In June 2024, six years after my mother, Mely Tagasa a.k.a. Miss Tapia, passed away from a stroke, Anak ni Tapia: Leaving Mother premiered to diverse enthusiastic audiences at Links Hall, a small white box theatre in Chicago, Illinois. It was my first time writing and performing in a solo show. 

Since then, it has been featured as a winning play at the 2024 #WeWomen Festival, excerpted at the first ever Filipino American Theatre Festival in Chicago hosted by CIRCA Pintig, remounted in March 2025, and now set to tour five cities in two separate continents between June to December this year. What in the world was I thinking?!

Anak ni Tapia: Leaving Mother is a play that highlights the experiences of a queer immigrant woman who lived in the shadow of a celebrity mother. 

“Anak ni Tapia” directly translates to “child of Tapia.” Miss Tapia is the iconic character my mother played on Philippine television for 15 years from the ‘70s to the ‘80s.  

It was based off a character in a comic strip that Manila Bulletin artist Roni Santiago created called “Baltic & Co.” It preceded the British show that was adapted by US television The Office, but it is exactly like that, with its own set of quirky characters. 

My mom played the part of the payroll clerk, a feisty and enterprising spinster who sold longganisa (Filipino sausage) and tocino (cured pork) on the side. When the show ended, another sitcom, Iskul Bukol, resurrected Miss Tapia as a teacher in 1978. And what a glorious resurrection indeed. People kept calling her Miss Tapia long after the show shut down in 1988.

The idea for the solo performance came to me after a friend texted a YouTube video clip of my mom in a movie starring Fernando Poe Jr.  It starts with my mother frantically flagging a bus, which stops a few feet from where she stands. 

She enters, nagging at the bus driver for almost missing her, and then demands a male passenger sitting by the window to give up his seat to her because, “Yan ang puwesto ko! (That is my spot!)”

Three of the passengers turn out to be gun-toting “bus-jackers,” and her handsome seatmate is the cop who later saves the day (Fernando Poe). The men order people at gunpoint to hand out their purses, wallets, and watches, as the action hero surveys the terrifying scene. 

Suddenly, Honorata (her character’s name, I learned later from Wikipedia) stands up with righteous indignation and berates the evildoers. “Oy, ikaw! (Hey, you!)” she yells, wagging her lethal folding fan at the one wielding a machine gun. “I demand an explanation!”

I realized at that moment how lucky I am, how wonderful that I could just click on a link and there she is. My mother. Young, alive, and beautiful, and yes, as fearsome as the days I got caught doing something crazy that every teenager has likely done before. 

When I commenced my artist fellowship with Links Hall, a 50-year-old incubator lab for theatre and dance practitioners, I thought maybe I could do 20 to 30 minutes at most. By the end of the six-month residency and with some help from a trauma therapist and my director Daisy Castro, I had whittled down a massive manuscript to a 90-minute solo show. 

The project is “my attempt at processing grief and gaining closure through performance,” part of my press release states. 

When I emailed it to the kind and brilliant Philippine Daily Inquirer contributor Walter Ang (RIP), I was questioned — or maybe reprimanded — one can never tell from an email convo. 

Walter clarified, “I say this from a place of love and because I want your intent to come through (and as a former PR copywriter) and with all my kabaklaan (gayness), I want you to know that the current release makes the play sound very sad.”

Very sad? I was aghast. One of my music collaborators had said how pleasantly surprised he was that the script was not depressing at all. “Some of it is actually quite funny.”

Thanks to wise Walter’s “loving critique,” I revised the press release, and did the show. How I memorized the lines and movements when I have trouble remembering what I eat for breakfast escapes me to this day. 

I have the guts of a 20-year-old in a sexagenarian body. (Sexygenarian?) Mostly, I think I inherited my mother’s one-take performer gene. That, or she was whispering the lines in my ear, urging me to take “my spot” but making sure I did not make a fool of myself. 

In fact, I had never felt as close to her as when I was hammering the piece relentlessly on my laptop, like I had seen her do in front of her Olivetti typewriter countless times. 

Unbeknownst to many, my mother began in showbiz as a radio talent and then an award-winning scriptwriter for soaps. She was a singer, too, which is why the show has all of the creative elements she introduced me to as a child — songs, sounds, and stories. 

Anak ni Tapia: Leaving Mother will be in Milan, Italy, June 1 at the Anfiteatro Martesan; at the Actor’s Company Theatre in Los Angeles, California, June 13-15, as part of the Hollywood Fringe Festival; in Toronto, Canada, July 5, to raise funds for a 40-year Filipino-Canadian organization called Adhika; in San Francisco, California in August as part of the Free-Play Festival, date to be confirmed, and quite possibly in Puerto Vallarta, Mexico in December.

Who knows, maybe someday, Anak ni Tapia will come home. – Rappler.com

CIRCA Pintig is a Filipino-American community theater arts organization based in Chicago.

Lani T. Montreal writes to create her home in the diaspora. She is a queer feminist Filipina writer, performer, educator, and community activist based in Chicago, whose works have been published/produced in North America, the Philippines, and in cyberspace. 

She has worked as a playwright and resident artist with CIRCA-Pintig, Chicago Danztheatre, and Free Street Theatre. Her play about gun violence, “Panther in the Sky,” which premiered May 2024 at Chicago Danztheatre, was described by Buzz Stage critic Wesley David as “a testament to the power of empathy, compassion, and solidarity in the face of unspeakable tragedy.” 

Lani is a two-time 3Arts Residency Awardee (2009 and 2016), 2017 alumna of the VONA Writers of Color Workshop, and 2024 Links Hall Co-MISSION Artist Fellow.  She was a semifinalist for the Dramatist Guild 2024 Fellowship, and voted first runner-up for Best Playwright in Chicago Reader’s 2024 Best of Chicago for Panther in the Sky. She teaches writing at Malcolm X College, one of the City Colleges of Chicago.

For ticket information: www.filinthegap.com

MANILA, Philippines – It goes without saying that the entire Philippine entertainment industry is mourning the loss of the legendary Superstar Nora Aunor.

The directors, actors, and showbiz personalities the award-winning actress worked with came forward to look back on the memories they shared with her, while others like comedian Michael V created art to remember Aunor’s legacy.

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Michael V recalled what late singer Rico J. Puno said about all the boxes somebody needed to tick to be considered a “Superstar” in the local entertainment industry: your TV show’s ratings need to be on top, your movie should be a box office hit, your songs should be on the playlists of radio stations, your concerts should be sold out, and your stage productions should have positive reviews.

“Ang hirap, ‘di ba? Iisa lang ang kilala ko sa showbiz na na-achieve LAHAT ito SIMULTANEOUSLY at one point in her career… Si Nora Aunor lang. May iba pa ba kayong kilala in this generation sa industriya natin na kayang pumantay sa achievement n’ya? I seriously doubt it. Rest in peace, Superstar,” Michael V wrote.

(It’s hard to achieve, right? I only know of one person in the showbiz industry who was able to achieve all of this simultaneously at one point in her career… just Nora Aunor. Do you guys know anyone else in this generation in our industry who can achieve what she did? I seriously doubt it. Rest in peace, Superstar.)

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Aunor’s daughter, Lotlot De Leon, thanked Michael V, and reposted the portrait on her own Instagram account.

Aunor passed away at the age of 71 on April 16 due to acute respiratory failure. A National Artist, the Himala star currently holds the record for highest number of Best Actress wins at the Metro Manila Film Festival.

She was also a recording artist, whose hits included “Yesterday When I Was Young,” “Pearly Shells,” “Maria Leonora Theresa,” and “Dandansoy,” among many others.

The icon is set to be laid to rest at the Libingan ng mga Bayani on Tuesday, April 22. – Rappler.com

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Fans brave blistering heat to pay their respects to Nora Aunor

MANILA, Philippines – The Philippines’ Alexie Brooks’ Miss Eco International 2025 victory on Sunday, April 20 (Manila time) in Egypt came at the perfect time: just days before her late grandmother’s birthday.

In an interview with pageant website Missosology, the Ilongga beauty queen said she had been wanting do her Miss Eco International 2025 stint for her grandmother, “Lola Basing,” who died in September 2024.

“She passed away recently, and it was her birthday four days ago, so every time sa birthday ni lola, tinatanong ko kung ano gusto niya (every time on lola’s birthday, I ask her what she wants) and whenever I compete I always bring home the gold, so I thought this time I’d bring her home the crown, and I did bring her home the crown! I’m really, really happy,” she said.

Brooks was up against Indonesia’s Yulinar Fitriani for the crown. She was crowned by Miss Eco International 2024, Ukraine’s Angelina Usanova.

The Filipina said that when it came time for the judges to name the winner, she was hoping that either her or Fitriani would be crowned, as they are both Asian, and they’ve gone on to develop a close friendship throughout the competition.

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Brooks thanked Filipinos for supporting her throughout the competition, whether it was through online voting or praying for her in church. She promised that they would all celebrate together once she returns to the Philippines.

The Miss Eco International organization said that Brooks is “a true queen who embodies beauty, strength, and a powerful voice for our planet.”

“Your journey, passion, and advocacy have inspired the world, and now the crown is your The Eco Family is proud to welcome you as the new face of sustainability, beauty, and change!” the organization said.

Brooks represented Iloilo in Miss Universe Philippines 2024, where she was named Miss Eco International Philippines 2024.

Her victory comes just after Cavite’s Dia Mate was crowned Reina Hispanoamericana 2025 in February. – Rappler.com

MANILA, Philippines – Nora Aunor loves her fans just as much as they love her, even beyond death.

This is according to her daughter Matet de Leon as droves of supporters braved the blistering heat on Saturday, April 19, to see the Superstar for the final time.

Although most Noranians are now senior citizens wrestling with their own health issues, they did not mind the long lines and weather as they wanted to pay Aunor — a National Artist for Film and Broadcast Arts — their respects.

“We assured them that mommy knows that they’re here and they should know that mommy deeply loves them and her love for them does not end here,” De Leon told Rappler in a mix of Filipino and English.

“Even in heaven, mommy loves them.”

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The family held a public viewing for “Ate Guy” at The Chapels at Heritage Park in Taguig on Saturday and Sunday, April 20, to give her fans a chance to say goodbye.

While the public viewing on both days ran from 10 am to 4 pm, many Noranians were already waiting in line as early as 6 am.

Also, many of them travelled from the provinces, including Cavite, Laguna, Batangas, and even Ilocos.

“We’re happy. We appreciate everybody, not just the fans, but also the friends of mommy who came. It is a big deal for us that they came here,” said De Leon.

Aunor died of acute respiratory failure on Wednesday, April 16, at the age of 71.

For De Leon, it will take time for her to get over the fact that Aunor — despite all her faults — is now gone.

Must Read

Not perfect, but full of love, forgiveness: Ian, Lotlot remember mom Nora Aunor

“It has been a few days [since her death], but for her children, we lost our mom, our mommy. We’re not okay yet,” said De Leon.

Aunor will be laid to rest in the Libingan ng mga Bayani on Tuesday, April 22. – Rappler.com

How can artistic spaces help us negotiate our distance from a global climate threat, and what does it mean to move past the individual when seeking concrete solutions? These vexing questions animate Mga Anak ng Unos, a twin bill offered by Dulaang Unibersidad ng Pilipinas for its 47th theater season.

Having concluded last April 13, Rappler catches up with the top figures involved in its creation, to talk about art’s role in addressing climate change, and how theaters themselves take on the challenge of being more environmentally sustainable.

The staging presents two brand-new plays, one told through local mythology, the other through a whiplash of lived realities fractured by time — contrasting in approach, but both take a stab at painting an erratic yet incredibly critical, earnest picture of today’s climate crisis.

“It has always been a hope of mine to see works that confront emergent issues of Filipinos in sites of precarity on the Dulaang UP stage,” said Dulaang UP Artistic Director Issa Manalo Lopez, who first pitched the idea to senior resident director José Estrella three years ago.

“This issue is urgent now because we are in a climate emergency,” Lopez continued. “With the elections coming up, it is vital in our adaptation that we elect leaders who forward policies that reduce national carbon emissions and demand for climate finance as reparation of nations with highest emissions.”

Local mythology

The first play in the bifurcated staging is the mouthful “Sa Gitna ng Digmaan ng mga Mahiwagang Nilalang Laban sa Sangkatauhan,” about mythological beings who strike a deal with the gods to wage war against humans for abusing the earth. 

Under the direction of Estrella, the play is penned by Palanca Hall of Famer Joshua Lim So, whose plotting is far more linear and tightly condensed than the act it precedes, and provides a note of levity in the show through pop culture lexicon, which may or may not work for a particular fraction of the audience.

But beyond its notions of inter-species coexistence, “Digmaan” mines deeper meaning in its interrogation of how state violence and corporate encroachment factor into our struggle against environmental precarity. 

The play is also propelled by strong turns from Raymond Aguilar, Tristan Bite, Kris Caaya, Jasper Cabra, Exequiel Camporedondo, Sheryll Villamor Ceasico, Kenneth Charles Famy, Belle Francisco, Lee Lim, Sarina Sasaki, Jigger Sementilla, Genalyn Suelto, and Ingrid Villamarin. 

It was Estrella who reached out to So late last year, asking if the playwright had any material tackling the climate crisis. “I only had a concept and nothing more, so I told her that I’ll try writing something, but if they find a different work, they should go with that,” So told Rappler.

“By the second week of December,” So continued, “we had a meeting with Anril Tiatco to formalize the commissioning of this play because they couldn’t find suitable material. And I agreed to take up the task.”

Throughout the material’s gestation period, though, So had an anxious time trying to approach a topic as broad as the climate crisis. “My initial concept was about a select group of Philippine mythological beings organizing their next national convention, in which the climate crisis would be the main agenda. I tried drafting this, but it was too static,” he said.

This, until his January trip to La Union, where he encountered The Pitak Project, from which he borrowed the form of permaculture farming used to shape the play. Then he realized that he had to recalibrate his early idea, while veering away from ecofascism.

“After redrafting the material with these new elements, Anril said it read like a completely new play,” So said. “In many ways, it is.”

Among the elements motoring the play is the myriad languages spoken by the characters, and So said it only made particular sense given the material’s nature. “Having them talk in a predominately Tagalog Filipino didn’t feel right. On top of this, I also thought the beings aren’t clueless with modernity, so they also knew English, and used contemporary words. They basically adjust to the times.”

So added, “I didn’t think this was going against who they are because there’s really no way of telling if how we perceive and document these mythological beings is exactly the same as how people believed in them hundreds if not thousands of years ago.”

Devised, sustainable theater

For the second play, “Climate in Crazies,” Lopez and co-director Tess Jamias intended to create “a multi-vocal piece that allows a queering of the climate crisis” through devising, a collaborative process where theater-makers develop a performance sans a pre-existing script.

David Finnigan’s mosaic-like theater piece Scenes from the Climate Era then became a launch pad for the play, which is led by actor-devisers Delphine Buencamino, Bong Cabrera, Herbie Go, and Ethan King.

Last year, Lopez reached out to Finnigan asking to read his plays on the climate crisis. The Australian playwright then sent Lopez his latest work, which the latter shared with Jamias and dramaturg Nikka De Torres.

“Our initial prompt was to develop a sensorial documentary theater performance on Mebuyan [the Bagobo deity of life and death] and the climate crisis,” Lopez told Rappler. “We started our meetings in January, put together our teams, and started rehearsing in February with our students.”

“With devising,” Lopez continued, “the challenge is to generate material on your feet, in creation sessions, and then the team pieces together moments from that. There is no one single author, everyone in our team, from actor-devisers, dramaturgs, designers, and student staff contributed to creating the work.”

But past the act of devising, another challenge is making the theatre-making process sustainable. “Being sustainable is inconvenient because it slows down processes, adds to expense, and systems (even waste management) are not retrofitted for sustainable practices,” Lopez noted. “It really was a wake-up call for us, as we see that the commitment to sustainability is a long-term process and we have hardly scratched the surface.”

The result is a deeply frenetic, loosely structured retelling of past, present, and possible futures that moves from one madcap crisis to another — from extreme heat to numbing cold, from plastic pollution to the foray into artificial intelligence, from fast fashion to online consumption behaviors. If you’re a tad confused or unsettled, you have reason to be.

What becomes a terrific feature in both plays, though, is the costume design, thanks in large part to Dulaang UP’s first-time collaborator Carlos Siongco, who previously worked on Tanghalang Pilipino’s Balete, another devised theater that’s not only among last year’s best but evoked a rare, stunning display of stagecraft. 

Siongco’s costume work elevates the twinbill not only in terms of the color and life it pumps into every fabric and repurposed material, but the context and thought put into each character, from the local mythological creatures in “Digmaan” to the drag-like appeal of the Mother Nature incarnate, adorned with colored cellophane and breasts, in “Climate in Crazies.”

The details in the costume are also informed by a series of workshops on sustainable design for theater that Dulaang UP organized under the university’s Office for Initiatives in Culture and the Arts, alongside Cordillera Green Network’s Rochelle Bakisan, fashion designer Maco Custodio, industrial designer Mitch Shivers, Fine Arts Professor Mel Silvestre, and production designer Raffy Tesoro.

Art and advocacy

But apart from the staging functioning as a vessel for critique and reflection, Mga Anak ng Unos also extends its space to advocacy groups that are actively engaging in campaigns concerning the climate crisis.

Among them is Greenpeace Philippines, which set up a booth at UP Diliman’s IBG-KAL Theater, where the staging was held, to gather support from show spectators for its “Courage for Climate” drive aimed at collecting at least 70,000 signatures nationwide in its effort to hold fossil fuel companies, the biggest contributors to global carbon emissions, accountable for their complicity in the climate emergency.

The signature campaign will also be used to back up Filipinos participating in international court cases against fossil fuel companies and to lobby for House Bill 9609 or the Climate Accountability (CLIMA) Act, which could be a landmark legislation for corporate climate responsibility in Southeast Asia.

The collaboration with Dulaang UP, said Greenpeace Philippines Campaigner Jefferson Chua, first took shape in a situationer dialogue about the climate crisis held on March 18 at the Diliman campus. He noted that the partnership is only a natural extension of the campaign network’s effort to seek climate justice.

“One of the difficult characteristics of the climate crisis is its sense of distance and proximity from one’s immediate experiences,” Chua told Rappler. “This might be a strange statement coming from the Philippines, which is one of the most at risk countries due to climate change, but the reality is that most of the impacts felt in the peripheries and the provinces still don’t get diffused enough in popular culture and admittedly Manila-centric imaginaries.” 

Chua pointed out how artistic spaces like theater factor into initiatives pushing for climate actions. “At a certain point suffering cannot be articulated fully, which also solidifies that sense of distance and prevents effective empathy-building. Art is important precisely because it can articulate what cannot be said, and artistic representations about climate change are absolutely essential because they aim precisely to bridge that distance to help build empathy.”

He added, “It is a challenging but safe space to ask the following questions: what is my complicity in the climate crisis? Who is truly responsible for it? Can we imagine a world where justice is exacted?”

“These questions are difficult to answer because they are difficult to imagine, because of how overarching and all-pervasive our current systems have become which have been influenced deeply by corporate powers – oil and gas companies – and to a certain degree has repressed critical thinking.” – Rappler.com

It was in 2018 when the hip-hop group ALLMO$T released one of their first-ever singles, “Bagay Tayo.” The song was as catchy as it could get — a straightforward modern love song that tells someone: Hey, I like you. We’d look good together. 

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You probably wouldn’t think that ALLMO$T’s members were thousands of miles apart when they were working on the song. But Russell and Crakky were living in Olongapo then, Jom in Canada, and Clien all the way in Italy. 

When there’s that much distance between you, forming a music group would probably be the last thing on your mind. But not for these boys. 

It was a Facebook group chat that started it all. There, underground Filipino artists would share their own songs, and eventually, the four boys got to know each other. Each of them were solo artists then, until Crakky sent a message to the group chat one day asking if anyone was down for a collaboration. 

Hours had passed, and one of the members, Jom, finally replied, “Tara (let’s go).” 

That one-word reply would signal the formation of ALLMO$T, and transcend the borders that separated them all — all in the name of hip-hop. 

Heading home

ALLMO$T was slowly beginning to make a name for themselves at that time. There was one last obvious thing left to do: Jom and Clien needed to head back to the Philippines to really make things work. 

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Jom was in high school then, working two jobs cleaning cars and cooking teriyaki at a Japanese fast food restaurant. His story was straight out of a movie. On the clock, he’d always have his earphones on, until it became difficult for him to ignore his growing passion for music. 

“Nai-inlove talaga ako sa music. Mas lalong nagiging deep yung connection ko sa music, hangga’t sa gumawa ako nang gumawa ng music, nakilala ko [sina Clien, Crakky, at Russell], tapos nung nararamdaman ko na medyo may napapala kami sa paggawa ng music. Nagpaalam ako sa magulang ko na umuwi sa Pilipinas. Hindi naging madali ‘yan pero napilit ko naman sila kahit papaano,” he said. 

(I was really falling in love with music. My connection with it was getting deeper, until I kept making my own music, got to know Clien, Crakky, and Russell, and felt that we were starting to get something out of making music. I asked my parents if I could go home to the Philippines. It wasn’t easy but I convinced them somehow.) 

Clien, meanwhile, was initially hesitant to leave Italy. He was also juggling school with working at a fast food chain, and naturally had to consider if music was worth uprooting the only life he had known in Italy. In the end, it was a sure yes for him. 

“Nagdududa pa ako, pero wala e, passion is passion. Thank you din sa mga magulang ko kasi sinusuportahan nila ako. Kung hindi dahil sa kanila, ‘di rin ako makakauwi. Dahil, ‘yung mga araw na nagdududa ako, may one-way ticket papuntang Pinas,” Clien recalled.

(I was still having doubts, but passion is passion. I’m thankful for my parents because they supported me. If not for them, I wouldn’t have been able to fly back to the Philippines. The days when I was still considering everything, I already had a one-way ticket to the Philippines all along.) 

A taste of gradual success

Now together in the Philippines, Jom, Clien, Crakky, and Russell would release their first breakthrough hit in 2018: “Dalaga.” But the success was anything but instant. It had taken nearly a year for the song to take off and birth a viral TikTok challenge. Thousands of people had begun to playfully tuck strands of their hair behind their ears, make exaggerated, seductive facial expressions, and throw up Korean finger hearts with “Dalaga” playing in the background. 

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That was it — people had finally begun to take notice of ALLMO$T, and the boys saw it as a sign to release even more music to introduce themselves as everyone’s favorite newcomers.

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“We want our audiences to feel what we’re expressing in our music. We make music to convey the other side of the story. But we also want them to have fun when they listen to us,” Russell said in Filipino.

Against all the pressure weighing down on them, there was one thing ALLMO$T could rely on: the edge they had to their game. They were equipped with both singers and rappers, which meant that they could create a unique blend of vocals, lyrics, and bars that were conceived in different ways, but always managed to produce magic in the end. 

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“Yung kinaganda lang sa meron kami, ‘pag pinag-combine mo ‘yung idea [ng lahat], iba rin ‘yung mangyayari. Kaya bilang apat kami, open kami sa lahat ng suggestion namin sa isa’t isa. Kaya mas lalo kami nag-click pagdating sa studio session namin. Doon kami minsan mas nagiging bata pa eh. Kasi lumalabas ‘yung kulit namin lahat eh kapag doon eh. Minsan, napapatalon kami. Headbang,” Crakky explained. 

(What’s nice about what we have is that when you combine everyone’s ideas, you get a different outcome. Because we’re four, we’re always open to each other’s suggestions. That’s why we click even more during our studio sessions. That’s when we become more like kids, because our childlike wonder comes out when everyone’s there. Sometimes, we can’t help but jump or headbang.) 

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There’s no doubt about ALLMO$T’s harmony. Even when we sat down to talk about their story as a group, the members would take turns answering and weighing in on each other’s thoughts, and whenever someone finished speaking, someone else would calmly say, “Approve” — eliciting giggles from their fellow members. 

That level of closeness doesn’t come out of nowhere, and unfortunately, it’s not always guaranteed in music groups. It’s more common than you think for band members to secretly hate each other — but that’s not even close to how the members of ALLMO$T are. They’re a group of brothers bound by music, and it’s clear that they’ve wholeheartedly embraced that. 

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Each transitioning from solo backgrounds to now having to do everything as a group, honesty is key for ALLMO$T. 

“From writing chorus to verses, talagang lahat kami nakatutok diyan. Pero open kami sa criticism, sa suggestions. At ang pinakamaganda sa aming apat ay hindi kami ‘yung taliwas. Lahat kinoconsider na, ‘Sige try natin. Kung hindi, e ‘di wag,’” said Jom. 

(From writing chorus to verses, we’re all involved. But we’re open to criticism and suggestions. And what’s nice about us four is that we don’t oppose things right away. We consider everything and try them out. If it doesn’t work, then it doesn’t.) 

For Crakky, meanwhile, it’s through their different backgrounds that they thrive. They vary in age and personality, and that’s what he thinks allows them to balance each other out so well. 

“Kung pare-parehas kaming age, siguro kung ano ‘yung gusto ng isa, sige, go na ‘yan. E kung iba-iba kami ng age, iba-iba kami ng style. Kaya mas lalo kami siguro nag-click (If we were all the same age, we’d probably always immediately go with what one person wants. But since we’re all different ages, our styles are different, too. That’s probably why we clicked),” he said. 

Set for greater heights

More than anything, though, they’ve all got their eyes on the same prize. 

“[To become] one of the icons here in the Philippines,” Russell said almost immediately when Rappler asked what they wanted to achieve as a group. 

“[Gusto namin na] ma-represent din namin ‘yung Philippines sa ibang bansa na, ‘Mayroon kaming ganitong tunog. Pakinggan ‘nyo kami,” Crakky declared.

(We want to represent the Philippines in different countries and show them that we have this sound and they should listen to us.)

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“Gusto naming mag-iwan ng legacy para sa bagong generation. Gusto namin mainspire ‘yung mga bagong musician through our music (We want to leave a legacy for the new generation. We want to inspire the new musicians through our music),” added Jom. 

Beyond their fellow musicians, it’s their listeners ALLMO$T looks to continue serving as anchors to. 

“Natutuwa kami kasi minsan may mga nag-cha-chat sa amin na, ‘Thank you kasi ‘yung mga kanta ‘nyo, sinave ako.’ Sobrang appreciate namin ‘yung mga gano’ng chat, kaya thank you talaga (We’re happy because sometimes people send us messages to express gratitude because our songs saved them. We really appreciate those messages),” Clien shared.

Years into their careers, they’ve been named among Spotify Philippines’ RADAR artists for 2025, and ALLMO$T plans to make good use out of this new title. 

“Gusto naming mas lumawak pa ‘yung audience namin and mas ma-explore pa ng tao ‘yung discography ng ALLMO$T. Marinig nila yung iba’t ibang tunog namin and malaman nila ‘yung mga characteristic [at specialties] namin bilang Russell, bilang Crakky, bilang Jom, bilang Clien,” Russell said.

(We want our audience to get bigger and we want people to explore our discography. We want them to hear our different sounds and know our characteristics and specialties as Russell, Crakky, Jom, and Clien.) – Rappler.com

MANILA, Philippines – For someone who is synonymous with the term “superstar,” Nora Aunor never made the people around her feel that she was one.

Those who were privileged to have worked with Aunor are testament to her humility as they remembered her not just for being a prolific actress but also a genuine and warm human being.

While there are horror stories in show business about prominent stars mistreating the people behind the scenes, that was never the case with Aunor, according to Gladys Reyes.

“She had a humble presence as if she was not aware how big her contributions were to film and television,” said Reyes on Sunday, April 20, as she paid Aunor her respects at The Chapels at Heritage Park in Taguig.

“Every time I saw her, she was always smiling. And she was not just smiling, her eyes were also smiling. So it came as a big surprise when we all found out that our one and only superstar is gone.”

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Reyes got a chance to work with Aunor in the GMA drama series Little Nanay, which ran for four months from 2015 to 2016.

Nearly a decade later, when Reyes won Movie Supporting Actress of the Year and Aunor shared the Movie Actress of the Year honors with fellow icons Vilma Santos and Maricel Soriano during the Philippine Movie Press Club (PMPC) Star Awards for Movies in 2024, the 47-year-old said “Ate Guy” remained just as modest.

“It is impossible to count how many trophies she had, and yet, from then until the last time I saw her, she stayed the same, still extremely humble,” said Reyes.

Barbie on Nora

Starring alongside Aunor in the 2016 independent film Tuos, Barbie Forteza experienced how “nurturing” and “generous” the National Artist was, even recalling the time Aunor cooked the “best” Bicol express for the cast and crew.

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“The thing I learned from her was to never forget to greet the people on the set, from the highest to the lowest ranks,” said Forteza.

“She was very down to earth, which was something you would not expect from a superstar.”

For Forteza, the fact that the stories about Aunor follow a similar thread is proof that she treated the people she encountered with reverence.

“We all have the same experiences and that makes you believe that she gave everyone equal treatment,” said Forteza.

Reyes said the way Aunor carried herself — unassuming, considerate, and pleasant — should serve as an inspiration to the current crop of entertainers.

“There are a lot of great actors, they come and go, and the way you get along with other people is a big thing — how good you were to your coworkers, not just to your fellow artists, but to the staff, crew, everyone,” said Reyes.

“Ate Guy showed that from the beginning until the [end].” – Rappler.com

Filmmaker Andrew Ahn still reels from the standing ovation he got at this year’s Sundance Film Festival for The Wedding Banquet, his nothing-novel yet slick, incredibly heartfelt remake of Ang Lee’s Oscar-nominated 1993 classic. 

“That’s the first time that’s happened in my career, and I was very overwhelmed,” he says, when he hops on a Zoom call with me. “And my boyfriend saw it for the first time at Sundance at that premiere screening. I was not prepared in many ways.”

“But that maybe feels appropriate for this movie,” Ahn continues, “where sometimes we’re not prepared for what’s going to happen. And there’s drama and tears, [and] silliness. It’s messy, right, but if you trust in your love for each other, you know you’ll find your way through that process.”

The movie, in Ahn’s retelling alongside screenwriter James Schamus who also shares a writing credit on the original title, is a comedy of errors centered on a lesbian couple (Lily Gladstone and Kelly Marie Tran) who forges a green card marriage with their gay friends (Bowen Yang, who starred in Ahn’s erotic rom-com Fire Island, and Han Gi-chan) to fund their IVF treatments.

The remake, which opens in wide release on April 18, also boasts incredible supporting performances from Academy Award Winner Youn Yuh-jung and Joan Chen, fresh off playing another maternal figure in Sean Wang’s Dìdi, also a hit at last year’s Sundance.

The 39-year-old director got his start at Sundance, where in 2016 he premiered his debut feature Spa Night, an intimate drama that tracks the sexual awakening of a Korean-American teen working at a male-only spa in the zippy Koreatown neighborhood in Los Angeles. Lead actor Joe Seo then won the festival’s U.S. Dramatic Special Jury Award for Breakthrough Performance, and the film went on to cop the John Cassavetes Award at the 32nd Independent Spirit Awards.

It’s no surprise that Ahn reckons his return to the winter festival as a full circle moment, especially with a remake of a film that’s so formative to him. “Yeah, it was great to go back to Sundance,” he tells me. “If I didn’t have Sundance, I don’t think I’d have a career, and I’m so thankful for the festival and the programmers, especially Kim Yutani for championing queer artists of color and their stories.”

If the illicit cruising spot turned out to be the gay awakening of David Cho in Spa Night, it was The Wedding Banquet that did it for Ahn. Though accidentally, it was the first gay movie he saw at age eight, after his mom chanced upon the VHS for the movie at a video rental store. “My mom rented it, not knowing that it was a gay film. And so, you know, it set the bar very high for other gay movie-watching in the future,” Ahn says with a smile.

The Korean-American director then waxes sentimental over the queer classic. “I love that Ang’s film balances family and culture and sexuality, and understands that these aren’t separate elements of who we are; they’re intertwined. And I may not have consciously understood this, but I think that that really has inspired me in my work. I think every film I’ve made has some element of the philosophy of The Wedding Banquet.”

Considering the film’s personal impact on him, Ahn admits that, at first, he was on the fence about the adaptation. “But like any great artwork that we love, it was so inspiring and it resonated with me so much, especially watching it again as an adult,” he says. “It triggered these thoughts about wanting to get married and having children, and I think there was something about that phase of my life when I started writing with James Schamus, where those conversations were so top of mind that I became very excited to make this movie.”

Ahn first worked with Schamus on his second feature Driveways, where the latter served as his producer. But apart from the writer-producer, Ahn also retained some of his Driveways crew for this remake, including cinematographer Ki Jin Kim, costume designer Matthew Simonelli, and production designer Charlotte Royer.

Though the movie is set in Seattle, it was shot in Vancouver, Canada around summer last year. Ahn, however, has been working on the screenplay since January 2019. Reflecting on the six-year writing process, he says that talking to Schamus about what feels foundational in the story in relation to recalibrating it for today’s audiences has become really pivotal.

“What if the bride from the original film was also queer?” he wonders. “And so I think there was a lot [of] that [where] we kind of built the groundwork, and then we took our cues from that. And I think in the writing process, sometimes it felt like, ‘Oh, maybe we strayed too far,’ and then sometimes, you know, ‘maybe we could push it further.’ And so it was a constant revision process.”

As it turns out, Ahn’s take on such a beloved queer romantic comedy, on the one hand, borders on sitcom-level silliness with its brisk, often ludicrous plot progression, but on the other, it retains the emotional acuity that the director’s previous titles have come to possess. Above anything, it thrives in its tender, grounded portrayal of queer kinship and notions of home.

The Wedding Banquet also becomes more effective because it makes enough room for each member of its pedigreed cast, gathered by casting director Jenny Jue, who had also cast Bong Joon-ho’s Okja and Snowpiercer. “They were the best cast I could have asked for,” Ahn says of his ensemble. 

“Everybody brought something different and personal. I love that this family is so dynamic and spiky, like they’re not a family where everybody’s the same, because that’s not a thing. Families [have] different personalities, different energies, different interests, different priorities. And so I really embrace that diversity.”

Throughout his career, Ahn has steadily worked with fellow queer and Asian artists, and he relishes every moment he gets witnessing their talents flourish on screen. “We had so much fun on set just because this cast really got along with each other. And we had a really wonderful opportunity to work with everybody,” he says.

Among those meaningful encounters on set was the movie’s Korean wedding sequence, which was even filmed on Youn Yuh-jung’s birthday (the crew surprised her with a cake at lunch).

“I was very emotional,” shares the director, who also has Amazon’s crime thriller A Sprinkle of History in the pipeline. “My parents were there on set, and it kind of felt like my own Korean wedding that I was throwing. And so it was a special moment in the movie. And it was a special moment in my life.”

At Sundance, he also spoke with Filmmaker Magazine about the experience. “I’ve spent much of my adulthood coming to terms with how my queer identity would preclude me from participating in these types of Korean rituals, rituals celebrating family, rituals that bring you closer to family,” he was quoted as saying.

But beyond wrestling with his queerness and Korean roots, Ahn sees The Wedding Banquet as a response to the “conservative backlash to the progress that’s been made [by and for the LGBTQ+ community] over the past few decades.”

“And it’s scary to see that it’s worldwide, it’s not just an American phenomenon, and I wish we were in better times,” he says. “I wish we were trending in a different direction. Culturally, politically. My hope is that people watch this film and that it gives LGBTQ+ people a sense of strength, a sense of optimism that at least we have each other.”

Ahn also hopes that the movie, however granular, can be a space for queer people to be vulnerable and heal with. “And then take that strength, go out there, and try to make the world a better place for the next generation, whether that’s through protest, or voting, or participating in mutual aid, you know, something where we can care for our community.” 

He says further, “That’s something that queer people do so beautifully with each other. And I think we can continue to expand that to care for a larger community, for people that really need it. I think art is one aspect of that. And then I think we have to act on that inspiration.” – Rappler.com

MANILA, Philippines – The National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CCP) announced that the state funeral for National Artist Nora Aunor will happen on Tuesday, April 22, at the Metropolitan Theater in Manila.

The program will start with arrival honors at 8:30 am, and will be followed by a tribute segment at 9 am. The rest of the necrological services will then be held at the Libingan ng mga Bayani from 12 pm onwards in Taguig City, where she will be laid to rest.

The public is welcome to attend the necrological services, but only a limited number of seats will be available. The NCCA and CCP said that those interested in attending can register through this link. QR codes will be given to successful registrants. Present this upon entry.

All regular attendees will be seated at the balcony area, and only one entrance will be open. Regular attendees are discouraged from bringing their own vehicles since parking will only be allotted for VIPs.

The line to enter the Metropolitan Theater starts at Padre Burgos Avenue, corner Dr. Basa Street, near the underpass.

The funeral rites will also be livestreamed on the NCCA and CCP’s Facebook pages.

Aunor passed away on April 16 at 71 years old due to acute respiratory failure. A decorated personality, she was named a National Artist in 2022 for the lasting impact of her decades-long work as an actress, singer, and film producer.

The Himala star currently holds the record for the most Best Actress Awards won at the Metro Manila Film Festival. – Rappler.com

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Nora Aunor: ‘Every tear she shed onscreen felt like a collective heartbreak’

MANILA, Philippines – From one star to another, Sharon Cuneta mourned the loss of National Artist Nora Aunor. 

Accompanied by her husband Kiko Pangilinan, Cuneta attended Aunor’s wake on April 20 at The Chapels at Heritage Park in Taguig City to pay her final respects to the late Superstar. 

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“Napakalaking kawalan sa industriya… ‘Yung gano’ng kagaling na artista, parang naputol ang ehemplong maaaring nadagdagan pa sana niya para sa amin at sa mga henerasyong mas bata at paparating pa,” she added.

(Her death is a huge loss to the industry… With an artist that good, it’s like the examples she could have set for us and for the generations to come were cut off.) 

Cuneta and Pangilinan mentioned that Aunor’s rise to super stardom has always served as an inspiration to Filipinos. 

Born Nora Cabaltera Villamayor, Aunor’s story is regarded as a “Cinderella story,” having started out selling water to train passengers. After spending countless hours practicing and working to make an honest living, she eventually gathered every last bit of what she earned to travel all the way to Manila from Bicol. She would then start her career as a singer, getting her first shot at fame in 1967 as the winner of the televised singing competition, Tawag ng Tanghalan. 

Later on, Aunor would then dip her toes into the world of acting, where she would excel tremendously and become known as one of the Philippines’ greatest. 

Aunor would then be regarded as a Superstar — a moniker born out of her exceptional talents in singing, acting on the screen and stage, and producing films. 

“Napaka-inspiring ng story niya. Mula doon sa nag-audition siya, nag-umpisa siya sa napaka-humble na buhay, naghahanap-buhay na siya bata pa siya,” Cuneta said. “What an inspiring story. It’s such a Cinderella story. Natutuwa ako na ginawa siyang National Artist habang mayroon pa siyang panahon na ma-enjoy ‘yung honor na ‘yun. She was so deserving of it.” 

(Her story was so inspiring. From the moment she auditioned, she came from humble beginnings, and strived to make a living when she was still young. What an inspiring story. It’s such a Cinderella story. I’m glad that she was made a National Artist while she still had time to enjoy that honor. She was so deserving of it.) 

Cuneta once shared the stage with Aunor in 1989 for an OPM medley, making for a legendary performance. The Megastar fondly looked back on this, but also expressed regret that she never got to act alongside Aunor in a film. 

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Aunor passed away on April 16 at the age of 71 due to acute respiratory failure. She was named a National Artist in 2022. – Rappler.com

MANILA, Philippines – Many figures in the local entertainment industry have their own fond memories with the late Nora Aunor. For singer Kuh Ledesma, the Superstar was not just a good person, but a remarkable artist as well.

“Guy is the biggest superstar of our nation. Hindi lang (Not just) superstar, super duper star. Grabe ‘yung talent niya,” Ledesma said during Aunor’s wake on April 20 at The Chapels at Heritage Park in Taguig City.

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Ledesma remembered her “Ate Guy” as someone who would gamely accept her invitations. She looked back on the time she asked Aunor to attend a ribbon cutting at the Music Museum in San Juan City, and she readily obliged.

More than this, however, it was the Superstar’s astonishing artistry that Ledesma would never forget. Aunor and Ledesma shared the stage at their “Power of Two” concert in the ’90s. Ledesma said that back then, Aunor would never practice.

“Hindi nagpapractice ‘yan, so ako ang kinakabahan kasi ‘power of two’ kami. Pero pagdating ng show, alam na alam niya ‘yung tono, ang galing niyang kumanta. Kaya naman ang dami-dami niyang fans,” Ledesma said.

(She wouldn’t practice, so I would get nervous because we were called “power of two.” But when the show came, she knew the tone well, and was so good at singing. That’s why she had so many fans.)

Ledesma recalled that she put the photo she took with the Superstar on her window, and would often pray to the Lord to save her. The last time she recited that prayer was two days before Aunor passed away at 71 due to acute respiratory failure.

“Nalungkot ako. I wish that I had the opportunity to share with her. But dahil hiningi ko sa pangalan ni Hesus, naniniwala ako na ligtas si Guy,” she said.

(I got sad. I wish that I had the opportunity to share with her. But because I asked for it in the name of Jesus, I believe Guy was saved.)

Ledesma also recalled one of the most unforgettable things about Aunor was how much she loved her fans or “Noranians,” who are also very loyal to the Superstar. – Rappler.com

MANILA, Philippines – English singer-songwriter Jacob Collier is set to return to Manila on Tuesday, June 3, at The World Trade Center Hall D, Pasay City, for the last stop of the Asian leg of his “Djesse” world tour.

This will mark Collier’s third performance in the Philippines, with his first being for the Malasimbo Music and Arts Festival in Puerto Galera in 2016, and his last Manila performance being at the Filinvest Tent in Alabang in 2022. 

Here’s everything you need to know about his upcoming concert in Manila:

Securing tickets

Tickets for Collier’s Manila show on June 3 are available via the Tickelo website. Online payments can be made through credit or debit cards (Visa/Mastercard), GCash, PayMaya, or GrabPay.

Tickets are priced at P4,450 for GOLD and P6,650 for VIP. As of writing, tickets for both sections are still available for purchase.

All ticket types are standing. Here’s the official seat map:

Each person may only purchase a maximum of six tickets per transaction. E-tickets will be emailed directly to the address linked to your Tickelo account.

Tickelo charges a P50 handling fee for every ticket purchased. Promos cannot be used with any other discount or promotional offer.

Tickets are non-refundable, but transferable to another person — but only for the same event.

Guidelines for concert day

The concert will begin at 8 pm. Since all tickets for the show are general admission and there are only two sections, it’s best to arrive at the venue early to secure a spot. 

Minors aged 17 years old and below must be ticketed and accompanied by a ticket-bearing parent or guardian, following the maximum ratio of one adult to two minors. Minors, pregnant women, and PWDs will be required to sign a waiver upon entry.

Re-entry will not be allowed, so make sure you have everything you need before entering.

Jacob Collier is a singer-songwriter, producer, and multi-instrumentalist known for his experimental, genre-bending approach to music that has attracted over 100 collaborators, from Coldplay, to aespa, to SZA, to Hans Zimmer.

His dynamic discography has earned him six Grammy award wins as well as 15 nominations, including Album of the Year for Djesse Vol. 3 in 2021 and for Djesse Vol. 4 in 2025 — which the 2025 world tour is meant to support. Before Manila, Collier will also be making stops in Java, Indonesia, and Seoul, South Korea, and before proceeding to Adelaide, Australia. – with reports from Bea Gatmaytan/Rappler.com 

MANILA, Philippines – The stars were out in full force as the Philippine entertainment industry collectively honored the life of the one and only Nora Aunor, who passed away last Wednesday, April 16, at the age of 71.

Few, however, shone in honor of the “Superstar” brighter than the “Megastar,” Sharon Cuneta, who paid her respects on the last public viewing day, Sunday, April 20.

With husband and former Senator Francis “Kiko” Pangilinan in tow, Cuneta bowed to the legacy of her showbiz predecessor, gushing at the inspiring “Cinderella story” that Aunor lived through and immortalized for all time with her passing.

“Napaka-inspiring ng story niya. Mula doon sa nag-audition siya, nag-umpisa siya sa napaka-humble na buhay, naghahanap-buhay na siya bata pa siya,” Cuneta said. (Her story is so inspiring. From her audition, she started with such a humble life. She was already working as a kid.)

“What an inspiring story. It’s such a Cinderella story. Natutuwa ako na ginawa siyang National Artist habang mayroon pa siyang panahon na ma-enjoy iyong honor na iyon. She was so deserving of it,” she added. (I’m glad they made her a National Artist while she still had time to enjoy that honor.)

Long before her meteoric rise as “The Grand Dame of Philippine Cinema,” Aunor was just one of nine siblings and grew up poor in Iriga, Camarines Sur, where she helped her family peddle food and other wares just to make ends meet.

Like many others, Cuneta said Aunor’s passing is a monumental loss to the Philippine entertainment industry and lamented the fact that they never shared the big screen together for a film.

“Napakalaking kawalan sa industriya. Hinding-hindi magiging pareho, naturally wala siya, pero iyong ganung kagaling na artista, parang naputol ang ehemplong maaaring nadagdagan pa sana niya para sa amin at sa mga henerasyong mas bata at paparating pa,” she added.

(She was a great loss to the industry. No one will ever compare. With an artist of her caliber gone, it’s like a line of great examples that she could’ve still continued was cut for us and future generations.)

Aunor will be laid to rest on Tuesday, April 22, with a deserved state funeral at the Libingan ng mga Bayani in Taguig City. – Rappler.com

MANILA, Philippines – Actor John Arcilla expressed his regret that he and the late Nora Aunor were unable to share the screen together in what would have been the sequel to the 1982 film Himala.

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Arcilla visited Aunor’s wake at The Chapels at Heritage Park in Taguig City on Monday, April 21.

In the film, Arcilla was supposed to play the son of Aunor’s character, Elsa.

“Sayang, kasi nakatrabaho ko ang mga anak niya, mga apo niya, sina Janine, sina Lotlot, pero syempre iba ‘yung makatrabaho mo ‘yung Superstar. Sayang na ‘di na matutuloy,” Arcilla said about the potential film.

(It’s a shame because I got to work with her kids, her grandkids, like Janine and Lotlot, but of course it’s different when you get to work with the Superstar herself. It’s sad that the film won’t push through anymore.)

Arcilla added that Aunor gave her seal of approval for the project, and that the film was already in the preparatory stages prior to her death.

In Himala (1982), Elsa starts healing the villagers of her town, Cupang, after she sees an apparation of the Virgin Mary. Word of Elsa’s abilities spread beyond Cupang, and before long, she is regarded as a divine being.

A fan of ‘Ate Guy’

Asked how he personally remembers Aunor’s legacy, Arcilla shared that he grew up watching the late screen icon’s films, citing Atsay, Bona, Himala, and Tatlong Taong Walang Diyos.

“Talagang hindi ko malilimutan — nagtataka ako kung bakit — ang pinakamalakas na dating sa akin no’ng bata ako… ang ‘Super Gee.’ Ang malakas na dating sa akin ‘yung helmet niya. Talagang she was fighting for justice sa mga victims ng injustice,” laughing as he fondly recalled how much he loved watching Aunor in Super Gee (1973).

(I’ll never forget — I don’t know why — what stood out to me most when I was younger was Super Gee. The helmet she wore always stuck out to me. She was really fighting for justice for the victims facing injustice.)

Arcilla also expressed gratitude that Aunor was named a National Artist while she was still alive to see for herself how lasting of an impact she made on the whole country through her work.

“‘Yung nangyari ‘yun sa kanya na buhay pa siya when she was awarded, sobrang laking bagay no’n kasi naexperience mo ‘yung balik sayo ng pagsisilbi mo sa bansa mo bilang isang artist,” Arcilla said.

(That she was awarded National Artist while she was still alive, that’s a big deal because she got to experience the effects of what everything she’s done for the Philippines as an artist.)

Aunor passed away on April 16 at 71 years old due to acute respiratory failure. – Rappler.com

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MANILA, Philippines – Another pillar of the Philippine entertainment industry bid farewell as OPM legend Hajji Alejandro died on Monday, April 21, after a battle with stage 4 colon cancer. He was 70.

The family confirmed his death on Tuesday, April 22. “At this time, we kindly ask for privacy as our family grieves this tremendous loss,” the statement said.

Alejandro, known as the “Kilabot ng mga Kolehiyala” (college girls’ heartthrob) in his prime in the ’70s and ’80s, was best known for his timeless hit songs “Kay Ganda ng Ating Musika”, “Nakapagtataka,” “Panakip Butas,” “May Minamahal,” and “Tag-araw, Tag-Ulan,” among many others.

His death marks the third high-profile passing of a Filipino entertainment icon in just over a week, after “Asia’s Queen of Songs” Pilita Corrales died on April 12, and “Superstar” Nora Aunor on April 16.

Alejandro was discovered by fellow OPM legend Basil Valdez, who eventually recruited the young balladeer to join his group Circus Band in the ’70s.

Alejandro’s collaboration with another industry pillar, Ryan Cayabyab, for “Kay Ganda ng Ating Musika” won him the inaugural Metro Manila Popular Music Festival (Metropop) grand prize in 1978, before he took the piece internationally and also won the International Seoul Song Festival Grand Prix in Korea.

He is survived by his children, singer and theater artist Rachel and chef Barni, his daughters with first wife Myrna Demauro; DeLara drummer Ali, his son with second wife Rio Diaz, a beauty queen and television personality who also died of colon cancer in 2004. He also has another daughter named Michelle.

Singer Alynna Velasquez, Alejandro’s partner of 27 years, said in a recent interview with broadcaster Julius Babao that the Philippine music icon had an operation last February following his cancer diagnosis. – Rappler.com

MANILA, Philippines – A final farewell to the Superstar.

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The Philippines honors National Artist and screen icon Nora Aunor with a state necrological service on Tuesday, April 22. 

Open to the public, the program starts with arrival honors and tributes at the Metropolitan Theater in Manila, and ends at the Libingan ng mga Bayani in Taguig City, where she will be laid to rest. – Rappler.com

MANILA, Philippines — “She was 14. I was almost 12. Like her, I was a probinsyana. didn’t know yet what I wanted in life, but I knew I was a diehard Noranian.”

In a heartfelt tribute during the necrological services for National Artist for Film and Broadcast Arts Nora Aunor on Tuesday, April 22, fellow actress and former president and CEO of ABS-CBN Charo Santos-Concio reminisced on her decades-long admiration for the late Superstar as a fan, colleague, and friend.

“Walang himala, pero may nag-iisang Nora Aunor. Ang kanyang tunay na buhay ay patunay na walang imposible — kahit para sa isang batang nagtitinda ng tubig at mani sa riles ng tren,” Santos-Concio said, noting that her life was reflected by the characters she’s played — Elsa, Corazon, Delia, Flor Contemplacion, and many more.

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(There may be no miracles, but there is only one Nora Aunor. Her life is proof that nothing is impossible, even for a young girl selling water and peanuts by the railway tracks.”)

But Nora Aunor was more than all her roles, Santos-Concio said. “Higit pa sa mga karakter na kanyang binigyang-buhay, binigyan niya ng buhay ang pangarap ng milyong-milyong Pilipino. Kahit saan ka mang probinsya galing, gaano man kahirap ang buhay mo, si Nora ang nagbigay ng pinakamahalagang regalo sa marami: pag-asa,” she added.

(Beyond the characters she brought to life, she gave life to the dreams of millions of Filipinos. Wherever you came from, however difficult your life was, Nora gave the greatest gift of many: hope.)

“Kung kaya ni Ate Guy, kaya ko rin.”

(If Ate Guy can, I can too.)

The childhood idol of many

Santos-Concio shared that at a young age, she was one of the many Filipinos who saw themselves in Nora, having first seen her on Tawag ng Tanghalan.

“Even then, I was captivated by her voice, her presence, and her beauty. She wasn’t called a phenomenon yet, but to me, she wasn’t just a star. She was our superstar,” she said in Filipino and English.

Santos-Concio detailed her childhood experiences as a diehard Noranian; she and her sister Malu kept a thick scrapbook of Aunor’s photos. They’d save their allowance just to buy comics, magazines, and Nora pictures sold on the streets of Avenida Rizal; they never missed an issue.

Sometimes their parents would get mad, Santos-Concio shared — comics weren’t allowed at home, so they hid them under their bed, and when everyone was asleep, they’d take them out and read by flashlight.

Whenever Nora had a movie, the sisters would line up as early as 8 am, even if it was crowded.

“Invested kami sa kanya, kinikilig kami sa love life niya, naiiyak sa mga pinagdadaanan niya. Nagagalit kapag may naninira sa kanya. Minsan sa eskwelahan, mayroon akong kaklase na sinabing hindi daw bagay mag-artista si Nora dahil siya daw ay maitim,” she shared.

(We were invested. We swooned over her love life, cried through her struggles, got angry when people insulted her. Once, a classmate said Nora didn’t deserve to be an actress because she was dark-skinned.)

“Alam niyo na ang nangyari. Ginera ko ang kaklase ko. Walang poise-poise. Bawal magsabi ng hindi maganda sa aking Superstar,” she added.

(“You can guess what happened. I fought that classmate. No poise. You do not insult my Superstar.”)

And there were millions of other devoted fans. Whenever she appeared on TV or in public, they’d flock to see her — starstruck and tearful just to see her smile and wave, Santos-Concio said in Filipino.

“May mga fans na umaakyat ng bakod, hinihimatay, nag-aalay ng kwintas na sampagita hanggang wala nang makita sa leeg ni Nora Aunor. We were called the bakya crowd. And we were proud of it. Dahil may superstar kami na isa sa amin,” she said.

(Fans would climb fences, faint, and offer garlands of sampaguita until you could no longer see her neck. They called us the tacky crowd. And we were proud, because our superstar was one of us.)

“Philippine showbiz has never seen that level of adulation until Nora came, and never again after Nora.”

‘She became, she transformed’

Despite her many accolades, Ate Guy remained simple, grounded, and humble. With no attachment to glamour, fame, or wealth, the only thing that mattered to her was her dedication to her craft.

“… Dahil yun ang kanyang sukli sa pagmamahal ng kanyang mga tagahanga. Napapanood natin siya hindi bilang isang artista, kundi isang tunay na tao sa mundo ng kanyang karakter na ginagampanan. Hindi siya takot magpakita ng kahinaan. Hindi siya takot pumangit. Maaari rin hindi takot sa sasabihin ng mga kritiko o detractors. Binibigay niya ang lahat,” Santos-Concio said.

(“…That was her way of giving back to her fans’ love. We didn’t just see an actress — we saw a real person within every character. She wasn’t afraid to look weak or ugly. She wasn’t afraid of critics. She gave her all.”)

Aunor was said to invent mata-mata acting, where one look from her could kill. When filming Himala, Santos-Concio was the producer, and Aunor played Elsa. It was her first time working with the actress, and she saw firsthand how Aunor’s “silence was louder than any scream” — no camera tricks, no heavy discussion.

“But she is full. There is something about her that cannot be explained by technique alone. She is real. She is authentic. She doesn’t act. She becomes. She transforms,” she added. She wasn’t just an actress — she was a true artist with depth, courage, and heart.

“It was part of her process, her magic, her madness. Alam mong may pinaghuhugutan, may lungkot, may apoy, may madness. But within that madness, there was genius.” (You know she drew from something deep, there’s sorrow, there’s fire.)

“When she is in her element, when the camera starts rolling, she is unstoppable,” Santos-Concio added.

A true National Artist

Santos-Concio praised Himala for being one of the rare, handpicked projects of the Marcos Sr. administration’s Experimental Cinema of the Philippines then. It is also the first restored classic film of ABS-CBN.

But more than her award-winning roles, Aunor bridged worlds — those filled with drama, hurt, and shame. But through it all, she showed strength and love, fighting and rising again.

“Sa kanyang paglalakbay, wala siyang iniwang bakas ng yabang. Sa maikli niyang buhay, napakarami niyang binuhay na pangarap; para sa mga walang pambili ng sapatos, sa nag-aaral sa ilalim ng ilaw ng gasera, sa mga naglalako sa palengke o naglalako ng tubig,” she said.

(“In her journey, she left no trace of arrogance. In her short life, she brought dreams to the hearts of everyday people; those without shoes, those studying under a lamp, those selling in markets or hawking water.”)

Her career and personhood were dedicated to her fellow workers in film. She showed how important it was to love her fans, and to treat others with humanity.

As Santos-Concio ended her speech, she shared how hard it is to say goodbye to someone etched in your heart.

“Makakahanap lamang tayo ng ginhawa sa katotohanan na ang kanyang alaala ay walang kamatayan,” she said.

(“The only comfort is knowing her memory is eternal.”)

“Nora Aunor means so much more to so many. She is an empowered woman, a person, a genius, a National Artist. But to us, her solid Noranians, Nora will always be Ate Guy. Our one and only Superstar,” Santos-Concio said.

“She was a legend while she lived. And she will be immortal now that she’s gone.”

Nora Aunor was laid to rest after being honored with a state funeral on Tuesday, April 22 at the Libingan ng mga Bayani in Taguig City. – Rappler.com

MANILA, Philippines – In honor of the country’s late Superstar and National Artist for Film and Broadcast Arts, a tribute program during the necrological services for Nora Aunor was held on Tuesday, April 22, at the Metropolitan Theater.

Family, artists, colleagues, government officials, friends, and long-time fans came together to celebrate the life and legacy of one of the most iconic figures in Philippine entertainment before her state funeral at the Libingan ng mga Bayani in Taguig City.

The program began with National Artists Ricky Lee, Ryan Cayabyab, Alice Reyes, and Ramon P. Santos offering flowers to the remains of the late Superstar Nora Aunor on stage, followed by a video compilation of Aunor’s career highlights, past interviews, and memories.

The tribute segment began with a eulogy from screenwriter Ricky Lee, National Artist for Film and Broadcast Arts, and Nora’s long-time collaborator. Lee recalled their early years of working together and the lasting impact of Aunor’s artistry.

“Guy was a rebel. For seven decades, she challenged the status quo. She broke the colonial idea that only fair-skinned, tall women were considered beautiful on the silver screen. She portrayed strong, truthful women — a nun, a prisoner, a lesbian, an NPA rebel, an OFW, a mistress, an illegitimate child, a rival in love, a helper, a sidekick, a villain, a Muslim, an Igorot, a Binukot, someone with dementia, even a murderer,” he said.

Afterwards, “Walang Himala” — written by Lee and Vincent de Jesus — was performed on stage by Aicelle Santos-Zambrano, accompanied by the Philippine Madrigal Singers and the Philippine Philharmonic Orchestra.

Veteran director Joel Lamangan, who directed Aunor in several films, followed with a lively tribute, recalling her boldness and fearlessness both on and off camera. He also remembered her compassion and generosity.

“Maraming pagkakaton na si Ate Guy ay hindi naiintindihan ng maraming tao. Bago siya naging National Artist, marami siyang pinagdaanan. Hindi importante sa kanya ang kayamanan o pera,” Lamangan said in his eulogy on Tuesday.

(There were many times when Ate Guy wasn’t understood by a lot of people. Before she became a National Artist, she went through so much. Wealth or money was never important to her.)

Lamangan said that Ate Guy “gave what she had to those who needed it the most.”

The Philippine Madrigal Singers returned for a solemn interlude of “Handog” by Nora Aunor before Charo Santos-Concio, former ABS-CBN President and respected actress, took the stage to deliver a heartfelt and moving tribute.

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In Nora Aunor’s madness, there was genius: Charo Santos honors late Superstar

As she began to work with the late Superstar, Santos-Concio remembered Aunor as someone who “remained simple, grounded, and humble,” and never attached to glamour, fame, or wealth. What mattered to her was “her dedication to her craft,” the way she gave back to her fans’ love.

Santos-Concio didn’t just see Nora as an actress; she and many others saw a “real person within every character.” Nora was “not afraid to look weak or ugly” and “not afraid of critics.” She gave her all in every role.

Aunor was said to have invented “mata-mata acting” — where one look could kill. Santos-Concio was the producer of Himala, where Aunor played the role of Elsa.

“It was the first time I worked with her, and I saw how her silence was louder than any scream. No camera tricks. No long discussions,” she said in Filipino.

“Pero puno siya. Buo siya. May kung anong hindi kayang ipaliwanag ng teknika. Hindi lang siya umaarte, nagiging siya. She becomes. She transforms. Hindi lang siya artista — isa siyang alagad ng sining. May lalim, may tapang, may puso. Parte ng proseso niya ang kanyang magic, ang kanyang madness. Alam mong may pinaghuhugutan — may lungkot, may apoy, may pagkabaliw. Pero sa likod ng madness na iyon, mayroong talino,” she added.

(Yet she was full. Complete. There was something about her that technique alone couldn’t explain. She didn’t act — she became. She transformed. She wasn’t just an actress, she was a true artist. With depth, courage, and heart. Her process included magic. And madness. You could feel her pain, her fire, her darkness. And within that madness — was genius.)

Angeline Quinto and Jed Madela then delivered a musical tribute, performing “Superstar ng Buhay Ko” by Sunny Ilacad Jr. and Chito Ilacad.

Aunor’s son Ian de Leon expressed his and his siblings’ gratitude to family, friends, loved ones, fellow artists, colleagues in the industry, the National Commission for Culture and the Arts, and the millions of supporters of their beloved mother for their support and presence.

“We have gathered this morning to celebrate an extraordinary life,” he said in Filipino.

Other speeches that expressed the impact of the entertainment icon’s legacy and the importance of her contributions to Philippine culture were given by NCCA Executive Director Eric Zerrudo and Cultural Center of the Philippines president Kaye Tinga, who led the final moments of remembrance.

NCCA Chairman Victorino Mapa Manalo delivered a message from President Ferdinand Marcos Jr.

On April 21, Marcos issued Proclamation No. 870 declaring April 22 as a “Day of National Mourning.”

“Her artistry, depth, and dedication as a performer elevated the standard of excellence in the field of arts and culture, and inspired generations of actors, filmmakers, and audiences, both in the local and international stage,” Marcos said in the proclamation signed on April 21, and released on April 22. – Rappler.com

MANILA, Philippines – Entrepreneur Dominique Cojuangco is grieving the loss of her half-sister, Patricia Cojuangco Kierulf, who passed away earlier this week at the age of 47.

Dominique is the only daughter of Gretchen Barretto and long-time partner Tony Boy Cojuangco. Patricia is the daughter of Tony Boy and his former wife, Bingbing Gonzalez.

In an emotional tribute posted on Instagram on Monday, April 21, Dominique shared a series of throwback photos with her late sister through the years, from childhood moments to warm embraces and touching family scenes during Dominique’s 2022 wedding to businessman Michael Hearn.

“How blessed am I to have been able to call you my sister in this lifetime? My heart is shattered. I’ll love you forever,” Dominique, 30, wrote in the caption.

According to a report by ABS-CBN News, Patricia died on April 19. No cause of death was disclosed.

The wake is being held at Santuario de San Antonio in Makati City, with the funeral mass scheduled for April 23. – Rappler.com

MANILA, Philippines – In the end, Hajji Alejandro just wanted to be with his loved ones.

Alejandro, who made many hearts flutter as a dashing hitmaker in the ’70s and ’80s, battled through pain during a two-month ordeal with stage 4 colon cancer.

But he eventually decided to just stay at home, said singer Alynna Velasquez, Alejandro’s partner for 27 years.

Alejandro died on Monday, April 21. He was 70.

“You refused another trip to the hospital and chose palliative care instead, in the comforts of your home, in the company of people you love. You knew you were leaving us soon,” Velasquez said in a social media post on Tuesday, April 22.

“We listened to our favorite songs and we both had tears in our eyes. Your precious voice has been impaired because [cancer] had constricted your respiratory system as well. But I felt your love even without words. And despite the pain, restlessness and hallucinations, you tried to hold my hand.”

Velasquez said she was grateful to have “spent the last 8 days” with Alejandro after two of his five children, Rachel and Ali, reached out to her.

Last March, Velasquez shared in an interview with broadcaster Julius Babao that she was “blamed” by the family for making public Alejandro’s health condition, so she left home.

“No more pain, love. Just pure bliss with our Heavenly Father,” said Velasquez. 

Alejandro, tagged as the “Kilabot ng mga Kolehiyala” (college girls’ heartthrob) during his peak, rose to fame with hits like “May Minamahal,” “Nakapagtataka,” “Panakip Butas,”“Tag-araw, Tag-Ulan,” and “Kay Ganda ng Ating Musika.”

He’s the third Philippine music legend who died the past week after Pilita Corrales and Nora Aunor.

“I whispered in your ear. ‘Go with God. I love you so much. See you in my dreams,’” wrote Velasquez.

“Thank you… thank you for your love.” – Rappler.com