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Swift stays on top but ‘Flower Moon’ impresses on North America screens
The new Taylor Swift concert movie held on to the top spot in North American theaters this weekend, but the history-based crime epic "Killers of the Flower Moon" had an impressive debut -- the best for a Martin Scorsese film since 2010. "Taylor Swift: The Eras Tour," distributed by AMC Theaters, took in an estimated $31 million for the Friday-through-Sunday period, industry watcher Exhibitor Relations said Sunday. That pushed the two-week domestic total for the film, which includes scenes from three of the pop superstar's concerts to $129.8 million. It is now the only concert film ever to top the box office for two straight weekends, Variety reported. Meantime, Scorsese's new film had a strong debut -- particularly given its three-and-a-half-hour runtime, its upcoming release on streamer Apple TV+, and the inability of stars Robert De Niro and Leonardo DiCaprio to promote it as the actors' strike continues -- taking in $23 million. "Reviews and audience scores are superb," said analyst David A. Gross of Franchise Entertainment Research. With a slew of award nominations expected for the director and cast (also including Jesse Plemons and Lily Gladstone), "the picture is set up for a strong run," Gross added. "Flower Moon" tells the true story of the murders of Native Americans in Oklahoma early in the last century by evildoers after their oil rights. In the third spot for the weekend, down from second, was Universal's horror film "Exorcist: The Believer," at $5.6 million. Leslie Odom Jr. and Ann Dowd star in this scary sequel to the 1973 original. Fourth place went to Paramount's family-friendly animation "Paw Patrol: The Mighty Movie," at $4.5 million. Taraji P. Henson, Chris Rock, Serena Williams, and McKenna Grace voice the super-pups. And in fifth was Disney's re-release of the 1993 classic "The Nightmare Before Christmas," at $4.1 million. Danny Elfman, Chris Sarandon, and Catherine O'Hara star in Tim Burton's dark stop-motion fantasy. Rounding out the top 10 were: "Saw X" ($3.6 million) "The Creator" ($2.6 million) "A Haunting in Venice" ($1.1 million) "The Blind" ($1 million) "The Nun II" ($887,000) The post Swift stays on top but ‘Flower Moon’ impresses on North America screens appeared first on Daily Tribune......»»
Brownlee formula
The issue surrounding Justin Brownlee is a major blackeye to Philippine basketball. It is yet another heartbreaker for Filipinos, who were hoping and praying to see the national team reassert its dominance in the international arena. For the longest time, the Filipinos had struggled internationally. In the Asian Games, for instance, the Philippines emerged victorious in its first four editions — 1951 in New Delhi, 1954 in Manila, 1958 in Tokyo, and 1962 in Jakarta before suffering a string of frustrating finishes. The closest we got to the gold medal was in 1990 when the Basketball Association of the Philippines tasked the Philippine Basketball Association with assembling a team that would reclaim our Asian glory. It was a tall order at the time as the Philippines was coming off a bitter setback at the hands of Malaysia in the 1989 Southeast Asian Games in Kuala Lumpur. The BAP knew that only an Asian crown would soothe the pain of a nation craving revenge. But it didn’t happen. Coached by Robert “Sonny” Jaworski, the team bannered by Allan Caidic, Benjie Paras, Ramon Fernandez, Samboy Lim, and Chito Loyzaga surrendered to powerhouse China featuring Shan Tao and Ma Jian in the gold medal match. Eight years later, Tim Cone was given the marching orders to assemble another star-studded squad to represent the country in the Bangkok Asian Games in 1998. But like Jaworski, his bitter coaching nemesis at the time, Cone was also unsuccessful as his Centennial Team had to settle for bronze behind China and South Korea. In the next edition in Busan in 2002, hopes were high. Despite a sudden coaching change after American mentor Ron Jacobs suffered a stroke in the final stretch of preparations, Jong Uichico was still able to form a solid team that had a mix of Filipino-foreign stars like Asi Taulava, Eric Menk, and Rudy Hatfield, as well as homegrown stars like Olsen Racela, Kenneth Duremdes, and Danny Ildefonso. But fate wrote a cruel script. The Philippines was ahead, 68-66, in the final 23.9 seconds of the semifinal clash against South Korea. A victory would have sent the Filipinos to the gold medal match against China, while a setback would relegate them to a battle for bronze against Kazakhstan. Racela was at the charity stripe for a chance to ice the game and seal the victory. But he missed both free shots. In a shocking — and heartbreaking — turn of events, Korean gunner Lee Sang Min buried a long three-pointer off a broken play at the buzzer that sent the host country to the finals. The players were crushed while a river of tears flowed through the streets of Manila as the entire country couldn’t believe how merciless the basketball gods could be. Since then, Philippine basketball has been reduced to a mere footnote in Asian basketball. We bombed out of the medal podium in Doha in 2006 and Guangzhou in 2010. We even suffered international embarrassment when head coach Chot Reyes instructed naturalized player Marcus Douthit to shoot at our own basket in Incheon in 2014. In 2018, a legitimate National Basketball Association campaigner, Jordan Clarkson, came along and was billed as the hero who would save Philippine basketball. But he was unsuccessful. The Filipinos’ string of misfortunes continued as Gilas Pilipinas settled for fifth place. Then here came Brownlee, tapped to see action as a naturalized player in the Hangzhou Asian Games. The 35-year-old American was tasked to power a team already familiar to him — guys he had been playing with for more than five years. The coach — Cone — had been his mentor since he arrived in Manila in 2016 and led Barangay Ginebra San Miguel to six PBA titles while winning three Best Import honors. There was no honeymoon period to speak of. He hit the ground running. The result was impressive as Brownlee dropped 36 points to lead Gilas Pilipinas to a razor-thin 84-83 win over Iran in the quarterfinals, before dropping back-to-back three-point bombs in their miraculous 77-76 victory over host China in the semifinals. The Filipinos won their first gold medal in 61 years following a 70-60 victory over Jordan in the final, but an asterisk was attached to the victory after Brownlee tested positive for Carboxy-THC, a banned substance linked to the use of cannabis. At this point, it is unknown whether Brownlee will contest the findings or how long his possible suspension will be. What is clear is that Brownlee made a tremendous impact on Philippine basketball as he proved that the best way to win an international title is to field a naturalized player who is very familiar with the Filipinos’ style of play. Brownlee may not be as exciting and flashy as Clarkson or as tall as Douthit and Blatche, but he knows Philippine basketball like the back of his hand. It’s time for the Samahang Basketbol ng Pilipinas to create more Justin Brownlees by recruiting young foreign players who are willing to stay in the country for a longer period — not just to earn and play as imports in the PBA — but to win the hearts and minds of these basketball-crazy Filipinos. Brownlee’s professional career is in great peril, and we may not see him don the Gilas or Ginebra jerseys again. But we should always remember his most significant contribution to Philippine basketball. Nope, it wasn’t the incredible play he delivered against China or how he stood his ground against Rondae Hollis-Jefferson and the powerful Jordanians that led to the country’s first Asian Games title in 61 years. His most important contribution was the idea that to gain international success, the federation must recruit a naturalized player not based on skills, height, or popularity but on his love, respect, and dedication to the country he wishes to represent. The post Brownlee formula appeared first on Daily Tribune......»»
Woody Allen says supports 'MeToo as 50th film shows at Venice
After a critical mauling for Roman Polanski, there was a warmer reception at the Venice Film Festival on Monday for another blacklisted director -- Woody Allen -- who insisted he supported the #MeToo movement "when it's beneficial". The festival also saw the dark side of Elvis Presley with Sofia Coppola's well-received biopic of the rocker's wife, "Priscilla". But there was particular adulation for Allen's 50th film, "Coup de Chance" ("Stroke of Luck"), underlining that he is now far more popular in Europe than the United States. His first movie entirely in French is a classic Allen morality tale about love, infidelity and murder. Most reviews called it his best work in a decade, following a weak run of films from the prolific director. "I thought to myself: it's my 50th film and I love Paris so much that I'll make it in French... And then I could think I'm a genuine European filmmaker," he told reporters. The 87-year-old has been shunned by Hollywood since the #MeToo movement emerged, due to allegations he molested his adopted daughter in the 1990s, which he says were fabricated by his ex-partner Mia Farrow. He told Variety that he backed #MeToo "where it does something positive. "I read instances where it's very beneficial... for women," he said, but added: "When it's silly, it's silly." Cancelled himself The festival has drawn flak for including Allen and Polanski, who has a child sex conviction and faces other unresolved assault allegations, in its out-of-competition section. Allen's film fared far better than Polanski's slapstick comedy "The Palace", which was torn to shreds by critics after its premiere on Saturday. Set in a fancy Swiss hotel at the turn of the century, and with jokes that include a dog humping a penguin, critics called "The Palace" a "laughless debacle" (Variety) and "soul-throttlingly crap" (The Telegraph). "It beggars belief, but, at the age of 90, Polanski may have actually cancelled himself with a film that will probably never see the light of day in any English-speaking countries," wrote Deadline. American myth Meanwhile, Priscilla Presley joined Coppola on the red carpet for the biopic of her life. There were strong reviews, though many said it made disturbing viewing, showing Elvis wooing a 14-year-old when he was 24 -- "an insecure narcissist fixated on a teenage girl and unwilling to allow his young wife any independence," according to The Independent. Priscilla herself told reporters "Sofia did an amazing job", but added: "It's very difficult to sit and watch a film about you, about your life and your love." She defended their relationship, saying they"never had sex" when they were first together during Elvis's military service in Germany. "He was very kind, very soft, very loving, but he also respected the fact that I was 14-years-old," she said. Coppola won the top prize Golden Lion in Venice in 2010 for "Somewhere" -- controversially awarded by her ex-boyfriend, Quentin Tarantino. Her new film stars Cailee Spaeny ("Mare of Easttown") as Priscilla, and Jacob Elordi, famous as the heartthrob in Netflix show "Euphoria", as the rock'n'roll legend. There are 23 films competing for the Golden Lion, to be announced on Saturday. Frontrunners include "Poor Things", with Emma Stone as a sexually voracious reanimated corpse, and "Maestro", in which Bradley Cooper transforms into legendary conductor and composer Leonard Bernstein. David Fincher's "The Killer", starring Michael Fassbender as a cold-blooded assassin losing control, and Michael Mann biopic "Ferrari", were also well-received by critics. Many of the stars have been unable to attend the festival due to strikes by Hollywood actors and writers, primarily over pay in the streaming era and the potential threat of AI. The post Woody Allen says supports #MeToo as 50th film shows at Venice appeared first on Daily Tribune......»»
Magician Efren
Author’s Note. Back in my high school days, it was normal for us students to skip classes to play billiards at the “Pink House” along Katipunan Ave. across the Ateneo campus. Our dean of discipline, Mr. Vergara, whom we dubbed Garaver, would raid the Pink House regularly to round us back to the corral. So, I can rightfully say that I speak with authority on the subject of billiards. Efren can make billiards magic because he shoots with his mind, not his hands. In truth, billiards is more of a cerebral rather than a physical game, an intellectual game rather than plain geometry and angles. That is why Efren, the Magician is revered by everyone, especially global billiard pros and commentators. He would ponder silently while chalking his cue stick and his mind would be racing through complex possibilities with lightning speed before finally making his move without hesitation. Billiards is the merging of the physics of motion and momentum and the metaphysics of “feel” and psychic power. Especially in eight-ball, it requires analysis and strategy as to where to place the cue ball for the next shot, what Filipinos call “preparacion” — a Spanish word. This is the expertise of Efren the Magician, or Efren “Bata” (The Kid) Reyes, rightfully the greatest pool player in the world today, according to pool commentators and pros. He makes his “preparacion” with ease. This has made him the first non-American to win the US Open Pool Championship. TV anchors would normally predict how Efren would play his “preparacion,” but many times they would be wrong because Efren thinks out of the box. He would go for a complex three-rail bank shot with ease instead of the more obvious straight shot. Indeed, Filipino pool players, led by Efren, are noted worldwide for the unique way they play, and how they are changing the way pool is played on the global level. The great champions from Europe and America have started adopting the unorthodox way Filipinos play. There is today a radical Filipino pool culture respected in the global arena. Efren is especially noted for casually shifting from his right hand to his left to shoot, which is a unique Filipino playing style. He is an expert in masse, giving the cue ball enough of a spin to curve around or jump over an obstructing ball by hitting the cue ball at a steep angle using a shorter cue stick. Another expertise of Efren is the “safety shot,” hiding the cue ball from the target ball, if he has no open shot to make. Rather than risk a dangerous shot to pocket the ball, this defensive strategy often leaves the opponent with an impossible shot. Efren can maneuver and hide the cue ball from the target ball with ease. Efren’s charisma abroad is phenomenal. They all love the way he scratches his head when he makes a blunder. You would not know if he made a mistake or played his magic, because, either way, he has on this sheepish smile. He would giggle if he did a “tsamba,” a lucky accident of sinking a ball in an unintended pocket. He brims with humility even in his greatness. Filipinos are good at billiards partly perhaps because it is a poor man’s game, as Efren was as a kid. One can spend hours in the billiard hall. Time just melts away. It is called making “istambay,” a corruption of the English word “stand by.” Just hanging around the pool hall all day and learning lessons from the experts, like Efren did as a kid. In contrast, sports like basketball and swimming are essentially more expensive to go into. Billiards is an “easy” and “cheap” sport because it is essentially entertainment, but at the same time cerebral. It can be expensive only if you gamble. Efren is known as the richest pool player of all time. He has earned about $2 million or P100 million as of February 2023. He is in the Guinness World Records. He and Francisco Bustamante hold the records for the greatest number of victories in pool in 2006 and 2009, respectively; followed by Li Hewen and Fu Jianbo of China in 2007 and 2010, respectively. (Source: guinnessworldrecords.com) At the age of 68, Efren still has not retired. Unlike in boxing or basketball where great athletes retire early, in pool, which requires little physical effort, there are a few rare great pros who are septuagenarians. Wikipedia lists Efren’s titles and achievements at a phenomenal 137, as of this writing. The post Magician Efren appeared first on Daily Tribune......»»
Iloilo City: Bold, vibrant, indelible
The Philippines is no doubt a country with a rich and diverse history, having been colonized by the Spanish, Americans and Japanese and becoming a melting pot of cultures still evident in modern times. [caption id="attachment_175000" align="aligncenter" width="1015"] Iloilo City skyline. Photograph Courtesy Of Wikicommons/paulo Alcazaren/ Cc By-sa 4.0[/caption] [gallery columns="2" size="full" ids="175004,175005"] The influence of these colonizers left a deep imprint in the Filipinos’ heritage and culture, and the semblance of these inherited traits can be seen in Iloilo City, located on Panay Island in Western Visayas. The city faces Iloilo Strait and Guimaras Island across it, making it a natural harbor and a safe anchorage for ships. It is bordered by the towns of Oton in the west, Pavia in the north and Leganes in the northeast. Just across the Iloilo Strait in its eastern and southern coastlines are the towns of Buenavista and Jordan in the island-province of Guimaras. The metropolitan area is composed of the City of Iloilo, the municipalities of Leganes, Pavia, Santa Barbara, Cabatuan, San Miguel, Oton, the Island Province of Guimaras and its five municipalities — Sibunag, San Lorenzo, Nueva Valencia, Buenavista and Jordan. The city was founded in 1566 by Spanish explorer Miguel Lopez de Legazpi. It quickly became a major trading center due to its strategic location on the coast of the Sulu Sea. In the early days of the Spanish period, the first Manila galleons were originally constructed at the port of Oton to the west of Iloilo. The early Visayans were already constructing huge multi-masted four- to five-decked caracoas in their wars against the other kingdoms. Thus, the technical know-how to construct the first Manila galleons was a blend of Visayan shipbuilding and Spanish shipbuilding. After the defeat of the Spanish forces in the Battle of Manila Bay during the Spanish–American War, the capital of the Spanish East Indies was transferred to Iloilo, with General Diego de los Rios as the new Governor General residing in the city. A truce was declared between the American and the Spanish forces pending the negotiations of the joint commission of both warring countries in Paris, France, for the terms of peace. In the 19th century, Iloilo City became a major producer of sugar which helped further develop the city’s economy and infrastructure. Iloilo City was also a major center of the Philippine revolution against Spain. Major center of education During World War II, Iloilo City was heavily damaged. However, the city was rebuilt after the war, becoming an industrial center and its port transforming into one of the busiest in the Philippines. Iloilo City also became a major center of education, with many universities and colleges opening in the city. The next three decades saw the moderate growth of Iloilo City with the establishment of fish ports, an international seaport, and other commercial firms. Iloilo City also became the regional center of Western Visayas. In 1977, a Comprehensive Urban Development Plan for Iloilo City was approved and was adopted by the Sangguniang Panlungsod. The Land Use Plan and Zoning Ordinance was the implementing tool. However, the 1977 Plan was unable to cope with the demands of rapid urbanization. In late 1993, a multi-sectoral group prepared the 1994-2010 Comprehensive Development Plan of Iloilo City to amend the old plan and address the present and future challenges of urban development. The plan, however, was not carried pending the approval of the Housing and Land Use Regulatory Board. Today, Iloilo City is a major commercial and industrial center in the Philippines. It is also a popular tourist destination, known for its beautiful beaches, delicious food and vibrant culture. It has become a hub for trade, commerce, finance, technology, medical tourism, hospitality, real estate, tourism, education and industry in the Western Visayas region. Major industries in the city include port management, telecommunications infrastructure and utilities, banking and finance, retail trading, real estate, tourism and business process outsourcing. The local government has also provided incentives to businesses in certain investment areas, such as income tax holidays and free issuance of permits and licenses. Tourism contributes in a major way to Iloilo City’s economy. Not only is it a gateway to Western Visayas, but the metropolis itself hosts notable festivals that entice thousands of tourists annually, especially during the Dinagyang, Paraw Regatta — Asia’s oldest sailing event — and Fiesta de Candelaria festivals seasons. 'City of Love' Iloilo City’s bannered monickers like “City of Love” and “City of Mansions” and intensified local government’s programs such as the beautification of major thoroughfares in the city and building of parks have all played a role in attracting local and foreign visitors. There are myriad attractions in the city that tourists can visit — heritage landmarks, museums, art galleries, parks and restaurants, to name a few. Nightlife in the metro, with Smallville Complex as the mecca for party-goers, sees revelers out and about every night especially on Friday and weekends. Since it’s a well-known Philippine heritage city built during the Spanish era, heritage tourism also adds to Iloilo City’s charm. Centuries-old churches, old edifices and mansions of well-known Ilonggo families lure sightseers from different places who want to discover Iloilo City’s rich and glorious past. Iloilo City is also a respected gastronomic capital, with famous local dishes that have gained popularity throughout the country — La Paz Batchoy, Pancit Molo, Kansi, Laswa and KBL (Kadyos, Baboy kag Langka). In 2018 alone, Iloilo City attracted the highest tourist arrivals in Western Visayas, posting 1,242,087 total arrivals, including 1,154,550 domestic visitors, 70,787 foreign guests and 16,750 overseas workers. In 2019, it garnered an 11.59 percent increase in tourist arrivals, and in 2020, the city again achieved its target with 1.4 million tourists. The post Iloilo City: Bold, vibrant, indelible appeared first on Daily Tribune......»»
Katya Angara – The journey of a woman and artist
The promising artist that Katya is today is the latest phase in a lifelong journey that began at an early age when she began drawing characters from cartoon comics. All the while she was growing up in a home that nurtured her interest in the arts, as much as it prepared her for rigorous academic training. She read early in life, in a house filled with books. In this second part of our interview, Katya shares with us how she made a number of choices that would lead to where she is today. But once upon a time, for all that had been given to her on a silver platter, she was in a quandary as to what to do with her life. But when she finally decided on what she wanted, there was no stopping the talented and smart girl who, it turned out, possessed an intellectual prowess not unlike those of her parents, the lawyer, and senator Edgardo Angara, whose affinity for the land had been impressed on his daughter, and the lady educator Gloria Manalang Angara, who opened up her daughter’s eyes and minds to the wonders of world literature and the other arts. And it was in art that the young girl did not only find solace but also healing. Here is the final part of our interview: DT: After high school, did you immediately leave for London? KA: To be honest, and I don’t want filters here, I had mental health issues at that time. I was severely depressed. Before I went to London, I went through a tumultuous period of deciding where to go with my education. So, after Poveda, I went to Woldingham (boarding school). then I did half of my BA Psychology degree at UP Diliman from late 2000 to 2002. I loved my time at Diliman but it was a tumultuous transitional period for me, so I decided to revisit pursuing university in London. Central Saint Martins, to be precise, is one of the most prestigious and distinguished art and design schools in the world DT: Around what time was this? KA: It was in 2002. I was bouncing around like I couldn’t anchor myself to one thing. Like, okay, I’m here in London already. And then, okay I’m going to study Psychology in UP. So, what’s with the leap, the sudden jump, the sudden shift? I couldn’t make up my mind. And I think that frustrated my parents for the longest time. I was also being hard on myself because I ended up causing a lot of frustration for myself. And I think that depressed me. So, you know, I’ve been diagnosed with different things. I’m bipolar. And then, I had the hallmarks of ADHD. Let’s just say that my brain works differently DT: Well, one can never be sure about oneself. KA: No, you can never be sure about yourself. And I was questioning myself. For the longest time, all those years I thought, what’s wrong with me? Why am I making all these strange decisions? Why am I behaving this way? Why do I react to people this way?”. You know, parang I shouldn’t be talking or reacting to people like this in this kind of situation. And I’m not just saying with family or what. But with my classmates in school. What drew me to art was it being a place that has its own language e. It’s a place where I can express myself. Art is also a way of healing your own wounds. It’s also a way of revealing those aspects of yourself that you wouldn’t be able to otherwise. It really was a way of healing for me. And I didn’t even know that I needed it. Because again, I was a very quiet and introverted kid. I don’t know why. I couldn’t rely on people, talk to people the way I thought, or maybe people thought I should. So, you know, I kept to myself. I’d hide away in the library every recess or lunch. I didn’t want to talk to anyone. So, that carried on until my university years. Daily Tribune (DT): What did you finally take up in college? Katya Angara: Well, first I just wanted to do a purely art course. So, my foundation course to get me a degree was an Art and Design course. My first choice for this was Central Saint Martins, which continues to be ranked as one of the best art and design schools in the world. I was over the moon when I made it in. DT: What did you have to show to qualify? KA: I needed to show my work. I had some already since I was drawing a lot in my childhood and teenage years. DT: Your works are not the usual ones that use oil, watercolor, acrylic, and all that. KA: I was drawing mostly. And for some reason, I have always been more of a draftsman eh. I’m always more into drawing. I have more illustrating tendencies. DT: Like pen and paper? KA: Yes, pen and paper. Pencil, charcoal. I’ve always had a thing for dry media and pen and ink. It’s more about the control and the precision. That’s my personality. DT: That’s not easy ah. KA: It’s not easy. But you have an affinity for it. And your hands have to be steady. Which is unlikely for someone with pasmado hands like me. But that’s where I find my control eh. That’s why I like it so much. DT: So, what was it like when you showed your drawings at Central Saint Martin? KA: So, I showed my drawings because that was required during the interview. And so I went through the ropes. They asked questions like, "why do you want to do this course here?" DT: Your work must have been good to get you accepted. KA: They were fine. I think it was good enough. But there was a lot I had to improve on. I only knew that once I got into the school. Then, you told yourself, Ah, oo nga pala. There was so much I had to learn. That I could be taught. DT: How was your learning experience? KA: From the beginning, as a child, I always copied from cartoons. And they didn’t like that. They didn’t want to see any cartoons or anything like that. They wanted to see me. They wanted to see my work. My drawing from life. DT: So, how did you do that? It must have been challenging KA: So, I gave them the best of my life drawings. But when I showed them my other works, they weren’t happy with them. So, I learned from that. Being young, you got a bit crushed. But then, you realize it’s a different way of thinking. It’s a different way of doing things. Okay, there’s still so much to learn in terms of art. And it’s not the be-all and end of it all. And then, they said, “This is where you should be learning from.” And they showed me art books. They said, “Go to this gallery or this museum.” DT: How was it like living abroad? Back home, you were the daughter of a senator. KA: Which means nothing when you’re abroad. It meant nothing. Which I actually loved. It was something that I was looking for. Because I lived in a bubble back home. To my parents’ credit naman there’s a reason for that. I was very protected. They wanted to keep me safe and secure given my father’s position. So, I’d always lived in a bubble. I’d always have bodyguards and drivers and all that. And it just felt at times a little restrictive. DT: So, it was a welcome thing? KA: It was a welcome thing. Really, I felt different. I felt normal na parang my family name didn’t mean a thing. And that was refreshing. I could be anything I wanted to be. I could experiment and nobody would judge. Because in schools like that and abroad, especially in Europe, they’re so open-minded. They’re so liberal. DT: How were the teachers? KA: Oh, wonderful. Of course, you always have your favorites, right? Very varied. Depending also on what course you were taking up, whether industrial design or sculpture which I was horrible at when I tried it. I didn’t really get close to my tutors until I moved on to my actual degree. Funny enough, instead of ending up in a practical course. Which would have been like Fine Arts, Graphic Design, or even Illustration because I love drawing. You would think that I would end up in a more practical course like Fine Arts, Graphic Design, or even Illustration, I did a complete shift and I did a theoretical course. I did Curation, Art Criticism, and Art History. So, my training is as a curator and an art critic. DT: Wow, that was very intellectual. It’s good that you always read a lot. KA: Yes, I think that helped because you have to read a lot. You have to love reading. You have to like doing the research. And that served me well. Who would have known, right? But if you think about it, as long as you follow what you want to do in life, it just opens up even if you don’t intentionally seek it. Somehow it just finds you It just fell into place for me in that sense. This is not what I initially set out to do. But I think you have to allow yourself to change your mind. Parang whatever happens at the time, you change with it. You adjust to it. And it worked out beautifully for me. DT: So, were the teachers terrors? KA: Mabait naman sila. But they have very different personalities. My course leader was a lovely older lady who was really into Victorian arts and culture. As in, Victoriana lahat. She would tell you everything about English Victorian history. And she was very passionate about it. And you know, it involved a lot of writing and research. But my favorite tutor was someone who was writing about comic books. Comic books and Pop culture. So, for me, that was a revelation because I didn’t think you could take comics books and put them in the academe. You know, academic level like intellectual. Pwede pala e. Because he showed me a way. He took me under his wing and he showed me his work and from there I learned to write. And because I love comic books. I’m actually a huge geek. I’m a nerd, I’m a dork. DT: What was your thesis? [caption id="attachment_165427" align="aligncenter" width="463"] Roger Sabin was Katya's pop culture mentor at Central Saint Martins in London.[/caption] KA: Because I wanted Roger Sabin, my pop culture tutor, as my professor for my thesis, it was about a 1990s Japanese animated film called Ghost in the Shell 101. It was an animated film based on a very heavy graphic novel, a manga or Japanese comics, by Masamune Shirow. And for me, his work is revelatory. It wasn’t just the style of the Ghost in the Shell. And to think just one man could draw like this. I mean it was a very thick graphic novel. He could draw like that. And he wrote the story too. And to think you had the mental stamina to be able to write something like that and to draw. DT: You must enjoy doing comics. KA: Since I was a kid, I’ve made my own comic books. You know, I would sell my own comic books and people would actually buy them. I taught myself to draw in the comic book style. I learned them all. You know, there’s like Stan Lee of Marvel. DT: You really had it in you. KA: I had it in me. My love for comic books started by reading the ones my brother had collected over the years. He had a stash of them, so, I just devoured them. It was all very amazing to me. Kasi the drawings, the stories, these are worlds written by someone else. So, you have Marvel comics, DC comics, Dark Horse comics. [caption id="attachment_165417" align="aligncenter" width="2560"] With brother, Senator Sonny Angara, whose comic books she devoured for their cartoon figures.[/caption] Q: You didn’t idolize anybody? A: Well, I wasn’t particularly huge on the American comics. I think it was until I stumbled upon the Japanese comics or manga. That really piqued my interest to a degree I never felt before. Kasi it wasn’t just the style, which at first for me was very girly. I mean, I love the romantic comics. But I also felt myself leaning toward the darker stuff. DT: What did you like about Ghost in the Shell? KA: It’s a cyberpunk graphic novel. So, ang galing, ang ganda ng style. It was like, wow. You know, the sheer amount of detail that he puts into the drawings. I said I want to draw like this. I want to tell a story like this. But I don’t know if I was capable of telling if I had the stamina to tell something so intricate and complex. DT: When did you graduate? KA: In 2008. The BA in the UK is only three years. That’s why you take a foundation course. There’s a BA in Curation, and Communication, and criticism in Arts and Design. DT: I am told that you graduated at the top of your class. But you’re not telling me. KA: It sounds so funny kasi eh. Anyway, I graduated with first-class honors for my degree. So, basically, I was Suma Cum Laude in my batch in my year. So, that was what sealed the deal for me and my dad. Kasi for the longest time, I was kind of meandering. I was kind of flip-flopping. My mom knows this eh She goes, “You know Katya you have a tendency to be whimsical.” I am an artist eh, what can I do? Besides, I was young and I wasn’t sure. I knew what I wanted to do, which was to be in the arts but not where I wanted to go. I was asking myself if I had the stamina, the commitment, the fortitude to see it through. [caption id="attachment_165415" align="aligncenter" width="2560"] Katya and mom Gloria Angara, who first ignited her interest in the arts.[/caption] [caption id="attachment_165419" align="aligncenter" width="854"] Katya with her dad, the late Senate President Edgardo Angara from whom she learned to apply the principles of nature to her art[/caption] DT: College made you really bloom. KA: Yes. It was the environment. it was the people I was with. Because I was able to go into something I really enjoyed. I wasn’t just doing homework because I was told to do homework. I loved what I was doing. I was invested in it. DT: What did you do after you graduated? KA: Apart from community work, I also worked for some small galleries. I did some work for the Victoria and Albert Museum. I tried to have experiences in bigger institutions, bigger museums, and small independent galleries. I thought that experience would hone me and make me well-rounded. With the smaller galleries, I was able to practice my curatorial background. I was able to help a lot of young artists. They don’t know how to talk about their work or they’re not confident enough to do so. So anyhow, apart from helping them put together shows, I help them speak about their work. Or offer them a perspective they have never seen or thought about. And I feel that that was helping them and I think that’s where I have been able to engage with them. It was fulfilling to help them find their voice as an artist. DT: All the while, you were all alone in London? KA: I was married actually. To a Filipino who was born in the UK, in London. He’s an Englishman, for all purposes. It didn’t work out. We have a daughter. I had a beautiful little girl with him. She lives in London with her father. She’s been here. She lived here in her early years. After she was born in 2010, I decided to move back here. Then, after four years, we went back to London because it was what my husband wanted. He and my dad had a falling out. DT: When was your first exhibit? KA: Last year. Earlier, I did a group show at the Lethaby Gallery at Central Saint Martins. So, I did it with other emerging artists. My next group show was at The Crucible. But it was for a book that Sari Ortiga had commissioned me to do. He wanted to do a series of children’s books about Philippine artists. I did mine. Mine was about Anita Magsaysay-Ho. I did the illustration. It wasn’t new to me because I had been making my own books. I would staple them myself. Although up until that point I didn’t know how to really do it professionally. I found out it could be lucrative and fulfilling. This was in 2008 when I didn’t have a daughter yet. DT: Tell me about your forthcoming show. (The current show had yet to be opened). What paintings are you showing? KA: They’re not paintings, they’re not just drawings. They’re an amalgamation. They’re what you call a compendium of everything I’ve ever done as an artist. The book illustration, and then I dabbled a bit in black-and-white photography. I like the look of black and white photography. So, I do it with my phone or a simple camera. It’s also good for taking reference photos for my work. Because if you can’t sit in the park drawing people or objects, or subjects, the next best thing is you take pictures. And you can draw from those pictures. Kaya maganda siya for reference. So, my work is that, actually. DT: So, what about your subjects? KA: Well, I’m a very central person. We live in a very conservative culture. And I have subjects that would make people say ay, you know, you shouldn’t talk about that. So, there’s no filter, it’s very raw, very natural. In London, I was able to talk to people about things like BDSM or Bondage Sado-Masochism. And you know, that can get a bad rap. Because if you do it wrong, it would look strange to anyone who is not familiar with it. Among the Japanese, there is a subculture that does that. DT: Do they consider BDSM an art form? KA: There’s a particular Japanese artist whose work I used to admire. He’s a photographer. And his subject is BDSM. There were pictures of women tied up and then there were flowers and reptiles. So it was very sexual. I found myself drawn to that because there’s the element of the dark side. Carl Jung, the psychoanalyst, talked about how we have to make our unconscious conscious. The darkness in us is unconscious. And if you don’t make your darkness conscious, it’s going to come out in other ways at some point. Meaning to say, you shouldn’t repress those sides of you. I think it is a side that’s intertwined with the creative side of me. I can’t be an artist without being sensual. Without that aspect, all that would be macabre. Which brings me to my mom again. She used to chide me for reading Stephen King when I was a kid. I’m a huge Stephen King fan. She was like, “It’s so macabre, so dark.” And I’m like, “I like it, I like his work.” He’s such a skilled writer. And I like how he could take something so mundane and make it terrifying and frightening on all levels. Stephen King said that he writes two thousand words every morning. I’m not sure if I can do that. I wanted to write na rin eh because the natural partner of my art is my writing. Because as a curator, I didn’t just read. I had to write a lot. And that’s where I honed my skills. Kasi siyempre, it’s a sword that you have to sharpen every now and then. So, for the show. I did a lot of writing. I did my own writing. DT: While we're on the talk of artists, what about the Filipino artists? Who among them do you admire? Do you have any mentors and idols? KA: Among Philippine artists, Junyee is my second father and my first artistic mentor. He is my OG sage and shaman of Philippine art, the Father of Philippine Installation Art. I'm actively lobbying for him to become National Artist soon, as no one deserves it more than he does, with his magnificent oeuvre. I'll always remember how, in a fleeing moment of impostor syndrome, he consoled me by saying that making art for myself always comes first. Love the process and the rest follows. The maverick attitude is very Junyee! And yet, he lives a modest life in the forest-like setting of his home in Los Banos, echoing the nature-loving ethos of our favorite Japanese animator, Hayao Miyazaki, creator of Toroto, Nausicaa, Spirited Away, among many other magical films. Since I was a child, Junyee saw my potential and continued to push me to have my own gallery shows, as did his longtime friend and one of my other mentors, Sari Ortiga. Sari's daughter Yasmin is a good friend and batchmate of mine from Poveda. Sari owns and runs the distinguished Crucible Gallery, and he hired me to illustrate one of the children's books for his series "Growing up with Philippine art" in 2009. It's thanks to Sari that I pushed myself to evolve as an artist, to grow outside of my comfort zone. The acclaimed visual artist and sculptor Jinggoy Buensuceso is something of a bad boy du jour of the Philippine art scene, and his dissident attitude is something I can identify with. I love the unorthodox, the sensual, the macabre, the dark stuff that delves deep into the psyche. I'm so bored of the "covers" or "riffs" of the countless Amorsolo, Basquiat, Picasso, or Rothko-type artworks that I see so much of in the local art scene. As wtih Junyee and Sari, Jinggoy has taught me how to navigate the perilous seas of art and life, echoing Junyee's advice to remain myself, in a world that often pushes us to be someone else. My three mentors, by example, taught me how to be original. DT: How many are you exhibiting? How many works? KA: Now, I have 9 complete pieces. I’d like to add another one. Honestly, medyo cramming ito because I only had two months to do the show. Normally for this kind of work - especially with the big piece I am doing - it’s a seven-foot piece. I would need, preferably to be comfortable, at least four to six months to do all this work. Kasi, there is so much nicer when you give it time to compost. To come together, to become fertile. DT: Is there enough time for one more work? A: Yes. I have one more work that I want. Because I feel that it rounds it up eh. If I do ten, I love the work that I’ve already done. Again, it’s not a painting, it’s a collage. So, I’d call it a photographic collage with paper cuttings on canvas. I wanted to treat canvas in a way that is not painting DT: Shouldn’t someone curate for you? KA: For now, I’m happy to have to do it myself. Because I feel that I’m the only one who can portray myself in a way that I feel I should be portrayed. Kasi it’s art eh. You’re trying not so much to explain yourself as you’re trying to convey who you are to somebody without being obvious. That’s art. DT: Where does Stephen, your partner, come in? [caption id="attachment_165418" align="aligncenter" width="2560"] With her partner and anchor, Stephen Lu.[/caption] KA: Stephen is somewhat of an anchor for me. So, I feel comfortable, I feel more confident when he’s around. But I guess I’m okay. DT: Now, as we wind up, let’s talk about how you are like your parents and not like them. You said that your interest in the arts came from the exposure that you received from your mother, and of course, the presence of books at home. Tell me more about your father’s role in your becoming the person that you are. KA: One of my fondest memories of my father was his love of nature, gardening, and farming, which I learned from him. He was at his best and calmest when he was at his farm in Nasugbu and Baler. Whilst my father was a “man of the soil”, I learned to be an “artist of the soil”, a gardener who applies the principles of nature to my art. Hence the overlying themes of nature in my oeuvre of artwork. And the most resonant themes of philosophy (which my father also studied and applied in his life) are the themes relating to lessons learned from nature: patience, fortitude, temperance. From this I’ve become more acutely aware of life’s transience, making our time all the more precious, being grateful for small and simple pleasures, and the opportunities that come my way. The naïveté of my younger years meant that I didn’t have a complete grasp of the opportunities presented to me by my father, I took much for granted. Now I see why he did what he did, he gave me the tools to be able to achieve my full potential. Only now that I’m embracing that fire and heading in a direction that makes the most of my talents. I had impostor syndrome for the longest time. Always questioning and doubting myself. Now I can fully embrace who I am and it is cathartic. DT: In what way are you like them? KA: I have the different strengths of my parents. I’ve inherited their academic minds and cultured tastes, with an eye for detail and beauty. I have many mannerisms and behavious in common with my mum, in terms of poise and self-possession. But, she is like Audrey Hepburn and I am infinitely more of a Marilyn Monroe. Marilyn was also a very private person and something of a poet and writer. I guess it’s no surprise that I am drawn to art and writing; I am highly introspective, painfully self-aware and attuned to my moods and to the moods of others; like my Dad, I’m intuitive and know how to read people. DT: My last question is, how has art influenced you in your direction in life? And where are you going from here? KA: Being an introvert, I don’t always translate into easy social interactions with most people. So I channel it all into my art. It’s a language that best expresses my psyche, thoughts, and emotions. Working with my hands is healing and consolation for the isolation, depression, and anxiety attacks that grip me on bad days. That’s why as an artist of the soil, gardening and art go hand in hand. In the future, I can see myself tending to the land and becoming a farmer as my father was. It’s like coming home. The post Katya Angara – The journey of a woman and artist appeared first on Daily Tribune......»»
Newest Foodie paradise Down South.
Food brings people together, but it is the discovery of decadent, sinful and mouthwatering dishes that really brings people more joy and satisfaction. The opening of Mercato Centrale at the Festival Mall Alabang allows food lovers to discover new favorites and savor a wide selection of treats from budding food entrepreneurs — from crispy bagnet and Vigan-style empanadas to takoyaki balls and tender, juicy steaks. This newest foodie’s paradise in the south will run until 31 December. “Filinvest’s Festival Mall has always been very strong in supporting the growth of both businesses and communities. That’s why we are very happy to work with them,” said RJ Ledesma, co-founder of Mercato Centrale, the pioneer in outdoor food lifestyle market that was established in 2010. “We feel that the environment in Festival Mall is an ideal opportunity for us to continue our advocacy in supporting micro and small food enterprises.” [caption id="attachment_162735" align="aligncenter" width="2560"] Solid partnership (From left) Vanessa Ledesma, Mercato Centrale president; RJ Ledesma, Mercato Centrale co-founder; Mitch Dumlao, Filinvest Supermall Inc. first vice president and business unit head; and Denise Rae Lagayan, Filinvest Supermall Inc. senior assistant vice president. | Photograph by Vangie Baga Reyes for the Daily Tribune.[/caption] “On our end, we are always on the lookout for new, exciting concepts that the Mercato Centrale brings,” shared Mitch Dumlao, first vice president and business unit head of Filinvest Supermall Inc. “They are one of those key components that the mall should have and, in this kind of concept, it really brings together many people and introduce new cuisines. In fact, some of the food that they are bringing in are very local that many people from the south do not know about. It’s like a whole new dining experience for our customers.” The 15 to 20 food booths offering varied cuisines (Korean, Japanese, Indian, Middle Eastern) are strategically set up at the mall’s Water Garden Park to keep diners close to nature and breathe in fresh air while enjoying their food. Once in a while, there will be performances and fireworks to entertain diners. [caption id="attachment_162738" align="aligncenter" width="1920"] Popular Korean snacks.[/caption] “It is also experiential,” explained Ledesma. “Aside from food, we have buskers to pump up the atmosphere. There will also be regular theme events, such as cultural celebration or special barbecue night or healthy food week, so that every time you visit us there’s always a different experience with food.” He added: “It is a time for revenge spending for everybody now. People spend their money in food, travel and shopping. What we want to leverage right now is that so many entrepreneurs were created during the pandemic. We are here to give them a venue and build a platform for them to showcase their products. There is an opportunity to grow as well.” Among the featured vendors are Royal Tea Shots (coffee, milk tea and fruit tea), Mamays Ihaw (grilled dishes), City of Drinks (fruit juices), Manang Joy Empanada (hot empanadas), Bagnet Patong (rice meals), Unkle Kimz and Grub Streat (Korean food), Steak Garrage (steaks), Grid Ion (shawarma and sausage) and Supreme Hungarian (sausages). There are also nonfood items available. [caption id="attachment_162736" align="aligncenter" width="1920"] Grub Street food booth. | Photographs Courtesy of Mercato Centrale[/caption] Mercato Centrale at Festival Mall Alabang is open from 4 p.m. to 10 p.m., Thursdays to Sundays. Filinvest’s Fora Mall Tagaytay will also host Mercato Centrale from 4 September to 31 March 2024. The post Newest Foodie paradise Down South. appeared first on Daily Tribune......»»
Volcano erupts near Icelandic capital
A volcano erupted near Iceland's capital on Monday, the country's meteorological office said, marking the third time in two years that lava has gushed out in the area. Local media footage shows a massive cloud of smoke rising from the ground as well as a substantial flow of lava at the site around 30 kilometers (19 miles) from Reykjavik. According to an AFP reporter, the smoke can be seen from the road connecting the capital to the international airport, with cars pulled over and people taking pictures. "The eruption is taking place in a small depression just north of Litli Hrutur ('Little Ram' in Icelandic) from which smoke is escaping in a north-westerly direction," the meteorological office said. "There are three fissures with lava basically running in all directions," Thorvaldur Thordarson, Professor in Volcanology at University of Iceland, told AFP. He added that the fissures are in total around 200 to 300 meters long and "it is a low intensity, effusive eruption." This means "it's not causing widespread threats due to explosive activity" but "if the eruption continues for long enough it could be a threat to infrastructure." Thousands of small earthquakes were recorded in the area in the week leading up to the eruption, signaling that the magma below the ground was moving and an eruption was imminent. The Icelandic authorities advised against going to the site, located in difficult terrain without a road connection before they assessed the situation. The magma broke through the ground at around 1640 GMT, just a few kilometers from two previous eruptions in the last two years. The first was on 19 March 2021 in the Geldingadalur Valley and lasted six months, while the second occurred on 3 August 2022 in the Meradalir Valley, lasting three weeks. Prior to the 2021 eruption, the region had remained dormant for eight centuries, but volcanologists believe the new cycle of increased activity could last several years. The effusive eruptions that have occurred in this area so far have not been very dangerous, nor have they had any impact on air traffic. The 2021 and 2022 eruptions attracted hundreds of thousands of visitors hoping to catch a rare glimpse of an active volcano. Thordarson said the eruption could last anywhere from "a few days" to more than half a year like in 2021, or even longer. Land of fire and ice Iceland has 33 volcanic systems currently considered active, the highest number in Europe. It has an eruption every five years on average. The North Atlantic island straddles the Mid-Atlantic Ridge, a crack in the ocean floor separating the Eurasian and North American tectonic plates. In April 2010, some 100,000 flights were canceled, leaving more than 10 million travelers stranded, following the massive eruption of the Eyjafjallajokull volcano. Other volcanoes, such as Askja in the uninhabited highlands of central Iceland, have recently shown signs of activity. One of the country's most dangerous volcanoes is Katla, near the south coast. It last erupted in 1918, with an unusually long pause suggesting an imminent reawakening. The 1783 eruption of the Laki volcanic fissure in the south of the island is considered by some experts to be the most devastating in Iceland's history, causing its biggest environmental and socio-economic catastrophe. Between 50 to 80 percent of Iceland's livestock was killed, leading to a famine that left a quarter of the country's population dead. The meteorological impact of the eruption also had repercussions for several years, with some experts suggesting it may have played a part in triggering the French Revolution. The post Volcano erupts near Icelandic capital appeared first on Daily Tribune......»»
Prince Harry takes on the press – under oath
Prince Harry's appearance at the High Court in London on Tuesday was a world away from the gentle questioning of a friendly interviewer on prime-time television. Instead, King Charles III's younger son was up against lawyer Andrew Green, King's Counsel, a courteous but relentless inquisitor representing British tabloid publishers Mirror Group Newspapers. Harry and his American wife Meghan have made much of speaking the truth about their struggles inside the royal family since they left for the United States in early 2020. But in the witness box of Court 15 of the Rolls Building, a modern annex to the Gothic halls of the Royal Courts of Justice, the goal was hard facts to support his claim of illegal practices. "I swear by almighty God that the evidence I shall give shall be the truth, the whole truth, and nothing but the truth," Harry swore on the Bible. Harry's testimony is the first by a senior royal to be given in court since the 1890s. His lawyer, David Sherborne, was keen to ensure the court had the correct form of address. He was first referred to as "Your Royal Highness" but Harry, dressed in a dark business suit, said he preferred "Prince Harry". Then Green stepped up to cross-examine him on his written witness statement but not before apologizing on behalf of MGN for one case of unlawful activity. "MGN unreservedly apologizes to you for that, it should never have happened and it will never happen again," he said. The apology is the only one MGN has made. It disputes Harry's claim that its newspapers engaged in illegal information-gathering, including phone hacking, for stories about the prince. Details Green went over details, questioning Harry on the substance of his allegations that about 140 articles published by MGN titles between 1996 and 2010 contained information gleaned by unlawful methods. Thirty-three articles have been selected for consideration at the trial. Had Harry read them? How did he know the information was obtained illegally? he asked. Harry wasn't sure as they dated back 20 years. Possibly, he said. Maybe, he added, as he explained how he was relentlessly targeted from a young age. "I've experienced hostility from the press since I was born," he told the court. It had made him paranoid and cost him close friends and relationships. "Your circle starts to shrink," he said. Green asked Harry to explain what he meant in his written testimony that some journalists had "blood on their hands". "Some of the editors and journalists that are responsible for causing a lot of pain, upset and in some cases, speaking personally, death," he said, referring to his mother, Princess Diana. She was killed in a 1997 car crash in Paris while being pursued by paparazzi. But Harry did not name any specific journalist, explaining that the phrase was aimed "more broadly towards the press". Questioned about an article from 2002 that claimed he smoked cannabis, Harry took aim at his own family for cooperating with the newspaper. Green suggested it was legitimately in the public interest, as Harry was the son of the future king and in the line of succession. There was a difference "between public interest and what interests the public", the prince replied. "Every element of it was distressing," he said. The post Prince Harry takes on the press – under oath appeared first on Daily Tribune......»»
SBC’s Sudan passes away
Sudan Daniel, the 6-foot-7 American who powered the San Beda Red Lions to an 18-game sweep of NCAA season in 2010, passed away yesterday......»»
MMA Hall of Famer Chuck Liddell plays peacekeeper in California protest
Legend has it that former UFC Light Heavyweight Champion and Hall of Famer Chuck Liddell got his “The Iceman” moniker from keeping cool and stress-free before the fight. As it turns out, Liddell can keep himself pretty cool and collected in pretty much any high-stress situation. As seen on a news report from ABC 7 in the United States, Liddell kept his chill as he helped diffuse a high-tension situation at a George Floyd protest in Huntington Beach, California. In the video, Liddell can be seen breaking up altercations and getting in between protesters who appear to be losing their tempers. Protests have been widespread all over the United States in the past few days as people have rallied against racism and police brutality following the death of George Floyd, an un-armed African-American man who was violently and forcefully subdued by Minneapolis Police, which resulted in his tragic death. Some of the protests have been peaceful while others have escalated into vandalism, looting, destruction of property, and even violence. Liddell, according to the report, was out in the streets looking to make sure that things didn’t go off the rails as business owners feared for their establishments and their own safety. “It’s good to see people defending their city, and it’s terrible, violence begets violence. Violence doesn’t help anybody,” Liddell said. “We all know what happened was wrong, everybody I know thinks it was wrong, it’s hard to watch,” Liddell continued, talking about the footage of Floyd being choked to death as a police officer knelt on his neck. Liddell however says that violence, destruction, and looting isn’t the right way to go about protesting. “But this does not help, destroying cities, destroying people, hurting people does not do any good for anybody. So hey, protest all you want, just do it peacefully.” Another light heavyweight great, Jon Jones, was also seen actively trying to prevent destructive protesting in his area in New Mexico. The 50-year old Liddell is best known for his career with the UFC, which spanned from 1998 to 2010. In 2005, Liddell captured the UFC Light Heavyweight Championship and defended it four times. In 2009, Liddell was inducted to the promotion’s Hall of Fame. In 2018, Liddell came out of retirement after 8 years to face long-time rival Tito Ortiz in a trilogy bout which was the headliner of Golden Boy Promotions’ first MMA show. Liddell lost to Ortiz by KO in the first round. (READ ALSO: MMA legend Tito Ortiz says he's been offered a fight with Mike Tyson).....»»
Manila Archbishop: Washing of feet maintains faithful’s connection to Jesus
In his homily at the Manila Cathedral on the evening of Maundy Thursday, Advincula stressed the importance of the washing of the feet, not merely as a hygienic act but as a sign of one's relationship with Jesus......»»
US reaffirms support for Philippines sovereignty amid its tensions with China
Washington, DC [US], March 28 (ANI): US Secretary of Defence Llyod Austin has reaffirmed Washington's commitment to Manila in defending its sovereignty while criticising China's "dangerous" water cannon attack at the Philippine supply mission vessel on Saturday. In a telephonic conversation between Austin and his Philippine counterpart Gilberto Teodoro, the US Secretary reiterated the US-Philippines Mutual Defence Treaty.....»»
Philippines announces decisive measures amid tensions with China
Manila [Philippines], March 28 (ANI): Amid the escalating tensions in the South China Sea, Philippine President Ferdinand R Marcos Jr has announced decisive measures to protect his country's sovereignty and maritime rights while ensuring peace and stability in the Indo-Pacific. Marcos, known as Bongbong, said that the measures, aimed at addressing what he said is the "open, unabating, and illegal" actions by China's Coast.....»»
Contagious pertussis disease continues spreading in Philippines
MANILA, March 28 (Xinhua) -- The contagious pertussis has continued spreading in the Philippines, where it has caused at least 40 death cases, after a province near the capital region reported an outbreak of the disease. In a social media post on Wednesday night, the Cavite government posted a resolution declaring the province under a state of calamity "due to the outbreak of pertussis" after logging 36 cases an.....»»
Akbayan to Sara: You don’t have to be president to speak vs China
MANILA, Philippines — Party-list group Akbayan said on Thursday that Vice President Sara Duterte does not have to be a president of the country for her to call out China’s intrusive actions over the West Philippine Sea (WPS). Empathy and a moral backbone is just what it takes to stand up with fisherfolk and frontline.....»»
China: PH is ‘straying down a dangerous path’
MANILA, Philippines — China continued to blame the Philippines and its ally, the United States, for the continued tensions in the disputed West Philippine Sea. In a statement on Thursday, Chinese Ministry of National Defense spokesperson Wu Qian warned that the Philippines is going down a dangerous path. READ: No letup in Chinese water cannon attacks.....»»
7 lumang simbahan sa Metro Manila na swak pang-‘Visita Iglesia’
TUWING sasapit ang Semana Santa, isa sa mga tradisyon ay ang “Visita Iglesia.” Para sa mga hindi aware, isa ito sa mga taunang ginagawa ng mga Katoliko na bumisita sa pito o higit pang simbahan upang magdasal at magmuni-muni sa mga istasyon ng Krus. Sa pamamagitan nito, ibinabandera ng mga deboto ang kahalagahan ng pananampalataya,.....»»
Philippines logs 40 pertussis deaths this year
MANILA, March 28 (Xinhua) -- Forty children have died of whopping cough, a respiratory infection also called pertussis, since this year, the Philippines' Department of Health (DOH) has reported. The DOH said in a statement on Wednesday that cases have continued to increase since the start of this year, recording 568 cases from Jan. 1 to March 16. "The total number of cases for the same period in 2023 was.....»»
DMK criticises Election Commission for being biassed in allocating symbols to political parties
Chennai (Tamil Nadu) [India], March 28 (ANI): The Deputy Secretary of the Student Wing of Dravida Munnetra Kazhagam (DMK), Ka Amutharasan, has accused the Election Commission of India (ECI) of having a biassed attitude towards opposition parties by allocating election symbols as per their wishes. "ECI has allocated the symbols for the Tamil Manila Congress and Amma Makkal Munnetra Kazhgam that those parties wished for. Th.....»»