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Clarence Avant, ‘Godfather of Black Music,’ dies at 92
Clarence Avant, the entertainment executive who is counted among the music world's most impactful figures, died over the weekend, a statement from his family said Monday. He was 92 years old. Avant "passed away gently at home" in Los Angeles on Sunday, said his children Nicole and Alex Avant, as well as Nicole's husband, Netflix executive Ted Sarandos. "Through his revolutionary business leadership, Clarence became affectionately known as 'The Black Godfather' in the worlds of music, entertainment, politics, and sports," the statement said. "Clarence leaves behind a loving family and a sea of friends and associates that have changed the world and will continue to change the world for generations to come. The joy of his legacy eases the sorrow of our loss." Avant was born on 25 February 1931 in small-town North Carolina, the oldest of eight. After spending most of his childhood in North Carolina he moved to New Jersey as a teenager, getting his start in the music business as a club manager of Teddy P's Lounge in Newark. He later was mentored by the longtime Louis Armstrong manager Joe Glaser. He went on to become one of the most revered players in music and beyond, an advocate and mentor who pushed the boundaries for Black entertainers in an industry rife with racism. Avant helped establish Venture Records, the first joint effort between a Black-owned music company and a major record label, in this case, MGM. He later launched Sussex Records and signed the likes of Bill Withers. Avant worked at an array of other labels, produced films, and also brokered deals for Black athletes including baseball superstar Hank Aaron. "He's the perennial godfather of our business," Quincy Jones said in 2006, in an interview with Billboard. "Everyone in our business has been by Clarence's desk if they’re smart." 'True pioneer' Avant also consulted at Motown and worked with other top producers including Jimmy Jam and Terry Lewis as well as Babyface. He's been credited with burnishing the careers of countless artists, including Jones as well as Pharrell Williams, Snoop Dogg, and Whitney Houston. "Clarence Avant connects us all through his incredible impact since before I was born up until now. He's the godfather to so many of us -- and not just African Americans, most of the industry," Pharrell said in a statement in 2019, ahead of the release of the Netflix documentary "The Black Godfather." In 2021, Avant's wife of over 50 years, Jacqueline, was fatally shot at age 81, during a break-in of the couple's Beverly Hills home. Earlier that year Avant received special accolades from the Rock and Roll Hall of Fame. The Recording Academy has also bestowed a number of honors on him and in 2007 he received the Thurgood Marshall Lifetime Achievement Award from the NAACP. Tributes to Avant began pouring out upon news of his death, including from Jay-Z's company Roc Nation, which hailed him "a true pioneer" who "burst through doors and tore down ceilings, changing lives and providing opportunities for generations." "Clarence Avant isn't just the 'Godfather Of Black Music,' he is our cultural Godfather," the company said. Bill and Hillary Clinton, the former US president and secretary of state, said in a joint statement they were "saddened by the passing of our friend." "It was impossible to spend time with him and not come away feeling more positive and wanting to follow his example." The post Clarence Avant, ‘Godfather of Black Music,’ dies at 92 appeared first on Daily Tribune......»»
‘Intimate Audrey:’ An up-close and personal look at a Hollywood and fashion icon
First Lady Liza Araneta-Marcos led the ribbon cutting ceremony on 31 July to formally open the first Asian stop of Intimate Audrey, the bespoke exhibition on the life of the late Hollywood and fashion icon Audrey Hepburn that was created by her son Sean Hepburn Ferrer. Ferrer himself attended the ceremony, with his daughter Emma in tow, held at The Museum at S Maison, located at the Mall of Asia complex in Pasay City, where the exhibition will run until 29 October 2023. The exhibition was brought to the Philippines through the partnership of FashX, a fashion trade and licensing company, and SM Supermalls, as represented at the opening by Hans Sy and Teresita Sy-Coson. [caption id="attachment_169574" align="aligncenter" width="2560"] Hans Sy, chairman of the executive committee of SM Prime.[/caption] [caption id="attachment_169575" align="aligncenter" width="2560"] First Lady Liza Araneta-Marcos with SM Investments Corporation vice chairperson Teresita Sy-Coson.[/caption] [caption id="attachment_169573" align="aligncenter" width="730"] Irene Marcos-Araneta, Joanne De Asis-Benitez and Anna Sobrepeña. | Photographs Courtesy of Sm Supermalls[/caption] Intimate Audrey is the third exhibition Ferrer has created for his mother in the last 30 years. It first opened on 4 May 2019 in time for Hepburn’s 90th birth anniversary and held in her birthplace in Brussels, the capital city of Belgium. It then made a stop in what she considered her home country, Netherlands, specifically in its capital, Amsterdam, where she spent much of her youth during the war years. The exhibition features over 800 photographs, memorabilia, fashion items, drawings, writings, movie posters and trophies that were thoughtfully curated and laid out around the 730-square meter space at The Museum at S Maison. There are also videos playing in strategic spots to highlight specific chapters in her life and at the screening room to show clips from her timeless movies Roman Holiday, Sabrina, Breakfast at Tiffany’s, to name a few. At the end of the exhibition — which covers Hepburn’s life from childhood to ballet training to conquering Hollywood, getting married, becoming a mother and finally doing humanitarian work as UNICEF ambassador — there’s a fashion tribute put up especially for the Manila stop. Titled Audrey: An Homage from Filipino Fashion, this section highlights the works of celebrated Filipino designers who got inspiration from Hepburn’s films and documentaries on her life. The participating designers include Pepito Albert, Ivar Aseron, Vic Barba, Mike Dela Rosa, JC Buendia, Len Cabili, Auggie Cordero, Rhett Eala, Jun Escario, Ben Farrales, Cesar Gaupo, Rajo Laurel, Jojie Lloren, Dennis Lustico, Randy Ortiz, Frederick Peralta, Puey Quiñones, Patrice Ramos-Diaz, Philip Rodriguez, Cary Santiago and National Artists Salvacion Lim-Higgins and Ramon Valera. Tickets to Intimate Audrey are available online via SM Tickets and at all SM Tickets offline locations, such as SM Department Stores and SM Cinemas. Regular price is P850. There’s a special rate of P450 for students, senior citizens, PWDs, national athletes and medal of valor awardees. The post ‘Intimate Audrey:’ An up-close and personal look at a Hollywood and fashion icon appeared first on Daily Tribune......»»
Icon Grandmaster Flash leads the Bronx in 70s-style hip-hop jam
As a teenager Grandmaster Flash began pioneering the turntable-as-instrument, playing the now iconic Bronx block parties that gave birth to hip-hop and revolutionized music. On Friday, he was back home, commemorating 50 years of the genre with a performance that had New Yorkers born in the mid-20th century reliving their youth -- and hip-hop's. "This is not a concert -- this is a jam!" Flash, now in his 60s, shouted from the stage, as hundreds of fans roared in applause in the South Bronx's Crotona Park. The audience swayed with their hands in the air as Flash threw it back to the jams of the early 1970s, which ushered in the genre that's profoundly impacted music as well as fashion, dance and the culture at large. The community parties offered teens and families a lifeline in an era of financial crisis that left much of the borough in crippling poverty. "It was the music that really resonated at the time in New York," said Quentin Morgan, 54, who rolled into the park on his bike to catch the event that's part of a series of festivities commemorating hip-hop's birth. "It was gritty in New York -- barely any laws," he said with a chuckle. "It was a different era." Grandmaster Flash and the Furious Five in 1982 released "The Message," delivering a raw portrait of urban life and bringing a socially conscious element to the genre on a grand scale. On Friday night, the air was electric as Flash brought MCs Melle Mel and Scorpio onstage where they delivered a rendition of the iconic hit. That preceded a fierce appearance from MC Sha-Rock, widely considered the first woman to MC during hip-hop's nascent years. And KRS-One, who also hails from the South Bronx, freestyled to a chorus of cheers as Flash scratched and transformed, manipulating the vinyl, using now-standard techniques he pioneered half a century ago. Earlier in the evening as opening acts warmed up the crowd, Coke La Rock -- who on 11 August 1973 joined DJ Kool Herc at the party many musicologists consider hip-hop's official conception -- told AFP that for him, hip-hop and the Bronx are one and the same. "I can't see no division of it," the 68-year-old said, calling offshoots of the genre across the United States and even the world "my kids." "They all my kids, if I'm the patent, they the product." 'Biggest music on earth' Speaking to AFP backstage, Flash said Friday's event was meant to emulate the jams of his youth. "It was recreation -- moms said go outside and play," he said. "Never... did I think it would become part of the biggest music on earth." Organizers also relayed a message from the mayor of New York, as the city officially declared August 4 "Grandmaster Flash Day." Keisha Harmon joined the event with her partner of 27 years -- "my Teenage Love," she said, quoting the rap classic by Slick Rick. She'll be 50 in October: she was born in the Bronx just months after the genre she grew up on. "I have chills, look, goosebumps," she told AFP. "All the songs that are playing -- I'm a mother of seven and I'm a grandmother of eight -- and they take me back to No Kids." She described how the hip-hop jams of her childhood spread by word of mouth: "Hey, DJ-such-and-such is in the park, and we would have parties and sing, and it was just fun." "And this reminds me of that," Harmon added, motioning to the park crowded with partygoers on a humid August evening. The celebration "shows our talent" as citizens of the Bronx, she added. "It shows what we contributed to the arts," Harmon said. "Hip-hop has a substance." "The artists were storytellers." "South South Bronx, South Bronx!" the audience shouted throughout the evening, singing the song by Boogie Down Productions produced by KRS-One and DJ Scott La Rock. According to city organizers, Friday night was Grandmaster Flash's first time playing the Bronx in two decades. Along with fellow hip-hop pioneers, he was joined by a troupe of breakdancers who wowed the audience with a throwdown. "Where's my old-schoolers at?" Flash asked the joyous crowd. "I wanna keep it in the 70s." "Somebody say Bronx!" The post Icon Grandmaster Flash leads the Bronx in 70s-style hip-hop jam 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......»»
Grand night of classical music with an electric audience
Three youthful musicians, Mark Kenedy Rocas, Adrian Nicolas Ong and Aidan Ezra Baracol, recently wowed — make that brought the house down — an appreciative, mostly Gen Z audience at the Samsung Performing Arts Theater at Circuit Makati. The hyped evening featured the Philippine Philharmonic Orchestra — under the baton of Maestro Herminigildo Ranera — the country’s leading orchestra, presenting the Young People’s Concert. An educational guide with a friendly and amiable approach, he gainfully conducted an educational tour in an informal and candid manner before the actual concert. He gleefully introduced the PPO according to the four sections: percussion, strings, woodwind and brass, as each team stood up and outdid each other with little catchy tunes. [gallery columns="2" size="large" ids="159369,159370"] This is in keeping with the Cultural Center of the Philippines Arts Education Program-focused event — more aimed for the younger generation. Ranera is a product of the University of Santo Tomas Conservatory of Music with a Bachelor of Music degree major in Trombone and Theory. He likewise possesses a Master of Music degree in Conducting from the renowned University of Northern Colorado and Doctor of Philosophy major in Educational Management from the Cagayan State University. The arrangements of the three-time winner of the National Music Competitions for Young Artists or NAMCYA have been featured in the albums of lauded conductor Redentor Romero, together with the Moscow Symphony Orchestra and the Warsaw Philharmonic Orchestra. Through the years, we have been blessed to have witnessed the greatest and the best performers. Thus, we were absolutely baffled with these three young gentlemen with exceptional talent and technical ability. And to think they already have a stellar resume this early on into their musical forays! Rocas performed “Orpheus in the Underworld by German-born French composer Jacques Offenbach” (1819-1880). The piece’s rousing initial fanfare was followed by a gentle love song and an infernal passage. The finale was the ever-popular and all-too-familiar Can-Can of Moulin Rouge fame. He further showed his skills by a rendition of the Flute Concerto No.2 in D Major and K. 314 first and second movements by Austrian composer Wolfgang Amadeus Mozart (1756-1791). His love affair with the flute began at nine years old. He became a member of the Philippine Youth Symphonic Band from 2005 to 2012. A graduate from the University of the Philippines College of Music, he enrolled in several masterclasses under renowned international artists and mentors. Currently, he is an assistant principal flute of the UP Symphony Orchestra. [gallery columns="2" size="large" ids="159371,159372"] Ong’s prowess on the violin was exhibited with the Tzigane by French composer, pianist and conductor Maurice Ravel (1875-1937). The 10-minute obra is a continuation of the Romantic tradition of show pieces for violin virtuosi in a wholehearted gypsy style. He made his professional debut at 17 with the PPO. A scholar of the Interlochen Arts Academy by the Interlochen Center for the Arts in Michigan, he graduated with honors and served as the concertmaster. He recently completed with one of the highest distinctions from the Mannes School of Music in New York City. Notably, he has debuted at the holy grail for performers, the prestigious Carnegie Hall of New York, in May 2023. He is now slated for international concerts with the Asian Youth Orchestra. Baracol revealed mastery of the keys through the Piano Concerto No. 2 OP .18, C Minor by Russian composer, pianist and conductor Sergei Rachmaninoff (1873-1943). This masterwork established his name in the annals of history and is an enduring piece that breathes air into his childhood experiences. This was eloquently and passionately interpreted by Baracol. [caption id="attachment_159373" align="aligncenter" width="525"] (L-R) CCP Vice President and Artistic Director Dennis Marasigan, CCP Consultant Alex Cortes, CCP Board of Trustees Vice Chairman Michelle Nikki Junia, CCP President Maria Margarita Moran-Floirendo, violinist Adrian Nicolas Ong, flutist Mark Kenedy Rocas, pianist Aidan Ezra Baracol, De La Salle-College of Saint Benilde Consultant Edu Jarque and Niña Romualdez Estela | Photos courtesy of the Cultural Center of the Philippines[/caption] His first brush with the piano was at age 10 and had his first solo piano recital at the SEARCA Auditorium of the University of the Philippines in 2017. During the pandemic, he continually joined international competitions, earning top placements. This coming September 2023, he has been awarded entrance scholarships and admissions at the Royal Academy of Music, the Guildhall School of Music and Drama and the Royal College of Music, all in London, plus the Yong Siew Toh Conservatory of Music at the National University of Singapore. Amid cheers, applauses and bravos, the three promising young men took bow after bow after bow. I could only imagine that the future holds international acclaim, with recital after recital after recital in front of discerning audiences around the world. The post Grand night of classical music with an electric audience appeared first on Daily Tribune......»»
Imogen Cantong drops debut single ‘Da Da Da’
Six-year-old Imogen Cantong, a member of It’s Showtime’s resident “batang cute-po” kiddie panel, highlights the unique joys of Filipino childhood in her debut single, “Da Da Da.” The upbeat track was inspired by the melody Imogen used to sing when she was only two years old. Her parents Rey Cantong and Kaye Cantong of Six Part Invention composed and produced the song which looks back on the fun memories of a happy childhood. “‘Yung ‘Da Da Da’ po for me ay para sa mga babies na hindi pa nakakapagsalita. I composed it for them po. Ang meaning po ay parang nagyayaya (na makisaya sa awitin),” said Imogen. Aside from being a resident panel member for It’s Showtime’s “Isip Bata” segment and being one of the featured singers in Jamie Rivera’s “3-in-1” song, she is also a performer who has passion for singing and dancing. Due to her parents’ musical career, she took interest in singing and dancing at a young age. She enjoys performing at school programs that help her hone her confidence as well. “When I was two years old po lagi ako nagwa-watch ng music videos then lagi ko po sila ginagaya. Also nakikita ko po parents ko na nagpe-perform kaya nagustuhan ko na rin po mag-perform,” Imogen shared. Now, she bravely takes a step forward toward her dream as she releases her first single as a recording artist. She looks up to various local and international artists, such as Regine Velasquez-Alcasid, Sarah Geronimo, Blackpink, Ariana Grande and her parents’ band Six Part Invention. “Da Da Da” is available on various music streaming platforms and watch Imogen’s recording session on ABS-CBN Music YouTube channel. The post Imogen Cantong drops debut single ‘Da Da Da’ appeared first on Daily Tribune......»»
$6M raised to preserve Nina Simone’s childhood home
An art auction and New York gala have raised nearly $6 million to preserve and restore the childhood home of soul music legend and civil rights activist Nina Simone, organizers said Tuesday. The twin events brought in some $5.88 million -- far more than the original $2 million organizers hoped to raise to restore the rural North Carolina abode. "The new funding will meaningfully advance our project goals to complete the full restoration of the house and landscape," said Brent Leggs, executive director of the African American Cultural Heritage Action Fund. "With this investment, we are well on our way to opening the doors to visitors in 2024." Four US artists -- Julie Mehretu, Ellen Gallagher, Rashid Johnson and Adam Pendleton -- bought the dilapidated rural home in 2017 for $95,000. They've since worked with Leggs' organization, as well as tennis star Venus Williams, to raise money to turn the house into a cultural and historic site. The online auction, with works donated by British painter Cecily Brown and American artist Sarah Sze, was organized by Pace and Sotheby's. Among the 11 works for sale, Mehretu's ink-and-acrylic "New Dawn, Sing (for Nina)" fetched $1.6 million. Simone, whose songs found renewed resonance during the Black Lives Matter protests of recent years, had a complex, often difficult relationship with the United States, where she was born in 1933, during the era of racial segregation. Born Eunice Waymon, she spent the first years of her life in the three-room house in Tryon, in the rural southeastern state of North Carolina, with her parents and siblings, and began playing the piano at age three. But her dream of becoming a classical concert performer was shattered when she was rejected by Philadelphia's prestigious Curtis Institute of Music, an ordeal she attributed to racism. In the 1960s, Simone was active in the civil rights movement, including through rousing speeches and song. Her "Mississippi Goddam," was a response to a 1963 fire in an Alabama church started by members of the Ku Klux Klan. Three days after the assassination of Martin Luther King in 1968, she performed "Why? (The king of love is dead)." Simone eventually left the United States and lived her last years in the south of France, where she died in 2003. The post $6M raised to preserve Nina Simone’s childhood home appeared first on Daily Tribune......»»
A mother’s love
Sa Ugoy Ng Duyan Sana’y di nagmaliw ang dati kong araw Nang munti pang bata sa piling ni nanay Nais kong maulit ang awit ni inang mahal Awit ng pag-ibig habang ako’y nasa duyan Sana’y di nagmaliw ang dati kong araw Nang munti pang bata sa piling ni nanay Nais kong maulit ang awit ni inang mahal Awit ng pag-ibig habang ako’y nasa duyan [Refrain:] Sa aking pagtulog na labis ang himbing Ang bantay ko’y tala, ang tanod ko’y bituin Sa piling ni nanay, langit ay buhay Puso kong may dusa sabik sa ugoy ng duyan Sana’y di nagmaliw ang dati kong araw Nang munti pang bata sa piling ni nanay Nais kong maulit ang awit ni inang mahal Awit ng pag-ibig habang ako’y nasa duyan Sa aking pagtulog na labis ang himbing Ang bantay ko’y tala, ang tanod ko’y bituin Sa piling ni nanay, langit ay buhay Puso kong may dusa sabik sa ugoy ng duyan Nais kong matulog sa dating duyan ko, inay O! Inay Each year, we celebrate Mother’s Day on the second Sunday of May for the unconditional love and the support we get or have gotten from our first teachers, our biggest fans, and oftentimes our true friends — our respective mothers. For Filipinos, in and out of the country, the song Sa Ugoy ng Duyan (music by Lucio San Pedro and lyrics by Levi Celerio) is a beautiful and classic homegrown lullaby that perfectly captures the love between a mother and a child. San Pedro composed the piece during the World War 2 Japanese occupation of the Philippines, inspired by the melody that his mother, Soledad Diestro, hummed in putting him to sleep as a boy. Completing the melancholic melody would be Celerio who, as fate would have it according to accounts, found himself joining San Pedro aboard the SS Gordon in a stopover in Honolulu, Hawaii on a trip back to Manila in 1947. Coming from the Juilliard School of Music in New York City, San Pedro would embark on his first and, as it turned out, greatest collaboration with Celerio in finishing the song sa Ugoy ng Duyan as we know it today rendered by such artists like Lea Salonga. Celerio’s lyrics are powerful in their simplicity in speaking to the deep bond that exists between mothers and their children. There’s so much yearning in the singer’s wish to never forget a childhood filled with a mother’s memories, of wanting to hear the mother sing again and again. Sleep — a luxury in today’s fast-paced world marked by a rat race that has never been as frenetic — becomes heavenly and sublime, peaceful and quiet under the stars when touched off by a mother’s lullaby. In the line, “Puso kong may dusa sabik sa ugoy ng duyan,” we are reminded that hardships become bearable when there’s a mother or a mother’s memories to guide us. Sa Ugoy ng Duyan reminds us of the love and comfort that mothers provide their children, a song that all people, Filipino or not, could relate to no matter what age or background one has. As we honored mothers yesterday, let us make it more meaningful by making it a continuing celebration of their lives and their contributions in our chartering our own paths. Let Mother’s Day be every day. The post A mother’s love appeared first on Daily Tribune......»»
Mt. Apo as geological monument hurdles City Council 2nd reading
THE 20th City Council approved on second reading the declaration of Mount Apo as a geological monument during its session on Tuesday, March 26, 2024, held at the Sangguniang Panlungsod......»»
What s Wrong With Secretary Kim star Park Min Young making first-ever Manila visit in May
The Korean star of "What's Wrong With Secretary Kim" and "When The Weather Is Fine" Park Min Young will be having her first-ever fan meeting in the Philippines this May......»»
Workers hold pro-wage hike rally today
Workers will mount a protest action today to push for the immediate granting of salary increases whether through legislation or wage order......»»
Acciona advocates water conservation
Acciona, a global sustainable infrastructure company, recently launched its water conservation campaign to raise awareness among young children and empower them to become stewards of the vital resource......»»
Zachary Levi, Zooey Deschanel may kakaibang adventure sa upcoming movie
IKA nga nila, “dreams come true.” Kaya naman, samahan natin sa kakaibang adventure ang Hollywood stars na sina Zachary Levi at Zooey Deschanel sa upcoming movie na pinamagatang “Harold and the Purple Crayon.” Ang pelikula ay ang kauna-unahang film adaptation ng 1995 children’s classic book na may kaparehong titulo na isinulat ng American cartoonist na.....»»
Canino draws vs Mejia, seals chess Olympiad berth
Dreams do come true......»»
Kieffer Alas shines brightest in 2024 NBTC adidas All-Star Game
IN the midst of the hottest young guns of juniors basketball, La Salle Zobel guard Kieffer Alas stood tall on Saturday's 2024 Smart-NBTC All-Star Saturday......»»
Bohol artist to receive Da Vinci International art prize
A Bohol-based visually impaired artist will hold his first exhibit in Milan, Italy as he was among the winners in this year’s Leonardo Da Vinci International Art Prize......»»
Balik-Tanaw | The dissident love of Jesus
The readings for Palm Sunday begin with narrating the triumphant entry of Jesus and His disciples to Jerusalem. According to the story, Passover and the Feast of the Unleavened Bread is coming in two days’ time and a lot of Jews will go up to Jerusalem to celebrate the feast. As observant Jews, Jesus and his disciples came to Jerusalem in observance of the feast that will take place (John 12: 12-16; Mark 14:1-15). When they drew near Jerusalem, to Bethphage at the Mount of Olives, Jesus instructed his two disciples to go to a village where they will find an ass and to bring it to him. Jesus rode on the ass when he entered Jerusalem. The people accompanied him and they held palm branches while crying out, ‘Hosanna! Blessed is he who comes in the name of the Lord! Blessed is the kingdom of our Father David that is to come! Hosanna in the highest!’ (Mark 11:1-10). The post Balik-Tanaw | The dissident love of Jesus appeared first on Bulatlat......»»
Basketball dreams take center stage with new barangay grassroots program
Eleven-year-old “Jared” finds inspiration in basketball......»»
Stars galore in Bacolod
Like their kuyas in the PBA All-Star Game, the league’s young guns have no intention of wearing kid gloves when they duke it out in the Team Greats versus Team Stalwarts match today at the University of St. La Salle......»»
Teen centers in Cebu City pushed amid rising teen pregnancy cases
CEBU CITY, Philippines — In response to the alarming rise in teenage pregnancy cases across Cebu, a local legislator penned a resolution urging the establishment of local adolescents and teen centers in Cebu. City Councilor Rey Gealon stipulated in the resolution the importance of providing essential support and education to empower young individuals in making.....»»