‘Voltes V’ kumpleto na; Miguel, Ysabel gaganap na Steve Armstrong at Jamie Robinson
SI Miguel Tanfelix ang gaganap bilang Steve Armstrong habang si Ysabel Ortega naman ang napili bilang Jamie Robinson sa live action series na “Voltes V Legacy.” Kumpleto na ang limang pangunahing tauhan sa inaabangang Pinoy version ng Japanese anime na “Voltes V” na mapapanood na very soon sa GMA. Kanina sa “24 Oras” ipinakilala na […] The post ‘Voltes V’ kumpleto na; Miguel, Ysabel gaganap na Steve Armstrong at Jamie Robinson appeared first on Bandera......»»
Davao City s Paolo Miguel Labanon, Eirron Vibar top 2 in 8K open swim
Davao City s Paolo Miguel Labanon, Eirron Vibar top 2 in 8K open swim.....»»
SMC OK to add MPTC Indonesia in joint venture
Diversified conglomerate San Miguel Corp. (SMC) is open to including the Indonesian segment of Metro Pacific Tollways Corp. (MPTC) in the planned merger of the toll road operators......»»
SMC starts works on Pangasinan tollway
Food-to-infrastructure conglomerate San Miguel Corp. (SMC) has started the civil works for the Pangasinan Link Expressway (PLEX), laying the bedrock for a P34-billion project that would improve travel and tourism in Northern Luzon......»»
NAIA sale to pay debts
Amid the excitement over the successful privatization of NAIA’s rehab and operation, Finance Secretary Ralph Recto mused about the future of NAIA beyond the 15-year San Miguel concession period......»»
Darnas Jane De Leon, Rebecca Patricia Armstrong bond in Thailand
Kapamilya actress Jane De Leon has found a new friend in Thai actress Rebecca Patricia Armstrong. .....»»
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......»»
TONY BENNETT : GRIT AND GRACE
Tributes have continued to pour in for Tony Bennett, the last of the great mid-20th-century American crooners who died on 21 July at 96, after outliving his fellow giants in popular music such as Frank Sinatra and Dean Martin and gaining a whole new generation of fans in the era of social media with his number-one duets album with Lady Gaga. That 2014 late-career triumph had made Bennett, at 88, the oldest living American performer to notch a number-one album on the charts. It was more proof at the time of the extraordinary odds-defying grit that undergirded the grace and elegance of Bennett’s persona as the living embodiment of classic American standards, a sound that in the post-rock era many had banished to the dismissive-sounding “adult contemporary” category. Sinatra himself crowned Bennett as “the best singer in the business” in a 1965 interview with Life magazine. “He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more,” said the Chairman of the Board. Fifty-eight years later, Elton John, decades and a whole music era removed from Sinatra, was moved to say at Bennett’s passing: “Without doubt the classiest singer, man, and performer you will ever see. He’s irreplaceable.” Indeed, Bennett was sui generis, from his singular sound to his defiant artistry. “Neither a fluid singer nor an especially powerful one, he did not have the mellifluous timbre of [Bing] Crosby or the rakish swing of Sinatra,” wrote the New York Times in its obituary. “If Louis Armstrong’s tone was distinctively gravelly, Mr. Bennett’s wasn’t quite; ‘sandy’ was more like it.” You can hear that sandy rasp even in his early, ebullient years, in signature hits like “Rags to Riches,” “Cold Cold Heart” (originally a country ditty by Hank Williams, remade by Bennett and sublimely covered 51 years later by Norah Jones), and of course, his timeless “I Left My Heart in San Francisco.” Touch of roughness The touch of roughness was what gave Bennett’s sound a rich, warm quality sort of like the hiss and pop of a vinyl record, conveying a more grounded, open-hearted, truthful sense to everything that he sang. In later years, as his lung power diminished with age, he cannily pruned his singing to a more direct, compact style, the belts now occasional but always at surprising moments, the lovely loping line maintained along with the heartfelt near-whispers. He kept to that sound and refused to change his style in the face of the sea change in popular music that would engulf his generation of swinging, jazzy entertainers. “Mr. Bennett stubbornly resisted record producers who urged gimmick songs on him, or, in the 1960s and early ’70s, who were sure that rock ’n’ roll had relegated the music he preferred to a dusty bin perused only by a dwindling population of the elderly and nostalgic,“ wrote Bruce Weber in the New York Times. Eight decades Time an unprecedented eight decades in the business some 20 Grammy awards, and the reverence of his peers and the public ultimately proved Bennett right: that his music still had a place in the modern world, that he could stick to what he did best — sing like nobody else the Great American Songbook, that canon of masterworks by the likes of Jerome Kern, Cole Porter, Irving Berlin, George Gershwin, Harold Arlen — and people of whatever stripe and age, undeterred by his gentleman’s suit and courtly manners from a bygone age, would sit and listen. Because great songs are great songs no matter the era, and as he once put it, “I wanted to sing the great songs, songs that I felt really mattered to people.” Asked if he ever got bored of his repertoire, Bennett said: “No. Do you get tired of making love?” “I was taught never to compromise; to never sing a cheap song,” he explained. “I never look down at the audience and think that they are ignorant, or think that I’m more intelligent than they are.” Bennett said these words in 2012, when, at 86, he had just released a new album, was doing grueling concert tours, and was also dabbling in painting in his free time. His historic 11 o’clock peak was two years away — the Cheek to Cheek album with Lady Gaga that made him an octogenarian with a number-one album on the Billboard 200 chart. (Attesting to his longevity and range, before Gaga he had collaborations as well with other epoch-defining female performers such as Judy Garland and Barbra Streisand.) “Here I am today, at 86, and I’m even more passionate now than ever before. I feel that I’m at the top of my game, and things just keep getting better and better,” he said with characteristic cheer in his 2012 book Life Is a Gift: The Zen of Bennett. In announcing Bennett’s passing on Friday, the Twitter account under his name revealed: “Tony left us today but he was still singing the other day at his piano and his last song was ‘Because of You‘, his first #1 hit.” What grit. What grace. The post TONY BENNETT : GRIT AND GRACE appeared first on Daily Tribune......»»
‘Voltes V: Legacy’ goes to San Diego Comic-Con 2023
GMA Network’s primetime masterpiece Voltes V: Legacy continues to dominate the entertainment world as it becomes the first-ever Philippine TV program to participate in the San Diego Comic-Con 2023. GMA has been invited by Dogu Publishing for the biggest annual comics convention in California, USA. According to Dogu Publishing CEO Jerry Blank, they aim to expand the reach of international panels from around the globe, driving the way for a more diverse comic book industry. SDCC 2023 will take place 20 to 23 July and will be attended by GMA senior vice president Lilybeth G. Rasonable, assistant vice president for drama Helen Rose S. Sese, assistant vice president for post operations Vincent C. Gealogo and Telesuccess Productions executive producer Larson Chan. The event will also not be complete without the cast of Voltes V: Legacy including Miguel Tanfelix (Steve Armstrong), Ysabel Ortega (Jamie Robinson) and Gabby Eigenmann (Commander Robinson), and the show’s esteemed director Mark Reyes. GMA will formally make its Comic-Con debut on 22 July from 10 a.m. to 11 a.m. at the Marriott Marquis San Diego Marina. Afterward, the cast will be signing a limited-edition poster on the convention floor. Attendees are encouraged to stop by Dogu Publishing’s Booth (#4807) at the SDCC for details on how to participate in the signing. Since the opportunity is extremely limited, fans are advised to secure their place early so they don’t miss out. Meanwhile, the groundbreaking live-action adaptation still airs weeknights at 8 p.m. on GMA Telebabad and at 9:40 p.m. on GTV. Global Pinoys can also catch the program via GMA Pinoy TV. Voltes V: Legacy is produced by GMA Network in collaboration with Telesuccess Productions and Toei Company. The post ‘Voltes V: Legacy’ goes to San Diego Comic-Con 2023 appeared first on Daily Tribune......»»
Great Brown Hope
The entire nation erupted in celebration when Kai Sotto finally made his debut in the National Basketball Association Summer League. It was such a memorable performance. The 7-foot-3 Filipino posted six points, four rebounds, three blocks, and an assist in the Orlando Magic’s 88-71 defeat to the Portland Trail Blazers. Aside from washing away the bitterness from being benched in their first three matches against the Detroit Pistons, Indiana Pacers, and New York Knicks, Sotto’s breakout performance could pave the way for him to land a two-way contract in the NBA. We, however, have to manage our expectations. The Filipinos’ road to the NBA is littered with tears, frustrations, and a lot of heartbreaks. Unlike the Chinese, Japanese, Iranians, and Koreans, no full-blooded Filipino has ever penetrated the NBA since its founding in 1946. Johnny Abarrientos came very close when he caught the attention of the Charlotte Hornets following Alaska’s grand slam season in 1996. In fact, the Hornets sent its international scout, Joe Bettancourt, to the country to watch the 5-foot-7 Abarrientos live and in action. Bettancourt was on the sidelines when Alaska battled Purefoods, hoping to give Abarrientos a 10-day contract that would have him replacing the injured Muggsy Bogues, the 5-foot-3 court general who ran the offense for Hornets coach Dave Cowens. Abarrientos, Bettancourt, and Alaska coach Tim Cone even had a “secret meeting” at the Manila Peninsula in 1997 to discuss the terms of Abarrientos’ contract and the possibility of him becoming the first Asian to play in the NBA. But it never happened. Cowens eventually pulled the plug on Bogues and sent him to the Golden State Warriors in exchange for BJ Armstrong, a 6-foot-2 playmaker who was part of the great Chicago Bulls squad that won three straight NBA titles. With Bogues gone, Abarrientos’s chance of making it to the NBA also vanished. Japeth Aguilar tried to revive the Filipinos’ NBA dream a decade later. After seeing action for Ateneo de Manila University in the University Athletic Association of the Philippines league, Aguilar moved to the United States to enroll at Western Kentucky University, a National Collegiate Athletic Association Division I program that produced NBA players like Courtney Lee, Mitchell Robinson, and Jeremy Evans. But the 6-foot-9 Aguilar failed to adjust to the speed and physicality of American basketball that had him struggling in his two years with the Hilltoppers. Aguilar was invited to a two-day workout with the New Orleans Hornets but their scout, Don Sellers, said that he remained a “work in progress” and was not yet ready for the NBA. Then, he was drafted in the seventh round by the Santa Cruz Warriors in the NBA D-League but his run also didn’t last long as he was eventually relegated to being a practice player until he was waived. Aguilar’s Gilas Pilipinas teammates — Ray Parks and Kiefer Ravena — also tried their luck with the NBA but their journeys only brought them as far as the NBA D-League. Veteran international campaigner Jojo Lastimosa was spot on with his observation: In this time and age, making it to the NBA is harder than it used to be. It’s no longer height that matters, but the mentality, work ethic, international exposure, and overall skill set that are the most important. For Sotto to make it to the NBA, he has to develop a reliable outside shot and quicker feet that will make him deadly in pick-and-roll attacks and enable him to switch to smaller, faster players at the defensive end. He also has to spend a lot of time getting exposed to American basketball, where giants like Joel Embiid, Giannis Antetokounmpo, and Nikola Jokic are shooting, running, attacking, and dribbling like skilled playmakers. Sotto is a generational talent. He is our only hope to break the solid walls of the NBA, where only 450 roster spots are available. If he doesn’t make it, maybe — just maybe — it’s time for us to abandon our NBA dream. The post Great Brown Hope 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......»»
Brian Cox hasn’t found time for ‘Succession’ finale
Veteran Scottish actor Brian Cox on Sunday praised striking Hollywood writers as entertainment's "prime forces" -- and revealed he has yet to watch the gripping finale of "Succession". Cox, who has grumbled about the early demise of his tyrannical character Logan Roy in the HBO drama's last series, told BBC Television he preferred not to go back over past projects. The fictional media tycoon's children were all "hateful people", and Roy was justified in refusing to hand power to them, Cox said as he prepares to return to the theatre stage in London. "I gather -- I haven't seen the end of the show -- but I gather... my character's been proven right because he knew this was all going to happen," the actor said. Cox, a lifelong socialist, has been following more closely the industrial unrest now roiling the US entertainment industry. The strike kicked off on May 3 after talks broke down between the Writers Guild of America and major US studios. The writers want better compensation after the industry disruption caused by streaming and fears over the increasing use of artificial intelligence. "They are... very clearly the prime forces of what we do," Cox said, praising Succession's British creator Jesse Armstrong as a "genius". "And they should get their just rewards for it," he added. "Unfortunately, producers are the ones who behave rather badly. You know, they're the ones who are kind of the manipulators, and sometimes the writers get pushed to the tap end of the bath." The post Brian Cox hasn’t found time for ‘Succession’ finale appeared first on Daily Tribune......»»
Voltes V: Legacy is a homage to childhood long gone
Only at the end of Voltes V: Legacy’s second episode does one finally get to hear that old familiar end theme: “Chichi Wo Motomete” which means searching for father. There is a lot of pathos in that song – a nice touch on the instrumental version, by the way – playing as the characters are shown like you’re rifling through a scrapbook from your youth. For somebody who watched the original back in the late 70s (it was created in 1978 and probably released here a year after), watching GMA Network’s recreation is like revisiting the old neighborhood you grew up in. So you reserve judgment for the things they did differently here and there. Change is inevitable all these years, after all. But why did they have to put the “filler episodes” right on the first week? Episodes that introduced characters that didn’t play much in the original but would probably help the network extend the series and employ actors in its stable. It quickly became a teleserye wrapped in the Voltes V universe. When in the original series, drama unfolded as the action heated up. Like when Dr. Mary Ann Armstrong, mom of Steve, Big Bert, and Little Jon, sacrificed herself, harakiri-style, to help Voltes V burst from the Beast Fighter’s chains. Moments before that, Steve was in a dilemma whether to help their wounded mom (and risk the enemy breaching the Big Falcon force field) or continue fighting the lion-headed Baizanga. That kind of big drama, squeezed in between the action, was the subtlety missing in Voltes V: Legacy. At least in the first few episodes. Yet you cut it some slack. Hey, when you walk down memory lane, you look for the good things instead of the bad. As the 5th Dimension said: “Ashes to ashes, dust to dust It'll never be the same.” And some things indeed were different in a good way. Like the graphics. It’s got the Transformers vibe. The effects were a vast improvement, too. It makes you feel proud of how far the local TV has gone in that respect. The main theme song, sung this time by the network’s superbly talented princess Julie Anne San Jose, sounded too thin and lacked the fluffy, reverberating quality of the original. But somehow it worked. It almost brought the same feeling it did back then. I always relate that rousing main theme “Voltes V No Uta” (or song of Voltes V) to Survivor’s “Eye of the Tiger” every time Manny Pacquiao climbed the ring. Both songs, from the intro alone, tell you that your hero is on his way to save the day. The volt-in sequence is polished to near perfection. It evokes a sense of urgency and anticipation for this 70s kid whose highlight of the week was flashing before him from the screen of a black and white TV. Let’s just hope the writers take liberties from the original in trying to make it better. Because one complaint I had back then was why the Boazanian Empire – depicted as evil and wicked – deployed just one Beast Fighter at a time. Imagine the nemesis that gave Voltes V serious trouble, like Garus the dog or Bonzarus the butterfly. Why not unleash both of them and add a few more for good measure. That would truly achieve Prince Zardoz’s goal of global invasion in one day, as Zuhl wrongfully predicted. But of course that would require a little bit of work and imagination, which is the price you pay when you try to recreate a classic. The post Voltes V: Legacy is a homage to childhood long gone appeared first on Daily Tribune......»»
Walang isyu kay Carla Abellana kung nanay na ng 3 boys ang role niya sa ‘Voltes V: Legacy’: ‘Nag-enjoy naman ako!’
WALANG issue kay Carla Abellana kung mother role na ang ginagampanan niya sa pinakaaabangang live action version ng classic Japanese anime na “Voltes V: Legacy“. Si Carla ang magbibigay-buhay sa karakter ni Mary Ann Armstrong sa upcoming Kapuso action-adventure at drama series na “Voltes V: Legacy” — ang nanay ng tatlo sa mga miyembro ng […] The post Walang isyu kay Carla Abellana kung nanay na ng 3 boys ang role niya sa ‘Voltes V: Legacy’: ‘Nag-enjoy naman ako!’ appeared first on Bandera......»»
Thai GL STARs Freen and Becky show appreciation for Pinoy fans
Thai stars Sarocha “Freen” Chankimha and Becky Armstrong were ecstatic to return to Manila for their The Debutante: A Watch Party for the uncut last episode of Gap: The Series held Sunday at the SM Skydome......»»
Matt Lozano sings about self-love in Kwarto
Before he wears the superhero suit of Big Bert Armstrong in the upcoming TV adaptation of Voltes V, Matt will share his music through Kwarto first to audiences. The single reminds everyone that loving oneself is a step to start anew after a break-up......»»
Resbak ni Bitoy sa bashers ng Voltes V: Yung iba kasi naggagaling-galingan…huwag ako!
NAGLABAS ng saloobin ang Kapuso comedy genius na si Michael V tungkol sa pamba-bash ng ilang Pinoy sa gagawing live-action series ng classic Japanese anime na “Voltes V: Legacy”. Mapapanood na ito very soon sa GMA 7 at pagbibidahan nina Miguel Tanfelix (Steve Armstrong), Ysabel Ortega (Jamie Robinson), Radson Flores (Mark Gordon), Matt Lozano (Big Bert) at […] The post Resbak ni Bitoy sa bashers ng Voltes V: Yung iba kasi naggagaling-galingan…huwag ako! appeared first on Bandera......»»
Miguel at Ysabel, dagdag na bibida sa Voltes V: Legacy
SINA Miguel Tanfelix at Ysabel Ortega ang nadagdag sa limang bibida sa live action series na Voltes V: Legacy, ng GMA 7. Nauna nang inihayag ang tatlong bibida sa karakter nina Big Bert Armstrong, Little John Armstrong, at Mark Gordon. Ang tatlo ay sina Rafael Landicho (Little John), Radson Flores (Mark Gordon), at Matt Lozano […] The post Miguel at Ysabel, dagdag na bibida sa Voltes V: Legacy appeared first on Daily Tribune......»»
‘Voltes V’ kumpleto na; Miguel, Ysabel gaganap na Steve Armstrong at Jamie Robinson
SI Miguel Tanfelix ang gaganap bilang Steve Armstrong habang si Ysabel Ortega naman ang napili bilang Jamie Robinson sa live action series na “Voltes V Legacy.” Kumpleto na ang limang pangunahing tauhan sa inaabangang Pinoy version ng Japanese anime na “Voltes V” na mapapanood na very soon sa GMA. Kanina sa “24 Oras” ipinakilala na […] The post ‘Voltes V’ kumpleto na; Miguel, Ysabel gaganap na Steve Armstrong at Jamie Robinson appeared first on Bandera......»»