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Places to visit to commemorate Day of Valor

Heritage Houses-2, Las Casas Filipinas de Acuzar in Bataan — Photo from en.wikipedia.org

This Day of Valor, it’s time to go back to your roots.

Tomorrow, April 9, the Philippines will celebrate Araw ng Kagitingan or Day of Valor to commemorate the heroism and patriotism of the Filipino and American warriors and veterans who defended Bataan, Corregidor and Bessang during the World War II. Minor parades are scheduled in key cities of the nation but the President’s speech to honor veterans in the Province of Bataan will be the highlight of the day.

As many regions of the country, including Bataan, are on Alert Level 1 and most part of the population is already inoculated against COVID-19, this non-working holiday gives everyone a chance to cross borders with friends or family and spend the Day of Valor at the right place and time.

For those who want to pay tribute to the war veterans and go on a little adventure, Mt. Samat National Shrine or “Dambana ng Kagitingan” in Bataan is a place to be. Here, war veterans gather and government officials hold a ceremony annually to celebrate the Day of Valor.

Memorial Cross at Mt. Samat National Shrine in Pilar, Bataan — Photo from en.wikipedia.org

The shrine was built in 1970 at the peak of Mt. Samat with a marble-clad infrastructure and a massive memorial cross as the centerpieces. The complex also includes a war museum featuring collections of painting of the Philippine heroes and weaponry used by the Filipino, American and Japanese forces during the war. A wide stairway from the parking will lead to a flagpole with two bronze urns on both sides as a symbol of eternal flame.

Behind the colonnade is a 14-flight zigzag footpath going to the base of the giant cross that showcases murals of the Filipino figures and events in different colonial eras. For P10 per individual fee, an elevator brings visitors to the two wings of the cross that serve as a viewing gallery where cold breeze brings one to relaxation while gazing at a 360-degree view of Bataan Peninsula, rolling hills, Corregidor and Manila Bay.

Another experience to add on the Bataan Day of Valor trip is to get to the starting point of one of the darkest periods in Philippine History, the 1942 Bataan Death March. This is marked by the Zero Kilometer Death March Marker situated in Bagac, Bataan, in which tens of thousands of Filipino and American troops marched from Bataan to Tarlac, with a distance of about 106 kilometers. Tourists can also visit the Bataan World War II Museum in Balanga, Bataan to see artifacts and dioramas from the world-famous Death March.

After a full day of activities and site-seeing, tourists can take a most deserved break in Las Casas Filipinas de Acuzar. Located in Bagac, Bataan, this place can take anyone back in time. Home to Jose Acuzar’s collection of heritage houses that have been salvaged from total ruin and neglect, these houses were then renovated and rebuilt by a team of artisans and craftsmen in the town. Las Casas features the finest of Filipino craftsmanship, artistry, and skill giving the property a look and feel that is distinctive and its own. Apart from its charming villages, it also gives an access to the beach complete with a bar, set of water activities, and the most wonderful view of the sunset in Bataan.

Meanwhile, those who want to connect themselves down to the roots in the Day of Valor but want to stay near Manila may opt to visit Corregidor Island and Las Casas Quezon City as an alternative to the Bataan trip.

Corregidor Island is a World War II relic accessible by a 90-minute boat from a ferry terminal in Pasay. It served as the headquarters for the allied United States army and Filipino fighters who fought against the Japanese. Japan may had seized most of the Philippines that time but they avoided Corregidor due to its treacherous gorges.

Here, alongside the silent cannons and rusting artillery are numerous memorials for the war heroes. Most of the war-ravaged buildings have not been restored and were left in their original state after the war in reverence to the Filipino and American soldiers who died there. Some of the places to visit in the island are the Pacific War Memorial, Malinta Tunnel, Japanese Garden of Peace, and Corregidor Lighthouse. While the tour is open to visitors aged 16 to 65, travelers under 16 or over 65 will have to sign a waiver.

Meanwhile, Las Casas Quezon City offers an events space, restaurant, and museum rolled into one destination. Located along Roosevelt Avenue, this is the perfect Al fresco dining space in a huge Spanish courtyard. The spot offers a tour and dining experience as the place alone is already a feast for the eyes and the Filipino menu will surely make one full.

With the easing up of COVID-19 restrictions, the 80th Araw ng Kagitingan invites everyone to remember and honor the gallantry and sacrifices of all the Filipino war veterans and connect these roots to the democracy and freedom every Filipinos enjoy today. -— Allyana A. Almonte

Republic Glass Holdings Corp. announces schedule of annual stockholders’ meeting through remote communication on April 29

 

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Over 3M Filipinos jobless in February

PHILIPPINE STAR/ MIGUEL DE GUZMAN
Commuters queue for a free ride at the Metro Rail Transit Line 3 (MRT-3) North Avenue Station in Quezon City, March 28. — PHILIPPINE STAR/ MIGUEL DE GUZMAN

By Ana Olivia A. Tirona, Researcher

THE PHILIPPINES’ unemployment rate steadied on a monthly basis in February, but the number of jobless Filipinos increased to 3.126 million despite the gradual reopening of the economy, the Philippine Statistics Authority (PSA) reported on Thursday.

The unemployment rate stood at 6.4% in February, unchanged from the previous month’s jobless rate but smaller than the 8.8% in the same month of 2021, preliminary estimates from the agency’s latest Labor Force Survey showed.

This was the lowest share of the unemployed to the total Filipino labor force in over two years or since the 5.3% in January 2020.

Philippine labor force situation (Feb. 2022)

In absolute terms, the ranks of unemployed Filipinos picked up by 201,000 on a monthly basis to 3.126 million in February. This, however, was lower by 1.061 million from 4.187 million a year ago when tighter mobility restrictions were still implemented.

The size of the Filipino labor force, meanwhile, expanded by 2.462 million month on month to 48.606 million in February. It was 1.265 million higher than the 47.341 million a year ago.

This translated to a labor force participation rate (LFPR) — or the share of the workforce to the total working age population — of 63.8% that month, a two-month high since the 65.1% in December last year.

After the Alert Level 1 in January, Metro Manila and other areas were placed under a more relaxed Alert Level 2 starting February as the number of coronavirus disease 2019 (COVID-19) infections declined.

“This allowed more Filipinos to rejoin the labor force. We aim to shift the entire country to Alert Level 1 to enable even more Filipinos to find work,” Socioeconomic Planning Secretary Karl Kendrick T. Chua said in a statement.

As of April 1, the National Economic and Development Authority (NEDA) said 79% of the economy is now under the most lenient Alert Level 1.

Mr. Chua once again reiterated the need for the full resumption of face-to-face classes, saying this will allow more parents who supervise their children’s online classes to return to work.

“The unchanged unemployment rate simply means no dramatic improvement in the jobs market despite alert level going down,” University of the Philippines Professor Emeritus Rene E. Ofreneo said in an e-mail interview.

“The average LFPR in the pre-COVID-19 years was something like 65-66%. This means in the COVID-19 years, less number of working age population were actively ‘participating’ in the labor force (either with jobs or looking for jobs) due to what we all know — lockdowns and lack of available jobs […] However, it does not mean that the jobs market is okay,” Mr. Ofreneo said.

Meanwhile, Trade Union Congress of the Philippines (TUCP) Spokesperson Alan A. Tanjusay said in a Viber message there is an uptick in employment as some businesses saw increased activity due to the election campaign period. The national elections are on May 9.

In a press release, research group IBON Foundation, Inc. said the bigger employment numbers do not mean the job crisis is easing.

“Jobs being created [in February] are more in part time, self-employment and informal work than regular and formal work in private establishments,” IBON said. “This shows that millions of employed Filipinos are just trying to get by on whatever they can do to make a living.”

The quality of jobs improved as the underemployment rate — the proportion of those already working but still looking for more work or longer working hours to the total employed population — eased to 14% in February from 14.9% in January.  It was also smaller than the 18.2% underemployment rate in the same month last year.

This was equivalent to 6.382 million underemployed Filipinos, or 15,000 less than the 6.397 million in January and 1.468 million lower than February last year’s 7.850 million.

The February underemployment rate was the lowest in nine months since 12.3% in May last year.

“The quality of jobs being generated is also a grave concern… Underemployment is still too high for comfort,” Sentro ng mga Nagkakaisa at Progresibong Manggagawa Secretary General Josua T. Mata said in a Viber message.

The employment rate — the proportion of the employed to the total labor force — was recorded at 93.6% in February, unchanged from January but higher than the 91.2% in February last year.

In absolute terms, this was equivalent to 45.480 million employed persons in February versus 43.018 million in January, and 43.153 million in the same month a year ago.

A Filipino worker worked on an average of 40.8 hours a week in February, lower than 41.8 hours in January but marginally higher than 38.9 hours a year ago.

The services sector remained the largest employer in February, accounting for 58.2%. This was lower than the 58.9% share the previous month. It was followed by agriculture (23.9% from 21.7%) and industry (17.9% from 19.3%).

For Mr. Ofreneo, the decline of employment share in the industry sector is “worrisome” as it reflects the country’s incapacity to industrialize.

“Regarding agriculture, growth in employment is likely due to difficulties of rural population to find alternative jobs. I say this because the crisis of agriculture sector is well documented, especially the lament of farmers,” Mr. Ofreneo added.

Mr. Tanjusay, the spokesperson of the country’s largest labor federation, said for the coming months, the rising inflation due to the ongoing Russia-Ukraine conflict is “worrisome” and may threaten economic growth.

“The temporary employment (created during the campaign period for the) national elections will also factor in after the elections. Businesses and investors will also wait and see what will be the policies of the winning administration,” Mr. Tanjusay said.

The February round of LFS was conducted from Feb. 8 to 28.

Philippines’ 2021 GDP growth upgraded to 5.7%

The Makati skyline is seen from Skyway Stage 3, July 8, 2021. — PHILIPPINE STAR/ MICHAEL VARCAS

THE PHILIPPINE economy grew slightly faster than it initially reported in 2021, the Philippine Statistics Authority (PSA) reported on Thursday.

Gross domestic product (GDP) — the value of all finished goods and services produced in the country at a given period — rose by 5.7% last year, slightly higher than the 5.6% initially reported on Jan. 27.

Economic growth for the fourth quarter of 2021 accelerated to 7.8%, from the preliminary estimate of 7.7%. This was a reversal from the 8.2% contraction it logged in 2020.

On the other hand, last year’s gross national income — the sum of the nation’s GDP and net primary income from the rest of the world — was revised upwards to 1.7% from the earlier estimate of 1.6%.

The services sector for the entire 2021 grew 5.4%, from the previously reported 5.3%. Likewise, the industry sector improved to 8.5%, from the previous estimate of 8.2%.

Major upward revisions in the industry subsectors were observed in the following: construction (10.0% from 9.8% previously); manufacturing (8.8% from 8.6%), and mining and quarrying (5.0% from 2.6%).

The following services subsectors increased from their previous estimates: public administration and defense, compulsory social activities (5.7% from 5.2%), education (8.3% from 8.0%), financial and insurance activities (4.7% from 4.5%), and information and communication (9.2% from 9.1%).

Agriculture, meanwhile, was unchanged at a 0.3% decline.

On the expenditure side, growth in government spending increased to 7.1% last year from the preliminary 7%, while household consumption was unchanged at 4.2%.

The trade in goods and services figures likewise improved, as exports (8% from 7.8%) and imports (13% from 12.9%) expanded more than previously estimated.

Gross capital formation, the investment component of the economy, was revised upwards to 20.3% from 19%.

Meanwhile, the record economic decline due to the pandemic in 2020 was also revised to 9.5%, a tad slower than the 9.6% contraction initially reported.

National account revisions are based on approved revision policy, which is consistent with international standard practices, the PSA said. — Abigail Marie P. Yraola

PHL central bank addresses FATF recommendations vs financial crimes

BW FILE PHOTO

THE PHILIPPINE central bank is focusing on showcasing tighter regulations on registration of money transfer services and the effectiveness of targeted financial sanctions, as it aims to exit the “gray list” of the Financial Action Task Force (FATF) by next year.

The country is hoping to convince the FATF it is effectively implementing tighter measures against money laundering and counter-terrorism financing, after the Philippines was included in the gray list in June 2021.

“The BSP is implementing measures to address the three action-plan items relating to implementing the new registration requirements for money or value transfer services, applying sanctions on unregistered and illegal money remittance operators, and enhancing the effectiveness of the targeted financial sanctions framework (TFS) for both terrorism financing and proliferation financing,” the BSP said in its annual report.

“It [The BSP] will ensure that the remaining action plan items for BSP and BSFIs (BSP Supervised Financial Institution) will be adequately addressed, in line with the country’s strong commitment to address all identified strategic deficiencies to exit from the gray list,” the BSP added.

The FATF said in March the country is still part of jurisdictions under increased monitoring for “dirty money” risk, although it noted the country’s progress in terms of policies related to sanctions against terrorism financing and increasing manpower of the Anti-Money Laundering Council (AMLC).

The FATF said it will continue to monitor the country’s anti-dirty money and counter-terrorism financing measures, particularly its progress in implementing registration requirements for money or value transfer services, as well as imposing sanctions against illegal operators.

For its part, the BSP said it has formed a group that tracks and collates actions and countermeasures seen in other jurisdictions. The central bank likewise said it catalogs incidents related to de-risking and correspondent banking, among others.

“The information gathered will be used in implementing appropriate policy responses and other necessary interventions,” it said.

The BSP regulates money service businesses that are engaged in remittances, money transfers, and foreign exchange dealership, as well as those related to virtual assets.

There are more than 7,000 of these businesses that are registered with the BSP as of end-2021.

The government will submit its next progress report to the FATF in May. Officials hope the country will be removed from the gray list by January 2023. — Luz Wendy T. Noble

Jamie Rivera, Basil Valdez reunite in Love and Light

BASIL VALDEZ AND JAMIE RIVERA

PRIOR to the start of the COVID-19 lockdown in 2020, pop singer Jamie Rivera and balladeer Basil Valdez shared the stage together for a Valentine’s Day concert. This year, they reunite for their first live concert since then, Love and Light, which will be held at the Newport Performing Arts Theater (NPAT) at Resorts World Manila (RWM) on April 30, 8 p.m.

Love and Light is RWM’s third live concert this year following Gigi de Lana’s Domination in March, and Gloc-9 and Shanti Dope’s Rapsody on April 2.

“I feel very rested… Masaya ako ngayon na nakabalik na kami performing for live audiences (I am glad that we are back performing for live audiences),” Ms. Rivera said at a press conference on April 6 at RWM’s Newport Mall, which was streamed via Facebook.

“I really am not so used to online performances. It is such a pleasure to be with you face to face,” Mr. Valdez said.

“I have to tone myself,” said Ms. Rivera, adding that both she and Mr. Valdez are getting back into shape after two years with no live shows. “I’m trying to strengthen my immunity.”

“I’ve been brisk walking every other day to maintain breathing and then maybe I will start vocalizing two weeks before the concert, and complete rest,” Mr. Valdez said. “If I could only approximate the type of performances I used to do two years ago, I’d feel so blessed.”

Mr. Valdez released his first album, Ngayon at Kailanman, back in 1977. Building a career as a balladeer, he went on to sing movie theme songs in the 1980s, with hits such as “Ngayon at Kailanman,” “Hanggang sa Dulo ng Walang Hanggan,” “Paano Ba ang Mangarap,” “Muling Buksan ang Puso” and “Gaano Kadalas ang Minsan.”

Ms. Rivera, is known for her string of meaningful songs, including “Tell the World of His Love” and the 2015 Papal Visit theme, “We Are All God’s Children.” Some of her love songs include “Hey, It’s Me,” “Awit Para Sa ’Yo,” and “I’ve Fallen for You.” In 1992, Ms. Rivera essayed the role of Kim in the musical Miss Saigon in London, England.

Produced by Full House Theater Company in cooperation with NY Entourage Productions, the show will feature the OPM icons’ classic hits, under the musical direction of Adonis Tabanda and directed by Marvin Caldito.

“I’m doing most of the love songs and paying tribute to four great composers,” Mr. Valdez said of the show’s repertoire, referring to songs written by George Canseco, Jerry Paraiso, National Artist for Music Ryan Cayabyab, and Willy Cruz.

“She (Ms. Rivera) is doing some inspirational songs,” Mr. Valdez added. “I hope that people will be enlightened with the love songs I’ll be performing and get some inspiration from the songs by Jamie.”

In terms of preparations for the show, Ms. Rivera said they have had one meeting about the repertoire and are still looking to add more songs to the set list.

“It’s a celebration of love and light after darkness. So here we are, celebrating this comeback,” Ms. Rivera said.

Tickets to Love and Light are now available at TicketWorld and SM Tickets. For inquiries contact Girah Manaligod (0917-872-8309), Archli Enriquez (0917-823-9602), or Neil Crisostomo (0917-658-9378). Tickets are also available at https://premier.ticketworld.com.ph/. Only vaccinated guests aged 12 and above are allowed in the theater.  — Michelle Anne P. Soliman

Destination moon

Movie Review
Apollo 10 ½: A Space Age Childhood
Directed By Richard Linklater
Netflix

(Warning: plot and finale discussed in explicit detail)

RICHARD Linklater’s Apollo 10 ½ is the director’s take on the moon landing, which for him isn’t just a passion project or historic event to dramatize but his childhood, literally. Maybe one of the funnier moments in the film is when Stan (Milo Coy as the youth, Jack Black as the reminiscing adult) cites all the ways the space race has permeated everyday life: not just car dealership discounts (“the closer they get to the moon the lower our prices are!”), but a rocket slide (which were everywhere — I remember one at Burnham Park in Baguio City that got rustier and rustier year after year), multimillion dollar space epics (Destination Moon on TV, 2001: A Space Odyssey on a really big screen), the nearby Astrodome (complete with Astroturf), and almost daily bombardments of the Apollo program’s progress in beating the Soviets to the moon.

The film has a plot, of sorts: Stan has been approached by government agents to participate in an improvised space program where they try out all the equipment meant for Apollo astronauts on him first, because the LM (lunar module to you non-space geeks) had accidentally been built too small for an adult.

Stan accepts the mission — what kid wouldn’t? He never once mentions the possibility (or it never occurs to him) that this is all just a framing device for his half-dreamed, half-witnessed memories of the program, and of life growing up in suburban Houston.

Critics compare the film to everything biographical, from Federico Fellini’s Amarcord to Francois Truffaut’s The 400 Blows to Linklater’s own Boyhood; I see this as more amorphously structured, less a narrative than a biographical essay — think Chris Marker’s San Soleil stripped of a few layers of meaning and of Marker’s lyric sense of mystery, served with a generous helping of American humor. It’s a trend in Linklater’s work, from his early features to the Before trilogy (Before Sunrise, Before Sunset, Before Midnight) to Boyhood — you might say day-in-the-life narratives are his specialty, with their insistence on leisurely pacing and wayward digressions. The Before films however have a tension running through them (Will they or won’t they? And just in time?); Boyhood has a loose structure (glimpse of boy’s life every two or three years) —  this picture pushes the formlessness even further, with only the premise (boy recruited by NASA) to give it any narrative shape.

The tone Linklater maintains is intriguing: he has Black narrate in a matter-of-fact manner, keeping things light and lively but you sense undercurrents of unease, coming mainly from the TV set. Not the most credible source, perhaps: critics have nicknamed television “The Idiot Box,” Harlan Ellison labeled it “The Glass Teat” and called its viewers unweaned children who have trouble distinguishing fantasy from reality.

Ellison has a point, but considering Stan’s location —  the outskirts of Houston, at the southern edge of Texas — the boy may not have many alternatives. What news footage Stan (and we) do glimpse is already disturbing: fighting in Vietnam; campus riots; a black face scowling at the screen, daring you to acknowledge him. Stan’s parents are no help — Mom (Lee Eddy) considers anyone with long hair and bellbottoms a “hippie”; Dad (Bill Wise) categorizes folks as either “rednecks” (dropped beer cans to the floor of their cars) or “white trash” (chucked beer cans out the car window). (Stan’s family was neither —  they picked up the cans after the ride to dispose of properly in a trash can). Stan’s sister Vicky (Natalie L’Amoreaux) is at least aware of the feminist and civil rights movement, but does what little proselytizing she manages to do under her parents’ noses. Linklater may or may not be aware of Ellison’s collection of criticism but the resulting portrait he offers is of a boy with a narrowly eccentric view of life, whose only window to the outside world is already suspect.

Linklater chronicles all this with little sense of judgment. He has Stan describe existence as facing a bright future, with the possibility of being wiped out at any moment by nuclear war —  an interesting contrast to our more agoraphobia-inspiring, less reassuring present (thanks to Putin, apparently the prospect of nuclear war is back on the table). Times may have seemed simpler, but it’s a simplicity created more by denial and ignorance than anything actually streamlined. Linklater acknowledges the illusion, and the fact that most of the family was held in thrall by that illusion, with brief unsettling moments of awareness (television, Vicky’s pronouncements and sidelong glances).

One question I find myself asking: would the film feel more substantial if Linklater had explicitly included more ’60s angst? Would it feel more disingenuous? Is there room in cinema for a lighthearted take on childhood at the fringes of the counterculture movement?

Depends, I submit, on the execution; Linklater, I further submit, largely validates his intent. The animation —  a mix of rotoscoping and abstracted colors —  has a way of evoking both the Saturday morning cartoons the children wake up early in the morning for, and the family’s rose-tinted point of view —  lightly satirizing the latter at the same time it waxes a bit nostalgic (The light touch helps — hints that Linklater isn’t committed either way). The imagery can be both engagingly colorful and inexplicably beautiful —  as when streamers flutter through the air and you wonder what they are (Party ribbons? Sperm cells? Tentacles from outer space?) before they resolve into drogue chutes dragging the command capsule’s main re-entry chutes out into the open.

The fateful moon launch has been depicted in any number of films, from the recent First Man and Apollo 11 to the classic For All Mankind; even in the realm of animation there’s Hiroyuki Yamaga’s Wings of Honneamise which, being fiction, manages to surround its already dramatic launch with a vicious ground war and aerial assault. Apollo 10 ½ may not have the grandeur of Wings but does have Stan fading in and out of the broadcast, as he alternately imagines (remembers? dreams of?) Armstrong (himself?) climbing down the ladder to the lunar surface. Mom may dismiss Stan’s experience as being an exhausted young boy’s way of remembering, but Linklater suggests a link between astronaut and youth a la Avatar — not insistent but he does leave it there for us to take seriously or not.

I did enjoy Apollo 10 ½ —  the brief mention of childhood favorite The Time Tunnel was worth the price of admission (well, the price of a Netflix subscription). May not be my favorite account of the space program or even the funniest (that would be Philip Kauffman’s The Right Stuff) but easily my favorite animated, and favorite of Linklater’s recent works.

Sheeran slams ‘baseless’ lawsuits after victory in ‘Shape of You’ case

LONDON — British singer Ed Sheeran said baseless copyright claims were damaging the music industry after he won a case at the High Court in London on Wednesday over whether a refrain in his 2017 mega hit “Shape of You” had been lifted from another artist.

Mr. Sheeran had been involved in a legal battle with grime artist Sami Chokri, who performs as Sami Switch, and music producer Ross O’Donoghue, who had argued the hook from “Shape of You” had been copied from their 2015 song “Oh Why.”

“Whilst we’re obviously happy with the result I feel like claims like this are way too common now and it’s become a culture where a claim is made with the idea that a settlement will be cheaper than taking them to court, even if there’s no basis for the claim,” Mr. Sheeran said in a video posted on Twitter.

“It’s really damaging to the songwriting industry.”

“Shape of You” became the best-selling digital song worldwide in 2017 and has received more than 5.6 billion views on YouTube.

The judge, Antony Zacaroli, concluded there was no evidence that Mr. Sheeran had thought of writing the hit before Oct. 2016.

He said he had analyzed the song’s musical elements and found that there was “compelling evidence that the ‘OI (Oh I) Phrase’ originated from sources other than ‘Oh Why’.”

“While there are similarities between the ‘OW (Oh Why) Hook’ and the ‘OI (Oh I) Phrase,’ there are also significant differences,” the judge concluded.

“I am satisfied that Mr. Sheeran did not subconsciously copy ‘Oh Why’ in creating ‘Shape’.”

Shortly after the verdict, Chokri posted a video on Instagram of two people swimming in the sea with the caption: “Through despair I found an instant highway to gratitude.

“I am rich, of love, friends and family. This is the beginning not the end.”

‘COINCIDENCE BOUND TO HAPPEN’
Mr. Sheeran had faced lengthy questioning about his work during last month’s trial, with accusations from the lawyer for Chokri and O’Donoghue that he simply altered other artists’ music and words to pass their work off as his own.

The singer said he always credited other artists and told the court he had never heard the “Oh Why” song he was accused of ripping off.

“There’s only so many notes and very few chords used in pop music, coincidence is bound to happen,” Mr. Sheeran said on Wednesday.

“I just want to say: I’m not an entity, I’m not a corporation, I’m a human being and a father and a husband and a son. Lawsuits are not a pleasant experience and I hope that this ruling means in the future baseless claims like this can be avoided.”

Legal proceedings between the two parties date back to 2018 when Mr. Sheeran and co-writers Steven McCutcheon and John McDaid asked the High Court to declare they had not infringed Chokri and O’Donoghue’s copyright for “Oh Why.” Chokri and O’Donoghue later filed a counterclaim alleging infringement.

“It is a very significant decision. There have been a number of cases that are being brought by smaller artists against some of the larger, well-known artists,” Mike Gilbert, Partner at intellectual property firm Marks & Clerk, said.

“I think this case may draw a little bit of a line in the sand to really make people think about whether it is worth bringing claims of copyright infringement against some of the well-known artists, particularly in circumstances where those artists… are very aware of the obligations that they have to give credit where credit is due.” —  Reuters

Entertainment News (04/08/22)

CCP offers grants for animation, games, comics

THE CULTURAL Center of the Philippines (CCP) is launching the CCP Grants, with P20 million in development funding meant to generate original Intellectual Property (IP) content that reflects the country’s rich cultural heritage with its folktales, myths, and legends. This program hopes to stimulate the local creative economy by providing financial and technical and educational support to local creative businesses, content developers, artists, and students. Filipino content creators can pitch their ideas in any of the following three categories: Game Development Grant, Animation Grant, and Comics Grant. For the Game Development Grant, up to four Securities and Exchange Commission (SEC)-recognized game development organizations will be awarded a maximum funding of P1.5 million each, and a maximum of P300,000 each to independent game developers to create and complete a digital game project with a mix of creative, cultural, and commercial outcomes, and content derived from the CCP Encyclopedia of Philippine Art. The Comics grant offers P330,000 for a potential of six winners; while the Animation Grant has funding of P2 million each for four potential winners to bring into life five-minute animated short films. Both the animation and comics output must be developed around the theme, “Philippine Folktales, Myths and Legends.” In addition, a training component with industry professionals will be integrated for the winners. The CCP Grants program is supported by the Creative Content Creators Association of the Philippines, the Game Developers Association of the Philippines, the Animation Council of the Philippines, and KOMIKET. For details, check out the Game Development Grant Application form: https://forms.gle/cvM1UNqLmWSEK6239 and the Animation and Comics Grant Application form: https://forms.gle/7P6PNASVPsXhtgUo9.

Star Cinema films will soon air on GMA

ABS-CBN will license titles from the Star Cinema library of films to GMA Network. This development was announced at a virtual event on April 5 attended by executives from both networks. “To us, we are very pleased because the significance of our partnership today ushers in possibility of a far broader set of conversations, potential partnerships and cooperation that will have the benefit not only mutually to GMA and ABS-CBN but as importantly, if not perhaps more importantly, to the benefit of the public we both serve — the Filipino viewer,” GMA Network President and Chief Operating Officer Gilberto R. Duavit, Jr. said. “Since we have, as they say, broken the ice, there is great optimism that these conversations will start and continue, and we look forward to the possibility of this type of an opportunity again moving forward,” he said.  Meanwhile, ABS-CBN President and Chief Executive Officer Carlo L. Katigbak said that he is hoping to bring Star Cinema movies to more viewers through this partnership. “Every storyteller’s dream is to have as many people as possible experience their creations. Now, because of the kindness of our friends at GMA, we have the special opportunity to bring our Kapamilya stories to a new audience. We hope the Kapusos find joy and inspiration in viewing our Star Cinema movies and we also look forward to a new era of friendship and cooperation within our small industry,” he said, using the networks’ nicknames, Kapamilya and Kapuso. Among the Star Cinema movies which will air on GMA-7 are Alone/Together, How to Be Yours, Ang Babae sa Septic Tank, Just The Way You Are, Fantastica, No Other Woman, The Panti Sisters, James & Pat & Dave, Feng Shui, Suddenly It’s Magic, and I Love You, Hater.

GigaPlay app offers shows for free

FOR a limited time until July 15, mobile services provider Smart Communications, Inc. will allow subscribers to enjoy entertainment and sports content on the GigaPlay app for free, with no subscription needed and no data charges. The GigaPlay app now offers tvN, a popular cable network in South Korea known for airing K-dramas. Some of the most popular titles that currently show on the GigaPlay app via its tvN partnership include Jirisan, Military Prosecutor Doberman, and City Girls on the Climbs. Aside from entertainment, GigaPlay streams live NBA action via NBA TV Philippines. Catch the PBA and the PBA 3×3, as well as the Japan B League, the National Basketball League (NBL) and the FIBA World Cup. GigaPlay is also the official digital streaming partner of the ongoing UAAP and is currently streaming Season 84’s basketball eliminations, as well as the UAAP Volleyball and Cheerdance competition. Smart subscribers can download the GigaPlay app on the App Store or Google Play Store. To watch for free, users can connect their phone to Smart or TNT mobile data or PLDT Home WiFi while accessing the app, without incurring data charges. For more information, visit https://smart.com.ph/Pages/gigaplay. 

BAFTA awardee filmmaker holds online workshop

AWARD-winning British filmmaker, writer, and director Craig Lines will share his experience in a full online Certificate Program in Film Making for Content Creators, slated on select Fridays of April and May. Mr. Lines will guide participants based on the following: What do you want to achieve or promote? What is the subject? Who is the target market? Also an introduction to filmmaking, students will be immersed in the language of camerawork, its background and diverse genres, plus how its tools and techniques can be utilized in conceptualizing and creating videos and materials that are entertaining, informative and educational. The module will provide attendees with the understanding of the whole content creation process, from writing the script from scratch, preparing the workflow and equipment to shooting and post-production editing. Mr. Lines has been in the industry for over 30 years and has earned several TV and film accolades including three BAFTA Awards (British Academy Film Awards) and two Royal Television Society Awards. The Certificate Program in Film Making for Content Creators will be held on April 22 and 29 and May 6 and 13, from noon to 6 p.m. The module fee for the full online course is P12,895. It is designed for users who have a good understanding of the English language and have a laptop or desktop. The program is hosted by the School of Professional and Continuing Education (SPaCE) of the De La Salle-College of Saint Benilde (DLS-CSB). To register and to learn more about its course selections, visit SPaCE on the Benilde website or on its official Facebook account.

MNL48 releases new single

AFTER a year, girl group MNL48 returns with its 7th single, “No Way Man,” a dance-centric song with a message that mirrors the girl group’s can-do attitude. “No Way Man” is led by center girl MNL48 Abby with Senbatsu members Sheki, Jamie, Ruth, Ella, Jan, Andi, Jem, Yzabel, Princess, Lara, Coleen, Rianna, Lyza, Dana, and Dian. The music video for “No Way Man” is now up on MNL48’s YouTube channel. MNL48 will also be releasing a music card with mini photobook and a handshake ticket for their fans. For more updates, follow the group’s official Facebook (www.facebook.com/mnl48official), Twitter (@mnl48official), Instagram (@mnl48official), and YouTube (www.youtube.com/MNL48Official).

Chelsea aims to boost balance sheet as losses widen

CHELSEA Logistics and Infrastructure Holdings Corp. announced on Thursday that its net loss for 2021 had widened to P3.9 billion from a loss of P3.3 billion a year earlier despite cutting its operating losses amid the pandemic crisis.

“For the year, the group was able to cut the operating losses by 17% to P2 billion with freight and logistics segments growing by 30% and 41%, respectively,” Chelsea Logistics told the stock exchange.

It attributed last year’s bottom line to “nonrecurring items, which include the sales of assets below book value.”

“Excluding these one-time items, Chelsea group’s net loss would have actually improved by 18% year on year from P5.2 billion in 2020 to P4.3 billion in 2021,” the company noted.

“On the other hand, adjusted EBITDA (earnings before interest, taxes, depreciation, and amortization) reversed to negative P31 million versus P205 million in the previous year,” the group added.

The company’s revenues fell by 4% to P4.5 billion due to declines in passenger, tanker, and tugboat businesses.

It saw its freight segment recover with a 30% year-on-year improvement in revenues to P2.7 billion.

The freight revenue, according to the group, already surpassed the P2.7-billion revenue in 2019.

“Freight accounted for 61% of consolidated revenues, up from 45% in the previous year,” it said.

Revenue from its logistics business climbed by 41% to P519 million last year.

“The passenger business continued to be challenged due to restricted travel protocols implemented not just by the national government but also by local government units of the areas where the group has port calls,” it said.

“The tankering business also continued to experience difficulties in recovery due to restrictions in the movement of petroleum products as well as the lower demand from customers.”

The company, however, is already seeing some signs of recovery in such businesses, “especially for passage with the year-on-year revenue decline slowing down from 65% in 2020 to just 42% in 2021 with P293 million.”

“We are hopeful of a further recovery this year while we need to carefully monitor world oil prices as they will certainly have a negative impact on our margins,” Chelsea Logistics President and Chief Executive Officer Chryss Alfonsus V. Damuy said.

Chief Financial Officer Ignacia S. Braga IV said: “We have reduced and continue to manage all operating expenses to improve margins without sacrificing safety and standards.”

“We continue to work closely with our creditors, suppliers and other stakeholders to strengthen our balance sheet through win-win solutions.”

Chelsea Logistics shares closed 2.55% lower at P1.53 apiece on Thursday. — Arjay L. Balinbin

What To See This Week (04/08/22)

Jack Whitehall and Darby Camp in Clifford the Big Red Dog

Clifford the Big Red Dog

A MAGICAL animal rescuer gives middle-schooler Emily Elizabeth a little red puppy named Clifford —  who turns overnight into a giant red dog. Clifford, Emily and her uncle then go on an adventure through New York which attracts both admirers and the authorities. Directed by Walt Becker, this film mixes live action with animations. It stars Darby Camp, Jack Whitehall, and Izaac Wang. Empire’s Ben Travis writes, “Tonally, it feels like a tribute to sweet ’90s dog-antic comedies like Beethoven and the live-action 101 Dalmatians, just with a colossal canine at its core. That means you get all the usual dog-movie antics, this time played out on a comically large scale…” Review aggregate site Rotten Tomatoes’ Tomatometer gives it a score of 58% and the audience score is 94%.

MTRCB Rating: G

The OctoGames 

EIGHT contestants compete in eight classic —  but deadly — children’s games in pursuit of fame. The prize? A chance to take over the YouTube channel of the famous yet elusive “JaxPro.” Directed by Aaron Mirtes, the film stars Lacy Hartselle, Allison Shrum, and Brad Belemjian.

MTRCB Rating: R-13

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