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First lady Liza Araneta Marcos promotes inclusivity in phl arts and crafts
Patronage of the arts and promotion of Philippine culture are two endeavors that have always been the domain of Philippine First Ladies. The approach, of course, varies, whether through the presentation of Filipino folk dances and fashion shows featuring Filipiniana designs during state dinners, showcasing the best of the Philippine arts on the walls of Malacañang Palace or highlighting Philippine crafts in during international expositions. When the presidential couple visits other countries, they bring with them gifts of Philippine crafts for the kingdom’s monarch and their escort or the republic’s president and his first lady. Presidential wives, too, have always been the foremost models of Philippine costume, which they wear during state visits abroad, formal functions at the presidential palace and when attending big events such as raising the Filipino flag in Rizal Park on Philippine Independence Day. Liza Araneta-Marcos, almost in all activities that she graces, whether right in the Palace or outside, wears a knee-length version of the terno, its butterfly sleeves defining its uniqueness and versatility. With her, terno has become an almost everyday get-up, which she accessorizes with heeled shoes, mostly Marikina-made. Cultural mapping The current First Lady’s support for arts and crafts and her involvement in cultural development manifested early on in her public life when her husband was the governor of Ilocos Norte in the early years of the millennium. Right in her husband Bongbong’s home province, she spearheaded efforts in the documentation of Ilocano culture. Under her auspices, a full-scale cultural mapping of Ilocos Norte took place. Then a new thing in the country, its aim was to list and document everything about the inherent culture of each barangay — songs, dances, oral and written literature, zarzuela and other dramatic forms, crafts using indigenous materials, historical sites, architectural marvels including ancestral houses, native delicacies and festive fare, musical instruments, gardens, parks, tourist spots and, of course, the people who make these things happen and exist — the weavers, painters, cooks, writers, local historians, harpists and so on in the vast field of arts, culture and heritage. It was trailblazing in that only years later would local government units be required to identify their cultural assets and provide the data needed for development, especially in education, tourism and creative industries. Eager to know more about her husband’s home province and absorb its culture, she even joined the team in its fieldwork in the seashore towns like the Pagudpud coastline and the highland town of Adams which they reached by riding a dump truck. Among the highlights of her undertakings for heritage tourism was her support for the Museo Ilocos Norte, which housed artifacts and the local textile, inabel. Most significantly was her commitment to the revival of the local weaving industry that produces the exquisite inabel. In an interview, the young and smart wife of the governor said, “I was looking for a viable project that would help boost the livelihood of the Ilocano, one that was low-key, which was not difficult to fund and uniquely Ilocano.” According to Liza, “Ilocano women love multi-tasking.” She explained that in the past, each home would have a loom, “so the mothers could weave while doing their home chores, including taking care of the baby.” Indeed, well spoken by a career woman who, while lawyering, made sure she was at the top of her family home and the care of her children. What she was telling them was it was possible to earn one’s livelihood while fulfilling one’s duties as a homemaker and parent. She thus advocated for the putting up of weaving centers where the young Ilocano may learn the craft. Embroiderers, woodcarvers and basket makers Fast forward to 2016, Liza joined the Board of Trustees of the Asian Cultural Council which fosters cultural exchange and unity by widening the exposure, knowledge and expertise of individual artists, scholars and art professionals. All her years spent on supporting Ilocano crafts had not only been beneficial to the local weavers. It also became a model, a small-scale version of what she would eventually achieve from her day one as First Lady. This time, she would widen the scope of her advocacy by supporting as well the other crafts in the regions. In Feburary 2023, the Office of the First Lady, in cooperation with the Office of the Social Secretary of Malacañang, other government agencies and private creative industry practitioners put together an exhibition that introduced the talented weavers of the country. It was a success as it showcased the best of Philippine weave from the Ilocos region to Laguna, Aklan and Zamboanga. A few months later, she expanded the project to “Likha” to showcase not only talented weavers — but also our skilled embroiderers, basket makers, woodcarvers, pottery makers and shell craftsmen,” among other Filipino artisans in cities, shores and hinterlands of our beautiful country. Community of artisans Hers was a most welcome support to the local artisans and craftsmen, anthropology scholars, tourism workers and educators. Dr. Marygrace Ac-ac, an associate professor of De La Salle College of Saint Benilde, who accompanied her father, Paete master sculptor Luis Ac-Ac, shared her thoughts about the First Lady, who spoke at the opening ceremonies of the three-day exhibit. [caption id="attachment_163255" align="aligncenter" width="1600"] First Lady Liza Araneta-Marcos with master sculptor Luis Ac-ac and his daughter Marygrace.[/caption] Marygrace said, “What impacted me the most about the First Lady’s speech is her promise to support talented Filipinos and the traditional crafts, which is in keeping with the words of President Bongbong Marcos in his first State of the Nation address. It was, to me, giving hope to the industry and to Filipino artists and artisans. I am happy that she herself said she is looking forward to “Likha” 3, 4, 5 and so on. “Beyond the First Lady’s support for livelihood among the local communities, just as important is that, through the “Likha” exhibitions, she is fostering a national community of artisans, which cultivates a sense of cultural identity among our people. Moreover, this gives us national pride as through the First Lady’s initiatives we are able to show to the world what we are capable of creating.” Of her father, the master craftsman Luis Ac-ac, she said, “he is grateful to the First Lady for her initiative and for spearheading the advocacy to uplift the traditional crafts of all the artists and artisans.” Goldenberg fashion series On her new home grounds, the Malacañang compound, the First Lady has imprinted her passion for heritage through the renovation of three iconic structures, long out of use and run-down Teus Mansion, which is now the presidential museum containing memorabilia of past presidents; Bahay Ugnayan, which houses memento of President BBM; and the Goldenberg Mansion, which the First Lady has designated as a venue for cultural and artistic events. All three are now open to the public for free. Last May, the Goldenberg Fashion series started with a fashion show featuring the creations of Puey Quiñones, who collaborated with weavers, embroiders and artisans, thus elevating Filipino style as he used them in his interpretation of the modern terno, suits and barong for men. [caption id="attachment_163256" align="aligncenter" width="928"] With designer Puey Quiñones at the Goldenberg Mansion fashion show.[/caption] Next was Avel Bacudio’s “Avel,” which, in turn, was a spectacle in black and white as the designer paid tribute to the handiwork of Filipino artisans all over the country, his creations manifesting virtuosity even as he downplayed extravagance and over-the-top ornamentation by focusing on well-defined structure, casual elegance, comfortability and versatility, the last allowing the wearers to mix and match to suit the occasion. In a way, the whole collection resonates with the overall style of the First Lady who has insisted on simplicity, function and comfort in her wardrobe, while now and then showcasing the innate artistry of the Filipino through indigenous textiles. Finally, when we celebrated the nation's Independence Day, with the President and the First Lady hosting a vin d’honneur in Malacañang Palace, the various lady ambassadors assigned to the Philippines attended in their most beautiful and exquisite Filipiniana, thanks to the First Lady who made the collaboration between top Filipino designers and the ladies possible. It was an evening that did not only enhance the beauty and charm of the lady ambassadors, but also made our designers proud. Indeed, our artisans and fashion designers, as well as performing artists, are fortunate to have a friend, ally and benefactor in a First Lady whose sense of nationalism combined with her heartfelt admiration for Filipino ingenuity has made her the best ambassador for Filipino craftsmanship and artistry. The post First lady Liza Araneta Marcos promotes inclusivity in phl arts and crafts appeared first on Daily Tribune......»»
Belgian wealth fund managers to explore Phl investments
Belgium’s sovereign wealth fund managers are looking to visit the country to explore investments in Philippine firms engaged in a range of public services, the Department of Finance said Saturday. DoF Secretary Benjamin Diokno and officers of the Federal Holding and Investment Company or La Société Fédérale de Participations et d’Investissement discussed opportunities in public-private partnerships in finance, aeronautics and mobility, health, utilities and impact investing. “Koenraad Van Loo, CEO of SFPIM, shared that the company is keen to visit the Philippines to explore partnerships in its priority sectors,” a statement from the DoF said. “SFPIM preserves the long-term stability of the Belgian economy by contributing to the anchoring of strategic assets through smart capital solutions for both promising and established companies,” the DoF added. According to the 2023 World Competitiveness Ranking, Belgium is 13th out of 64 countries in economic performance. The country is also among the top in business efficiency at fifth place and tenth in infrastructure. The Philippines, on the other hand, ranks 40th in economic performance and business efficiency, and 58th in infrastructure. Long-term economic growth President Ferdinand Marcos Jr. has vowed to boost infrastructure development for national long-term economic growth through proceeds from the Maharlika Investment Fund which his administration expects to be activated before the end of the year. The Philippine sovereign fund is open to local and foreign investors in the public and private sectors, and aims to support 197 flagship infrastructure projects worth a total of some $155 billion. Diokno said the DoF has met with foreign government and business leaders at the European Union’s first Global Gateway Forum last 25 to 26 October in Brussels, Belgium to also discuss the Philippine sovereign fund. The Finance Secretary said he talked to the Belgian Investment Company for Developing Countries or BIO led by its chief executive officer Luuk Zonneveld. “Discussed were opportunities to finance projects in the Philippines that drive sustainable development, particularly gender equality, climate action, and decent work,” he said. BIO uses private funds to support small and medium businesses, and financial institutions also in Africa and Latin America. Confident in the administration Meanwhile, Professor Dindo Manhit of business consultancy outfit, Stratbase ADR Institute said he is confident the Marcos administration can attract more foreign investments in agro-industrial and digitalization through its participation in global economic meetings abroad. “By establishing strong links in the economic space, the Philippines can further solidify its role in the global supply chain,” Manhit said. “We are confident that this administration will continue to advocate for reforms that will ensure our economic growth to make the country a premiere investment destination,” he added. The post Belgian wealth fund managers to explore Phl investments appeared first on Daily Tribune......»»
Harbour City umbrellas brighten weather with a touch of kawaii
After the success of the joint exhibition “Osamu Goods Exhibition by Harada Osamu” in July and August this year, Hong Kong’s Harbour City again joins forces with Osamu Goods, founded by Japanese illustration maestro Harada Osamu, for a limited-edition umbrella collection. Since its establishment in 1976, Osamu Goods has garnered global acclaim for its adorable characters and merchandise, capturing the hearts of girls in Japan and abroad. Influenced by American culture during his own upbringing, Osamu blends the vibrant artistry of American comics with the graceful simplicity of Japanese aesthetics in his designs. Throughout the years, Osamu Goods has introduced a wide array of umbrellas, each with its own unique flair. For this special collaboration, Harbour City sought the expertise of celebrated Japanese graphic designer Kazunari Hattori. Stepping away from the brand’s signature vibrant design style, Hattori enlarges the endearing figures of Jack and Jill to cover the entire umbrella canopy and opts for a soft and subtle beige tone as the base color, complemented by bold gray and black lines. The handle features their portraits as exquisite adornments. These umbrellas can be redeemed with sales receipts at Harbour City or donation from 25 September to 5 November. For more information, call (852) 2118-8666 or visit www.harbourcity.com.hk. The post Harbour City umbrellas brighten weather with a touch of kawaii appeared first on Daily Tribune......»»
Ninong Ry on giving A twist to popular dishes: Preference over authenticity
At the recent launch of Ninong Ry (real name: Ryan Reyes) as the first-ever celebrity endorser of the food seasoning brand Knorr Professional, the chef and YouTuber showcased his culinary skills and sense of humor that have endeared him to his over two million online followers. He gave an interactive cooking demo on how he puts his own twist to the universal favorite food, fried chicken, and the Pinoy specialty dish, sisig, using the brand’s liquid seasoning and chicken powder. While doing his tasks, he also dispensed some tips and answered a few questions from media representatives and other guests from the foodservice sector. For the fried chicken, Ninong Ry used the brining process of soaking proteins in a solution of salty water and spices overnight to infuse flavor and tenderize the meat. He then deep fried the already prepared chicken parts to golden brown perfection. To the question about using an air fryer instead, he replied, “Puwede naman, although kailangan mo s’yang i-turn. Kailangan mo s’yang i-thermometer talaga (It’s possible, but you need to turn the meat over. You need to use a thermometer.) Meaning, you have to be mindful of uneven cooking. “Ultimately in the end, mas matrabaho pa s’ya at mas magastos pa s’ya sa deep fryer (It takes more effort and money).” In making his own version of sisig, Ninong Ry incorporated his current fascination on curing and smoking meat to come up with a type of bacon. He confessed being inspired by the Three-Way Sisig of JP Anglo, the chef and owner of Sarsa restaurant. “Technically Knorr seasoning is a flavorful liquid na meron kang asin (there’s already salt),” he pointed out. “Dadagdagan ko na lang ng curing salt. Dadagdagan ko lang ng asukal para sweet cured. Kasi ’yun naman ang gusto natin sa bacon (I’ll just add curing salt. I’ll just add sugar to make it sweet. That’s what we like in bacon.).” He then showed the cured meat, which he had already smoked for four hours, and cut into sisig-sized pieces. “Ang tingin ko sa sisig (I look at sisig as), salad,” he quipped. construction n’ya ay parang salad. Ang ingredients and’yan na, just mix them all together. (Because the construction is like in salad. The ingredients are all there.) It’s the salad that I want. “Kung salad s’ya, dapat ang tingin natin, madali lang gawin. Hindi s’ya magtrabaho, pang-restaurant lang. Kung kaya n’yong gumawa ng salad sa bahay, kaya n’yo gumawa ng sisig (If it’s salad, we have to see it something easy to do. It’s not labor-intensive, just for restaurants to do. If you can make a salad at home, you can make sisig).” [caption id="attachment_192641" align="aligncenter" width="525"] Pork sisig.[/caption] He then added the other ingredients, such as red and white onion, green chilies, liver spread (or mashed chicken liver, if it’s your preference), crispy garlic and a dash of black pepper. “Kung gusto n’yong maglagay ng mayonnaise, labas ako d’yan, (If you want to put mayonnaise, I’m out of it,” he said, laughing. “Maglalagay ako ng konting sugar.” (I’ll put a bit of sugar.) “This is very far from the original. But I like it,” he explained. “Pero hindi na pinagpipilitan natin. (What we’ll not force it) For me, preference over authenticity.” Here’s another piece of advice for aspiring chefs: “Huwag tayong balat-sibuyas. (Don’t be onion-skinned) Minsan, pag di nagustuhan ang luto natin (Sometimes when our dish is not liked), we take offense. Kasi parang ang sakit-sakit no’n. (Because sit seems hurtful.) But it’s nothing personal. Talagang kailangan mo lang tigasan ang mukha mo minsan (Sometimes you just have to be thick-skinned).” He then shared a realization that has helped him deal with online bashing: “Nagtrabaho kasi ako sa isang (I worked in a) restaurant before moving to social media. So nakita ko ang parallel do’n, e. (I saw the parallelism). Pag may kumain sa restaurant n’yo at hindi nagustuhan ang pagkain, susuntukin mo ba? (If a diner didn’t like the food, will you punch him?) Hindi naman, e. (Not really.) Tatanggapin mo ang sinabi n’ya (You’ll accept what they said), but at the same time, tatanggapin mo pa rin ang pera n’ya (You’ll still accept their payment.) Nagbigay lang s’ya ng hindi magandang (They only gave a not-so nice) comment. Negosyo ’to, e. (It’s a business.) “Ngayon, nasa (Now, I’m in) social media ako. Technically speaking, hindi ako nagse-serve ng pagkain, pero ang produkto ko, videos. (I don’t serve food, but my product is in video form.) ’Yung mga viewers ko, hindi sila nagbayad (My viewers don’t pay), but gamit ang pinakamahal na (but they use the most precious) commodity, which is your time. So kapag nagbayad s’ya, puwede s’yang magsabi ng bagay towards sa ’yo, at kailangan mong tanggapin ’yun.” (If they pay you, they can say things to you and you need to accept it.) The post Ninong Ry on giving A twist to popular dishes: Preference over authenticity appeared first on Daily Tribune......»»
Ukraine military to collapse without U.S. aid, experts warn
Defense and national security experts are sounding the alarm on the cutting of United States assistance to Ukraine’s military after the US Congress passed a stopgap budget law without funding for Kyiv. “It would be devastating for the Ukrainians” if US aid is halted, Mark Cancian, a senior advisor at the national security think tank Center for Strategic and International Studies, said. “The Ukrainian military would weaken and then ultimately perhaps collapse,” though it “might be able to just hold on on the defensive,” Cancian said. The United States has committed more than $43 billion in security aid since Russia invaded Ukraine in February 2022 — over half the total from all Western donors. It has supplied a vast arsenal to help Kyiv fight to regain territory seized by Russia, ranging from small arms ammunition and artillery rounds to vehicles, sophisticated rocket launchers, tanks and mine-clearing equipment. “Militaries in conflict need a continuous flow of weapons and supplies and munitions to replace what’s destroyed and gets used up,” Cancian said. The European Union is prepared to stand by Ukraine “for as long as it takes” and the EU’s foreign policy chief Josep Borrell reiterated this during the gathering of the bloc’s foreign ministers in Kyiv on Monday. Dozens of countries — especially in Europe — have provided military aid to Ukraine, and while they could increase support, picking up all the slack left by Washington would be a major long-term challenge. It would require a “years and decades-long effort to get Europe to a place where (it) could fully replace the US as a kind of military power, or a defense industrial power,” James Black, assistant director of the defense and security research group at RAND Europe, said. US Defense Secretary Lloyd Austin — who played a key role in forging an international coalition to back Ukraine, and then in coordinating assistance — called over the weekend for Congress to take action. Lawmakers should make good on “America’s commitment to provide urgently needed assistance to the people of Ukraine as they fight to defend their own country against the forces of tyranny,” Austin said in a statement. “America must live up to its word and continue to lead.” WITH AFP The post Ukraine military to collapse without U.S. aid, experts warn appeared first on Daily Tribune......»»
Breathing osmosis of public service
Education and public service are deeply ingrained in his family heritage. His mother dedicated her career to educating students in public schools, while his father pursued a profession in government as a lawyer specializing in human rights. Dr. J. Prospero “Popoy” de Vera III, chairman of the Commission on Higher Education or CHEd, recalled that his mother, a teacher at the Esteban Abada High School in Manila, always brought him to school when he was still a young boy. His mother became the principal of Ramon Magsaysay High School, also in Manila, before her retirement. He said he and his siblings grew up breathing the osmosis of public service. “So, when I was growing up, the importance of education was drilled into us. Our mother always tells us to finish our education; nothing will happen in our lives if we don’t graduate from college,” De Vera said, adding that he and his siblings all graduated from public schools. “We are nine siblings, but my parents don’t have the money to send us to private schools. All of us graduated from the University of the Philippines. We are products of public schools; we were just the ‘iskolar ng bayan’ through and through.” Popoy, who finished a bachelor’s degree in History from UP, teaches political science and history at the De La Salle University and the University of the Philippines. He completed his master’s in social science at De La Salle University and doctoral studies in public administration at the University of the Philippines Diliman. He also has a master’s degree in higher education policy and higher education administration from the University of Southern California, one of the top schools in the United States of America, and later worked at the state legislature in California for three years. “In that sense, after I graduated from college, one of the options that I saw is either I take up law or teach, or to work in government, etc. There was an opportunity to teach, so I got into education.” In addition to his teaching responsibilities, De Vera also served as a consultant to several government agencies and provided his expertise to congressmen and senators. “Simultaneously, while I was teaching, I was also a consultant to the government. I worked as a consultant and then as chief of staff at the House and Senate.” His extensive academic background and government experience were benchmarks for his appointment as CHEd Commissioner in 2016, highlighting his qualifications for the position. “Since my background is in public administration and I also teach, I have a certain level of confidence that I really understand government, and I want to prove that I can do what I teach. I have a lot of involvement in the House and the Senate, from being an executive assistant until becoming chief of staff. I went through them one by one.” De Vera’s proficiency in legislative affairs from 1988 to 2010 (except for his three years abroad) encompasses a plethora of skills, including bill drafting, speech writing, and crafting amendments. Such expertise is a direct result of his extensive involvement and experience in the realm of legislation. Before his appointment to CHEd, he served as vice president for Public Affairs at UP in 2011. In 2004, he became part of the board of regents in some state universities and colleges. When he took the offer to head CHEd in 2018 after serving as commissioner for two years, he was confident because he survived UP. “I have a high level of confidence that I can do the job because they say that if you survived to govern UP, you can govern everything else because UP is the most ungovernable university in the country. So, if you survived there, you understand the public university system,” he admitted. He narrated to have experienced a sense of ease and familiarity when he joined CHEd. “It felt natural, perhaps because it aligns with my expertise. I might have had some reservations if it were a different department outside my field. However, since there was an opening at CHEd, I decided to offer my assistance, and that’s how I found myself here,” he shared. In running an agency with only 1,400 employees and serving more than 2,000 public and private higher education institutions across the country lies the challenge, De Vera said. With the scope of responsibilities, he gets to visit all state universities and colleges. Riding a bicycle, he witnessed first-hand the brilliance, resilience, and great potential of state universities and colleges. “I would be the first CHEd chair who visited all the state universities and colleges in this country. No one has done that yet,” he said, adding that he had already visited 100 of the 114 state-run universities. “I think in a year, I will finish all of them. The feeling is so different when you see what’s happening on the ground. So, from the start of my appointment, I started going around. I’ve gone to the farthest parts of the country.” As the chairperson, he said his firsthand experience in higher education enables him to speak with confidence and authority on the subject. “By engaging directly with students and faculty, attentively listening to their concerns, and providing meaningful responses, I believe I have made a significant impact. The presence of a secretary in these interactions creates a distinct atmosphere, instilling a sense of importance and value in education stakeholders. This ability to make those on the ground feel significant is a legacy I take pride in,” he said. One of the legacies De Vera is proud of is the implementation of free higher education, which coincided with his tenure. “I consider myself privileged because my predecessors did not have the opportunity to enact such a policy. Despite the challenges encountered, I believe that the beneficiaries truly reaped the benefits of this initiative,” he said. In the face of the Covid-19 pandemic, the country was confronted with unprecedented difficulties and uncertainties. CHEd, however, managed to navigate these challenges and ensured that education persisted. “This, in itself, is an accomplishment. Despite various government interventions being affected, we remained steadfast in delivering education to the best of our abilities,” he said. De Vera actively advocates for an inclusive education system that provides equal opportunities for marginalized sectors to complete their tertiary education. He seeks to create “first-generation graduates” as a legacy of the current administration. This program aims to offer educational opportunities to young Filipinos from minority and indigenous groups, children of rebel returnees, and other marginalized communities, enabling them to complete their education successfully. “Why not consciously make our legacy about bringing these individuals into the mainstream and ensuring they have the opportunity to finish their education? This emerging phenomenon is something we can truly focus on.” He added: “If we can successfully accomplish this within the next three years while I am in office, I can confidently say that it will be a legacy achieved by the Marcos administration. While the Duterte administration initiated free higher education, the Marcos administration aims to make it more equitable and responsive to the needs of marginalized individuals.” The post Breathing osmosis of public service appeared first on Daily Tribune......»»
Politically divided Chile marks 50-year coup anniversary
Chile on Monday marked 50 years since the coup d'etat that brought Augusto Pinochet to power, with political divisions over the legacy of his brutal dictatorship on stark display. Commemorations of the violent US-backed ouster of Marxist leader Salvador Allende still evoke strong emotions, and police fired teargas and water cannons at protesters who vandalized the presidential palace on the anniversary's eve. Leftist President Gabriel Boric led an event at the palace, known as La Moneda, to mark the historic date, and stressed the need to condemn those who violate human rights "without any nuance." "The coup cannot be separated from what came after," he said, referring to the 17-year Pinochet dictatorship under which more than 3,200 people were killed or "disappeared" and tens of thousands tortured. The far-right UDI party issued a statement Monday defending the coup as "inevitable" due to the failures of Allende's political left. The presidents of Mexico, Colombia, Bolivia, and Uruguay were at the emotional ceremony in Santiago, also attended by Rage Against the Machine guitarist Tom Morello and former Uruguayan president Jose Mujica. No right-wing representatives attended Monday's event at La Moneda. Poetry readings and musical performances were interrupted by a minute of silence to mark the moment the bombs started dropping on the palace. Allende committed suicide while troops and tanks closed in. As night fell, thousands arrived at the national stadium in the capital -- once used by Pinochet's regime as a torture center -- to place candles in memory of the victims. Elsewhere, protesters on the outskirts of town prevented the passage of vehicles. The 1973 coup, in a country seen until then as a bastion of democracy and stability in Latin America, reverberated around the world and underscored covert interference by the United States. US State Department spokesperson Matthew Miller said Monday that President Joe Biden's government "has tried to be transparent about the US role in that chapter of Chilean history by recently declassifying documents from 1973 as the Chilean government has requested us to do." 'Never again' Chileans remain deeply divided between those who defend the coup and those who repudiate it, while many feel the anniversary is irrelevant amid economic woes and concerns over rising crime. A survey conducted by Cerc-Mori in May found that 36 percent of people believe Pinochet "liberated Chile from Marxism" -- the highest figure measured in 28 years of polling. On Sunday, Boric became the first president since the end of the dictatorship in 1990 to attend a commemorative march through Santiago for Pinochet's victims. But the procession was marred by vandals causing damage to the exterior of La Moneda and the general cemetery that houses a victims' memorial. Six police officers were injured and at least 11 people were arrested, officials said. Boric blamed the acts on "adversaries of democracy." On Sunday night, some 6,000 women dressed in black held a peaceful vigil in the capital under the slogan: "Never again will democracy be bombed," in reference to the 1973 air raids. Politics 'a little toxic' Led by Boric, Allende's leftist political heirs are in power in Chile today. But the far-right Republican Party -- Pinochet apologists -- emerged the strongest from elections in May for a body tasked with drafting a new constitution to replace the one that dates from the dictatorship era. Pinochet died of a heart attack on 10 December 2006, aged 91, without ever stepping foot in a court. Michelle Bachelet, a former leftist president of Chile, told a local radio station Monday the country must "learn from the lessons of the past" at a time when politics "is a little toxic." She herself was tortured during the dictatorship, as was her father, an air force general who had opposed the coup. Chile's right-wing opposition has abstained from signing a document affirming a commitment to "defend democracy from authoritarian threats" that has been signed by four living ex-presidents of the South American country. On Sunday, UN Secretary-General Antonio Guterres said the 1973 coup "was an institutional breakdown that ruptured the bonds of coexistence and marked generations of Chileans, but also inspired many to fight for justice and freedom." He added: "Today's strong Chilean democracy gives us hope that humanity, united in its diversity, can solve any global challenge." The post Politically divided Chile marks 50-year coup anniversary appeared first on Daily Tribune......»»
Menchu Katigbak: The splendid life of a society swan
Hers is a story anyone would love to tell and retell, or hear and hear again. Chances are, as in the book of Menchu, so many things are left unsaid because if these were all said, a single book would not be enough. Carmencita “Menchu” Katigbak’s story is one of love, passion, hurts and disappointments, social triumphs and power in its subtle workings, but mostly the good life and the people who live it and make it happen. She is a woman of the world in the sense of one who has lived in, explored and enjoyed New York, Bangkok, Lausanne, Paris and, her current love, Singapore. Of course, her turf is in Manila with a Capital S and Capital P (as in Power), and Lipa the hometown of her roots. [caption id="attachment_180060" align="aligncenter" width="958"] MENCHU with best friend Susie and her daughter Marivic.[/caption] At a time when the term “socialite” can come cheap, trite or even undeserved, Menchu gives the appellation dignity, respect and the awe it once inspired. Her social credentials are, of course, impeccable. For starters, she attended the Chateau Mont-Choisi, a Swiss finishing school for debutantes and pre-debs belonging to royalty and the world’s upper crust. A socialite today, in loose modern parlance, is perceived as being frivolous, one who attends parties because these men and women are party animals, or party people, as one columnist has named her weekly jottings about the social events of the day. The enjoyment of life is what defines this breed and set, and yet, while Menchu, too, knows how to enjoy, and enjoy life with gusto, there is more to her and that differentiates her from the herd. No, she does not top her charmed life with an icing of well-publicized good deeds and philanthropic beneficence, even if she actually shares her bounty with those in need. Menchu is of a different mold. She is a society swan in the manner of Truman Capote’s chums — Babe Paley, Gloria Guinness, Lee Radziwill. In our part of the world, think Chona, think Minnie, think Chito. She may well be cast in the same crème de la creme mold, glamorous denizens of the inner circles of society, at the same time, ladies who have transcended the vagaries of time. Just recently, Menchu was referred to by a diplomat friend as a global influencer, a 21st-century appellation that only a few are accorded. This one is applied to one who was once a señorita, colegiala and, yes, society girl, again in the tradition of Chona, Baby, Nelly, Chito and Ising. ‘The Katigbaks talk only to the Kalaws’ They don’t need family names, each as important as the other and of the same significance in society. Still, it’s one thing to say that she is Baby Fores, and another if she is Baby Arenas. There were two Vickys, one of national import and memory being the lovely teenager who stood as her father’s First Lady in the early 1950s, and there was the Madrigal matron, Vicky nee Abad Santos, who was low-key and the daughter of the World War II patriot, Jose Abad Santos, who refused to pledge allegiance to the flag of the enemies. Menchu shares first name distinction with Menchu delas Alas Concepcion, also of Batangueña parentage, being the daughter of banker and finance guy and public servant Don Antonio de las Alas. Both aristocrats from Batangas, the two Menchus share many distinctions beauty for one, pedigree, for the other—but that’s as far as I would say, the aforementioned traits being obvious. But to drive his point, Joe Guevarra, the humorous and well-placed columnist known for his tongue-in-cheek pronouncements, once said of the olden times, when the genealogical boundaries were well-defined, “In Lipa, the Katigbaks talk only to the Kalaws, and the Kalaws talk only to the Katigbaks.” [caption id="attachment_180057" align="aligncenter" width="998"] DINNER in Pili with Fernando and Zobel, Tessie Sy-Coson, Guilly Luchangco, Federico ‘Piki’ Lopez | photograph courtesy of MENCHU KATIGBAK[/caption] This self-confessed social climber, as his 8-to-5-and-beyond job would require him to be, admits to not having met (okay, having been introduced to…) the ebullient society hostess, traveler, culinary maven and friend-to-the-powerful Menchu Katigbak. Everything that I am writing here, I learned from the lady’s biography, Menchu, authored by lifestyle journalism icon Thelma Sioson San Juan, the two being decades-old friends. Menchu, one finds out toward the end of the book, is the inspiration for her granddaughter Isabelle’s first tome, Abu, the Sad Princess. I look back on the pages I have read, the memories of Menchu’s lifetime so far, in all its seven glorious and electrifying decades, and I dare say, the description is most apt and is true as well in real life as Menchu today is “living happily ever after” having come to terms with the many issues that confronted her at various times, but more importantly, she is today a fulfilled mother and grandmother and a believer in Jesus Christ. But that is getting ahead of the story. ‘White Matter’ by Lao Lianben Jaime Ponce de Leon, dear Jaime, the man of the hour of Philippine arts for as long as Juan Luna’s missing masterpiece, remains ensconced at the Ayala Museum – gaining for the discoverer more than a foothold in our cultural history – asked me if I was interested in writing about the socially formidable Menchu Katigbak, and I readily said yes, having seen her photographs in the select and more discriminating society pages and columns. I thought to myself it would be an opportunity to meet the lady face to face and add her to my glossary of so-called newfound friends, but that was not meant to be. I was, oh, I was treated to the next best thing – a copy of Menchu which, to someone who aspires to be a bibliophile, is all that matters in the world, except that I am first a social climber. And since I have not been allowed an audience, I take solace in the book and, as my honeyed revenge, will tell you what I feel about the lady who, I understand, could be frank and outspoken. Abrasive is too strong a word, and unfair for I am not sure if I will ever meet her in my lifetime, but I am told the lady will never mince words, that’s probably why she has legions of true friends who probably can give as much as take, or so I am imagining. [caption id="attachment_180055" align="aligncenter" width="1475"] Lunch in the kitchen in Pili with Patty Araneta (left) and Monet Recio-Schem.[/caption] A painting that Menchu has kept all these years, “White Matter” by Lao Lianben, signed and dated 1997, has been featured as one of the rare pieces to be auctioned in Leon Gallery’s forthcoming magnificent September auction, with the starting bid of P2,600,000. So, there, if you’re wondering what Jaime, who moves around the best circles, has got to do with this enigmatic swan. ‘We are not rich’ But let’s stick to what the book says. While she intersperses in her narrative personal encounters with her subject, TSJ, for the most part, devotes the pages of this book to Menchu alone, and with our cosmopolitan lady, the many friends in the upper echelons whose lives she has touched and who have touched hers in turn. Menchu, once she was ready to be told, heard it straight from her mother, “Tandaan mo, baka akala mo mayaman tayo. Hindi tayo mayaman. Kung napadala ka namin sa Switzerland at si Tita at si Tony napadala naming sa America, kasi nagpawis ako ng dugo (Remember, you may think we are rich, we are not rich. If we sent you to Switzerland and Tita and Tony to America, it was because I sweated blood). If you think you’re going to inherit something from us, banish the thought. So if you don’t study well, bahala ka sa sarili mo (you’re on your own).” The perfect words for the Asuncionista (Assumptionista) who much preferred to bake food for the gods, brownies and upside-down cakes and do naughty things like hiding the bell used to signal the start and end of class periods. Her mother, the former Charing Roxas Dimayuga, who attended Assumption Convent, dealt in buying, developing and selling homes in the gated Makati villages. She also developed horizontal and vertical commercial spaces as well as imported retazos from abroad. [caption id="attachment_180056" align="aligncenter" width="696"] Wearing the Van Cleef earrings purchased before their public launch.[/caption] Her father, Enrique Luz Katigbak, on the other hand, was a top certified public accountant, an alumnus of the Northwestern University and a director on the boards of Monte de Piedad and Philtrust banks. Of his connections, none is more eminent than his friendship with His Eminence, Rufino Cardinal Santos, archbishop of Manila and the first Filipino Cardinal of the Catholic Church. It was not a happenstance that Menchu received the sacrament of confirmation from the Cardinal himself right in the Katigbak home, the first ever that was held in a private home if any other followed at all. Like most children, Menchu recalls in the book how she detested being “slapped” by the pious prelate. If she was any pleased about her family’s closeness to the holy man, it was that the Assumption sisters did not expel her for her not-too-infrequent infractions because they went to her father if they needed something from the Cardinal. Dona Aurora Recto for a ‘guardian’ Hers was a lonely childhood since her older siblings were away. They were the triple seven, which alluded to their being born seven years apart, with Menchu as the youngest. On certain days, her parents, both busy, would deposit her in the home of the statesman Claro M. Recto where she would play with his favorite granddaughter, Techie, who had all these toys, Menchu could not help realizing her parents did not buy her a toy. She played with her jackstones while Techie had a closetful of toys, including a toy “cash register.” Techie was so generous she was giving this fancy plaything to her, but Menchu refused knowing her mother would not approve. What she remembers best of that time was the sight of Dona Aurora, the first beautiful woman she beheld in her young mind and eyes, and from her, she learned her first lessons in etiquette, because the family ate with a full complement of silverware and flatware. (To be continued) The post Menchu Katigbak: The splendid life of a society swan 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......»»
TOFA honors this year’s Presidential Volunteer Service awardees
The Outstanding Filipinos in America, an organization that honors the achievements of Filipinos in the USA, named the 2023 Presidential Volunteer Service Awardees during the recent awarding ceremony at the Triad Theater in New York City. Founded by New York-based journalist Elton Lugay, TOFA acknowledged individuals who rendered their talents and skills, expertise and wisdom in diverse community events around the United States. The distinction was acknowledged by the office of The White House in Washington, D.C. This year’s recipients included senior creative manager Angelene Coronel, healthcare worker Richie Garcia, special education teacher Deirdre Levy, public health expert Rachelle Peraz Ocampo, civil rights advocate Clifford Robin Temprosa and digital creators Dennis Almario, Chris Labaco, Jonathan Maravilla, Erwin Pajarillo and Eric Relucio. Dominating the roster were artists and performers Arianne Aldecoa, Denise Kara Almario, Bernice Bernabe, Eric Celerio, Marga Empress, Manilyn Gemproso, Asia Guzman, Melody Himarangan, Erno Hormillosa Jr., Gene Juanich, Hansel Mendoza, Morris Montilla, Marcus Oche, Bobby Ramiro, Ellis Young, Hannah Zapanta and Mark Anthony Atienza. Atienza, a graduate of Bachelor of Arts in Music Production from the De La Salle-College of Saint Benilde, recalled that he was surprised with the recognition. He thought he was just only attending the affair. “I feel honored and blessed to receive this award. It continues to motivate and inspire me to constantly give back to the community,” he said. Since residing in the US since 2021, he sang in Filipino restaurants, including Kabayan and Kusina Pinoy Bistro. Atienza was the opening act of some biggest celebrities’ concerts, such as Morissette Amon, Marcelito Pomoy, Erik Santos, Gary Valenciano and KZ Tandingan. He likewise has been part of special traditional Masses such as Simbang Gabi and social gatherings of the Philippine consulate and the Philippine Independence Day Council Inc. With his determination and passion, Atienza, along with his fellow TOFA singers Almario, Guzman, Relucio, Young, Zapanta, Neeko Delos Santos and Geo Rebucas, showcased their vocal prowess with the US National Anthem during the Filipino Heritage Night at a National Basketball Association game at Madison Square Garden in November 2022. They were also invited to serenade the White House for its Christmas Open House in December 2022. Despite missing his home country, Atienza shared that he temporarily decided to stay abroad because of the opportunities which opened up for his career. “As an independent artist during the pandemic, it was really hard for me because I had no place to perform,” he stated. “No way to somehow make a living with my music.” He lauded all musicians and digital creators in the industry for inspiring him to become a better person. “I hope and pray that with your art and contents that you’re making, you’ll continue to use it to make an impact on our society.” Atienza wrote songs for multimedia companies GMA Music and Viva Music. His original pieces were also featured in the movie Walwal, which was directed by award-winning filmmaker and Benilde Digital Filmmaking chairperson Jose Javier “Joey” Reyes. He recently released his debut album 20/20, which was based on his own experiences of love and heartbreak during the coronavirus pandemic. The post TOFA honors this year’s Presidential Volunteer Service awardees appeared first on Daily Tribune......»»
Plus-size movement reshapes fashion in Brazil
Defying the fashion world's narrow stereotype of beauty, Brazilian plus-size designer Amanda Momente poses confidently for the camera, wearing the clothing label she founded after failing to find other options that fit. More than half of all adults in Brazil are overweight, but Momente is part of a growing movement of entrepreneurs, activists and models who are fed up with a fashion industry they say fails to fit their needs and shames them for their bodies. "Society judged me based on one thing, so I took that thing and used it... to launch my business," says Momente, 34, dressed in a sheer black bodysuit created by Wondersize, the company she founded in 2017. The former real-estate agent, who sports a pink mohawk and multiple tattoos, got the idea after feeling uncomfortable at the gym in clothes she says were too tight, turned transparent when stretched or bunched up around her thighs. She decided to find a seamstress to help her make her own workout outfit. It turned out so well she quit her day job and plunged headfirst into the fashion world, she says. The rise of colorful, stylish clothes for Brazilians with large bodies is part of a broader international trend rejecting unrealistic standards of beauty, especially for women. "The fashion industry needs to fit our bodies, not the other way around," says Momente. - 'Identity and dignity' - Major brands tend to dedicate at most a small portion of their lines to clothing in larger sizes, leaving "repressed" demand, says Marcela Liz, head of the Brazil Plus Size Association. The plus-size sector grew in Brazil more than 75 percent in the decade through 2021, reaching sales of 9.6 billion reais (about $1.9 billion) that year, according to the association. It projects sales will hit 15 billion reais by 2027 in Latin America's biggest economy. "Supply has improved, but we're still not meeting demand," says Liz. The nascent industry sashayed through Sao Paulo this month at the Pop Plus fair, where indie designers showed off sparkling skirts, racy tops, T-shirts stamped with bold statements and other clothes in sizes ranging up to 70. "The market saw fat people as people who didn't like fashion, who just wanted to hide their bodies," says Flavia Durante, the activist who founded the fair in 2012. "We had clothes, not fashion," she told AFP. "Fashion isn't just about consumption. It's about identity and dignity." - More work to do - TV presenter and plus-size model Letticia Munniz has strutted the runway at glitzy Sao Paulo fashion week, made the cover of glossy magazines and been the face of numerous ad campaigns. But she says real inclusion remains a long way off for the overweight and obese in Brazil -- 57 percent and 23 percent of the adult population, respectively, in the country of 203 million people. "Things have improved, but our work is still seen as just checking a quota box. We're not seen as real equals," she says. The activist and influencer, who usually wears custom-made clothes, says she is glad to see more plus sizes on runways -- but adds that doesn't necessarily mean they are actually available in stores. She encourages her more than one million followers on social media to love themselves as they are. "When you find something made to exalt your body instead of hide it, it changes everything," she says in one post. mls/jhb/md/dw © Agence France-Presse The post Plus-size movement reshapes fashion in Brazil appeared first on Daily Tribune......»»
From East to West to southern trap, 50 years of hip-hop
Five decades after a Bronx block party ushered in hip-hop's 'Big Bang' moment, the culture-shifting genre is celebrating its 50th birthday Friday. The reigning music style has evolved in rapid, anarchic ways -- in many ways defying categorization -- but some patterns have emerged. What follows is a run-down of some of hip-hop's key phases. Old school What's now broadly referred to as old-school hip-hop is the genre's earliest commercially recorded music, and typically refers to songs put out from approximately 1979 to 1983. The Sugarhill Gang's "Rapper's Delight" became the first commercially successful hip-hop song after it was released on September 16, 1979. It's preserved in the Library of Congress' National Recording Registry. "The Message" from Grandmaster Flash and the Furious Five, released in 1982, brought a socially conscious element to the genre, delivering a raw portrait of urban life and the stresses of poverty. Other prominent artists of the moment included Afrika Bambaataa, DJ Kool Herc, Melle Mel, and Grandmaster Caz. East Coast New York and the East Coast were pivotal to the development of hip-hop throughout the 1980s and early 1990s, the "golden age." Run-DMC was among the most influential acts of the era, achieving a smattering of notable firsts for the genre. They, the Beastie Boys and Public Enemy offered harder renditions of hip-hop than their disco-tinged predecessors, with the latter rising to prominence for their political themes including racism and Black power. More complex wordplay with swift delivery and elaborate metaphors were emblematic of the age, with acts including Eric B. & Rakim, LL Cool J, Nas, Big Daddy Kane, and The Notorious B.I.G. gaining wide acclaim. De La Soul and A Tribe Called Quest were meanwhile pioneering "alternative hip-hop," bringing in jazz and R&B elements. Salt-N-Pepa, Foxy Brown, Queen Latifah, and Lauryn Hill broke barriers for women, with Hill in particular popularizing melodic rapping. The Notorious B.I.G. -- or "Biggie" -- with the backing of Puff Daddy's "Bad Boy Records" became the East Coast's king following the release of his landmark debut album "Ready to Die" in 1994, up until his shock murder in 1997. And the Wu-Tang Clan also popularized East Coast styles, emphasizing hard edges and strong beats. West Coast The sounds emerging from California were fast and influenced by electronica, centering more on DJs than raps. Ice-T pioneered West Coast and gangsta rap in the late 1980s, while N.W.A. went platinum with its album "Straight Outta Compton" in 1988. Dogged by controversy and censorship over profane lyrics -- which many alleged were misogynist while also glorifying drug use and crime -- N.W.A. made waves for laying bare experiences of endemic racism and excessive policing. The group's dissolution saw members including Dr. Dre and Ice Cube gain solo acclaim. And Tupac Shakur also preferred messages of injustice as he became one of the greatest rappers of all time prior to his 1996 murder, which came just months before Biggie's. Dr. Dre's "The Chronic" charted new paths for rap as a seminal album of the era. It also introduced one of his most famous proteges, the then-budding rapper today known as Snoop Dogg, whose laid-back, windows-down lyrical delivery came to epitomize G-Funk, and whose debut album "Doggystyle" was a Dre production. Dre also shaped another household name: Eminem. "He's a creator who has moved popular culture three times... with gangsta rap, G-funk, and Eminem," said industry magnate Jimmy Iovine of Dre. Bling and Prog Biggie's commercial fame paved the way for other East Coast stars, including Jay-Z, DMX, Busta Rhymes, and 50 Cent, with the turn-of-the-millennium bling era. Jay-Z's "Hard Knock Life (Ghetto Anthem)" was a major hit years before he would become one of hip-hop's billionaires and an industry mogul. His work also brought producers including Kanye West to the fore. Early in his career, West gained near-universal acclaim, not least for his integration of house, electronica and soul into creatively risky productions. And Nicki Minaj was praised for her chameleon talents and blistering flow, while Drake brought in R&B sensibilities and churned out hit after hit. Kendrick Lamar became one of contemporary music's most impactful writers, with his verses offering insight both personal and systemic, all set to jazz-heavy instrumentals. Lamar, along with West and Common, all became torchbearers of the broadly defined progressive rap, defined by a focus on social ills and change. Hip-hop was also burgeoning across the South, with artists including 2 Live Crew, Missy Elliott, and Outkast gaining traction. Trap and Drill Into the 2010s, rap's nexus shifted to Atlanta, home to the trap subgenre characterized by cymbal patterns and synthesized drums. Trap remains among American music's most popular styles, with its influence crossing into pop and EDM as well as Latin America's wildly popular reggaeton. Much of its lyricism focused on life in "the trap" -- a reference to drug-dealing spots. Artists including Outkast, T.I., Gucci Mane, and Lil Wayne expanded its popularity, while the idiosyncratic Young Thug became one of contemporary hip-hop's most emulated artists. Today's trap-influenced superstars include Migos, Cardi B, and Megan Thee Stallion. Internet virality has been key to several contemporary movements including "Soundcloud rap," whose angsty, jagged sound injected vulnerability into hip-hop. And the equally dark drill has brought the aggressive lyricism of gangsta back to prominence. It began percolating in Chicago before traveling to Britain and resurfacing in New York. Brooklyn drill gained mainstream clout thanks to work from artists including the late Pop Smoke and Fivio Foreign, as today's stars like the Bronx's Ice Spice take it viral. See more photos here: The post From East to West to southern trap, 50 years of hip-hop appeared first on Daily Tribune......»»
From East to West to southern trap, 50 years of hip-hop
Five decades after a Bronx block party ushered in hip-hop's 'Big Bang' moment, the culture-shifting genre is celebrating its 50th birthday Friday. The reigning music style has evolved in rapid, anarchic ways -- in many ways defying categorization -- but some patterns have emerged. What follows is a run-down of some of hip-hop's key phases. Old school What's now broadly referred to as old-school hip-hop is the genre's earliest commercially recorded music, and typically refers to songs put out from approximately 1979 to 1983. The Sugarhill Gang's "Rapper's Delight" became the first commercially successful hip-hop song after it was released on 16 September 1979. It's preserved in the Library of Congress's National Recording Registry. "The Message" from Grandmaster Flash and the Furious Five, released in 1982, brought a socially conscious element to the genre, delivering a raw portrait of urban life and the stresses of poverty. Other prominent artists of the moment included Afrika Bambaataa, DJ Kool Herc, Melle Mel, and Grandmaster Caz. East Coast New York and the East Coast were pivotal to the development of hip-hop throughout the 1980s and early 1990s, the "golden age." Run-DMC was among the most influential acts of the era, achieving a smattering of notable firsts for the genre. They, the Beastie Boys and Public Enemy offered harder renditions of hip-hop than their disco-tinged predecessors, with the latter rising to prominence for their political themes including racism and Black power. More complex wordplay with swift delivery and elaborate metaphors were emblematic of the age, with acts including Eric B. & Rakim, LL Cool J, Nas, Big Daddy Kane, and The Notorious B.I.G. gaining wide acclaim. De La Soul and A Tribe Called Quest were meanwhile pioneering "alternative hip-hop," bringing in jazz and R&B elements. Salt-N-Pepa, Foxy Brown, Queen Latifah, and Lauryn Hill broke barriers for women, with Hill in particular popularizing melodic rapping. The Notorious B.I.G. -- or "Biggie" -- with the backing of Puff Daddy's "Bad Boy Records" became the East Coast's king following the release of his landmark debut album "Ready to Die" in 1994, up until his shock murder in 1997. And the Wu-Tang Clan also popularized East Coast styles, emphasizing hard edges and strong beats. West Coast The sounds emerging from California were fast and influenced by electronica, centering more on DJs than raps. Ice-T pioneered West Coast and gangsta rap in the late 1980s, while N.W.A. went platinum with its album "Straight Outta Compton" in 1988. Dogged by controversy and censorship over profane lyrics -- which many alleged were misogynist while also glorifying drug use and crime -- N.W.A. made waves for laying bare experiences of endemic racism and excessive policing. The group's dissolution saw members including Dr. Dre and Ice Cube gain solo acclaim. And Tupac Shakur also proferred messages of injustice as he became one of the greatest rappers of all time prior to his 1996 murder, which came just months before Biggie's. Dr. Dre's "The Chronic" charted new paths for rap as a seminal album of the era. It also introduced one of his most famous proteges, the then-budding rapper today known as Snoop Dogg, whose laid-back, windows-down lyrical delivery came to epitomize G-Funk, and whose debut album "Doggystyle" was a Dre production. Dre also shaped another household name: Eminem. "He's a creator who has moved popular culture three times... with gangsta rap, G-funk, and Eminem," said industry magnate Jimmy Iovine of Dre. Bling and Prog Biggie's commercial fame paved the way for other East Coast stars, including Jay-Z, DMX, Busta Rhymes, and 50 Cent, with the turn-of-the-millennium bling era. Jay-Z's "Hard Knock Life (Ghetto Anthem)" was a major hit years before he would become one of hip-hop's billionaires and an industry mogul. His work also brought producers including Kanye West to the fore. Early in his career, West gained near-universal acclaim, not least for his integration of house, electronica, and soul into creatively risky productions. And Nicki Minaj was praised for her chameleon talents and blistering flow, while Drake brought in R&B sensibilities and churned out hit after hit. Kendrick Lamar became one of contemporary music's most impactful writers, with his verses offering insight both personal and systemic, all set to jazz-heavy instrumentals. Lamar, along with West and Common, all became torchbearers of the broadly defined progressive rap, defined by a focus on social ills and change. Hip-hop was also burgeoning across the South, with artists including 2 Live Crew, Missy Elliott, and Outkast gaining traction. Trap and Drill Into the 2010s, rap's nexus shifted to Atlanta, home to the trap subgenre characterized by cymbal patterns and synthesized drums. Trap remains among American music's most popular styles, with its influence crossing into pop and EDM as well as Latin America's wildly popular reggaeton. Much of its lyricism focused on life in "the trap" -- a reference to drug-dealing spots. Artists including Outkast, T.I., Gucci Mane, and Lil Wayne expanded its popularity, while the idiosyncratic Young Thug became one of contemporary hip-hop's most emulated artists. Today's trap-influenced superstars include Migos, Cardi B, and Megan Thee Stallion. Internet virality has been key to several contemporary movements including "Soundcloud rap," whose angsty, jagged sound injected vulnerability into hip-hop. And the equally dark drill has brought the aggressive lyricism of gangsta back to prominence. It began percolating in Chicago before traveling to Britain and resurfacing in New York. Brooklyn drill gained mainstream clout thanks to work from artists including the late Pop Smoke and Fivio Foreign, as today's stars like the Bronx's Ice Spice take it viral. The post From East to West to southern trap, 50 years of hip-hop appeared first on Daily Tribune......»»
An old antibiotic may get new life as an STI prevention pill
The United States is set to roll out a powerful new weapon in the long fight against sexually transmitted infections: a decades-old antibiotic repurposed as a preventative pill. DoxyPEP, or doxycycline used as a post-exposure prophylaxis, has been found to significantly cut the risk of chlamydia, gonorrhea and syphilis when used after condomless sex. The Center for Disease Control and Prevention (CDC), which is developing national guidance for clinicians, will need to weigh the need to contain record high rates of STIs impacting millions of Americans against potentially giving rise to more antibiotic-resistant strains. "Innovation and creativity matter in public health, and more tools are desperately needed," senior CDC official Jonathan Mermin told AFP. But the recommendations, set for publication this summer, will remain narrow in scope. They will likely target only the most at-risk groups of gay men and transgender women with histories of prior infection. As word spreads, some clinics are already prescribing DoxyPEP. Malik, a 37-year-old man in Washington, said his doctor recently told him he could start using doxycycline as a "morning-after pill" following risky sex, something he's had to do twice -- including after a partner did not warn him he had removed his condom. Two-thirds reduction Reported cases of the three bacterial infections grew to 2.5 million in the United States in 2021, following about a decade of growth. Several issues are behind the rise: fewer people are using condoms since the advent of PrEP -- daily pills that significantly reduce chances of contracting HIV. And people who are on PrEP are recommended to undergo screening every three months, likely increasing the identification of infections. Then there is the basic epidemiological fact that the greater the number of people infected, the more they can further infect. Researchers have found DoxyPEP efficacious in three of four trials. "What we found was there was about a two-thirds reduction in sexually transmitted infection every three months," Annie Luetkemeyer, who co-led a US trial, told AFP. The physician-scientist at the University of California, San Francisco recruited some 500 people in San Francisco and Seattle among communities of men who have sex with men and transgender women. Efficacy was greatest for chlamydia and syphilis, both of which were reduced by about 80 percent, while for gonorrhea it was about 55 percent. There were few side effects. Antibiotic resistance Broadening access to doxycycline has prompted concerns about causing antibiotic resistance, particularly in gonorrhea, which is fast mutating. But early research hasn't shown cause for alarm. Connie Celum of the University of Washington, who co-led the US study, told AFP researchers tested gonorrhea samples from breakthrough infections in the DoxyPEP group and compared them to the group who didn't receive the pill. Though they found the rate of resistant gonorrhea slightly higher in the DoxyPEP group, she says the finding could simply mean the pill is less effective against already resistant strains, rather than causing that resistance. DoxyPEP could even boost responsible antibiotic stewardship -- cutting the incidence of infections, thus also cutting need for antibiotic treatment. If it slashed gonorrhea cases by some 50 percent, it could reduce the number of people requiring antibiotic treatment with the current frontline treatment drug, ceftriaxone, which doctors are eager to preserve. Longer term study is required, on both impacts on STIs but also "bystander" bacteria such as Staphylococcus aureus, which live inside people's noses but sometimes cause serious infections. 'Additional tool' Malik said that while he is glad he could use DoxyPEP as a last resort, he wishes more men were willing to use condoms. Since moving to America from South Asia, he gets relatively little interest on dating app Grindr when he says he's not willing to have condomless sex. But Stephen Abbott -- a doctor at Washington's Whitman-Walker clinic who prescribes and uses DoxyPEP -- said it's crucial to meet people where they are. "From speaking with patients, and being part of the community that's now on PrEP... I think the age of prevention through condoms is fading," he told AFP. A 42-year-old man in London who runs a cultural organization told AFP that word had spread about DoxyPEP through the international gay party circuit and he had procured a supply on the black market and through a partner who buys in bulk in Mexico. It had largely worked for him, though he did have one breakthrough infection of throat gonorrhea. He said he was looking forward to the United Kingdom adopting similar guidance so that people have the right information and aren't left to guess at the right dosage. For Luetkemeyer, DoxyPEP won't be "the answer" to the STI epidemic, and there is considerable interest in the development of a gonorrhea vaccine. "But I'm optimistic... I think this is an additional tool," she said. The post An old antibiotic may get new life as an STI prevention pill 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......»»
‘Barbie’ stays atop ‘hill of cash’ in N.America theaters
Warner Bros.' blockbuster "Barbie" earned an estimated $93 million in North American theaters this weekend as it continued "rolling down a hill of cash," industry watcher Exhibitor Relations reported Sunday. Taken together with Universal's dark biopic "Oppenheimer," which took in a mighty $46.2 million in its own second weekend out, the two films provided a much-needed "Barbenheimer" boost during a middling Hollywood summer. "July would have been a lukewarm month, but then 'Barbie' and 'Oppenheimer' arrived, moviegoing exploded, and within one week, July caught up to its pre-pandemic average," said analyst David A. Gross of Franchise Entertainment Research. Last weekend, "Barbie" scored the biggest opening weekend of the year, at $80.5 million, showing eyebrow-raising appeal for a movie based on a small plastic doll living in a perfect pink world. With Margot Robbie as "Barbie" and Ryan Gosling as boyfriend "Ken," the Greta Gerwig film has now generated $351.4 million in North American ticket sales, along with $423 million abroad, likely setting it on track to be the next billion-dollar flick. "Oppenheimer" also showed exceptional strength for a historical drama, with its second-weekend result -- like that of "Barbie" -- among the best in box-office history, said analyst Paul Dergarabedian. The story of the creation of America's atomic bomb has now earned $174.1 million domestically and $226 million abroad. In third for the weekend was a new Disney release, "Haunted Mansion," at $24.2 million. Disney spent $150 million to produce the kid-centric film so it has a way to go to reach profitability, according to Variety. The movie stars LaKeith Stanfield, Tiffany Haddish and Owen Wilson. Fourth spot went to the independent "Sound of Freedom," from Santa Fe Films and Angel Studios, at $12.4 million. The low-budget action thriller has sparked controversy, with critics saying its story about child sex trafficking plays into Qanon conspiracy theories. And hanging steady at fifth was Paramount's "Mission: Impossible -- Dead Reckoning Part One." This latest in the popular Tom Cruise series took in $10.7 million, meaning all of the top five films scored in the double-digit millions. Rounding out the top 10 were: "Talk to Me" ($10 million) "Indiana Jones and the Dial of Destiny" ($4 million) "Elemental" ($3.4 million) "Insidious: The Red Door" ($3.2 million) "Spider-Man: Across the Spider-Verse" ($1.4 million) The post ‘Barbie’ stays atop ‘hill of cash’ in N.America theaters appeared first on Daily Tribune......»»
Israel braces for unrest over divisive judicial reform
Israel braced for fresh strikes and protests Tuesday following a divisive parliamentary vote on a controversial judicial reform which has split the nation and drawn criticism from allies abroad. The decision by Prime Minister Benjamin Netanyahu's hard-right government to push through a key plank of its reforms on Monday has already sparked legal challenges and clashes on the streets. Opponents were set to keep up months of protests on Tuesday, with doctors walking out. "The hand, extended for dialogue, was left hanging in the air, as victory celebrations took place symbolizing above all a war that only has losers," the head of the Israel Medical Association, Zion Hagay, said in a statement announcing the walkout. The move came after the Histadrut trade union confederation threatened a repeat of the general strike it called in March over the reforms. The Israel Bar Association was among numerous groups to file petitions to the Supreme Court aiming to strike down the new legislation. "A black day for Israeli democracy," read the blackened front pages of three of the country's top newspapers on Tuesday, carrying an advert by opponents of the judicial reforms. Protesters remained on the streets late into the night following the vote, with student Josh Hakim saying he was "really, really sad about what's happening to this country". "You see what is happening on the streets, everyone is so angry," he told AFP at a rally near parliament in Jerusalem. Some 58 people were arrested at demonstrations, the police said, among them protesters in Tel Aviv, which has become the focal point of one of the country's largest ever protest movements. Police said one person was arrested for allegedly harming demonstrators, with protest organisers saying he drove a car into people blocking a highway. Officers used water cannon to disperse protesters on a major road through Tel Aviv, where the crowd waved Israeli flags. Opposition slams 'puppet' PM Netanyahu failed to appease opponents with a televised address late Monday, in which he pledged to hold talks during the upcoming parliamentary recess. "Reach a comprehensive agreement on everything and we will add more time should it be needed," he said. The embattled premier showed signs of fatigue in the chamber, as he sat between his defense and justice ministers just a day after unscheduled surgery to fit a pacemaker. Netanyahu defended the new law, which limits the powers of the Supreme Court in striking down government decisions, as a "necessary democratic step". Deep divisions within his own coalition and mass protests prompted the premier to temporarily halt the legislative process in March, but within weeks politicians were blaming each other for the breakdown in negotiations. On Monday, the opposition walked out of the chamber to boycott the vote, which passed with 64 votes in the 120-seat chamber. Opposition chief Yair Lapid slammed Netanyahu's "unprecedented performance of weakness". "There is no prime minister in Israel. Netanyahu has become a puppet of messianic extremists," he said, a reference to the premier's far-right and ultra-Orthodox Jewish allies. The political instability has raised alarm among Israel's allies abroad. The White House described the vote as "unfortunate". A German foreign ministry source said: "We look with great concern at the deepening tensions in Israeli society." The post Israel braces for unrest over divisive judicial reform appeared first on Daily Tribune......»»
‘Moment of legacy’:Pinoy producers making B’way history with ‘Here Lies Love’
[caption id="attachment_157582" align="aligncenter" width="546"] Don Michael Mendoza and Georgina Pazcoguin.GIRLIE Rodis[/caption] [caption id="attachment_157584" align="aligncenter" width="193"] Giselle Tongi[/caption] [caption id="attachment_157583" align="aligncenter" width="351"] Adam Handyman, Bobby Garcia,[/caption] Here Lies Love, the Broadway musical about former First Lady Imelda Marcos and the People Power Revolution, is not only the first Broadway production to have a cast composed entirely of Filipinos. It is also the first to have so many Filipinos on its producing team. The latest HLL Pinoy producers are Black Eyed Peas singer Apl.de.Ap and DJ CherishTheLuv. They are part of a distinguished group that includes celebrated performers, renowned artists and accomplished advocates who are of Filipino blood and are proud to be part of the innovative show. Named as producers are Hal Luftig, Patrick Catullo, Diana DiMenna and Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas, with Aaron Lustbader as executive producer. They are joined by Lea Salonga (who is in the cast), H.E.R., Jo Koy, Bobby Garcia, Giselle “G” Töngi, Celia Kaleialoha Kenney, Girlie Rodis, Miranda Gohh, Rob Laqui, Georgina Pazcoguin, Don Michael H. Mendoza, Adam Hyndman, Yasuhiro Kawana, Triptyk Studios, Shira Friedman, James L. Nederlander, Kevin Connor, Patrick Trettenero, Elizabeth Armstrong, Cathy Dantchik, Wendy Federman/Suzzane Niedland, Luke Katler/Ryan Solomon, Laura Ivey/Janet Brenner and Hunter Arnold/TBD Theatricals. David Byrne, co-founder of the ‘80s New Wave group Talking Heads and the brains behind the concept and music of HLL, said to The Washington Post’s Gina Apostol that this was what he intended. The Grammy- and Oscar-winning musician explained, “I wanted producers who understand what it means, not just to them personally but to the Filipino community.” ‘Phenomenal musical’ Getting the producers on board was not difficult because of HLL’s history. In 2013, HLL premiered off-Broadway at New York City’s The Public Theater where it played until 2015. It also had runs at London’s National Royal Theatre from 2014 to 2015, and at the Seattle Repertory Theater in 2017. Tony Award-winning producer Adam Hyndman was among the audience of HLL’s off-Broadway debut. “I was so impacted that I saw it three times and brought everyone I knew!” he recalled. When he was invited to bring the project to the world’s most famous theater circuit — Adam had produced the Broadway musicals Aladdin, Once On This Island, Hadestown and The Inheritance — his response was immediate: “I jumped on board because I knew HLL would be more than just another show, but rather a moment of legacy.” G Töngi, who had made a name for herself as an actress/host/VJ in the Philippines in the 1990s, was likewise fired up when she witnessed HLL at Seattle Repertory. “I walked away from that experience feeling so seen,” she said. The musical brought her back to 1986 when she, as a child, marched in the streets outside Malacañang with her mother. Atlantis Productions founder Bobby Garcia, who mounted the Philippine productions of Rent and Angels in America, has been involved with HLL since 2014, when it premiered at London’s National Theater. Bobby said, “(Director) Alex Timbers kept me in the loop of potential productions. Patrick Catullo and Clint Ramos approached me about joining the team as co-producer and talked to me about how the show would have a revolving door of Filipino artists from Manila to play Aurora Aquino (the mother of Ninoy Aquino).” The opportunity was simply too good to pass up, said Garcia. “As an advocate of Filipino talent, I wanted to be part of bringing this phenomenal musical to the Broadway stage and opening the door for talent from the Philippines to cross the ocean and make their Broadway debuts.” Breaking ground Garcia’s friend, veteran talent manager and stage and film producer Girlie Rodis, certainly understands what he meant. “Whether you’re someone on stage or someone working behind the scenes, the big break doesn’t come often,” said Rodis. “So when Bobby talked to me in 2021 about joining him as co-producer, no questions asked. More than the prospect of giving breaks to our talented Filipino artists, it’s the chance to carve a legacy that made me tell Bobby, ‘Count me in!’ Who would have thought that a Broadway musical production would have an all-Filipino cast and depict the history of the Philippines? Now it’s finally happening.” HLL’s Broadway debut is set to break ground in American media and performing arts. “This visibility of Filipino performers in leading roles on Broadway just fills my heart,” said Georgina Pazcoguin, New York City Ballet’s first Asian-American female soloist and co-founder of the diversity initiative Final Bow for Yellowface. For actor and stage/TV/new media producer Don Michael H. Mendoza, the impact will definitely be long-term. “Like Hamilton does for actors of color, Here Lies Love will provide employment to countless Filipino performers, musicians and production staff for many years to come. Moreover, it will teach the audience about a people that was always in front of them for decades, but playing other ethnicities. Now it’s our turn to be seen and loved by the audiences for who we are as Filipinos. Not as anyone else.” Bayanihan spirit The bayanihan spirit, or cooperative spirit that Pinoys are known for, is very present among the HLL producers. A number of them are based outside of New York and a few — like Rodis — are outside the US. But thanks to technology and fueled by a united passion, they have formed a strong bond and have achieved their tasks outstandingly. “Being a Here Lies Love co-producer has, at long last, connected me with my culture in a way I’ve been craving. For the first time ever I’m surrounded by co-workers who share a part of my identity,“ said Pazcoguin. Rodis added, “Collaborating with this incredible group of Filipino co-producers has already given me so much. Tony award-winning designer Clint Ramos and producer Jose Antonio Vargas, a Pulitzer-prize winning journalist, have been supportive and generous. It’s a blessing to be in this company.” A few days before Here Lies Love opens on Broadway, the producers already feel ecstatic. “We are excited that there is so much enthusiasm both in the Broadway and Filipino and Fil-Am communities to see HLL,” said New York-based creative producer Rob Laqui. “One of our jobs as producers is to translate this buzz to getting people to the theater so HLL will have a long and successful run… We are confident and have faith in our process, and in the incredible team assembled, that HLL will be the gold standard for what Broadway can be.” The post ‘Moment of legacy’:Pinoy producers making B’way history with ‘Here Lies Love’ appeared first on Daily Tribune......»»
Music Education is the Key
Moving back to the Philippines after 26 years of living in three different continents (North America, Europe and Africa), I found myself back in my home country wondering what I could do to serve and, at the same time, be able to make a living. Frustrations came as I wondered how musicians could go on with little pay, little recognition, little support. I marveled at their resilience, determination and enthusiasm. They must really love what they are doing to be able to continue and not be discouraged, especially if we compare ourselves to our neighboring Asian countries — all the concerts they have, visits from international artists of the highest caliber, an extremely high rate of citizens studying music and a wide audience that yearns for culture. The temptation is to stay overseas where there is ample opportunity for growth and stimulation, at the same time, being able to enjoy a good standard of living. [caption id="attachment_150800" align="aligncenter" width="525"] ILUSORIO hopes to create opportunities for the development of talent and create more support for the arts.[/caption] So, what is there in this country that is keeping me here? Besides the proximity of family, it boils down to the need to give back, as well as experience and absorb the Filipino culture that I missed in my youth. I consider myself privileged to have had years of education and experience abroad, opportunities that only few have. I do not believe I was gifted with extraordinary talent, but I was lucky to have been exposed to good training and standards. The Philippines is a country full of potential and musical talent. In the next years, I hope to create opportunities for the development of talent, create more support for the arts. I wish to lead and guide young musicians to fulfill their potential, to believe in their talent and see possibilities in thriving in the arts. I wish to lead non-musicians to appreciate the arts and classical music. This I can do by performing, teaching, organizing, connecting, pushing. How? Through baby steps. Music education can improve if we look to other Asian countries as models and learn from them. We can improve if we are open to seek advice from outsiders, open to change and improve our system. We can improve if we work together, united with common goals. I dream of music conservatories which can be compared to the standards of our Asian neighbors. I dream of classical musicians who stand proud because they are valued and respected in society. I dream of a growing audience for classical music, for society to be enriched by the values classical music teaches. We need a supportive audience, sponsors in uplifting the standards of music education, committed teachers, good facilities and a nurturing environment. The talent is there. We just need to develop them. The more we give, the more we receive. To whom much is given, much is expected. With these mottos in mind, the future in music can be forged. Congratulations Daily Tribune on your anniversary and thank you for supporting the arts! ***** Mariel Ilusorio is a world-renowned Filipino pianist and a music professor at St. Scholastica’s College of Music, Philippine High School for the Arts, UST Conservatory of Music and Pamantasan ng Lungsod ng Maynila. The post Music Education is the Key appeared first on Daily Tribune......»»
Mercenary attitude
Easily the most head-spinning item of international news the past week was the thwarted armed rebellion by Russia-based mercenaries against Russian leader Vladimir Putin. At this writing, we don’t know how the Russian domestic security crisis will eventually pan out. But the unexpected 24-hour crisis — triggered after mercenary tycoon Yevgeny Prigozhin and his Wagner Group fighters seized critical facilities in Southern Russia before pushing on to Moscow but then abruptly standing down — grievously wounded Mr. Putin politically and put into question his more than 20 years in power. Significant, too is the fact the rebellion nakedly dramatized the return of mercenary armies in modern warfare and the political risks associated with its return. A case of what’s old is new again. The mercenary — simply understood nowadays as an armed civilian paid to conduct military operations in a foreign conflict zone — is not a new thing. Soldiers of fortune throughout history are as old as war itself, earning the colloquial sobriquet “second oldest profession” after prostitution. Only later were mercenaries stigmatized, tabooed, and outlawed when States, wanting a monopoly on the use of force, began to invest in standing national armies. Mercenaries, however, didn’t become extinct but went underground. But after 150 years underground, the private forces were regurgitated in just a few decades of the 20th and 21st centuries and are now growing at an alarming rate in all the domains of war — land, sea, air, and cyber. In fact, as war studies professor Sean McFate says, “In less than 20 years, the private force has proliferated among every (war) domain except space, but that too may change.” It is also big business. “No one truly knows how many billions of dollars slosh around this illicit market. All we know is that business is booming. Recent years have seen major mercenary activity in Yemen, Nigeria, Ukraine, Syria, and Iraq. Many of these for-profit warriors outclass local militaries, and a few can even stand up to America’s most elite forces,” says McFate. The modern mercenaries also frown on their old moniker. Private sector fighters and their employers instead sport euphemistic labels like private military contractors, private security companies, private military companies, private security/military companies, private military firms, military service providers, operational contractors, and contingency contractors. The proliferation of this new warrior class only proves, says McFate, the commodification of modern armed conflict. But other than the marketization of war, mercenaries also informally act as a proxy force fighting on behalf of the geopolitical agendas of the world’s great powers that refuse to let their own troops bleed in unconventional war zones. In fact, the Wagner Group — named after the German composer Richard Wagner — had for years followed “Mr. Putin’s shadowy geopolitical bidding in nations abroad and suffered profound losses on the battlefield in Ukraine before turning its sights on Russia itself.” Filipinos, meanwhile, aren’t strangers to mercenary lucre either. McFate, who once worked in the industry, says, “I worked alongside ex–special forces troops from places like the Philippines, Colombia, and South Africa. We did the same missions, but they got developing world wages and I did not. Mercenaries are just like T-shirts — they are cheaper in developing countries. Call it the globalization of private force.” In my personal knowledge, too, scores of former members of the elite Presidential Security Group or PSG took jobs as “embarked security” on international ships plying pirate waters in the Gulf of Aden, Strait of Malacca, and the Gulf of Guinea. As expected, the former PSG guys were reticent about their “privateer” contracts with London-based private security firms. But McFate explains: “Here’s how it works. Armed contractors sit on ‘arsenal ships’ in pirate waters and chopper to a client freighter or tanker when called. Once aboard, they act as ‘embarked security,’ hardening the ship with razor wire and protecting it with high-caliber firepower. After the ship gets through pirate waters, the team returns to its arsenal ship and awaits the next client.” Email: nevqjr@yahoo.com.ph The post Mercenary attitude appeared first on Daily Tribune......»»