1 Filipino Escapism: Deconstructing the Karaoke as a Simulacrum of Escape Nikki May A. Rivera University of the Philippines narivera1@up.edu.ph Introduction The perpetual state of the Philippines as an underdeveloped country, with its underside economic progression, makes the Filipinos skeptical towards a fast and convenient economic mobility. The livelihoods of most citizens do not satiate their needs as the minimum wage of a factory worker does not even suffice for a family of three. In everyday reality, the consumer society consumes more than what is needed of his/her demands. Such mismanagement in resources causes deficits which can eventually lead to scarcity. The strong desire to escape the believed everyday reality of the masses stems from societal tensions. Such tensions can be socio-political or socio-economic factors that materialize from the capitalist inclination of the country. The aspired high modernity, which only favors the elite class of the Philippine society, thrusted the lower class behind the height of advancements. Inability to subvert from this type of society prompts the masses to stir away from the idea of subversion and instead resort to escapism which according to Peter Vorderer, is an act of “leaving the reality which they live in a cognitive and emotional way due to unsatisfying life circumstances” (311). One of the most common escapist strategies used by Filipinos in veering away from the hardships of life is the act of singing. Being fond of melodic artifacts, Filipinos treat singing as a medium for acquiring the state of well-being which most, if not all, members of the lower and working class are deprived of–at least of their subjective semantic appropriation and material aspirations of ‘well-being’. The popular notion that singing certainly ameliorates stress is very much welcomed by the masses as the act of belting high notes and humming tunes are considered congenial alleviating activities for oneself. The simulation that is singing is normalized by the innovation of the Karaoke machine. The karaoke is a simulacrum that is widely considered as a medium of escape propelled by its exhibition of the narratology of sexualized women, mythology of euphoric drinking, and its popularization of the My Way syndrome which have been treated as hyperrealities by the masses. Karaoke Machine The advancement in technology paved the way for digital and virtual simulations which provide different hyperreal experiences to the masses. Karaoke is only one of the many commodities that create a representation of hypersignified existence. The machine offers a simulation of enjoyment and celebration legitimized by performances. Such performative activities conceal the real act of singing where the idea of role-playing, according to Adams, is “satirized revealing the simulated character of acting”. The performance, she added is, is the hyperreality that is being simulated (510). The songs, the microphone, the melody, the speakers, and the score-gaming aspects of the karaoke are the contributing factors that