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Gundam series, Ultraman film coming this year
Streaming platform Netflix had fans excited after teasing what anime content it has in store for 2024, including a new "Mobile Suit Gundam" series and an "Ultraman" movie......»»
As air fares go up, airlines dangle early bookings for flights
As worries that air fares may rise in the coming months, the country’s top carriers are urging travelers to book their flights early to take advantage of cheaper prices......»»
Chinese sci-fi steps into the spotlight
Once effectively banned, Chinese science fiction has exploded into the mainstream, embraced by the government and public alike –- inviting scrutiny of a genre that has become known for its expanding diversity and relative freedom. Its new status was epitomized by this week's Worldcon, the world's oldest and most influential sci-fi gathering, which closed Sunday after taking place in China for the first time. Held in the gleaming new Chengdu Science Fiction Museum, the event's star was Liu Cixin, author of the international phenomenon "Three-Body" series and inspiration for the domestic blockbuster "Wandering Earth". But the wider science fiction fandom has become a rare space where diverse voices have flourished and a vast array of issues -- social, environmental, even sometimes political -- can be explored. "In its nature, part of sci-fi is talking about the present," award-winning author Chen Qiufan told AFP. "It takes advantage of talking about outer space, or being set in different times, but reflects the human condition right now." Chen's own novel "The Waste Tide" is set in a dystopian future in China, where migrant e-waste workers toil in hazardous conditions, exploited by corrupt conglomerates. He grew up near Guiyu, once one of the largest e-waste dumps in the world. Ecological destruction, urbanization, social inequality, gender, and corruption, to name just a few –- "these issues are intersectional and intertwined with each other", said Xi'an Jiaotong-Liverpool University's Liu Xi. Together, they "allow everyone to understand Chinese writers' exploration of Chinese society", she said. That can be rare to find in today's China, where the space for political and artistic expression has shrunk drastically over the last decade under President Xi Jinping. Spiritual pollution Historically, science fiction has had a turbulent relationship with Chinese authorities -– it effectively disappeared during the Cultural Revolution and then was banned as "spiritual pollution" in the 1980s. Though it returned, it remained relatively obscure. Writer Regina Kanyu Wang said it was only at university that she met other fans -- together they formed one of the smaller clubs on campus. Sci-fi was not taken seriously, and seen as something for children and young adults, Chen said. That had its advantages. "There was a lot of freedom... because nobody was reading science fiction, (authors) could just do whatever they wanted," the University of Zurich's Jessica Imbach told AFP. The global success of the "Three-Body" series changed everything, catapulting its epic themes of technological prowess and the fate of humanity into the public consciousness. "Whether you like science fiction or not, the social reality we are facing is becoming more and more like science fiction," said Yu Xuying from Hong Kong Metropolitan University. "We live in a high-tech era. And then your daily life is completely technological," she said. The pace of digital change in China, already fast, was accelerated by the Covid-19 pandemic. Cash has all but disappeared, and stringent health regulations further enhanced the state's significant surveillance capacity. The international interest spike in Chinese sci-fi is also related to real-world concerns, Chen believes. "I think there are different layers of reasons for the phenomenon," he said. "But a major one is the rising economic and technological power of China on the world stage." A good vehicle China's government has been happy to capitalize on all this. "At a national level, science fiction is a good vehicle for conveying the country's discourse on its science and technology strength," said Yu. It can also help "highlight the relationship between the Chinese dream (a Xi-era aspirational slogan) and science", she said. Authorities have put their money where their mouth is. The nebula-shaped Chengdu Science Fiction Museum, designed by the renowned Zaha Hadid Architects, was built at lightspeed in just a year to coincide with Worldcon. The event, historically fan-led and funded, this year was a "capitalistic initiative, coming top-down from the Chinese government", said Chen. "They want sci-fi to be the name card of the city, showing China's openness and inclusiveness to the world," he said. Government attention comes with potential risk. "The Three-Body Problem" has a different structure in English, with the narrative beginning with a violent Cultural Revolution scene. In the original Chinese, it was buried halfway through the book to make it less conspicuous, the translator Ken Liu was told. Liu told the New York Times in 2019 that increasingly, "it's gotten much harder for me to talk about the work of Chinese authors without... causing them trouble". Some works he has translated into English, deemed too sensitive, have never been published in Chinese at all. "If you're very marginal if you have low print numbers in China, then it's OK, you have more leeway. If you're doing a mega big-budget movie... it's much more complicated," said Imbach. "That's what's now also happening with science fiction," she said. "As it's becoming more mainstream, there is increased scrutiny." The post Chinese sci-fi steps into the spotlight appeared first on Daily Tribune......»»
Valenzuela City kicks off joint Christmas and 400th-anniversary celebration
Welcoming two momentous events in one, the City of Valenzuela held its annual “Tree of Hope” lighting ceremony at the Valenzuela City People’s Park on 30 September, an event graced by special guests Jose Mari Chan, Patrick Quiroz and Itchyworms. The ceremony also marked the beginning of the three-month-long celebration of the 400th founding anniversary of the city. The “Tree of Hope” lighting ceremony, a city tradition since2004, sees the lighting of a 50-foot Christmas tree and the installation of holiday decor to set the Christmas spirit early for Valenzuelanos. This year, the lighting ceremony is coupled with another historical commemoration — the kick-off celebration of the 400th founding anniversary of the City of Valenzuela. It is a modern Pinoy Christmas theme bridging the past and future. Mayor Wes Gatchalian was joined bythe CDO Foodsphere and SM Supermalls in lighting up the Tree of Hope this year. The city also welcomed PWD children as the primary beneficiaries of the event, along with students from PLV and VALPOLY. Singers from PLV performed Christmas carols, while the local government invited Christmas icon Jose Mari Chan to sing his signature song, “Christmas in Our Hearts”, while the Tree of Hope was lit amid fireworks. A colorful and dashing fountain display provided the finishing touches to the occasion. Multiple attractions in the city such as Valenzuela City Family Park, WES Arena, Fatima Avenue and Polo Family Park are also set to turn on their Christmas installations in the coming days. A post-lighting concert took place at the Valenzuela City Amphitheater where guests Patrick Quiroz and The Itchyworms livened up the crowd. The city's 400th founding anniversary celebration happens on 12 November, following Pueblo de Polo’s founding date of 12 November 1623. Back-to-back celebrations awaits the city with the Polo Fiesta and Casa de Polo inaugurations as two of the grand events slated for #Valenzuela400 this month. Other huge events unfolding in the following months include the Oktoberfest, Polo Fiesta activities, Mass at San Diego de Alcala Church, Casa de Polo blessing and inauguration, Industry Summit, Gawad Dr. Pio Valenzuela Awarding, Cultural Night, Valenzuela’s coffee-table book launch, a visit from delegates of Bucheon, South Korea, Food Fiesta, and a Christmas Bazaar. Over the past 400 years, the City of Valenzuela has never stopped evolving. From an agricultural provincial town of Polo, it has become a highly urbanized, industrial and livable city, recognized as one of the progressive urban centers in the country. Thus, reaching four centuries of growth and progress is a milestone worth celebrating for all Valenzuelanos, and an inspiration to continuously commemorate and honor the rich history that established the city. The post Valenzuela City kicks off joint Christmas and 400th-anniversary celebration appeared first on Daily Tribune......»»
BARGE RAMOS: Exponent of modern Barong Tagalog
Barge Ramos was an Atenean who wanted to pursue a career in mass communication, for which he had ample academic preparation. An initial foray into media was an engagement at ABS-CBN with its studio located on Roxas Boulevard, a few strides away from the Ramos home in the old, genteel part of Pasay. Fate, however, took him to a different path. As a college student, he encouraged his female gangmates to have their dresses made in the shop of the then young and mod designer Christian Espiritu. “We would patronize him because we admired his approach to fashion. We would save our allowance to be able to go to him and order our outfits.” From patron-client relationship, Christian and Barge would become friends, and the designer who was very busy designing the ternos and gowns of then First Lady Imelda Romualdez Marcos, asked Barge if he was interested in joining his atelier as an apprentice. Barge accepted the offer and never looked back. A few weeks ago, Barge and I had dinner at Malate’s famed original Spanish restaurant, Casa Armas, where he gamely acquiesced to my unscheduled “interview” as I had realized that the Linggo ng Kasuotang Pilipino was forthcoming. This week then, as we celebrate Philippine costume, I am sharing with you my conversation with the gentleman couturier who dedicated his professional designing life to the preservation and continuous elevation of the Barong Tagalog as our national gentleman’s attire. Our conversation follows: DAILY TRIBUNE (DT): Coming from your apprenticeship with Christian Espiritu, tell me about how you got started on your own. BARGE RAMOS (BR): It was actually my friends who prodded me to open my first shop on Leon Guinto St. in Malate, several blocks away from Christian Espiritu’s atelier. Friends supported me as they were my first clients, plus a wedding job all at once. Being young and hopeful, I tried doing a few ready-to-wear lines for SM Makati and Cinderella, while maintaining a made-to-order client base. [caption id="attachment_190034" align="aligncenter" width="719"] BARGE Ramos[/caption] DT: What were your early projects involving indigenous Filipino costume? BR: In 1981, my fellow designers and I formed the Fashion Designers Association of the Philippines (FDAP), and for the two gala shows that year, we focused on Philippine-inspired fashion. I designed Barong-inspired tunics for women, photo silkscreened with t’nalak patterns and real t’nalak hip belts tied with gold like obi belts. Our honorary chairperson Imee Marcos bought a few of my pieces. Chairman of the board Ernest Santiago called me the next day, saying, “Barge, you’ve arrived.” DT: It’s interesting that you forged a creative path different from the other young designers. BR: That’s how I chose the path in my career, by finding new and newer ways of re-inventing the Barong Tagalog. As Joey Espino would tell in later years, “That’s your DNA.” I even did some cotton Barong Tunics for women, with matching loose cotton pants, an all-white collection, followed by a pastel-colored collection for SM Makati. DT: But you did not only focus on your designing. You also led some industry projects. You have done many things that other designers have not tried or even attempted to try. BR: The ‘80s and the ‘90s were my very active years in fashion. I became the third president of the FDAP and created “Bodyshots Modeling Competition,” originally an all-male competition in two levels, amateur and professional divisions. It was a big hit and it continued for several years with the FDAP at the helm. In 2008 I wrote a coffee table book, Pinoy Dressing Weaving Culture into Fashion, which was a condensed version of the fashion column I wrote for a Malaya newspaper, Pinoy Dressing, which ran for about three to four years. Anvil, the sister company of National Bookstore, published the book, which won a “Gintong Aklat” Award for the publisher. DT: How does one recognize a barong Tagalog by Barge Ramos? BR: I don’t have a signature Barge Ramos barong design, as my aesthetics have evolved through the years. A few years ago, Christian Espiritu told me, “You’re a good designer but you’re a late bloomer.” I really didn’t understand what he meant since Christian was always opinionated on everything. Perhaps he liked my later designs, comparing me to this and that designer. DT: Does designing run in your family? BR: There were two other designers among the Ramoses. One was Danilo Franco, whose father was a first cousin of my Dad. The second one was the late Boying Eustaquio, whose mother was my father’s sibling. DT: What has been your forte? What do you love creating? BR: We’ve made ternos and Barong tunics for women. As I’ve mentioned earlier, I did a line of ready-to-wear cotton Barong tunics and pants for SM Boutique Square in the ‘80s. DT: Any celebrity and VIP clients you are proud of? BR: We did several shirt jacks for the late President Ferdinand Marcos during the ‘80s. Imee Marcos, then an assemblywoman, bought a few of our barong tunics and skirts. We’ve done several barongs for Manny Pangilinan and former President Joseph Estrada, and then, when she was vice president, Gloria Arroyo. But most of our clients are very private persons, many of them businessmen, balikbayans and doctors. DT: How would you describe the evolution of the Filipiniana attire? BR: Filipiniana has always been there, but people mostly associated it with the rich and powerful in society. Nowadays, Filipiniana has seeped down to all levels of society and younger people are getting the hang of it and have interpreted it to fit their sub-culture. I’ve also observed that Filipinos living abroad appreciate it more, probably to assert their identity more in the face of other nationalities. DT: Finally, what can you say about the bolder, more imaginative interpretations of Filipiniana? BR: Fashion always has its quirks and oddities. Designers tend to push the limits and boundaries of Filipiniana in the attempt of creating contemporary looks and trends. One doesn’t have to “like” them but simply look at them and appreciate the designer’s creativity that went into them. Style is a matter of taste. But good taste can sometimes be difficult to ingrain in young minds. The post BARGE RAMOS: Exponent of modern Barong Tagalog appeared first on Daily Tribune......»»
‘HAMILTON’ MAKES ROUSING ASIAN PREMIERE IN MANILA
An exhilarated first audience welcomed the Tony, Grammy, Olivier and Pulitzer Prize-winning musical Hamilton at The Theatre at Solaire in Manila on Sunday, 17 September, ahead of the official opening night on Thursday, 21 September. “Good things come to those who wait, and I know Hamilton’s Filipino fans have been waiting patiently for this moment to arrive,” said Michael Cassel, producer of Hamilton’s international tour. “The Manila audiences responded with such warmth, enthusiasm and generosity — we couldn’t be more thrilled and we are ecstatic to bring the revolution to Asia for the very first time.” Hamilton’s first ever international tour continues at The Theatre at Solaire until November with no further extensions. It will then make its Middle East premiere at Etihad Arena in Abu Dhabi in January 2024. More cities are expected to be announced in coming months. [caption id="attachment_185938" align="aligncenter" width="525"] Jason Arrow as Alexander Hamilton in the Australian Production. | PHOTOGRAPH COURTESY OF DANIEL BUOD[/caption] Tickets to the Manila and Abu Dhabi seasons are available now at hamiltonmusical.com/international-tour. Hamilton premiered on Broadway in August 2015 to wide critical and audience acclaim. The show has won Tony, Grammy and Olivier Awards and the Pulitzer Prize for Drama. Featuring a score that blends hip-hop, jazz, R&B and Broadway, Hamilton has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre — a musical that has had a profound impact on culture, politics and education. With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s acclaimed biography. [caption id="attachment_185941" align="aligncenter" width="525"] Benet Monteiro as Alexander Hamilton in the German production. | PHOTOGRAPH COURTESY OF HAMILTON[/caption] The Hamilton creative team previously collaborated on the 2008 Tony Award-winning Best Musical In the Heights. Scenic design is by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe. The international tour of Hamilton is produced by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Michael Cassel. The Manila season is presented by Michael Cassel Group and GMG Productions. For news and updates, fans can visit hamiltonmusical.com/international-tour, instagram.com/hamiltoninternationaltour or www.facebook.com/hamiltonintltour. The post ‘HAMILTON’ MAKES ROUSING ASIAN PREMIERE IN MANILA appeared first on Daily Tribune......»»
Meet the expanded ‘univerkada’ in ‘Safe Skies, Archer’
After the success of The Rain in España, which started streaming in 10 episodes last May on Viva One, the next installment in the hit “University” book series by young author Gwy Saludes on the Wattpad social storytelling platform is coming out this October. In the upcoming Safe Skies, Archer book-to-screen adaptation, the story’s focus shifts from the TRIE couple Luna (Heaven Peralejo) and Kalix (Marco Gallo) to one of Luna’s closest friends Yanna (Krissha Viaje). There are subplots involving Luna and Yanna’s other kabarkada Via (Bea Binene), Kierra (Nicole Omillo) and Sam (Aubrey Caraan), along with Luna’s best friend Sevi (Gab Lagman) and Kalix’s katropa Adonis (Andre Yllana) and Leo (Frost Sandoval). New characters are introduced in the story, notably Yanna’s love interest Hiro (Jerome Ponce) and Kierra’s new man Shan (Jairus Aquino), as well as Shan’s sister Elyse (Hyacinth Callado). The expanding TRIEkada is now referred to as a ‘Univerkada.’ [caption id="attachment_183381" align="aligncenter" width="525"] PHOTOGRAPHS BY JOCELYN VALLE FOR THE DAILY TRIBUNEKrissha Viaje and Jerome Ponce.[/caption] Viaje admitted in a recent press conference that she feels most pressured among the cast members. “This is the very first series na pagbibidahan ko, (where I will be the lead),” said the 30-year-old actress, who started in showbiz as a member of the song-and-dance GirlTrends group on It’s Showtime. Ponce agreed with his leading lady in the series. The former teen actor in the hit daytime drama Be Careful with My Heart explained, “Iniisip ko how I’m gonna gel with the series itself… Ang character ko, kung paano ko siya magagampanan nang maayos, lalo na ’yung intensity at gaano kaganda ang ginawa nila no’ng una.” (I think of how to portray my character in the best way, given how great they did the first series.) Aquino, who began his acting career in the kiddie gag show Goin’ Bulilit, vowed, “We’re gonna do our best, siyempre to hit all their expectations. We’re just gonna blend with them.” Callado, on the other hand, feels “very lucky and grateful” to be given her first acting break. “I’ve been a singer my whole life,” she said. “But there’s always a part of me that dreams of becoming an actress. Being with Viva gave me that opportunity to explore that part of me.” Peralejo and Gallo, who gave stellar performances in TRIE, expressed excitement and support for Viaje and their three new castmates. “Habang tumatagal kami, lalong dumadami ang cast,” she said. “Nagiging part din ng family namin. Sabi ko nga kay Krissha, susuportahan ko talaga siya the way na sinuportahan n’ya ‘ko. And I think it speaks for the whole cast kung paano kami magsuportahan, as in 100 percent (Our cast keeps expanding, and they become part of the family. I told Krissha I will support her the way she supported me. That’s how the whole cast supports each other – 100 percent)." Gallo concurred with his love-team partner: “I had a good experience with The Rain in España, so I’m excited for Jai and Jerome and Hyacinth to be on the group now… You’re gonna be working a lot, traveling a lot. I’m excited for you, guys. It’s gonna be months of fun, hard work and something to remember forever.” Aside from new cast members, Safe Skies, Archer has a new director in Gino M. Santos, who takes over the reins from Theodore Boborol. Santos said he’s hands-on with the project, revealing that “I was there during the chemistry test, all the auditions.” He added, “We were looking for someone who would fit the characters, not just the physical but also the inner. When we casted these characters, these actors, one thing is mata talaga ang importante sa akin (the eyes were the most important factor). Jerome stood out for how he looked at the character Yanna. Hyacinth and Jairus also together as brother and sister, as siblings, importante rin ’yun. I’m happy with the outcome, the selection.” The post Meet the expanded ‘univerkada’ in ‘Safe Skies, Archer’ appeared first on Daily Tribune......»»
UBS’s Credit Suisse takeover, ‘deal of the century’?
Did banking giant UBS make "the deal of the century" when it bought one of the world's biggest banks for a pittance as it teetered on the edge of the abyss? Switzerland's largest bank was in March strong-armed by Swiss authorities into a $3.25-billion takeover of Credit Suisse, to keep its closest domestic rival from going under. At the time, investors gasped at the risks UBS was taking on with the purchase. But by August, the bank said it would not need the billions in support offered by the Swiss government and central bank to offset any surprises that might pop up in its stricken rival's accounts. That must mean that Credit Suisse's situation was "much better than described in March", Thomas Aeschi, a member of parliament with the populist rightwing Swiss People's Party (SVP), wrote on X, formerly Twitter. UBS seemed to prove him right when it unveiled its second-quarter results on August 31. The bank posted a towering net profit of $29.2 billion for the three-month period, thanks to an exceptional gain due to the gulf between the amount paid for Credit Suisse and its book value. 'Godsend' "UBS has pulled off the deal of the century," Switzerland's Socialist Party said, maintaining the "rescue" was more of a "godsend", allowing it to snatch up a bank at a dramatically reduced rate. "If we had chosen another path, (like) a temporary or partial nationalization," said Samuel Bendahan, a Socialist MP and economics professor at the University of Lausanne, the Swiss state "would have taken on the risk, but those $29 billion would have gone to the population". Instead, the takeover has created "a monopolistic situation", he told AFP, warning that while this might strengthen UBS, it puts Switzerland in an extremely risky position if the new mega-bank were to one day face a crisis. Politicians are not the only ones taking issue with the takeover. Gisele Vlietstra, founder of the Swiss Investor Protection Association, told public broadcaster RTS that UBS's towering quarterly profit confirms that the "intrinsic value" of Credit Suisse was "far higher" than the purchase price. She said she hoped that the lawsuits brought by her association and others on behalf of thousands of Credit Suisse shareholders will help determine "the correct value" that they should be compensated. 'Nickel and dime' "UBS paid a nickel and dime" and "got rid of its main competitor" in one fell swoop, Carlo Lombardini, a lawyer and banking law professor at Lausanne University, told AFP. The coming restructuring will clearly carry risks, "but having paid just three billion, it can't go wrong", he said, slamming the option chosen by the Swiss authorities. Like UBS, Credit Suisse was listed among 30 international banks deemed too big to fail because of their importance in the global banking architecture. But the collapse of three US regional lenders in March left the firm looking like the next weakest link in the chain. The Swiss government feared Credit Suisse would have quickly defaulted and triggered a global crisis, shredding Switzerland's reputation for sound banking. But its chosen option for dealing with the issue was certainly a boon to UBS, which will now swell to manage $5 trillion of invested assets. Confidence 'evaporated' UBS chief Sergio Ermotti acknowledged in a recent interview with the SonntagsZeitung weekly that the bank had been "worried" about its competitor since 2016, and had among other things looked into the possibilities of buying it, for fear a foreign lender might snap it up. He acknowledged that Credit Suisse may have survived for a time if the central bank had injected more cash, "but it would not have been enough, since confidence had evaporated". Since the takeover announcement in March, UBS has seen its share price soar 31 percent. But the bank still faces significant challenges, Vontobel analyst Andreas Venditti told AFP. The $29 billion "is a huge one-off gain, but this is just accounting", he said, stressing that "the losses and costs will come later". The analyst, who a few months ago wondered in a note whether UBS had secured "the deal of the decade or a decade of headaches", stressed that "it's going to be a huge task". He said it would only become clear "whether it was worth it" after most of the restructuring is done three years down the line. Parts of the business are continuing to "produce huge losses", he said, warning "many things can still go wrong". Swissquote analyst Ipek Ozkardeskaya agreed, recalling that "UBS was forced" into the merger. Now it is up to the bank to "transform an 'obligation' to its advantage". The post UBS’s Credit Suisse takeover, ‘deal of the century’? appeared first on Daily Tribune......»»
Korean Film Festival to delight Manila
The Korean Film Festival is set to bring moviegoers and fans on a memorable cinematic trip to Korea. “At this year’s KFF, we do not only have some award-winning films lined up, but we also chose movies that will take you to some of Korea’s picturesque landscapes,” the Korean Cultural Center in the Philippines announced on their social media accounts. Presented by the Korean Embassy in the Philippines and the Korean Cultural Center in the Philippines, the film festival, themed “Ka-ja! Korea Through Films,” will feature seven stellar films. The film festival is also in collaboration with the Korean Film Council, Film Development Council of the Philippines, Korea Tourism Organization Manila Office and SM Cinema. Here is KFF’s lineup of films that will be shown on the big screens for free: Bori (2020), directed by Kim Jinyu. This coming-of-age film is about an 11-year-old girl living in a seaside village named Bori, the only member of a family who is not deaf. [caption id="attachment_181135" align="aligncenter" width="950"] ‘DIRECTOR’S INTENTION.’[/caption] Director’s Intention (2021), directed by Kim Min-geun. A romantic comedy about the complicated relationship between exes who have to work on the same project. [caption id="attachment_181132" align="aligncenter" width="950"] ‘EVERGLOW.’[/caption] Everglow (2021), directed by So Joon-moon. Set in Juju, the film trains its lens on a 70-year-old female diver as the focus of a documentary. [caption id="attachment_181134" align="aligncenter" width="950"] ‘GYEONGJU.’[/caption] Gyeongju (2014), directed by Zhang Lu. Another romantic comedy, about a Beijing-based professor who returns to Korea for a funeral and spends time with a teahouse owner. [caption id="attachment_181138" align="aligncenter" width="950"] ‘JUKDO Surfing Diary.’[/caption] Jukdo Surfing Diary (2020), directed by Lee Hyun-seung. The film features a beach that has become a famous destination spot for surfers. Life is Beautiful (2022), directed by Choi Kook-hee. Starring Sky Castle’s Yum Jung-ah and Moving’s Ryu Seung-ryong, about a terminally-ill wife who asks her husband to find her first love as a birthday present. The Book of Fish (2021), directed by Lee Joon-ik. Set in 1801, the black-and-white historical film features a Josean-era scholar who is exiled to Heuksando Island. The KCC is also set to host a film production workshop titled “Meet the Mentor: K-Movie Production Talk Show” on 21 September at the De La Salle-College of St. Benilde campus. This workshop is part of the “Meet the Mentor” series, whose panel includes Filipino director Perci Intalan and Korean directors-producers Park Eun-kyung and Lee Yeon-hwa. KCC’s Korean Film Festival will run 22 September to 26 September, with participating cinemas, screening schedules and ticketing guidelines to be announced soon. The post Korean Film Festival to delight Manila appeared first on Daily Tribune......»»
‘Hamilton’ ticket lottery confirmed for Phl
Producers Jeffrey Seller and Michael Cassel have confirmed the Hamilton digital ticket lottery for the Metro Manila season of the international tour playing at The Theatre at Solaire from 17 September. The digital ticket lottery, known in North America as Ham4Ham, is run exclusively through TicketWorld in the Philippines. The Hamilton Lottery will have a limited number of tickets available throughout the season at a special price. Winners will have the opportunity to purchase two orchestra tickets at P800 each. The lottery will be open from 10 a.m. on 11 September through 11:59 p.m. on 13 September for tickets to performances on the week of 17 to 24 September. Subsequent Hamilton lotteries will begin on each Monday and close the following Wednesday for the upcoming week’s performances. [caption id="attachment_178871" align="aligncenter" width="735"] THE Broadway cast of ‘Hamilton’ (from left) Daveed Diggs, Okieriete Onaodowan, Anthony Ramos and Lin-Manuel Miranda.[/caption] To enter the lottery, sign up at TicketWorld to receive Hamilton Lottery entry access. Those who sign up must use the email address associated with their active TicketWorld account. The lottery will open at 10 a.m. every Monday and will close for entry at 11:59 p.m. on Wednesday prior to the following week’s performances. Participants can enter to win the chance to purchase two tickets for the upcoming week’s performances at P800 per ticket. A one-entry-per-week limit will be applied. Winners will be notified every Thursday at 12 p.m. for the upcoming week’s performances via email from TicketWorld. The confirmation email will include a one-time-use promo code and a purchase link that will expire at 12 p.m. the following day of the receipt of the email. Winners may claim and pay for their tickets online or over the counter at TicketWorld outlets before the promo code expires. Additional rules and full terms and conditions can be found on TicketWorld site. “The digital ticket lottery, created for Hamilton fans on Broadway has been embraced with tremendous enthusiasm wherever the show has played all over the world and we know fans in Manila will be exactly the same,“ Cassel said. “It’s important that theatre is accessible for anyone who wants to see it and the digital ticket lottery allows us to introduce this transformative experience to people who may not have been able to see it otherwise.” Hamilton’s first ever international tour will premiere in Manila at The Theatre at Solaire on 17 September ahead of making its Middle East premiere at Etihad Arena in Abu Dhabi in January 2024. More cities are expected to be announced in coming months. Featuring a score that blends hip-hop, jazz, R&B and Broadway, Hamilton has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre — a musical that has had a profound impact on culture, politics and education. It premiered on Broadway in August 2015 to wide critical and audience acclaim. The show has won Tony, Grammy and Olivier awards and the Pulitzer Prize for Drama. With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s acclaimed biography. The Hamilton creative team previously collaborated on the 2008 Tony Award-winning Best Musical In the Heights. Scenic design is by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe. The international tour of Hamilton is produced by Seller, Sander Jacobs, Jill Furman, The Public Theater and Cassel. The Manila season is presented by Michael Cassel Group and GMG Productions. Tickets to the Manila and Abu Dhabi seasons are available now at hamiltonmusical.com/international-tour. To be notified when the Hamilton lottery opens and get more updates on the ticket promo news, sign up for the Hamilton Lottery Newsletter at TicketWorld. For more information on tickets and Hamilton Lottery details, visit gmg-productions.com/hamilton/lottery. For news and updates, fans can visit hamiltonmusical.com/international-tour, instagram.com/hamiltoninternationaltour or www.facebook.com/hamiltonintltour. The post ‘Hamilton’ ticket lottery confirmed for Phl appeared first on Daily Tribune......»»
Emma Stone stars in sex-mad Frankenstein-like tale at Venice
With Emma Stone as a sex-mad reanimated corpse in "Poor Things" and Wes Anderson presenting his take on Roald Dahl, the Venice Film Festival was taken on some wild rides on Friday. "Poor Things" was set to premiere on the Lido without its star to light up the red carpet, due to the ongoing Hollywood strike barring actors from publicity work. Rumors at the festival suggest the horror-comedy, in which Stone plays a woman brought back from the dead by a mad scientist, could be an early awards frontrunner. Its Greek director Yorgos Lanthimos has established himself as one of the most imaginative and daring filmmakers of his generation. His previous film "The Favourite", also starring Stone, won the Jury Prize in Venice in 2018 and best actress for Olivia Colman, paving the way to her Oscar triumph. "Poor Things" is among 23 movies competing for the top prize, the Golden Lion, to be awarded on September 9 by a jury including directors Damien Chazelle, Jane Campion and last year's winner Laura Poitras. Anderson's Dahl Meanwhile, another indie darling, Wes Anderson, was feted in Venice with a lifetime achievement award. He presented "The Wonderful Story of Henry Sugar", a 40-minute film based on a short story by beloved children's author Roald Dahl. It is one of four Dahl adaptations the whimsical director has made for Netflix featuring Benedict Cumberbatch, Ben Kingsley, Dev Patel and Ralph Fiennes. As always, there is a meticulous, chocolate-box feel to Anderson's film. "It's more like a little theatrical presentation that we found a way to film," Anderson told reporters. The director, who previously adapted Dahl's "Fantastic Mr Fox", said he was strongly against moves to alter the author's books for "sensitivity" reasons. Asked about recent revisions to Dahl's books to remove character descriptions like "fat" and "crazy", Anderson said: "No one who is not an author should be modifying someone's book." He added: "I understand the motivation for it, but I'm in the school where, when the piece is finished... the audience participates in it, we know it, so when it's done, it's done." Strikes and waivers Also premiering on Friday was "The Promised Land" starring Mads Mikkelsen, described by The Hollywood Reporter as a "gripping historical epic" about a low-born soldier seeking to better himself. Mikkelsen was able to attend the festival for the Danish film, but Venice has lost out on several star appearances due to the actor and writer strike in Hollywood, which is primarily over pay and the potential threat of AI. Some independent films have been given a waiver, including Michael Mann's "Ferrari" which premiered on Thursday, allowing lead actor Adam Driver to attend. But others such as Stone and Bradley Cooper (for his Leonard Bernstein biopic "Maestro") are not coming, costing the studios valuable PR shots of their stars arriving by gondola and working the red carpet. Still to come in Venice are new movies by Sofia Coppola ("Priscilla" about Elvis Presley's wife) and David Fincher ("The Killer" starring Michael Fassbender and Tilda Swinton). There are also out-of-competition premieres for controversial directors Woody Allen ("Coup de Chance") and Roman Polanski ("The Palace"). The post Emma Stone stars in sex-mad Frankenstein-like tale at Venice appeared first on Daily Tribune......»»
Big Bad Wolf returns to Cebu after 4 years
The Big Bad Wolf Book Sale is coming back to Cebu for the first time since its last visit in 2019, following a successful onsite return to Manila earlier this June......»»
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......»»
AI conundrum
Just taking on this topic is giving me the chills. Not for fear of an unknown future, but for sheer nervousness over what I would find should I decide to dig deeper into a topic I had previously chosen to ignore. But artificial intelligence is here — it’s already in our lives and maybe you don’t even know it. It’s the way forward, we are told, the unimaginable that had only ever been pictured in works of the imagination. In science fiction and the world of George Lucas, in visions of life-saving robots and destructive machines that cannot die. Fiction, of course. AI? It’s artificial. It’s intelligence. It’s a simulation of human intelligence. The natural assumption is that because it is created and programmed by humans, it’s under human control. But maybe such an assumption isn’t the smartest one to make. We, being human, often transmute ourselves into things of our creation. Our egos cannot help it. Humans are flawed, and while there is both beauty and ugliness in that, what we make often reflects a part of us. Therefore, it can be argued that AI will go in that same direction, though perhaps without the complexity of emotions. To understand AI, we must look at all its permutations. AI has been applied in various industries, manufacturing mostly, where tasks are programmed into non-living, moving machines created primarily to make life easier for humans. In recent years, however, AI has provided more “services” to man, such as predicting outcomes based on historical data so that fields like medicine and publishing can have results or outputs provided in much less time and resources spent. Apparently, what has gotten some people worried is a type of AI called “machine learning.” We’ve heard of “algorithms” and “robotics,” and how these have impacted many industries today. These are but two kinds of machine learning. Essentially, it is an aspect of AI that poses danger in terms of “foreseen unforeseens,” as a line in a Netflix series goes. It is said that machine learning, which makes a machine “trainable” based on previous data it analyzed to make predictions, can one day make AI so advanced that humans will have trouble catching up. Think Frankenstein — or all the other monsters the voting public put in positions of power. One day, some believe, humans will be oppressed by machines, but sad to say a heroic Jedi or Iron Man won’t be coming to the rescue. Man-created machines to provide ease and speed and convenience. But man also made machines to “think” for them, thereby creating new generations of humans who are run by machines. Think mobile phones and the internet. Everything is connected. The world was blissfully unaware of the progress in AI until the top brains at global tech giants started balking at the concept. We were then all provoked into thinking about it. Three views are currently in play when it comes to AI. Michael Shermer, publisher of Skeptic Magazine, book author, and columnist at Scientific American, discusses in his Edge article how it may be possible to think of AI as neither “benevolent” nor “malevolent.” Those thoughts, he posits, are based on a false analogy. And instead of imagining computers and robots existing in either a utopian or dystopian future, why not a protopian one? The term was coined by the futurist Kevin Kelly, who in another Edge piece explained it this way: “I call myself a protopian, not a utopian. I believe in progress in an incremental way where every year it’s better than the year before but not by very much — just a micro amount.” In other words, in these times of apocalyptic plots and general discourse on a planet dying, living “incrementally,” or in the present, perhaps, is the only way to keep sane. The post AI conundrum appeared first on Daily Tribune......»»
Dane back home after ‘visiting every nation in the world’
A Danish man who claimed to be the first to visit every country in the world in a single trip without flying landed home Wednesday after 10 years away. Torbjorn Pedersen stepped off a Maersk container ship in the Danish port city of Aarhus, after visiting his 203rd country and final country -- the Maldives -- in late May. "I've been dreaming about coming back home and having it over with and done. So that's today. At the same time, I'm anxious about the future," Pedersen told AFP, describing the return as bittersweet. "A lot of things are up in the air and in the unknown, mixed emotions," he said while listing concerns about restarting his career and trying to adjust to everyday life. Known as "Thor," he has travelled by train, bus, boat or even on foot on the voyage he set off on October 10, 2013. The 44-year-old -- who previously had a career within the shipping sector -- is the first to make the feat. Leaving Micronesia in January 2020, he continued to Hong Kong, where he found himself stuck for two years because of the Covid-19 pandemic. Once the borders were open again, he set off for the island country of Palau, then continuing the countries of Oceania and the Pacific islands. Took longer than expected "Three have been to every country twice. Two have been to every country without returning home in between. And now, one has done it completely without flying. What can I say? Good luck to the second," he wrote on his blog. Keen to meet new people, the former UN peacekeeper never hired a car, preferring to instead to travel on public transport. Despite the geographical distance, Thor and his partner have managed to keep their relationship alive. During the decade of travel, she travelled to visit him 27 times. On the 10th occasion, he got down on one knee and asked for her hand in marriage -- but unfortunately the pandemic forced them to get married online. His wife Le Gjerum said she found his stubbornness in completing the task admirable but added she was looking forward to having a "daily life together." The inspiration for the trip came from an article his father emailed him. He was first apprehensive but didn't want the regret of not doing it, he however conceded that he originally thought the trip would be completed in less than half the time. "I thought it would take a maximum of four years in total, maybe three and a half if I went a little fast." Thor, who documented his journey on social media and in a blog, was also an ambassador for the Red Cross. According to the Guinness Book of World Records, Britain's Graham Hughes was the first person to circumnavigate the globe without a plane, but his journey was interspersed with two returns home, which Thor did not do. The post Dane back home after ‘visiting every nation in the world’ appeared first on Daily Tribune......»»
Food and the Chief Executive Hail to the ‘Chef’
What is served during the State of the Nation Address and other official banquets is a statement about the kind of signal an administration wants to send to the public. Usually, it’s along the lines of “We want to showcase our culinary identity.” For President Bongbong Marcos’ SONA last year, the menu was sago’t gulaman, bam-i guisado, grilled pandesal, palitaw, bibingka and puto bumbong, which seemed as much to virtue signal themselves away from the ostentation associated with their name… supposedly, but what leaders eat in private is a different matter altogether. There are certain food (and wine, ahem) we’ve come to associate with certain presidents, some more well-known than others. If you say Erap, the chorus of Petruses will be faster than you can shake a stick at. It was what he was known for, as was the quality of the food at meetings afternoons or, indeed, midnights. According to veteran journalist and foodie Teddy Montelibano, Erap had a black book for food. “It was just the best of everything…the best lechon….etc.” [caption id="attachment_161364" align="aligncenter" width="1080"] Chateau Petrus, said to be former president Joseph Estrada’s favorite wine.[/caption] Fewer presidents were known for their cooking, if at all, and President Cory Aquino is famous for her mastery of a very difficult dish, the Peking Duck. President Noynoy Aquino, too, was a hearty eater and very fond of good Chinese food, according to Montelibano. When PBBM won last year, a slew of features regarding his cooking skills and favorites have been well-documented. Bongbong is reportedly an avid cook listing sinigang, pinakbet, osso buco as some of his specialties. Among his listed favorite things to eat, on the other hand, the kanduli sinigang sa miso often mentioned as something he looked forward to coming home to. He prefers a light breakfast of muesli, honey and yogurt. His spirit of choice is cognac. In an interview with culinary personality Reggie Aspiras, who is also a cousin of the current President, it was revealed that he had gone to El Bulli in Barcelona, Spain, which in the 2000s was known as the greatest restaurant in the world — and predictably the hardest to get into. El Bulli is much acclaimed for its modernist and cutting-edge cuisine, a brainchild of the godfather of molecular gastronomy, chef Ferran Adria. Adria decided to shut the doors on El Bulli in 2011, still very much at the top of his game, and it had been rumored that the restaurant still had a wait list of over 30,000 people. As for President Ferdinand Marcos Sr., the usual Ilocano fare like pinakbet is often mentioned. “I don’t think Marcos Sr. was a foodie,” said Montelibano. “I mean he’s Ilocano, you know,” Marcos Sr. did have a fish preference, an expensive one that’s nearly extinct. Agence France Press in 2010 reported that Marcos Sr.’s favorite fish, the lobed river mullet, known as ludong or banak, was facing extinction. Its identity had been so tied to Marcos Sr. that it’s still referred to as “president’s fish.” It is a rare fish that is only found in a handful of countries, and even in the Philippines. It only swims in a few rivers in the north. Thirteen years later, the state of ludong has not improved; it is still near extinction despite the fisheries bureau calling for a five-year ban on catching it. “It is a threatened species and we have to do something about it before it goes extinct. If we don’t stop the indiscriminate catching, in a short while, it could vanish,” the AFP quoted Jovita Ayson, then a regional director of the fisheries bureau. Back then, it sold for P5,000 ($114) a kilogram, “which only the wealthiest can afford, making it the most expensive fish in the Philippines.” To date, it is still the most expensive fish in the country. The post Food and the Chief Executive Hail to the ‘Chef’ appeared first on Daily Tribune......»»
PAL expects to carry 14.5 million passengers in 2023
Flag carrier Philippine Airlines anticipates carrying 14.5 million passengers in 2023. In 2022, the airline carried 9.3 million passengers. According to PAL spokesperson Cielo Villaluna, PAL is further expanding its fleet with brand-new Airbus A350-11000s coming in 2025. PAL maintains a fleet of 75 aircraft (46 for PR and 29 for 2P). Of the 75, they have a total of 5 parked aircraft: 3 PAL A321 NEOs and 2 PALex A320 CEOs. The NEOs are parked while awaiting delivery of Pratt and Whitney engines; the CEOs are awaiting engines and parts as well. The parked aircraft represent only 7 percent of the PAL Group fleet, according to Villaluna. The airline said it has improved schedule dependability despite ongoing supply chain problems by taking proactive measures to cut back on flights and improve operational efficiency. Villaluna also said that to address this, they have reduced their schedules since the beginning of the year and improved their spares provisioning. They also started sourcing additional engines for lease and adding aircraft to their fleet network. Within a 24-hour period, around 2.4 percent of the 8,485 flights that were scheduled for June were cancelled. During the month of April in Saudi Arabia, 97.6 percent of their flights were in service; 438 delays were brought on by lightning, while 139 were caused by other weather-related problems. Technical difficulties accounted for about 12 percent of flight delays. Fuel prices have a direct correlation to total trip costs, pointed out Villaluna. Thus, the fuel surcharge level, pegged anew at level 4 and relatively lower than past periods, is a welcome development for airlines, but PAL still offers a variety of fares, enabling travelers to avail of lowered fares if they book early, said the spokesperson. The post PAL expects to carry 14.5 million passengers in 2023 appeared first on Daily Tribune......»»
To add or not to add
Gilas head coach Chot Reyes said yesterday there’s nothing in the rule book that prohibits expanding the national pool to as many players as necessary so if the situation calls for bringing in reinforcements to cover for mounting injuries, why not? However, there is a deadline to submit to FIBA a pool from which to pick the final 12 for the coming FIBA World Cup......»»
Where have all the forests gone?
Today’s degraded forest reflects a history of logging and abandonment,” wrote Peter Walpole, Environmental Science for Social Change executive director, in his introduction to the 242-page book Forest Faces: Hopes and Regrets in Philippine Forestry, published jointly by the regional office of the UN Food and Agriculture Organization and the ESSC. The first nationwide forest inventory, completed in 1969, found that only 10.4 million hectares of forest remained out of the 17 million hectares that used to occupy the Philippines’ land area of 30 million hectares. By 1980, only about 7.5 million hectares of forest were left. At the end of 1990, only 6.64 million remained. Most of those considered “old-growth forest” were confined to steep and very steep areas and were not often accessible. In 1995, the country barely had 5.6 million hectares (less than 19 percent of the land area) of forest cover. “For at least 20 years now, we have this forest crisis which has been getting worse every year,” Dr. J.A.V. Revilla, then a visiting professor at the Forestry Development Center of the University of the Philippines at Los Baños, told participants of a conference organized by the National Academy of Science and Technology. “At the rate we are re-establishing forest cover during the last 20 years, it would take us 250 years to reforest (the country),” Revilla lamented. “That is assuming that forest cover loss stops immediately and that we finally become effective in our reforestation efforts.” In the past, forest resources helped fuel the economy. In the 1970s, the Philippines was touted as the prima donna of world timber exporters. Today, it is considered “a wood pauper,” to quote the words of multiawarded journalist Juan Mercado. Aside from logging (whether legal or illegal), other causes of deforestation in the Philippines are forest fires, kaingin farming (slash-and-burn agriculture) and mining operations. Volcanic eruptions and typhoons have also devastated some of the country’s tropical rainforests, along with the growth of cities. The removal of forest cover has bolstered soil erosion in the uplands. “Soil erosion is an enemy to any nation — far worse than any outside enemy coming into a country and conquering it because it is an enemy you cannot see vividly,” said Harold Ray Watson, 1985 Ramon Magsaysay awardee for international understanding. “It’s a slow creeping enemy that soon possesses the land.” As a result, food production is jeopardized. “The loss of nutrient-rich soil reduces crop yields and contributes to the expanded use of chemical fertilizers — a practice that can, in turn, pollute water resources,” said Jethro P. Adang, the director of Davao-based Mindanao Baptist Rural Life Center. “Rivers and streams also carry eroded soil to the coasts, where it interferes with fish nursery areas.” But that’s not all. “Extensive soil erosion has resulted in the siltation of waterbeds, reservoirs and dams, in the process shortening their productive life spans,” said Dr. Germelito Bautista of the Ateneo de Manila University. Dr. Percy Sajise, then the director of the Southeast Asia Regional Center for Agricultural Graduate Studies, said the deforestation problem cannot be solved unless the root cause — man’s greed — is addressed. “Past lessons showed that if only the technical and economic aspects were to be considered and the spiritual dimension would be missed, efforts would not last but fail,” Sajise said. “No matter how beautifully written the (government) policies and the programs are, if people do not change, then they will be of no use — they will fail later on.” Reforestation has been singled out as one of the factors that could lessen the impact of climate change. Forests contain 40 percent of all stored carbon, more than any other terrestrial ecosystem, and thus help buffer against global warming. Land-use change — of which tropical deforestation is the most significant component — was responsible for roughly 20 percent of human-induced carbon emissions during the 1990s. “A people without children would face a hopeless future,” American President Theodore Roosevelt once said. “A country without trees is almost as helpless.” The post Where have all the forests gone? appeared first on Daily Tribune......»»
Deadly love, trauma, romance and death-defying stunts
[caption id="attachment_154993" align="aligncenter" width="669"] PHOTOGRAPH COURTESY OF VIVAMAXTHE cast of Vivamax’s ‘Deadly Love.’[/caption] Series Deadly Love. Last Wednesday, a few press members were teased with the first two episodes of Derick Cabrido’s romantic murder mystery Deadly Love at Cinema ’76 Tomas Morato. Top-billed by Louise Delos Reyes, Marco Gumabao, McCoy De Leon, and award-winning actress Jaclyn Jose, the series is set in a small fictional coastal town in the superstitious province of Pangasinan. Something sinister is lurking — but who? While I have problems with the clunky, inconsistent script, there is no denying that Cabrido knows how to hold your interest with his moody thriller. There is a mystery vibe all throughout, with my mind constantly swimming with guesses. But what strikes me the most is the breathtaking location and the pretty cinematography. The quality of the visuals is superb, evoking eerie feels all throughout, which makes me look forward to finishing the rest of the episodes. The miniseries will drop tomorrow, 10 July, on Viva One, Vivamax’s newest app. [caption id="attachment_154992" align="aligncenter" width="525"] PHOTOGRAPH COURTESY OF primE VIDEO‘THE Summer I Turned Pretty’ stars Lola Tung and Chris Briener.[/caption] The Summer I Turned Pretty Season 2. I am a big fan of Season 1, bingeing the entire season in two days tops. Based on Jenny Han’s best-selling books, the coming-of-age tale focuses on Belly (the captivating Lola Tung) and how her life unravels in an unforgettable summer at Cousins Beach. It’s basically a love triangle between teenagers. Still, even adults will fall in love with the wholly engrossing story that also involves Belly’s novelist mom (Jackie Chung) and her cancer-stricken best friend, Susannah (Rachel Blanchard). Season 2 picks up a year after the events of the first season and is based on Han’s book It’s Not Summer Without You. The eight episodes will drop on a weekly basis beginning 14 July on Amazon Prime. [caption id="attachment_154994" align="aligncenter" width="525"] PHOTOGRAPH COURTESY OF PARAMOUNT TOM Cruise and Vanessa Kirby in ‘Mission Impossible— Dead Reckoning Part One.[/caption] Movies Causeway. Another A24 gem. Jennifer Lawrence stars in Lila Neugebauer’s gripping and powerful drama Causeway as Lynsey, an injured soldier returning home from her Afghanistan tour. Suffering from traumatic brain injury, Lynsey struggles to return to her daily life in New Orleans. During rehabilitation, she befriends an auto-mechanic, played by Brian Tyree Henry, who also has physical and mental trauma. Slow-burn but rich with deeply explored themes on mental health, trauma, and friendship, Causeway, which earned Henry a nomination at the 95th Academy Award for Best Supporting Actor, is a must-see if you are on the hunt for quality drama. It is now streaming on AppleTV+. Mission: Impossible — Dead Reckoning Part One. The sequel to Mission: Impossible — Fallout (2018) and the seventh installment in the Mission: Impossible film series is a blockbuster event you would not want to miss. Dead Reckoning Part One follows the events of Fallout, where Ethan Hunt (Tom Cruise) leads his crew to save the world from a nuclear apocalypse. The trailer is enough to convince you to head to the cinema on its opening day on Wednesday, 12 July. The death-defying stunts, including a 61-year-old Tom Cruise riding a motorcycle off the edge of a cliff, should only be seen on the big screen. The beloved franchise’s latest offering will surely be one of the biggest cinematic events of the year. The post Deadly love, trauma, romance and death-defying stunts appeared first on Daily Tribune......»»