and talented dancers.
03:08From the big men, Paolo Gabriel.
03:11Paolo Gabriel.
03:17The leader of the sex bombs, Rochelle Pangilinan.
03:23From the maneuvers, Rene Sagara.
03:33Of course, the chairman of the board, Jolene Lloyeno.
03:38Of course, his daughter, Miggy Tanchangco.
03:46Okay.
03:47Each of your group is very famous.
03:49And you're being watched by new dancers.
03:52Especially the first ones.
03:53How did your group start?
03:56Let's start with you.
03:58How about you?
03:59We started with the winners of the dance contest.
04:07We put them together.
04:09You put the winners together.
04:11And that's how the group was formed.
04:14Why big men?
04:15That's the name of the song.
04:22That's why it became big men.
04:25He can also sing.
04:26He can dance.
04:28How about the sex bombs?
04:30It's still the same.
04:31There were only four of us.
04:32Because of the portion of eggs that we had.
04:36They made fun of us.
04:39Until we got a lot.
04:40Until you got a lot.
04:42Why sex bombs?
04:43Yes.
04:44In the music of Tom Jones.
04:47Sex bombs.
04:48Sex bombs.
04:50And you?
04:51Rene, the maneuvers.
04:54We started with Octomaneuvers.
04:58I can't tell you the year.
05:00Let's know.
05:01I'll ask him later.
05:031986.
05:0586.
05:06And when we decided to move to Gali,
05:11to Genesis,
05:12we became Maneuvers.
05:13That was 1989.
05:14Why Maneuvers?
05:16Actually, aunt Astor gave us that name.
05:19Because you were Octomaneuvers before.
05:22Why did she give us Maneuvers?
05:24Before we became Octomaneuvers, we were WIA.
05:27WIA Dynamics was the name.
05:29So, OctoArts wanted us to have a different name.
05:34That came from them.
05:35So, they just gave you Maneuvers?
05:37Yes, they decided on that name.
05:39Is that so?
05:41Aunt Jeline, will we ask her?
05:43She's not in a dance group.
05:45She's just single.
05:48Aunt Jeline.
05:49Yes, darling, my babies.
05:52Aunt Jeline,
05:53did you learn how to be a dancer?
05:55Or did you learn it first?
05:57Of course, everything has its basics.
06:00So, I took up ballet
06:02when I was as early as the age of 7.
06:057 years old.
06:06Up to 14 years old,
06:08I was taking up ballet in school
06:10in St. Teresa.
06:12I joined all the plays of Father Reuter.
06:16And then,
06:18until one time,
06:19we were in a fashion show,
06:20me and John Gaddy.
06:22We were in Hayat.
06:24And we were doing this fashion show
06:26in the clothes of Danilo Franco.
06:28So, we were dancing.
06:30And then, that's where Roni Henares saw us
06:34and invited us to dance in Penthouse 7.
06:37And the rest is history.
06:39Wow.
06:41That was 19...
06:45No, 1979.
06:471979?
06:48Yes.
06:49How about Miggy?
06:50How did you become friends with her?
06:51Because of your mom?
06:52Yeah, actually, before Channel 7,
06:55I was 7 years old.
06:56That's when I started.
06:57Because I always see her.
06:59I'm the most annoying in the studio.
07:01I'm a bully.
07:02I'm annoying in the studio.
07:04You're the bully.
07:05Yes, something like that.
07:06That's Jeline's daughter.
07:08She's always with Vandolf.
07:10Yes.
07:11She's always running around in the studio.
07:13I also joined dance groups.
07:15I also joined UMD before.
07:18And then, I also became an artist.
07:22I also became an artist.
07:23You became a different person.
07:24Yes, I became a different person.
07:26Then, I thought that I really want to dance.
07:29I really want to dance.
07:30That's why...
07:31It's in your blood.
07:32It's in your blood.
07:33It's in my blood.
07:34Yes.
07:35So, our dancers now,
07:38what do you think makes them different
07:40when it comes to packaging?
07:41Because, of course,
07:43when they see you dancing,
07:45they know right away that you're different.
07:47You're different when it comes to this kind of dance.
07:49That's it.
07:50He's a big man.
07:52How about you?
07:53I'm a new birth.
07:55New birth.
07:56How about you, Jason?
07:58Me?
07:59Me?
08:00Me?
08:04I think it's the styles of the dancers.
08:09For example,
08:11in other groups,
08:12Street Boys are more on acrobatics.
08:14The manoeuvres,
08:16the steps that are a bit complicated,
08:20things like that.
08:21And the others,
08:22the basic steps,
08:23the sexy ones.
08:25So, they have their own style.
08:28Sample.
08:29Sample, like a sex bomb, right?
08:31Their dancers are sexy.
08:33You know right away that it's a sex bomb.
08:37Is that included in the clothes?
08:38Even in the clothing?
08:39Yes, even in the clothing,
08:40if you're going to dress up,
08:41do you have a different style?
08:43It's different.
08:44It depends on the concept of the dance.
08:46It depends on what you're going to wear.
08:48So, you don't have your own signature,
08:49that this is always our outfit?
08:51For us, we don't.
08:52Because it's different.
08:53It's different.
08:54The sex bomb, yes.
08:55It has to be sexy all the time.
08:56Yes.
08:57It's always essential.
08:58Do you eat?
09:00Do you eat rice?
09:02Oh, you're hungry.
09:04You know, it's nice now.
09:06It's better now.
09:07Because before,
09:08the recording companies were
09:10WIA Dancers,
09:12Dyna,
09:13Vycor,
09:14Alpha,
09:15Ivory,
09:16like that.
09:17Now, it's better
09:18because the dancers
09:19get to know each other
09:21with their own distinct names.
09:23And that's the one that's
09:25really very nice.
09:26And you can also support the dance.
09:28Yes.
09:29The music.
09:30You don't have to...
09:31Oh, promote this one.
09:32This one,
09:33even if it's ugly.
09:35Even if it's ugly,
09:36you have to promote it.
09:37Now, the dancers are given
09:38more freedom.
09:39And then,
09:40more...
09:42They become more famous
09:43on their own name.
09:45And that's very nice.
09:47The generation of dancers
09:49is different now.
09:50What's the difference
09:51between each time
09:53and the qualifications
09:55to become a dancer?
09:56Let's start with
09:57what's the difference
09:58between each time.
09:59Like the big men,
10:01how many years have you been dancing?
10:03I started ballet when I was a big man.
10:05Maybe 5 years ago.
10:061990.
10:07I was born in 1996.
10:08Oh.
10:09Then,
10:10let's ask Auntie Jolene.
10:11I think.
10:12What are the differences?
10:14Differences?
10:15Well, number one,
10:16the talent fee.
10:18Oh, right?
10:19Talent for children?
10:20No, like this.
10:21Before when I started,
10:23you won't believe it,
10:25but it's only 25 pesos.
10:28For dancing?
10:29Yeah.
10:30For each person?
10:31For each person
10:32actually,
10:33it's like a transportation allowance.
10:35I'm not kidding, children.
10:37It's true.
10:38And then,
10:39Why are you dancing?
10:40It's just transportation.
10:41Because we don't care about money.
10:44You just want to dance.
10:45We just enjoy it.
10:47Sometimes,
10:48we even forget
10:49to get our talent fee
10:50from the recording companies.
10:51Because our clothes
10:52are even more expensive
10:54and our shoes are all imported.
10:56There were groups before.
10:58And then it went up to 75
11:00and then 150.
11:02I don't know if there's still 150 now.
11:05I hope there's no more.
11:07I hope there's no more.
11:09And before,
11:10it's super costumic.
11:12You just don't dance on TV with it.
11:14Do you wear costumes?
11:16Do you answer to the questions?
11:19It depends.
11:20Sometimes, there's a sponsor.
11:21Mike, Mike.
11:22I have one.
11:23Oh, sorry.
11:27It depends.
11:28Sometimes, there's a sponsor.
11:29Sometimes, it's from us.
11:30It's our investment.
11:31Sometimes, it's from us
11:32being late.
11:33Because we have a fine.
11:34That's where we get
11:35our costumes.
11:36Fetishism.
11:37Fetishism.
11:38Fetishism.
11:40It's not just the body
11:41that's important.
11:42It's also the appearance
11:43that's important
11:44in a dance.
11:45That's why,
11:46what you're about to see
11:47on your face
11:48is already cute.
11:49Friends, please welcome
11:50the big man.
12:00I've got feelings, too.
12:03And I need to do
12:05what I feel like doing.
12:07So, let me go
12:09and just listen.
12:10All you people
12:11look at me
12:12like I'm a little girl.
12:14Well, did you ever think
12:15it'd be okay
12:16for me to step
12:17into this world?
12:19Always saying,
12:20little girl,
12:21don't step into the club.
12:23Well, I'm just trying
12:24to find out why
12:25because dancing's
12:26what I love.
12:27Oh, yeah.
12:28Get it, get it,
12:29get it, get it,
12:30get it, get it,
12:31get it, get it,
12:32get it, get it,
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13:47get it, get it,
13:48get it, get it,
13:49Mike, Mike.
13:51Especially in a concert.
13:53Well, sometimes the movements are really hard,
13:55along with the tension.
13:58So, you just have to endure it.
14:01You'll do it.
14:02Just smile at the camera.
14:03Even deep inside,
14:04your muscles are already shaking.
14:07Did something happen to you?
14:09Did you get injured while you were dancing?
14:12A lot.
14:13A lot.
14:14A lot of cases.
14:15When you were dancing,
14:16you suddenly fell.
14:17You didn't stretch,
14:18you fell.
14:19Yes.
14:20Who among you
14:21experienced that?
14:23You can't breathe while dancing.
14:27There, Mike.
14:28Oh, my butt.
14:30My butt.
14:34It's too,
14:35what is it,
14:36because of tiredness?
14:37Sweating.
14:38Sweating.
14:39Sweating will dry up.
14:41What about you, boys?
14:42We,
14:43in rehearsals,
14:44that's how it is.
14:45We can't do tumbling,
14:46we can't do stretching.
14:47So, there are roots that get stuck.
14:49Those that get stuck.
14:50So, there.
14:51It hurts.
14:52To us too.
14:53To us too.
14:54Tuhud.
14:56To us too,
14:57there are people who get it,
14:58like Rene and Jonjon.
15:00Hey,
15:01I was with you while dancing.
15:02Did you fall?
15:03What happened to you?
15:04Did you get stuck?
15:05What is it?
15:06No, no.
15:07I left my tuhud.
15:08You left your tuhud, right?
15:09Or something to that effect.
15:10I bought a new one.
15:12He brought an Asian one.
15:15Here, Uncle Jalil.
15:16Yes.
15:17Since you already danced,
15:19and now you're a choreographer,
15:21is it important for a dancer
15:23to have a beat in his body?
15:25He knows when to jump.
15:27Timing.
15:28It's really important.
15:30You should have a rhythm.
15:32And your creativity,
15:36you should be very creative
15:37on how you're going to do your steps.
15:39And there's a certain gift
15:42that God has given a choreographer,
15:44it's the ear.
15:45There are times when a choreographer
15:47hears what they don't hear
15:50in beats.
15:52That makes one choreographer
15:54a good one.
15:55Like sometimes,
15:56you just hear the 1, 2,
15:58ta, ta, ta, ta, ta.
16:00A good choreographer,
16:02just like him,
16:04this is really him.
16:06That's my loves.
16:08His ears,
16:101, 2, ta, boom, pa.
16:13There's even more.
16:151, 2, 3, 4.
16:16There's more.
16:17There's more.
16:18All the sounds,
16:19all the sounds you hear,
16:22your co-dancer will be surprised.
16:25Yes, that's right.
16:27Let's add a beat there.
16:29Like in hip-hop especially,
16:32it's very different
16:33from the dance of modern dancing.
16:35What's the difference?
16:37The beat is even faster.
16:39It goes double, triple the beat.
16:41Like that?
16:42Yes.
16:43You went to Morolandes?
16:46That's where my son went.
16:48He can tell you more
16:50about how difficult it is.
16:52Now, it's more in hip-hop jazz.
16:54Before, it was just hard-core hip-hop.
16:58When I studied there,
17:00I saw that it's really different.
17:02It's really flexible.
17:04The dancers there are really flexible.
17:07They do ballet and hip-hop.
17:10You can't explain their movements.
17:12In short, it's more difficult.
17:14It's like that, right?
17:15It's really difficult.
17:16Let's have a sample, Mika.
17:18Let's have music there.
17:24No music?
17:25Music.
17:26Music.
17:27Let's remove the label.
17:29Mika will dance.
17:30Let's have music there.
17:32There, music.
17:34Okay.
17:37Take.
17:38Music.
17:39Take.
17:40Music.
17:415, 6, 7, 8.
17:48That's good. No music.
17:53Alright.
17:55Wow!
18:00That's good.
18:05The choreographers are really good at tempo.
18:09It's really important to synchronize
18:12when you turn around.
18:15How do you synchronize?
18:20That's really helpful.
18:22I have nice words for manoeuvres.
18:24They really work very hard.
18:26They make sure to synchronize.
18:28I've seen them work very hard.
18:30Their love for their craft.
18:33They really enjoy dancing.
18:36What do you do when you can't synchronize?
18:41Sometimes, I get angry.
18:43It's like my head gets hard.
18:45But of course, it has to be good.
18:48You have to tap each other.
18:50How do you synchronize when you can't do it at the same time?
18:55Ate Joy is checking on us.
18:58You have a choreographer who checks on you?
19:02They're afraid of that.
19:03So, they have to do anything.
19:05Even if it's a tumbling, they have to do it.
19:09Okay.
19:10When does it become art?
19:12And when does it become sexy or cute?
19:16For you, the girls.
19:18Because sometimes, when you're dancing,
19:23your portion is just cute and sexy.
19:27So, when can you say,
19:29what we're doing now is just sexy?
19:31We need to make it art.
19:33We have to be creative.
19:34When it comes to music,
19:36if the music is sexy,
19:38you have to do sexy steps.
19:40If they say it has to be sexy,
19:43that's what we'll do.
19:45Actually, sometimes, it depends on the music.
19:47It's hard if you don't feel the music.
19:52How do you know the steps?
19:55How do you know the steps?
19:57Do you have a recall?
19:58Do you know what to do?
20:01I don't know.
20:04I don't know.
20:05All these years,
20:06Didn't you have a body dancer?
20:08A body dancer.
20:09Rico Mambo.
20:11All through all.
20:12What's that?
20:14Butterfly.
20:15Shalala.
20:16Shalala.
20:17That's my favorite.
20:20It's simple.
20:21I think it's because,
20:23the people,
20:25Filipinos just like to dance.
20:27When I watch it on TV,
20:29you have a very cute step,
20:31simple that they can follow.
20:32I think that's the thing that makes it a hit.
20:35That's the secret,
20:36being very commercial.
20:38Aside from the fact that the music has to be good.
20:41It works together, hand in hand.
20:43Okay.
20:44Okay.
20:45Every dancer has their own steps,
20:47and their own sound.
20:49It's like when you hear the music,
20:51the dancer can immediately imagine the audience.
20:54But we can't erase it from our minds,
20:56when we hear,
20:57the sex bomb,
20:59sex bomb.
21:00This woman,
21:01is the one we're always waiting for.
21:03Boom.
21:04Sex bomb girl.
21:06Let's go.
21:15♪
21:31Angelina, baby, please
21:33Please, baby, be mine
21:35Angelina, do your cha-cha
21:37Forget all about the time
21:39Sign your name across my heart
21:41Honey, ain't that smart?
21:43Angelina
21:45Ready, steady, start
21:46We can cha-cha on the floor
21:48We can cha-cha on the couch
21:50Baby, we can cha-cha
21:52All around my house
21:54We can cha-cha in the night
21:56Cha-cha till two
21:58And if you cha-cha me
22:00I have to cha-cha you
22:02Angelina
22:03Angelina, Angelina
22:05Hold my sweet señorita
22:07Señorita, Angelina
22:09I bet that we sweat
22:10Angelina, Angelina
22:12Be my señorita
22:17Angelina
22:18Angelina, Angelina
22:20Hold my sweet señorita
22:22Señorita, Angelina
22:24I guess you say yes
22:26Angelina, Angelina
22:28Be my señorita
22:33Ow!
22:34Hey!
22:49Of course, in a group,
22:50everyone has different personalities.
22:52I'm going to ask you, big men,
22:53who is the most moody one?
22:55Him! Him!
22:56Oh, you too?
22:58What's that?
22:59It's all up to you.
23:00Don't worry.
23:01Why are you moody?
23:02Why is he moody?
23:03What does he do?
23:04Does he make you mad?
23:05Sometimes, we don't know
23:06as long as he's quiet.
23:08His head is hot.
23:09It's not hot,
23:10as long as he's quiet.
23:11There.
23:12Why is he like that?
23:13Maybe, that's it.
23:14I don't know, girlfriend.
23:15Maybe, you think of everything.
23:17I do think of everything.
23:18Oh, you're emoting
23:19so that they'll be afraid of you.
23:21You're already in an attitude.
23:22I know them already.
23:24Who is always late?
23:26Me.
23:27Me.
23:28Me.
23:29Me.
23:30Who is always late?
23:31It's you.
23:33I'm really late
23:34in the SOP.
23:35Hello, lady.
23:36Why are you late?
23:37James.
23:38So, how many
23:39do you have in your petty cash?
23:40Oh, I have a lot.
23:41Six.
23:42Actually,
23:43all of our costumes
23:45are from me.
23:50I also feed them sometimes.
23:52And the girls?
23:54Who?
23:56It's always me.
23:58Who dominates
23:59the most?
24:01Who dominates the most?
24:02Who's the boss?
24:04It's her.
24:05It's safe.
24:06Here it is.
24:07Who's the last one
24:08to get the balls?
24:09It's me.
24:13It's me.
24:14Who's the last one
24:15to get the chips?
24:16Who's the last one
24:17to get the chips?
24:18It's me.
24:19It's me.
24:22It's me.
24:23It's me.
24:24It's me.
24:25It's me.
24:28Are you okay?
24:29Who's the last one
24:30to get the chips?
24:31It's me.
24:32Why?
24:33Really?
24:34It's a hard rub.
24:35It's a hard rub.
24:36It's a hard rub.
24:37I'm blushing.
24:38I'm blushing.
24:39I'm blushing.
24:40Who's the best
24:41at recalling steps?
24:44It's her.
24:45It's her.
24:46It's her.
24:47It's her.
24:51Just one.
24:52Just one.
24:53It's James.
24:54James?
24:55Do you know why?
24:56Why?
24:58Why?
24:59It's his memory card.
25:00No, it's not.
25:06Because,
25:07it's because,
25:08it's because,
25:09it's because,
25:11If you have a direct answer,
25:12if you have a direct answer,
25:13just give us a pause.
25:14Because the people who said that
25:15are old people.
25:17Oh, my.
25:18Oh, my.
25:19That's a lot of brains.
25:20That's a lot of brains.
25:22I don't have any more brains.
25:25So, girls,
25:26who's the best at recalling steps?
25:28It's Cherry.
25:29It's Cherry.
25:31So, you're the first ones
25:32who remember.
25:33You're the ones who teach
25:34John's friends.
25:37Who's here?
25:38It's me.
25:39You?
25:40It's me.
25:42He's always the one
25:43who's always wrong.
25:45Here, here, here.
25:46Here, Uncle Jelin.
25:47Uncle Jelin,
25:48of course,
25:49how many groups did you hold?
25:50I don't remember.
25:51I don't remember the number.
25:52Are there any intrigues?
25:56Quiet, please.
25:57There are.
25:58There are also.
25:59Sometimes,
26:00the dancers,
26:01that's what they should avoid.
26:03I'm famous with you.
26:04For example, my group.
26:06I'm more famous with you.
26:07I have more fans than you.
26:09Things like that.
26:10Of course, as a group,
26:12you all have to have one goal.
26:15Yes.
26:16Sometimes, that happens.
26:17Because sometimes,
26:18like that,
26:19you have to chase after the girls here.
26:21You have to avoid the ones with big heads.
26:23Right?
26:24So that your unity
26:26will last.
26:27There.
26:28Or,
26:29I'm better at dancing here
26:30than there.
26:31I'm better at dancing.
26:32There should be no such thing.
26:34So that the group can last
26:36for a long, long time.
26:37Exactly.
26:38So that is the key.
26:39The key.
26:40Together,
26:41like siblings.
26:43How important is the image
26:45or the figure
26:46to the dancers?
26:48Before,
26:49you were so tall.
26:50Right, Janice?
26:51Yes.
26:52Right?
26:53Your aunt has a waistline of 22.
26:54Game.
26:59Madam,
27:00do you still work out?
27:01Do you still have time to work out?
27:04Hey, first time.
27:05What?
27:06First time.
27:07How was your first time?
27:08First time.
27:09It hurts.
27:10It hurts.
27:11Now,
27:12what?
27:13Weekends only.
27:14There's a weekend.
27:15There's a Saturday.
27:17Sometimes,
27:18if I have time,
27:19I work out.
27:27Oh my God.
27:28What is that?
27:29Of course,
27:30for girls,
27:31you need to be sexy forever.
27:32Right?
27:33Do you still go to the gym?
27:34Aside from your dancing?
27:36After.
27:37Gym.
27:38Huh?
27:39We have jazz lessons.
27:40Oh, you have jazz lessons.
27:42So that your body
27:43becomes softer.
27:44Correct.
27:46So,
27:47that's their fitness
27:48when they dance.
27:49Do you dance almost every day?
27:51Almost every day.
27:52Almost every day.
27:54Don't you get tired?
27:56Don't you get tired of dancing?
28:00Do you still go to the disco?
28:01There.
28:02When it stops,
28:03do you still dance?
28:04Do you still have time?
28:07Do you still go to the disco?
28:10Counter-strike is the game.
28:12Ah, counter-strike.
28:14Do you still go to the disco?
28:16Just to sleep?
28:18Basketball.
28:19Basketball.
28:20Ah.
28:21Do you still have energy
28:22to play basketball?
28:23If there's really time,
28:24we really dance.
28:25Michelle,
28:26I have a question for you.
28:27Do you love Bossing?
28:30Bossing?
28:34I don't know the story.
28:35Hey,
28:36she's just laughing.
28:42Do you still love Bossing?
28:43Do you still love Bossing?
28:44Do you still love Big Soto?
28:47Just an example.
28:48Just an example.
28:50What kind of call card is that?
28:53Why?
28:54Why did you have sex with Bossing?
28:55All of us.
28:56All of us.
28:57Ah, I see.
28:59I wish we were there.
29:01Okay,
29:02hurry up.
29:03Well,
29:04we know that a lot of kids
29:05or your children,
29:06our sisters,
29:07dream to be dancers.
29:09Oh,
29:10can you last
29:11this kind of profession?
29:12But these guys
29:13have already proven it.
29:15That's why we're familiar
29:16with the group
29:17where we can say,
29:18it's time.
29:20Who else?
29:21Manoeuvres.
29:42I'm here.
29:43I'm here.
29:44You get it,
29:45what you see,
29:46what you're trying to see.
29:47You want to say goodbye.
29:48Be with me all the time.
29:49All the time.
29:50So you know.
29:51So you know.
29:52So you just can't get it by.
29:53You tell all your friends.
29:54You tell all your friends.
29:55Don't let me worry about this.
29:56Don't let me worry about this.
29:57Don't let me worry about this.
29:58Don't let me worry about this.
29:59Don't let me worry about this.
30:00Don't let me worry about this.
30:01Don't let me worry about this.
30:02Don't let me worry about this.
30:03Don't let me worry about this.
30:04Don't let me worry about this.
30:05Don't let me worry about this.
30:06Don't let me worry about this.
30:07Don't let me worry about this.
30:08Don't let me worry about this.
30:09Don't let me worry about this.
30:10Don't let me worry about this.
30:11Don't let me worry about this.
30:12Don't let me worry about this.
30:13Don't let me worry about this.
30:14Don't let me worry about this.
30:15Don't let me worry about this.
30:16Don't let me worry about this.
30:17Don't let me worry about this.
30:18Don't let me worry about this.
30:19Don't let me worry about this.
30:20Don't let me worry about this.
30:21Don't let me worry about this.
30:22Don't let me worry about this.
30:23Don't let me worry about this.
30:24Don't let me worry about this.
30:25Don't let me worry about this.
30:26Don't let me worry about this.
30:27Don't let me worry about this.
30:28Don't let me worry about this.
30:29Don't let me worry about this.
30:30Don't let me worry about this.
30:31Don't let me worry about this.
30:32Don't let me worry about this.
30:33Don't let me worry about this.
30:34Don't let me worry about this.
30:35Don't let me worry about this.
30:36Don't let me worry about this.
30:37Don't let me worry about this.
30:38Don't let me worry about this.
30:39Don't let me worry about this.
30:40Don't let me worry about this.
30:41Don't let me worry about this.
30:42Don't let me worry about this.
30:43Don't let me worry about this.
30:44Don't let me worry about this.
30:45Don't let me worry about this.
30:46Don't let me worry about this.
30:47Don't let me worry about this.
30:48Don't let me worry about this.
30:49Don't let me worry about this.
30:50Don't let me worry about this.
30:51Don't let me worry about this.
30:52Don't let me worry about this.
30:53Don't let me worry about this.
30:54Don't let me worry about this.
30:55Don't let me worry about this.
30:56Don't let me worry about this.
30:57Don't let me worry about this.
30:58Don't let me worry about this.
30:59Don't let me worry about this.
31:00Don't let me worry about this.
31:01Don't let me worry about this.
31:02Don't let me worry about this.
31:03Don't let me worry about this.
31:04Don't let me worry about this.
31:05Don't let me worry about this.
31:06Don't let me worry about this.
31:07Don't let me worry about this.
31:08Don't let me worry about this.
31:09Don't let me worry about this.
31:10Don't let me worry about this.
31:11Don't let me worry about this.
31:12Don't let me worry about this.
31:14Quiet!
31:16It's like I'm a teacher.
31:18We all know that dancing is not yet a thing.
31:21In fact, some of these dancers
31:25ventured into showbiz.
31:27Aside from dancing, what else do you do?
31:36Basketball and Counter-Strike.
31:39What about your jobs?
31:44I can't think of anything.
31:45Who else is an artist?
31:50This is Joshua and Jason.
31:52Who else?
31:54Arman.
31:58The four of us.
31:59You're all artists.
32:01We're all extras.
32:03Do you like that?
32:04Or are you all just dancers?
32:06We're just trying.
32:08Just trying?
32:09If you can, why not?
32:14How about you, Junisse?
32:15What helped you become a dancer?
32:19Aside from dancing.
32:21We're still young.
32:23We're still young in terms of confidence.
32:31For those who have been dancing for a long time,
32:35what do you think of dancing?
32:39Now that I have a teenage son,
32:45before, I was shy.
32:48I would throw cassettes.
32:50We heard about that.
32:52I was too strict.
32:53But now that I'm their age,
32:56I have more understanding of young people.
33:01I have more patience.
33:08I have more love.
33:10It's not teach for the money,
33:12but teach for them to learn.
33:14You want to share more.
33:16You should share more.
33:18Even with regards to praying with God.
33:22You don't forget to pray before you do it.
33:24Like in other words,
33:25you're already a mother.
33:27Correct.
33:28You can't be a mother because you're still up to date.
33:30You should.
33:31Because you have a career.
33:33Rochelle, what helped you girls?
33:36What helped you dance?
33:38Financial dare.
33:40Financial!
33:41That's a good one.
33:42Of course.
33:47Do you think there's a time frame for becoming a dancer?
33:52Yes, there is.
33:53Why?
33:54It slows you down.
33:56Yes, there is.
33:57It slows you down?
33:59Yes.
34:00When you reach 30,
34:02it slows you down.
34:04So, you should follow a workout.
34:06But if you don't pass 37, 40,
34:08it's hard to dance.
34:10That's enough.
34:11You should find another job.
34:13Is that so?
34:14Yes.
34:17When do you think we should say,
34:20we can't do this anymore?
34:22When do you think you should say that?
34:24Maybe when you look different.
34:26For example,
34:27you feel down,
34:29you look mature,
34:31but you can't dance properly.
34:33So, you should rest.
34:35You'll feel down.
34:36You'll get tired.
34:40Sometimes,
34:41in the States,
34:43the more you age,
34:45the more you mature,
34:46the higher your fee,
34:48and the more respected you are.
34:51Really?
34:52Is that so?
34:53Maybe,
34:54because you're mature,
34:55that's why you're good at dancing.
34:57Also,
34:58from a dancer,
34:59then you jump into being a choreographer.
35:02And then,
35:03you jump into being a dance director.
35:06These are the three levels that you have.
35:08Not just a dancer.
35:09Although I'm already 50,
35:10I'm still a dancer.
35:11You jump into a choreographer,
35:13then to a creative director,
35:16and then to a director.
35:21Okay, for everybody.
35:24What do you want to be remembered by?
35:28Silence.
35:29Silence.
35:30Is this a drama?
35:32They're thinking that it's quiet.
35:34Why are you silent all of a sudden?
35:36The question is scary.
35:41They're scoring the sex bomb dance.
35:43No.
35:44Let's reward the question.
35:45What do you want?
35:46We want to be remembered
35:47as a very professional dance choreographer.
35:51But,
35:52we're not just a choreographer.
35:55We're dancers.
35:56But,
35:57this is not just about our batch.
35:59This will continue.
36:01Because,
36:02our boss,
36:03Wingard,
36:04is training us
36:05to venture into managing.
36:07So,
36:08apart from this,
36:09there will be more maneuvers.
36:11You'll see new faces.
36:13Like that batch.
36:15So,
36:16that's what will happen there.
36:1850 years,
36:1960 years,
36:20there will still be that.
36:22That's why we're here.
36:24You're a Rochelle.
36:26What?
36:27There.
36:29I hope we'll have children.
36:32What do you want people to remember you as?
36:34Sex bomb.
36:42We're happy.
36:43We're happy.
36:44You're happy.
36:45You're the happy ones who shout,
36:47Fight!
36:48Fight!
36:50Baby.
36:51That too.
36:52So,
36:53we'll be professional.
36:55We'll be professional.
36:56And,
36:57the banding group.
36:58You're the big men.
36:59Their banding is amazing.
37:02You three groups,
37:03seriously,
37:04do you think
37:06you have enough unity in your group
37:08to last longer and longer?
37:14For us,
37:15it's not about being arrogant or what.
37:18Maybe,
37:20the group is still 15 years old.
37:22It's rare for a male dance group
37:24to last that long.
37:26To be together.
37:27To be together.
37:28Especially because
37:29they have their own
37:32family,
37:33and their future plans are different.
37:35Especially when it comes to money.
37:36Usually,
37:37that's what divides the group
37:39when it comes to money.
37:41But for us,
37:42we only have one goal.
37:43We only have one thing we want.
37:45So,
37:46it became as one.
37:47So, until now,
37:48boy.
37:49But, of course,
37:50we encourage them
37:51to have
37:52sidelines aside from dancing.
37:54So,
37:55some of our seniors,
37:56especially,
37:57they have a small business.
37:58And they still dance.
38:00So, we still maintain that.
38:02You still want to dance.
38:04You want to be seen dancing.
38:06For the love of dancing,
38:07at the same time,
38:08you're still doing something.
38:09Because of the need to dance.
38:10Yes, you're still doing something.
38:11Yes.
38:12So, that's the full feeling for us.
38:14For example,
38:15you have a job,
38:16and you're still dancing
38:17and that's your love.
38:18So, you're doing two things at the same time.
38:20That's really the full feeling.
38:22So, there's a pursuit.
38:24There's a pursuit.
38:25We also hold sessions,
38:26like once a month.
38:27So,
38:28if one is in a bad mood,
38:29the other is happy.
38:31We ask everyone
38:32so that we can understand each other.
38:35Things like that.
38:36So,
38:37we also implement
38:38that you need to have humility.
38:40You need to be humble.
38:42And we rely on God.
38:44We also have a cell group.
38:46Jason is leading.
38:47I'm leading Hansie Noel
38:48and our pastor.
38:49So,
38:50to be on fire with God
38:52and he rules the group.
38:54He's at the center of the group.
38:56Yes.
38:57I have an advice for the girls.
38:59Go ahead, for the girls.
39:00Don't fall in love.
39:02Yes.
39:03Too much.
39:04Too much?
39:05Yes.
39:06If you have a career,
39:08and you want to extend your career,
39:10don't fall in love too much.
39:12You know,
39:14because
39:15girls are the ones
39:16who fall in love easily.
39:17Yes.
39:18That's right.
39:19You're correct.
39:21And the boys are not.
39:22Yes.
39:24Okay.
39:25Thank you, everybody.
39:29And,
39:34are you going to plug the shows?
39:36Yes.
39:37Auntie Jolene.
39:38Watch SOP,
39:40the number one variety show.
39:42Yes.
39:44Directed by
39:46the
39:48where is it?
39:49Directed by the one and only
39:52Louie Ignacio.
39:54Yes.
39:57Okay.
39:58Jenny and I have been together for a long time,
40:00but we haven't danced yet.
40:01So,
40:02we'll just try.
40:04We'll just try to teach Miss Jenny.
40:07Yes.
40:08I hope we can do it.
40:09Go, go, go.
40:10That's it.
40:11Take it off, Auntie Jolene.
40:13I'll talk to you later.
40:16Let's do the warm-up of hip-hop.
40:18Yes.
40:19Warm-up.
40:20Do you know what we did earlier?
40:22Can't we do this?
40:24Let's just borrow the mic.
40:30Auntie Jolene.
40:32The viewers want to learn
40:35hip-hop.
40:36We'll just teach you the warm-up.
40:37But it looks like a dance, okay?
40:40These two are good.
40:42Before.
40:43Before, they know how to dance.
40:44Now, they don't.
40:45Okay.
40:46So, what is this?
40:47Does it have to take long?
40:49Or what?
40:50Short line, Auntie Jolene.
40:51Short line? Okay.
40:52We're moving.
40:53When you do hip-hop, you're a bit loose.
40:55Okay.
40:56Loose.
40:57And then loosen up also your knees.
40:59Okay.
41:00We'll do right step to the right,
41:03then we go to the left.
41:04Okay, you go.
41:05Ah.
41:06Ah.
41:08Ah.
41:09Ah.
41:10Now, you bounce.
41:11Bounce.
41:12Bounce.
41:13Bounce.
41:14Bounce.
41:15Bounce.
41:16And one.
41:17Keep on bouncing.
41:19Bouncing.
41:20Bounce.
41:23Again, again.
41:25Five, six, seven, and.
41:28Hey, then one.
41:30Bounce.
41:31Bounce.
41:32Bounce.
41:33Bounce.
41:34Walk forward and.
41:36Two, three, and.
41:38Back, two, three.
41:40Huh!
41:41One, two.
41:42Three, huh.
41:43One, two.
41:44Bounce to the right.
41:45Dance.
41:46Dance.
41:47Dance.
41:48Dance.
41:49Dance.
41:50Dance.
41:51Dance.
41:52Dance.
41:53Dance.
41:58Okay, quiet.
42:00They're the ones who give life to the blackboard.
42:02They're being asked and pushed because of their great dancing.
42:05Five, six.
42:06Wait.
42:07It's not done.
42:08They are one of the important elements that gives joy to the viewers.
42:14K? K!
42:16Ready?
42:17Ready!
42:19How?
42:20How do you do that?
42:221, 2, 3, 4, 5, 6, 7, 8!
42:38Sexy, sexy, pretty little thing.
42:40This paper picture got me sprung with your tongue ring.
42:42And I ain't gonna lie, cause your lovin' gets me high.
42:44So to keep you by my side, there's nothin' that I won't try.
42:47Butterflies in our eyes, you know what's to kill.
42:49I'm talkin' facts and facts, don't you miss me little?
42:52Cause I can see my parents steal.
42:54The only thing I really know is she got sex appeal.
42:56I can feel it.
42:57Too much is never enough.
42:58You always have to give me up when these times get rough.
43:01I was lost, now I'm found.
43:02Ever since you been around.
43:03You the woman that I want, so you know I'm puttin' it down.
43:06Come, my lady, come, come, my lady.
43:08You're my butterfly, sugar, baby.
43:10Come, my lady, you're my pretty baby.
43:12I'll make you electric, you make me go crazy.
43:15Come, my lady, come, come, my lady.
43:17You're my butterfly, sugar, baby.
43:19Come, my lady, you're my pretty baby.
43:21I'll make you electric, you make me go crazy.
43:24Come, my lady, come, come, my lady.
43:26You're my butterfly, sugar, baby.
43:28I'll make you electric, you make me go crazy.
43:31Come, my lady, come, come, my lady.
43:33You're my butterfly, sugar, baby.
43:35I'll make you electric, you make me go crazy.
43:37Come, my lady, come, come, my lady.
43:39You're my butterfly, sugar, baby.
43:41I'll make you electric, you make me go crazy.
43:44Come, my lady, come, come, my lady.
43:46You're my butterfly, sugar, baby.
43:48I'll make you electric, you make me go crazy.
43:51Come, my lady, come, come, my lady.
43:53Come, my lady, come, come, my lady.
43:55You're my butterfly, sugar, baby.
43:57I'll make you electric, you make me go crazy.
43:59Come, my lady, come, come, my lady.
44:01You're my butterfly, sugar, baby.
44:03I'll make you electric, you make me go crazy.
44:05Come, my lady, come, come, my lady.
44:07You're my butterfly, sugar, baby.
44:09I'll make you electric, you make me go crazy.
44:11Come, my lady, come, come, my lady.
44:13You're my butterfly, sugar, baby.
44:15I'll make you electric, you make me go crazy.
44:17Come, my lady, come, come, my lady.
44:19You're my butterfly, sugar, baby.
44:21I'll make you electric, you make me go crazy.
44:23Come, my lady, come, come, my lady.
44:25You're my butterfly, sugar, baby.
44:27I'll make you electric, you make me go crazy.
44:29Come, my lady, come, come, my lady.
44:31You're my butterfly, sugar, baby.
44:33I'll make you electric, you make me go crazy.
44:35Come, my lady, come, come, my lady.
44:37You're my butterfly, sugar, baby.
44:39I'll make you electric, you make me go crazy.
44:41Come, my lady, come, come, my lady.
44:43You're my butterfly, sugar, baby.
44:45I'll make you electric, you make me go crazy.
44:47Come, my lady, come, come, my lady.
44:49Get, get out!
45:01Good evening!
45:03Yeah!
45:05Good morning!
45:07Good morning to all of you!