Podcasts about bongbong marcos

President Bongbong Marcos has asked for the courtesy resignation from his entire Cabinet after midterm election results. - Ipinag-utos ni Pangulong Bongbong Marcos sa lahat ng mga miyembro ng Gabinete na magsumite ng courtesy resignation kasunod ng resulta ng katatapos na eleksiyon.

This episode of the China Global podcast discusses evolving disputes between China and South Korea, specifically regarding their unresolved maritime boundary in the Yellow Sea. There is a long history of fishing disputes between the two countries in the Provisional Measures Zone (or PMZ) of the Yellow Sea, which is where their exclusive economic zones overlap. Although China and South Korea have engaged in negotiations over the years, they have yet to come to an agreement on their boundaries in the Yellow Sea.Taking advantage of the persisting disagreement on delimitation of maritime borders, China has employed gray zone tactics in the Yellow Sea to expand its territorial presence in the region. In the most recent dispute, China installed a new steel structure in the PMZ, causing a maritime standoff between Chinese and Korean coast guards.To discuss recent developments in the Yellow Sea and China's broader gray zone tactics in the maritime realm, host Bonnie Glaser is joined by Ray Powell, the Director of SeaLight, a maritime transparency project at Stanford University's Gordian Knot Center for National Security Innovation. Ray is also the co-host of the Why Should We Care About the Indo-Pacific podcast, and a 35-year veteran of the US Air Force. Timestamps[00:00] Start[01:43] Strategic Significance of the Yellow Sea[03:12] Expanding Chinese Control in the Region[04:08] Chinese Maritime Installations [05:20] Are these installations found in other regions?[06:00] Gray Zone Tactics in the South China Sea [08:20] Maritime Militia Activity in the Yellow Sea[09:02] 2001 Korea-China Fisheries Agreement[10:34] Testing the Waters with South Korea[12:09] Navigating South Korean Policy Dilemmas[13:48] Rehabilitating China's Imagine in Korea[15:14] Environmental Issues in Disputed Waters[17:18] Countering Chinese Activities in the Yellow Sea[19:40] SeaLight Tracking and Deciphering Chinese Actions

Listen to our discussion with Ronald Llamas on Sara Duterte's latest meltdown.

What could happen to Bongbong Marcos if Sara Duterte is not impeached?

President Bongbong Marcos appealed to ASEAN Member States, to fast the ASEAN-China Code Of Conduct. - Umapela si Pangulong Bongbong Marcos sa ASEAN Member States, na apurahin na ang pagpasa sa ASEAN-China Code Of Conduct.

With 40 million eligible Gen Z voters, the tight US presidential race has become a battle for followers, likes and shares on social media. But will this actually translate to votes in November? GUEST: Katie Harbath - founder and CEO of technology policy firm Anchor Change; Former Facebook Public Policy Director for global elections RECOMMENDATIONS:Geraldine: The Born in the USA fallacy - The New Statesman Hamish: This wasn't 't the social media election everyone expected - BBCVOTE FOR US:Love the pod? Vote for us in the Australian Podcast Awards here: Voting - Australian Podcast AwardsGET IN TOUCH: We'd love to hear from you! Email us at global.roaming@abc.net.au

Days before this year's State of the Nation Address, Philippine President Bongbong Marcos set the 'focus' or topics to be discussed on his speech. However, Vice President Sara Duterte will skip his third SONA. Listen to the podcast for more news from the Philippines. - Ilang araw bago ang 2024 State of the Nation Address, inilatag ni PH President Bongbong Marcos ang mga lalamanin ng kanyang talumpati. Samantala, hindi naman dadalo sa ikatlo niyang SONA si Vice President Sara Duterte. Pakinggan ang podcast para sa iba pang ulat mula sa Pilipinas.

Stalin micromanaged his daughter and she ended up defecting to the US. Ferdinand Marcos Jr. though won the Presidential Office his dictatorial father held, via a democratic election. Mao's children mostly died young. 

India's election is seeing dangerous rhetoric of anti-Muslim and heightened Hindu nationalism as well as the spectacular claims of Modi speaking to God.  In a speech at the recent Shangri-La Dialogue in Singapore, has Philippine president Bongbong Marcos inadvertently drew a red line in the Philippine-China skirmishes in the South China Sea (West Philippine Sea)? Did it just raise the temperature in these skirmishes?  Ex-US president Trump is now a convicted felon being found guilty of all 34 counts in the 'hush money' trial in New York. This throws another 'monkey wrench' to an already worrying campaign period leading up to the November election.  What are the implications to the legitimacy of American political institutions and future of American democracy as we know it?  Rishi Sunak is having it tough after he called for UK general election.  Is the Sunak government grasping for straws to prevent the likely wipeout?

Di Filipina kita saksikan sejarah diktatorial direvisi, memenangkan Bongbong Marcos. Di Indonesia, Prabowo Subianto berhasil menang bersamaan dengan munculnya romantisasi Orde Baru. Ikhlas, Majiid, dan Shofwan kedatangan Zen RS, pemimpin redaksi Narasi TV, di Podcast Bebas Aktif!

Here are the latest news highlights from the Philippines following President Bongbong Marcos's return from Australia, including tensions in the South China Sea, the impact of El Niño, and more. - Narito ang mga maiinit na balita mula sa Pilipinas mula sa pagbabalik ni Pangulong Bongbong Marcos mula Australia, tensyon sa South China Sea, epekto ng El Niño at marami pang iba.

In the second part of the exclusive interview with SBS Filipino, President Marcos Jr. shared that the Philippines will defend its territory, and maritime cooperation between the Philippines and Australia will continue for regional peace and stability. - Sa ikalawang bahagi ng panayam ng SBS Filipino, ibinihagi ni Pangulong Marcos Jr na ipagtatanggol ng Pilipinas ang teritoryo nito at magpapatuloy ang maritime cooperation ng Pilipinas at Australia para sa regional peace at stability.

In the first part of the exclusive interview with SBS Filipino, Philippine President Ferdinand Marcos Jr shared that the Strategic Partnership between the Philippines and Australia goes beyond defence and security, encompassing the economy and opportunities. - Sa unang bahagi ng eksklusibong panayam ng SBS Filipino, ibinihagi ni Pangulong Marcos Jr na hindi lang tungkol sa defense at security ang Strategic Partnership ng Pilipinas at Australia kundi para sa ekonomiya at oportunidad.

Here are this week's latest news from the Philippines. - Alamin ang mga balita mula sa Pilipinas.

We finally get an update on the women's summit that burned down parts of Banff. Liberal slush fund corruption. Public sector seems to care about global events. Bongbong Marcos is the Justin Trudeau of the Phillippines.

In der sechsjährigen Amtszeit von Rodrigo Duterte fanden tausende Menschen durch dessen Krieg gegen die Drogen den Tod. Seit eineinhalb Jahren ist der Sohn des früheren Diktators Marcos, Ferdinand Jr. Bongbong Marcos, Präsident der Philippinen. Was hat sich geändert seitdem?

Can the "uniteam" of President Bongbong Marcos and Vice President Sara Duterte still be salvaged?

In our final episode, we look at Ferdinand "Bongbong" Marcos Jr.'s early life during the time of Martial Law. Being the son of President Ferdinand Marcos Sr., Bongbong was surrounded by a lot of power and some big controversies that have left a lasting mark on the country's politics. We'll try to figure out how much Bongbong was involved in what his family did during Martial Law. Let's dig in. --- Send in a voice message: https://podcasters.spotify.com/pod/show/podkas/message Support this podcast: https://podcasters.spotify.com/pod/show/podkas/support

Biden, Bongbong Marcos and dozens of billionaires will be shaking hands and making deals at the APEC conference downtown in November. Malaya and Mara (Anakbayan CCSF) explain how a locked-down meeting of free trade-loving elites from Asia and North America will hurt the working class, and why protesters might want to ruin their party. no2apec Anakbayan CCSF Support Sad Francisco and find links to our past episodes on Patreon. 

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee is joined by Guest Host Aisa Villarosa for another episode focused on Filipinx American History Month. This episode is focused on artist, activist, I Hotel survivor and rebel rouser Jeanette Lazam. We also hear a poem from Emily Lawsin and music from Bay Area's Power Struggle. Learn more about and support collective resistance to militarization and genocide in Palestine: https://www.instagram.com/ucethnicstudiescouncil/  https://docs.google.com/forms/d/e/1FAIpQLSe7SomsNyhrKIuR-FzwTKjPC5bM1lCi3i6GsXJLRXJvKK7JrA/viewform Jeanette Lazams life and artwork: https://convergencemag.com/articles/coming-home-jeanette-lazam-returns-to-the-i-hotel/ https://www.instagram.com/lazamjg/ Emily Lawsin Power Struggle https://www.powerstrugglemusic.com/ https://beatrockmusic.com/collections/power–struggle. No More Moments of Silence Show Transcript 11.2.23 [00:00:00] Aisa Villarosa: In this episode, we're providing a content warning. Our guest, Jeanette Lazum, discusses personal instances of racist threats, police violence, and utilizes a racial epithet. [00:00:47] Miko Lee: Good evening and welcome to Apex Express. This is Miko Lee and I am so thrilled to have a guest co host this night, the amazing and talented Aisa Villarosa. Aisa can you please introduce yourselves to our audience? Say who you are, where you come from, and a little bit about yourself. [00:01:09] Aisa Villarosa: Thank you so much, Miko, and it's a joy to be with you and the Apex Express family. My name is Aisa, my pronouns are she, her, and I'm a Michigan born gay Filipino artist, activist, attorney with roots in ethnic studies organizing and teaching Filipino studies, in the wonderful Pa'aralang Pilipino of Southfield, Michigan. If you ever find yourself at the intersection of Eight Mile and Greenfield near Detroit, stop on by. And the genesis of our talk today started with a conversation around Filipino American History Month, right? [00:01:54] Miko Lee: That's right. And that's what we're going to be talking about tonight. so Tonight Aisa and I are going to be talking about Filipino American History Month. We know that it's the month of October, so Filipino history, that's something that's deep and should be all year round, just like all of our histories should be something that we study. Tell us a little bit about who we're going to be speaking to tonight. [00:02:17] Aisa Villarosa: We have the honor of speaking with Jeanette Lazam, who is a many decades long living legacy, an artist, an activist. Jeanette has worked in spaces like the capital of California, but has also faced down state violence. Both at the hands of the U. S. government through the very violent eviction of elders, primarily Filipino and Chinese elders, at the International Hotel or the iHotel in San Francisco, what was then Manila Town and Jeanette also is a survivor of political violence at the hands of the Ferdinand Marcos regime in the Philippines and is a champion of Nonviolent people power and that is only just the tip of the iceberg. Jeanette is also a prolific artist . She is the only surviving Filipino Manang to return to the iHotel After being a young person who stood and locked arms with the seniors to fight the eviction decades and decades ago, and she'll be sharing some of her story with us. [00:03:34] Miko Lee: I love this. We get to hear firsthand from experiences of people who were engaged in a fight for equality and still continue to do so. I love elders just taking the reins and keeping on fighting out there. Because we're talking about issues that are deep and complicated, including Marcos' dictatorship in the Philippines, and what went down at the iHotel in San Francisco, we'll have some links in the show notes so that folks can delve deeper and find out more. But Aisa can you back us up a little bit? And for folks that might not know, give us a little quickie about the iHotel. I know we talk about it in the interview, but for folks that don't know, give a little bit of background about the importance of the iHotel within Asian American movement spaces. Why do people need to know about this? [00:04:23] Aisa Villarosa: Such a great question and a grounding question Miko. The iHotel is both a physical site, it is in San Francisco, and it is also in many ways A symbol of the struggle for collective liberation, for housing rights, for justice in the city of San Francisco and beyond. And that is why often in many ethnic studies courses, in many Asian American and Pacific Islander courses, students learn about the iHotel. But as Jeanette will share with us, there is really no text that can describe the violence of an eviction, 3 a. m. in the morning on August 4th, 1977, when Armed police officers on horses essentially rounded up the peacefully protesting tenants and supporters of the International Hotel. And This was part of a larger movement, a violent movement across the country that was under the guise of urban renewal, but was really about the continued criminalization of Black and brown and Indigenous and AAPI people. And Jeanette was a survivor of that. It is a story that is painful and yet one that we must not forget and that our generations must learn from in order to continue the fight for social justice. [00:05:55] Miko Lee: Thanks, Aisa, for the little Asian American history lesson. We appreciate it. Folks should find out more if this is the first you're hearing about this. It is a seminal moment. I also think one of the things we didn't actually talk to Jeanette about is how Intersectional, the folks that were protesting at the iHotel were. That there were Black Panthers there, that there are folks from the disability movement. , that's one of those things that really gets hidden under the rug is the different people that were engaged in that fight. [00:06:23] Aisa Villarosa: Absolutely, Miko. The fight for the survival of the International Hotel was intersectional. It really is a demonstration of what healthy movement building can be. It is never easy. It's often complicated. And yet, They answered the urgency of the moment and they did so together. [00:06:46] Miko Lee: There were thousands of people that were involved in that movement. There were hundreds that were there. And tonight you get to hear from one person's story, a little bit about the iHotel, and mostly just from an amazing activist, artist, and social justice champion. So we get to listen to the brilliant interview with Jeanette. [00:07:08] Aisa Villarosa: It's so meaningful to hear from Jeanette and as someone who is living currently in San Francisco's Chinatown is someone who is revered enough to be on murals in Chinatown and yet popular culture and history often forget that Manila Town and Chinatown Coexist, that these are two powerhouse cultures, identities, people who, in some ways, as Jeanette shared, were forced together due to redlining, due to discriminatory housing practices, and yet the activists in Chinatown today are trying to preserve the stories of elders like Jeanette and also telling new stories through art and through activism and protest. [00:08:00] Miko Lee: Aisa, please introduce me to your mentor, the amazing Jeanette. [00:08:05] Aisa Villarosa: Thanks, Miko. We are so honored to have with us today Jeanette Gandianko Lazam. Jeanette, hi, how are you doing today? [00:08:14] Jeanette Lazam: I think I'm doing okay, yeah. I like the warmth, so I'm glad we have sunny days here in San Francisco that are not windy nor cold. [00:08:26] Aisa Villarosa: Are you cuddled up with Samantha? And for the audience Samantha is Jeanette's adorable cat. [00:08:33] Jeanette Lazam: Samantha is cuddled up by herself. Oh, [00:08:37] Aisa Villarosa: that's all right. She can support us from afar. [00:08:39] Jeanette Lazam: Yes, she most definitely will. [00:08:43] Aisa Villarosa: And you know, in these, heavy times, sometimes okay is okay. So we are, we're so happy to have you with us. I'm happy to be here. Thank you. Um, Miko, do you want to kick us off? [00:08:57] Miko Lee: So we are here talking about Filipino History Month and the significance of that. Can you tell us what the significance of the History Month is to you, Jeanette? [00:09:08] Jeanette Lazam: I think it's a time where, you know, for many Filipino and Filipino American organizations, they come to the fore. And what I mean by that is they come and expose the culture, the languages, not just one language, but the languages and the food, the this, the that. And it really comes to the surface. And you can see how much pride people have, I was talking with somebody the other day about the colonization of the Philippines. And when you look at the history of the Philippines, you have to take it for what it is. You can't take something out just because you don't like it. So many people have decided that the colonization of the Philippines shouldn't be… demonstrated during Filipino American History Month. I disagree. And so do a lot of other people. You have to tell that history because that's over 300 years of history right there in terms of the Filipino community. In a nutshell, culture, language, food, dance, They all come to the fore during this particular month, Filipino American History Month, and I'm really happy about that. That's what it means to me. [00:10:46] Aisa Villarosa: Thank you so much, Jeannette. What you're naming is so important that to be Filipino American is to take stock of the good, the bad, the joyful, the challenging. And you mentioned colonization. So much of what colonization forced upon us was almost an incomplete. identity, right? That we had to ignore the pain, pretend it's not there. Or there's the concept of hiyap, right? Which is shame. And, And you know, this really more than me and Miko, but for the listeners, can you share In terms of Filipino history, and because we are currently seeing a second Marcos regime, you've lived through some of the toughest attacks on civil rights, both here in the United States and in the Philippines. Can you just share a couple stories for the listeners about that time? [00:11:53] Jeanette Lazam: We're talking, Bongbong Marcos, who is now the president of the Philippines, his father, Ferdinand Marcos was the president of the Philippines for 20 some odd years. He declared martial law in 1971 and it stayed for 20 years in the Philippines. I don't think I've ever experienced direct fascism, up in your face and very personal. Civil liberties that people had. We're totally stripped the press in the Philippines was shut down and only one press was allowed to function which was the mouthpiece for Marcos. You could not congregate on corners of more than three people, you would get arrested. Many got arrested because they were journalists, because they were activists, because they were civil libertarians. Thank Anyone and anything that posed a threat to the Marcos regime was either arrested, deported, or killed. And I was there during the imposition of martial law and it was really scary. I have never experienced that kind of fear in my lifetime. In the United States, I was traveling with a group of friends. When I was about, I don't know, maybe nine, 10 years old, we stopped in Macon County, Georgia, and it was the 1960s, late 50s, 1960s, and we were very thirsty, so we all jumped out of the car, and I did not notice there were two water fountains, and I went to the first one, and it turned out to be a white people's water fountain. And um, about a few seconds later, as I was leaning down and drinking from it, I felt a very cold piece of steel against my neck. And I thought, it's not a knife, so it's got to be a gun. And sure enough, it was. And I'm nine or ten years old, and this sheriff is standing over me with this gun pressed against my neck and said to me, you're not allowed to drink at a white person's water fountain. And he said, if I could kill you right now. There'd be one less, and this is exactly what he said to me, one less nigga. And no one would mind. That point on, from that point on, I knew where the color line was. I'm not black, but I'm not white. And I wasn't allowed to drink at a white person's water fountain. scared the living daylights out of me. And I backed up from that water fountain. All of us backed up and we got into the car and we left that example of the incredible racism in the United States. just steered into my brain. I was just like, totally taken. I was so scared. I'm a kid. I'm nine years old, 10 years old. I'm a kid. And to have a gun pointed straight directly onto your, neck ain't no laughing matter. [00:15:50] Miko Lee: That sounds so scary. I'm sorry that you had to go through that. I'm wondering there's such a vivid memory that you have from being a child. I'm wondering at what point was a turning point for you in becoming an activist. [00:16:04] Jeanette Lazam: Oh, was that right then and there I was a kid from New York, so I knew that there were stratas and class levels and where people of color fell in, but it never came that home to me. I was finally able to take the whole question of low income or working class people of color, and racism. It all intersected on that one day. And I thought to myself, no we can't go on this way. And it was that moment I decided I have to do something about the situation. Because I am not going to allow people to do this without a fight. Yeah, it was that day. And it continued all the way when I lived in the Philippines. And martial law was declared. I fought it there and I fought it when I came back to the United States. [00:17:09] Miko Lee: Is there a difference in being an activist in the Philippines versus being an activist in the United States? [00:17:15] Jeanette Lazam: Yes. First of all, in the Philippines, you're dealing with an island nation. And so with an island nation, there are all these islands that you have to You know, deal with dialect, with culture, with this, with that , it's a very difficult process undertaking to do to bring out democratic notions when people have been so oppressed and repressed for over 300 years because the Americans come in after, the Spaniards. So we. We never as a nation never really experienced our own homegrown democracy, and it's very hard to deal with that over here in the United States. It's much different. You're not dealing with an island you're dealing with, yes, many states, but they're all contiguous and there has been a history of revolutionary. Fervor and revolutionary sentiment throughout the history of the United States, and it exposes itself in the labor movement, the gay and lesbian, bisexual, transgender, queer movement, women's movement. It gets manifested in those movements. In the Philippines, very difficult to do. So the concentration for revolutionary organizations happens within the larger cities in the Philippines. And the, New People's Army is more in the rural areas outside of the major cities. you can't compare it. It's like apples and oranges. You can't do it. You have to look at the concrete conditions where people at and work from there. You can't go into a situation and wish that it could be this way. It takes hard work and long days, [00:19:41] Aisa Villarosa: so many long days and Jeanette always appreciate your nuance and the ethos of humility that you are challenging organizers and activists to have right that we in whatever space we're in cannot come in with assumptions. And yet. At the same time as you were sharing, one could see similarities between the oppression in the Philippines. In the States, and that oppression is around, how is your home stolen? How is your home and your sense of safety ripped from you? And you just talked to us about your experience as a nine year old, not being safe enough to go to the drinking fountain you wanted, right? And I know that at this moment, you're talking to us from the Senior Center, the iHotel can you share? about what the iHotel means to you, knowing that you've had possibly more history with the iHotel than maybe anyone alive at this moment. [00:20:55] Jeanette Lazam: The iHotel has to be situated Within the context of a Manila town. Generally, anytime you get a Chinatown, there's some sort of other town that kind of is adjacent to it. And you have it in Stockton, you have it in Sacramento, you have it in Seattle, you have it in Portland, you have it here, you have it in Los Angeles. Manila Towns are very is the hub or was the hub of the Filipino community starting from the 1920s on up. And so the International Hotel, as part of Manila Town, plays a very significant role in how Manila Towns functioned, what they offered. What they did and why they were established. It's not just because of the proximity to Chinatown, the Chinatowns and Manila towns of the United States get set up mainly because of racism. We are not allowed to move or to buy outside of those established boundaries. And who established those boundaries, the local governments, the state governments. Which were predominantly white people. It's like the history of Oregon. Oregon was a state that was supposed to be set up for white people only. And many people don't know that. But the iHotel is a very significant place. Historically significant, it welcomes in the first Manong generation. Now these are the people who came before me. The Manong generation, mainly elderly men. Some of them are married and their wives and their children are in the Philippines and some of them are single. And they come to the International Hotel and stay, and then they go away. Merchant Marines it's the first generation, the Manong generation, that started this all. It's the Larry Itliongs and the Philip Veracruz and Joe Dionysus, that all started the activism of the Manong generation. And it's important for people to understand who and what. And where this Manong generation stood for and where they went in terms of labor and how they stood up, how they stood up against the brutal, the incredibly brutal oppression of the contractors and the large agribusiness of California, Oregon, and Washington, and then the Alaskan canneries. To understand that history is so important because that's where we begin in many ways. We begin with that history of understanding the plight. Of the Manong generation who lived in Manila town and who lived and sometimes died at the International Hotel. My father was one of those guys. And when I found that out, I was even more curious, more thirsty to want to know what did they go through and how in the world they withstood the onslaught. Of worker oppression and racism and still kept on going I look at myself and, that's my inspiration. That's what's kept me going for the last 60 somewhat odd years is looking at that initial generation, the Manong generation, and what they brought to our community. [00:25:34] Aisa Villarosa: And Jeanette, I love you because you keep it real, and I know we've talked about the Manongs both as what you're describing as revolutionary in so many ways, right? These are labor activists and fathers, and yet they were also human. And flawed. And so I've appreciated the stories you've talked about where Manila Town, at that time, as you describe it, before the violence and the eviction surrounding the iHotel, it was bustling. It was loud. It sounded noisy. When you talk about it, I picture people like my dad who were walking around and Zoot suits, because Filipino men at the time, I've read, were trying to go to tailors and were outfitting themselves in the best suits they could just to really stand up to some of the hostility and the racism they were encountering. [00:26:38] Jeanette Lazam: That is so very true. it put everybody else to shame. They were so sharp with their double breasted, sometimes zoot suits, polished shoes. Fedora hats. They were genuine and incredibly good looking. And I've seen, I have pictures of my father he's standing on this little bridge in Central Park with his friends, with his army buddies, and they were all dressed up. And you'd think they were going to a fancy dancy, whatever place. No, they had swag. That's the only thing I could say. [00:27:19] Miko Lee: I love that, and I could picture it perfectly, and I like the way that you describe all these people strutting around, and the way you describe it is so visual, and I was saying to you when we first got on how honored I am that I have a piece of your art that's hanging in my house, from the amazing Aisa and Lauren, and I'm just wondering if you could talk to us a little bit about it about your artistic practice. What inspires you and how do you combine your work as an activist with your work as an artist? [00:27:51] Jeanette Lazam: I had always wanted to draw, but I never really did because my sister, my oldest sister she was a graphic designer. And so I was always like in her shadow. Years passed, so I'm sitting there doodling, and and in twenty, sixteen or seventeen, I moved to Taos, New Mexico. And my bedroom window faces Taos Mountain. Taos Mountain is a vortex, and you can feel the incredible energy. That vibrates from that mountain and I would get this every morning and it was telling me draw. This is your time to draw So I did. So I started drawing the Pueblo. And I started drawing scenes in and around Taos. And Taos is a very artistic community to begin with. So that also provided a lot of inspiration. And as the years went by, I started to draw more and more outside of Taos. When I finally moved I started doing owls. I suddenly realized that there's a whole level of animals and insects and so forth that are on the endangered list. So I started drawing bees and bumblebees and all sorts of bees. Then I started doing the American bison or the buffalo, how all of these creatures Were on the endangered list or practically at that point where they didn't exist anymore. And I knew that I had to do something about that in terms of my art. And so I stayed with that for several years. And then I turned myself to culture. I started looking at the Inca, the Maya and the Aztec and how rich and often bloody, but rich. history they had in building civilizations that somehow disappear from the face of this earth. And I started looking at their colors, their color schemes were incredible. So I did that for a while and I wanted people to get exposed to that. However, In between that, I found myself getting wrapped around Philippine mythology, and when I went to look at our gods, our deities so forth and so on, our supernatural forces, I found very little. There weren't pictures so if there was something written, there were no pictures. And so I finally found a book that gave me some sense of what they looked like. And I have to say, fi Philippine mythology, whomever interacted with it, had an incredible creative mind. We had the most blood thirsty, , mythological creatures that I could think of. Anywhere from the Aswang, which everyone knows about, to this creature called the Pugot, P U G O T, which is mainly from the Ilocos region. And it's a huge mouth with a body from the mouth that walks on its legs and hands and feeds on children. And when I found, I was like, Oh yeah. I was absolutely mortified. But you know, that's what Philippine mythology is. We do have the supreme bakala, who is the supreme god, and all the other deities, his daughters and his sons. But there are also these horrendous and wicked mythological creatures. And the reason why I was trying to bring it out was, I firmly believe, and I found this out, In my research and drawing that you cannot. Cannot understand the history of the Filipino people unless you take into account their mythology and their religions, whether you disagree with it or not. That's part of the history of our people. And that part is incredibly rich. So I learned a lot from it. [00:33:02] Aisa Villarosa: It is rich, and it is a mythology that has been threatened by colonization, when you mentioned that it was difficult to find writings that is all by design due to colonial oppression and the myth that Filipinos We're always Catholic or always followed Spanish culture and religion is completely false, right? So I always appreciated your deep diving, not only into Filipino mythology and culture, but connecting those dots, especially to other indigenous cultures. Jeanette, for our listeners, can you briefly share for folks who aren't familiar with the Aswang, and because even for me, I remember watching the Filipino channels as a kid, and they're usually depicted as cheesy vampires, but we'd love to hear your [00:34:10] Jeanette Lazam: your take on them. They are. They are. They are vampires. They are usually women. They have the body up to the stomach of a woman and the rest is a fish tail and then they have bat wings and they fly around at night and your parents tell you about them because they want you to go to sleep and it's scary enough. They are very, very scary. [00:34:46] Aisa Villarosa: Yeah, that's effective. It also reminds me of, there's a wonderful older book by Dr. Clarissa Estes called Women Who Run With the Wolves, and it unpacks mythology and also often, it was a culture's way of depicting women's power and I have to say, as someone who identifies as gay, so much of your art has spoken to me, particularly because there is real homophobia in Filipino culture. Part of that's due to colonization and religion, but your art really centers deities who go beyond a sexual binary. I suppose somewhat similar to two spirit indigenous depictions, and that's really special. [00:35:39] Jeanette Lazam: I'm hoping to do more research on the movement of gay, lesbian, bisexual, transgender, queer Filipinos here in the United States. As well as in the Philippines, and try to be able to capture that in art. So I think that's my next real challenge. [00:36:04] Aisa Villarosa: I would love to see that. [00:36:06] Miko Lee: You are tuned into apex express, a 94.1 KPFA and 89.3 KPF. Be in Berkeley and online@kpfa.org Next up, take a listen to Live It Up. By Bay Area's Power Struggle. [00:36:21] Aisa Villarosa: You were listening to Live It Up by the artist Power Struggle. Jeanette, in terms of thinking about the future, talk to us more about that. Talk to us about your hopes and dreams. [00:40:01] Jeanette Lazam: My hope is that, in particular to the Filipino community here in the United States I hope that they will be open and above board take whatever knowledge my generation can give that generation, that they appropriate the genera that, they appropriate the knowledge and the history that my generation is releasing. It's important for several reasons. One, it makes our, history of Filipino people alive, very alive in the faces of the ones that are coming up after that generation. It also provides the continuity in our history. If there's a break in continuity, it's very hard to kind of climb back because what happens then is that people die. And if my generation dies, and it will, it's important that your generation and the generation after yours appropriates whatever we're giving, you don't have to like it. You don't have to love it. You just have to take it and then sort it out for yourself and then transfer it to the next generation. So there's a level of continuity. That's my hope and in the broader, population. I want people to understand what it took to build the United States, what it took the level of sacrifice that the working class of this country had to make in order for this country to be built. California's agribusiness. Would not be where it's at today if not for the Filipinos, if not for the Mexicans, and a few other Asians like Japanese. That's also true for Hawaii. Who built this country? Who built this country? And people have to answer that question with fervor and knowledge. [00:42:38] Aisa Villarosa: And with honesty. [00:42:39] Jeanette Lazam: Yes, total honesty. [00:42:44] Aisa Villarosa: Jeanette, you end… Each of your emails with, when I dream, I dream of freedom. And what you're saying to us is that in order for us to realize this freedom, we must do so collectively. [00:42:59] Jeanette Lazam: Yep. And that's no easy task. Because at every twist and turn of the struggle for true democracy in the United States, true social justice, You're going to be making allies and you're going to be leaving other allies behind because you no longer agree with some of the things they do, but it's not to mean that they're enemies. And you're going to be meeting new people, and you're going to get involved with their lives and their struggles. And get to know them. So it's every step of the way for the larger struggle at mind is a very intense and deep personal struggle. Do you choose to say you're gay or lesbian or bisexual, transgender or queer? Do you choose to say that openly and above board to let people know? That this is who I am that happened to me when they had the first time they had district elections in San Francisco, I was at a open forum and somebody asked so how is this going to affect at that time the Castro and everybody knew this person was talking about how is the district elections going to affect the Castro. I didn't see anybody raising their hands and I just said as a lesbian, it will affect me greatly because we finally will have some level of and form of representation on the board of supervisors. Sometimes it's a split second decision. Sometimes it's something that's well thought out. And that's also true when you're walking where you're working with people. Sometimes it has to be. A split second decision, and other times, it's longer. When I say I dream, I dream for freedom. I dream for freedom for all people. Freedom from the shackles of sexism, racism, homophobia. That's what I dream of. A true, functioning, honest democracy. Where social justice is not a movement, it is, it simply is. [00:45:46] Aisa Villarosa: It simply is. Gosh, that brings to mind the image of an ocean and that saying that the ocean is so many tiny drops. And what you're challenging us to do is, in those moments where there is a sometimes split second decision, that we choose bravery. And we choose truthfulness in those moments. Jeanette, thank you so much for talking with us today. We've pictured Filipino deities. We've jumped from the Castro to the Philippines. And I am always in awe of your imagination and your artistry and your advocacy. Thank you. [00:46:33] Miko Lee: Thank you so much for sharing with us, Jeanette. It was an honor to spend a little bit of time just learning from you, hearing about your artistry, your activism, and your vision for the world. We really appreciate you. [00:46:47] Jeanette Lazam: Oh, I appreciate people like you because it's through you that we have a voice and that's important. That's important. One of the first tasks is always going to be On some type of journalism and media, and we have to protect that we have to protect the progressive and revolutionary sources of media. [00:47:15] Miko Lee: Thank you for sharing your wisdom with us. [00:47:18] Jeanette Lazam: Thank you. [00:47:20] Miko Lee: I really loved talking with your mentor, Jeanette. Tell me what's your walk away. What did you hear her saying? [00:47:27] Aisa Villarosa: It was such a rich conversation and. One of the many things I adore about Jeanette is she is a world builder in that she encourages anyone who is in her space to exercise their imagination. And as someone who's been a bit of a veteran of the nonprofit industrial complex for, almost three decades now, it is shocking how frequently our imaginations are shunned, how we are often sent to work in siloed areas. The solution to so many of our heartaches is intersectional, is creativity. So my big takeaway is hearing Jeanette talk about the trajectory of her life and how it essentially led her to really lean into becoming an artist. She has shared that she became an artist rather later in life. It's a great example that You're never too old or too young to start anything, to lean into your true self, and so many of Jeanette's art pieces are odes to her identity as a social justice leader. How about you, Miko? What's your takeaway? [00:48:42] Miko Lee: She's just a delight. She's funny. She's smart. She has so much wisdom. I really love interviewing OGs because it's just constant pearls of wisdom. So I appreciate that. But I have another question for you, which is how did she come to be your mentor? When did you first meet? [00:49:00] Aisa Villarosa: I first interviewed Jeanette during the Earlier parts of the COVID 19 pandemic, at the time, and this is a bit of my personal story, I was struggling with coming out to my family as a gay Filipino, and Jeanette shared with me her identity as someone who is LGBTQ, and it was such a moment of connection, even if we have many decades between us. The story she shares of being an artist, of being a Filipino, a gay person, a civil rights defender. It's just a reminder that we don't have to be only one thing. We are so much more alive if we can lean into our multiple identities, and Jeanette is a living example of that. [00:49:56] Miko Lee: Oh, thanks for that. That is so right. We are all multifaceted. We are all these kaleidoscopes of change given where we are in life and the experiences we have. And it's a delight to talk with your mentor and somebody I've heard about from a long time. So thanks so much for celebrating Filipino History Month by really talking with somebody that you admire so much and I can see why. [00:50:23] Aisa Villarosa: Last week for our part one of Filipino American History Month, we talked with Pinay scholar, poet, activist, and historian, Emily Lawson, about her poem, No More Moments of Silence. It is Ate Em's chronicling of the power, complexity, heartache, and love. Behind Filipino American identity, held together by centuries of struggle against colonial oppression and white supremacy, our Makibaka heritage, one shared by Black, Indigenous, and people of color grappling with settler colonialism and government extraction. Now, to close out Filipino American History Month, I'm honored to share with you an excerpt from No More Moments of Silence, taken from a 2011 Michigan State University performance by Emily Lawson. No more moments of silence in memory of Joseph Aletto and Chongberry Zhang by Emily Lawson. With respect and apologies to Emmanuel Ortiz and Doria Roberts and thanks to Reverend Edwin Rowe who taught us to pray out loud with our eyes open at Vincent Chin's grave. This is a scream, not a shout out, at all of those right wing Christian conservatives and wannabe left wing liberals. Who start all of their speeches with a moment of silence. Crossing themselves, genuflecting, lighting boat of candles and incense for every single damn lost soul on this earth, but their own. This is not an old Simon and Garfunkel song. This is a fighting song for you flag waving, war on terrorism, 9 11 memorial addicts. Clean out your ears and your skeleton closets, because I cannot take any more moments of silence. You hear me? I cannot take any more moments of silence. For silence is what buried one million of my ancestors in a hundred American wars. Silence is what drove the stakes through the backs of my people, whipped with chains of cane fires as low paid migrant workers burned out of their bunkhouses as they slept and white collar neighbors watched in silence. See, I cannot take any more moments of silence. Silence for silence is what robbed our Filipino people of our multiple tongues as the noose of colonialism wiped out 7, 000 islands of surnames and languages. Leaving us with a bastardized Hollywood identity of John Wayne Dust Bowl movies with Panoi Indios playing Indians in silence. I cannot waste any moments of silence because they add up to decades and years like the 10 plus that kept my cousin estranged from her brothers and sisters who refused to acknowledge how they all inherited. The brunt of the beatings brought on by their father, in the bedroom of their mother, even ten years after their deaths. The wounds still lie wide open in silence. I cannot waste any more moments, for our concept of time has been warped by the violence that pervades our homes and hearts. Like the self righteous, now terminated governor, who stood at the cold stone podium, singing the heroic praises of the North Valley Jewish Community Center's staff. While signing a historic anti gun bill into law, looking down and right over the entire family of Joseph Aleto, who had also been shot nine times by a white supremacist a month earlier while he delivered mail. And the bold faced governor, in his corporate suit and tie, looked right past the family and only into the TV news cameras. As Joseph's mother, Lillian, hung her head in silence in the front row, ashamed that the governor couldn't even offer his condolences, didn't even mention her son's name, Joseph Aletto, what more, his death or existence. Her surviving children's fury helped her stand up, and that is why she is not silent. That is why they are not silent. That is why we cannot be silent anymore. For silence is what allowed the Warren cops to storm in a Hmong American family's home, barge down the steps to their Michigan basement, shoot 18 year old Chong Berizhong 41 times, killing him with 27 bullets at close range, and say the force was… Justified? Silence is what prevents our Hmong teenagers from telling their story. Afraid that they will be the next casualty of police brutality. Afraid that they will be deported for being unpatriotic. Sent to a landlocked country they have never seen. Even though they obey all laws, pay taxes, go to poor schools, and work three jobs no other Americans dare want. See, we cannot waste any more moments of silence. And this ain't about just taking back the night, I'm talking about taking back the day to day, because I am done with the silence. Our feet can no longer be bound. Our eyes cannot be taped. Yell your prayers as poems. Scream the names of the dead out loud. For I cannot take any more moments of silence because silence has already taken too much from me. Emily Lawson. September 11th, 2003. Revised September 17th, 2007. Detroit, Michigan. Amidst protest for an immediate ceasefire and end to occupation in Gaza, may all who continue to resist against colonization and militarization root in Atta Emily's call, now and always, no more moments of silence. Visit our Apex Express website to learn more. [00:57:06] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. [00:57:30] Miko Lee: Apex express is produced by me. Miko Lee. Along with Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaida. Kiki Rivera, Swati Rayasam, Nate Tan, Hieu Nguyen and Cheryl Truong tonight's show is produced by me Miko thank you so much to the team at kpfa for their support have a great night. The post APEX Express – 11.2.23- No More Moments of Silence: Filipinx Identity & Critical Resistance appeared first on KPFA.

Ferdinand Marcos Jr, better known as “Bongbong”, is the president of the Philippines. His popularity skyrocketed in recent years, particularly among Gen Z, thanks to his stardom on tiktok. But it was almost 40 years ago that he fled the country as a young governor when his father's authoritarian and corrupt government was overturned in a dramatic coup. 

Why did the approval ratings of President Bongbong Marcos and Vice President Sara Duterte drop in the latest Pulse Asia survey?

On this week's Defense & Aerospace Report Washington Roundtable, Dr. Patrick Cronin of the Hudson Institute think tank, Michael Herson of American Defense International, former Pentagon Europe chief Jim Townsend of the Center for a New American Security, and former Pentagon Comptroller Dr. Dov Zakheim join host Vago Muradian to discuss the outlook for a government shutdown and Ukraine aid, national security takeaways from the first Republican presidential debate, what's next for the Ukraine war as Vladimir Putin reasserts his power in the wake of the assassination of Wagner Group chief Yevgeny Prigozhin and his top lieutenants, the corrosive nature of leaks from Washington criticizing Ukraine's war strategy and the message it sends allies and partners worldwide, critical role of the Philippines under the leadership of Bongbong Marcos, China's erosion of regional influence as nations stand up to Beijing with encouragement from America and its regional allies, the BRICS summit, and Israel's settlers criticize the Netanyahu government as too liberal.

Listen to this comprehensive discussion on President Marcos Jr.'s second State of the Nation Address between Christian Esguerra and political analyst Ronald Llamas.

In der sechsjährigen Amtszeit von Rodrigo Duterte auf den Philippinen fanden tausende Menschen durch dessen selbst erklärten Krieg gegen die Drogen den Tod. Nun ist seit Juli 2022 ist Ferdinand Jr. Bongbong Marcos im Amt. Was hat sich getan?

In 2016, Philippine president Rodrigo Duterte launched a "war on drugs" that triggered a wave of massive terror among the population. It is estimated that up to 27,000 people were killed in large-scale extrajudicial killings. Last year, Duterte was replaced in the presidential seat by Bongbong Marcos, whose father imposed a harsh dictatorship on the country in the early 1970s. Kiri Dalena is a Filipina artist, documentary filmmaker and human rights activist. In this artist talk, moderated by Artalkt magazine editor Anna Remešová, she speaks about her work, Philippine society and political depravity and violence.Kiri Dalena graduated in Human Ecology and later studied 16mm documentary filmmaking at the Mowefund Film Institute. She is a recipient of the CCP 13 Artists Award and in 2009 her installation artwork Barricade, book of slogans, erased slogans, and isolation room received an Ateneo Art Award. Her works were also shown in many international events including the Berlin Biennale in 2020, the Manila Biennale 2017 and the Fukuoka Asian Art Trienniale 2014. You can learn more about the works mentioned in this episode in the festival book.Follow us on  Facebook, Instagram and Twitter.___V roce 2016 zahájil filipínský prezident Rodrigo Duterte „válku proti drogám“, která spustila vlnu masivního teroru obyvatelstva. Podle odhadů bylo při rozsáhlých mimosoudních popravách zabito až 27 000 lidí. Loni Duterteho vystřídal v prezidentském křesle Bongbong Marcos, jehož otec zavedl na začátku 70. let v zemi tvrdou diktaturu. Kiri Dalena je filipínská umělkyně, dokumentaristka a lidskoprávní aktivistka. V tomto artist talku hovoří o své práci, filipínské společnosti a politické zvůli a násilí. Moderovala redaktorka časopisu Artalk Anna Remešová. Kiri Dalena vystudovala sociální ekologii a dokumentární film na Mowefund Film Institute. Je držitelkou ceny CCP 13 Artists Award a v roce 2009 získala Ateneo Art Award za svou instalaci  Barricade, book of slogans, erased slogans, and isolation room. Její díla se objevila na několika mezinárodních výstavách, včetně Berlínského a Manilského bienále a Fukuoka Trienále asijského umění. O konkrétních dílech zmiňovaných v této epizodě se můžete dočíst více v naší festivalové knize.Sledujte nás na sociálních sítích Facebook, Instagram a Twitter.

A new Social Weather Stations survey asked Filipinos about the "best leader" they think should succeed President Bongbong Marcos. Isn't too early for this question? Christian Esguerra weighs in on this.

What's next for the "Uniteam" in light of the discord between Vice President Sara Duterte and Speaker Ferdinand Martin Romualdez, who is President Bongbong Marcos' cousin?

As Ferdinand "Bongbong" Marcos Jr begins his second year as president of the Philippines, how is his administration impacting the lives of ordinary Filipinos? The controversial term of Marcos' immediate predecessor Rodrigo Duterte was marked by a brutal war on drugs that led to widespread extrajudicial killings as well as attacks on activists, media and dissenting judicial figures. So how is the younger President Marcos, the son of a dictator, putting his own stamp on the country's leadership and political landscape? And how much is the enviable economic growth of the Philippines in recent years masking a decline in the health of democracy? Seasoned Philippines watchers Dr Adele Webb and David Lozada join host Ali Moore to scrutinise the Philippines' first year under Bongbong Marcos. An Asia Institute podcast. Produced and edited by profactual.com. Music by audionautix.com.

This episode looks into the appointment of Dr. Ted Herbosa as President Bongbong Marcos' new health secretary.

Christian Esguerra sits down with political science professor Jean Franco and political analyst Ronald Llamas about supposed cracks within the "Uniteam" of President Bongbong Marcos and Vice President Sara Duterte.

Australian Foreign Minister Penny Wong visited the Philippines to strengthen the bilateral relations between the two countries. - Bumisita sa Pilipinas si Australian Foreign Minister Penny Wong upang palakasin ang bilateral relations ng dalawang bansa.

It's been seven years since former president Rodrigo Duterte unleashed his nationwide War on Drugs. President Bongbong Marcos now picks up where he left off. Where was that, exactly, and more important, where will the new administration take the campaign? Roby Alampay and Gideon Lasco continue and widen the conversation. From the "Tokhang sa Tokhang" podcast.Subscribe so you never miss an episode! Hosted on Acast. See acast.com/privacy for more information.

In the week that Ireland is gripped by widespread anti-migrant protests, resident Celt Phil Pilkington explains why the present wave of populist sentiment might no longer be containable by the political elite. As Andrew Collingwood points out, the 1950s migration treaties that still run our world were designed for a post-WW2 world long consigned to history. Yet to national bureaucracies, they're still a fundamental part of the 'rules-based international order'. So will that order finally absorb the change, or will it simply crack first?A new Cambridge study unveils a world where Anglo-Saxon 'soft power' is dimming. In the great global popularity contest, the rising powers are beginning to win the hearts and minds of potential allies in developing countries. But does being liked ever actually matter in geopolitics? As Pilkington points out, popularity tends to follow events - not the other way round. As if to illustrate this, one of America's greatest allies in the Pacific has recently had a change of regime. With China fan President Duterte out, and the US-supporting Bongbong Marcos in, American bases are sprouting again in the Philippines. Yet even as Uncle Sam wins one back, the long-term trade trend with the country still strongly favours China. Who will win this tug of love?

In May 2022, Ferdinand ‘Bong Bong' Marcos, the son of former dictator Ferdinand Marcos won the presidential elections in the Philippines. The vice-presidential elections were won by Sara Duterte, daughter of the former authoritarian president Rodrigo Duterte. What does the election of the son of a former dictator tell us about the Philippines' transitional justice process? What to make of the historical revisionism that facilitated this electoral outcome, in light of transitional justice's concern with truth and memorialization? The episode highlights that, while many activists and justice actors were initially focusing on the recovering the ill-gotten wealth of the Marcoses, and later on fighting the extra-judicial killings happening as part of Duterte's violent war-on-drugs, an entire campaign aimed at erasing the violence and crimes perpetrated by the Marcos family from the public discourse was shaping up under the surface. The interviews underline the impact of this of historical revisionism and the difficulty in combatting it in a context where there was never a widely shared and state-sanctioned historical narrative about the violence and economic crimes perpetrated by the Marcos regime. In the absence of a formal truth commission or institutionalized memorialization efforts, developing a shared understanding of the violence that transpired has been difficult. At the same time, the current campaign of historical revisionism, while commonly being traced to the Marcos family, is mostly being waged on social media platforms in a highly decentralized manner, making it difficult to develop an encompassing strategy to counter it. Is transitional justice powerless in the face of such a reality, or can innovations and creative approaches adequately respond to this situation and maybe even open up avenues for rethinking truth and memorialization efforts in other transitional justice contexts? In this episode of Justice Visions, we talk to Ruben Carranza of the International Center for Transitional Justice, and to Chuck Crisanto, of the Philippine Memorial Commission about what to make of this situation if we look at it through the lens of transitional justice.

The International Criminal Court has resumed formal investigation into Rodrigo Duterte's bloody war on drugs. Christian Esguerra speaks with human rights lawyer Ruben Carranza, who explains the processes at the ICC and the import role of incumbent President Bongbong Marcos in whatever course the investigation will take.

Troop Beverly Hills is a late 1980's comedy centering on a privileged housewife (Shelley Long) taking a position as the leader of her daughter's Wilderness Girls group. This is initially so she can demonstrate her resolve to her estranged husband (Craig T. Nelson), but she gradually bonds with her child (Jenny Lewis), forms connections with the other girls, and develops a rivalry with the Culver City troop run by the conniving Velda Plendor (Betty Thomas). Troop Beverly Hills received a critical drubbing and it bombed in theaters, but it built an appreciative cult audience among millennial girls due to constant broadcasts on basic cable throughout the 1990's. It is now often seen as a fun, campy time capsule of 80's fashion and unapologetic girliness. Ryan is joined by Sylvan, Cheryl, and Pete for an examination of this kitschy gem. Discussion topics include the film's approach to feminism, class struggle, and story structure. Ryan, ever the killjoy, points out the sobering parallels between the movie's references to the Marcos dictatorship and the recent (as of the recording) election of Bongbong Marcos. --- Support this podcast: https://podcasters.spotify.com/pod/show/ryan-valentine3/support

Il nuovo presidente delle Filippine è Bongbong Marcos, la vice presidente è Sara Duterte. Hanno stravinto le elezioni e hanno da poco superato i primi cento giorni al potere. La loro vittoria conferma una caratteristica delle Filippine: al vertice del potere politico ci sono sempre le stesse famiglie. Il presidente è Bongbong Marcos: è il figlio di Ferdinand Marcos, il dittatore che ha dominato il paese negli anni '80 lasciando una scia di morte e di torture che il figlio ha cercato in ogni modo di cancellare dalla storia nazionale. La vice presidente è Sara Duterte, figlia di Rodrigo Duterte, il presidente filippino dal 2016 al 2022. I Marcos e i Duterte, in pratica, si spartiscono il paese da 40 anni: i primi hanno il proprio feudo a nord, a Luzon; i secondi a sud, nel Mindanao. Gli inserti audio di questa puntata sono tratti da: Bagong Pilipinas Bagong Mukha (Tiktok Remix), Dj Jurlan, 21 marzo 2022; Rappler Talk: Brittany Kaiser on protecting your data, Rappler, 16 luglio 2020; Reacting to my Dad's Iconic Photos, canale Youtube BongBong Marcos, 11 settembre 2020; Imelda Marcos : First Lady of Shoes - the fifth estate, Cbs News, 8 aprile 2015; Birthday Party of First Lady Imelda Marcos at Malacañan Palace, canale Youtube Bagong Lipunan, 3 luglio 2022; Philippines: Filipino president Duterte insults Barack Obama, calling him a "son of a whore”, France 24, 5 settembre 2016; Duterte to Obama: Go to hell, Rappler, 5 ottobre 2016; Duterte uses f-word to slam EU over death penalty revival plans, Euronews, 20 marzo 2017. Learn more about your ad choices. Visit megaphone.fm/adchoices

President Bongbong Marcos said he 'found the best and brightest' in the government amid issues of the post-pandemic economy. - Sa kabila ng mga isyu sa ekonomiya gaya ng inflation at unemployment, ibinida ni Pangulong Bongbong Marcos ang mga nakamit nito sa unang isandaang araw sa pwesto.

What can President Bongbong Marcos show for his first 100 days in office? Christian Esguerra is join by Ronald Llamas, a former presidential political adviser.

President Bongbong Marcos made an unannounced weekend getaway at the F1 Grand Prix in Singapore with his family, raising questions on the propriety of the trip, which took place while many Filipinos were still reeling in the aftermath of a strong typhoon. And who paid for his family trip, by the way?

Here are the latest news from the Philippines including PBBM in the UN, the push for changes in the 1987 constitution and the Philippine Peso plummets anew. - Narito ang mga pinakahuling balita sa Pilipinas kaugnay sa pagdalo ni PBBM sa United Nations General Assembly, pagsusulong ng pagbabago sa saligang batas, pagsadsad ng piso kontra dolyar at iba pa.

President Bongbong Marcos wants to "reopen' his family's estate tax case despite a final Supreme Court decision in 1999. Christian Esguerra sat down with former Internal Revenue Commissioner Kim Henares and tax expert Mon Abrea.

Episode Highlights:[1:30] Duterte's China Policy[4:36] Change under the New Marcos Government?[6:53] Philippines' Relations with the United States[8:45] Public Opinion in the Philippines toward China[14:10] Joint China-Philippines Energy Exploration Talks[17:15] Railway Projects Loan Agreements with China[19:14] Future Developments

Aux Philippines, le mandat de Rodrigo Duterte s'est achevé. Il aura été marqué en particulier par la guerre contre la drogue déclarée par le chef d'Etat. Une guerre imaginée en se référant explicitement à Adolf Hitler et qui pourrait avoir fait des milliers de victimes innocentes. Les opérations ont fait autour de 6000 morts selon les chiffres officiels, mais la Cour pénale internationale estime qu'il pourrait y en avoir entre 12 000 et 30 000. Son procureur général souhaite la reprise d'une enquête internationale pour « crimes contre l'humanité ». Le nouveau président, BongBong Marcos, a cependant affirmé qu'il ne collaborerait pas avec la Haye. Il fait d'ailleurs équipe, à la tête du nouvel exécutif, avec Sara Duterte, vice-présidente du pays et fille de Rodrigo Duterte. L'ex-président reste, lui, très populaire sur l'archipel. Rien ne semble donc simple sur le terrain. En compagnie de proches de victimes qui demandent justice, des journalistes de l'AFP, Cecil Morella, Allison Jackson et Ron Lopez, ont assisté à l'exhumation d'un corps, ensuite transporté chez l'une des deux seules médecins légistes des Philippines. Réalisation: Timothée DAVID Sur le Fil est le podcast quotidien de l'AFP. Envoyez-nous vos commentaires : podcast@afp.com ou sur notre compte Instagram.  Pour découvrir les coulisses de l'AFP et les récits de nos reporters et photographes sur leurs expériences sur le terrain, écoutez notre playlist  “Les Coulisses du Fil”.   Si vous aimez, abonnez-vous, parlez de nous autour de vous et laissez-nous plein d'étoiles sur votre plateforme de podcasts préférée pour mieux faire connaître notre programme !

New leader Inherits a poorly performing economy in a climate of global financial uncertainties

On June 30, 2022, the Philippines inaugurates a new president: — Ferdinand Marcos Jr., son of the former President Ferdinand Marcos Sr. who ruled for a time under martial law and was overthrown in 1986. Marcos Jr., also known as Bongbong Marcos, was voted into office in a May 2022 landslide victory alongside vice presidential candidate Sara Duterte, daughter of the outgoing President Rodrigo Duterte. In 2021, as the race was heating up, FRONTLINE executive producer and host of The FRONTLINE Dispatch Raney Aronson-Rath sat down with Maria Ressa: a winner of the 2021 Nobel Peace Prize, founder of the independent Philippine news site Rappler and the subject of FRONTLINE's January 2021 documentary "A Thousand Cuts." Along with the documentary's director, Ramona S. Diaz, Ressa talked about disinformation, the importance of press freedom, and what she and Diaz were seeing on the ground in the Philippines during the historic campaign season. "A Thousand Cuts" is streaming on FRONTLINE's website, the PBS Video app and FRONTLINE's YouTube channel. Explore more reporting related to the documentary on FRONTLINE's website: https://www.pbs.org/wgbh/frontline/film/a-thousand-cuts/ Want to be notified every time a new podcast episode drops? Sign up for The FRONTLINE Dispatch newsletter: https://www.pbs.org/wgbh/frontline/dispatch-newsletter-subscription/

Richard Heydarian and Marc Santos Gamboa talks about the rise of this new group of vloggers who could be the first to be accredited by Malacanang to cover incoming President Bongbong Marcos.

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

This episode looks into why Vice President Sara Duterte was provided her own personal security unit when the Vice President, like the President, is already guarded by the Presidential Security Group. Is Duterte -- who said the new unit would help in case of "strained relations" between future presidents and vice presidents -- flexing her political muscles before President-elect Bongbong Marcos?

On May 25, 2022, BongBong Marcos was elected President of the Philippines. He is the son of Fernando Marcos Sr, who ran a brutal 20 year dictatorship. So in this bonus episode, Motzie Dapul (Hi Nay Podcast) briefly goes over the terrors of martial law and the notorious legacy of the Marcoses, and fellow podcaster Philippine Campfire Stories shares the tragic true story behind the Manila Film Center. Stories For Change is an offshoot of Stories With Sapphire where I share stories that pertain to important current events that may not give you the fun spooky chills you're used to, but are nonetheless still horrifying. Listen to the Hi Nay Podcast https://hinaypod.podbean.com/ Listen to Philippine Campfire Stories https://open.spotify.com/show/44jVfIuTiLa8njoCQaJHLa?si=3228d789d22a46c9 --- Send in a voice message: https://anchor.fm/storieswithsapphire/message Support this podcast: https://anchor.fm/storieswithsapphire/support

Like Father Like Son Oleh. Deena Noor (Kontributor Tetap NarasiPost.Com) Voice over talent: Maya Rohmah NarasiPost.Com-Like father like son. Kita tentu sering mendengarnya. Peribahasa ini menggambarkan bahwa anak laki-laki itu mengikuti ayahnya. Bagaimana ayah, begitu pula anaknya. Di dunia ini ada sejumlah pasangan ayah dan anak laki-lakinya yang sama-sama terkenal di dunia politik dan menjadi pemimpin. Ada George Herbert Walker Bush dan anaknya, George Walker Bush yang menjadi presiden AS ke-41 dan ke-43. Di Suriah ada Hafez al-Assad yang menjadi presiden selama tiga periode sebelum akhirnya digantikan oleh sang putra Bashar al-Assad sejak tahun 2000. Kemudian ada Kim Il Sung yang menjadi pemimpin tertinggi di Korea Utara dan digantikan oleh putranya, Kim Jong Un. Di kawasan Asia Tenggara, ada Lee Kuan Yew yang menjabat sebagai perdana menteri pertama Singapura. Ia diikuti oleh Lee Hsien Loong, putra tertuanya, yang menduduki jabatan sebagai perdana menteri ke-3 negara yang terkenal dengan patung Merlionnya itu. Lalu ada Bongbong Marcos dari Filipina yang memenangi hasil pemilu dan terpilih sebagai presiden untuk periode berikutnya. Bongbong tak lain merupakan putra dari mendiang Ferdinand Marcos Sr., presiden Filipina yang terkenal diktator di masa lalu. Ia mengikuti jejak ayahnya berkarier di dunia politik. Naskah selengkapnya: https://narasipost.com/2022/05/29/like-father-like-son/ Terimakasih buat kalian yang sudah mendengarkan podcast ini, Follow us on: instagram: http://instagram.com/narasipost Facebook: https://www.facebook.com/narasi.post.9 Fanpage: Https://www.facebook.com/pg/narasipostmedia/posts/ Twitter: Http://twitter.com/narasipost

This episode explains how cronies of the late dictator Ferdinand Marcos Sr. took advantage of the coco levy fund collected from poor coconut farmers, and whether they could still benefit from it 40 years later under incoming President Bongbong Marcos.

The controversial election of Bongbong Marcos as President of the Philippines on May 9th overshadowed another Filipino news item of global importance that week. After a nearly 7-year-long inquiry, the Philippines Human Rights Commission published a huge document detailing how human rights are infringed by climate change, who is responsible, and what courts could do about it. ELCI Assistant Editor Bertie Harrison-Broninski talked to the Executive Director of Greenpeace Southeast Asia, Yeb Saño, about the groundbreaking report. Further reading: You can read the report in full here. Read Greenpeace International's press release about the report here. Read Greenpeace's summary of the Filipino presidential candidates' climate platforms here. 

At the end of June the Philippines will welcome new leadership featuring two very familiar names. Following in his father's footsteps is Bongbong Marcos, son of former dictator Ferdinand Marcos, and joining him as Vice-President is Sara Duterte, daughter of the current President. While Marcos and Duterte are both the children of politicians with contentious backgrounds, they were elected with notably large majorities. How did they win, and what could their leadership mean for the Philippines? Guest: Professor Nicole Curato (Centre for Deliberative Democracy and Global Governance, University of Canberra). Recorded on 27 May, 2022.

This week: are stolen Cambodian statues hidden in the world's great public collections? We discuss Cambodia's looted heritage with Celia Hatton, Asia Pacific editor and presenter at the BBC World Service, whose documentary for BBC TV and radio Cambodia: Returning the Gods exposes the connections between looters, smugglers and, allegedly, some of the world's most famous encyclopaedic museums. Plus, the dark truth behind the art and antiques assembled by the Marcos family in the Philippines as they return to power. We talk to the Filipino artist Pio Abad—who's made art about Ferdinand and Imelda Marcos and their collections for more than a decade—about Bongbong Marcos's presidential election victory in the Philippines and what that means for the country and the art and antiquities seized by its government after the Marcoses were deposed in the 1980s. And in this episode's Work of the Week, we discuss a sculpture by Ruth Asawa—Untitled (S.266, Hanging Seven-Lobed, Multi-Layered Interlocking Continuous Form within a Form) (1961)—a highlight of a new exhibition at Modern Art Oxford in the UK, with Emma Ridgway, the show's co-curator. Remarkably, the solo exhibition is the first in a European institution dedicated to the Japanese-American artist.You can read Celia's report on Cambodian antiquities online at bbc.co.uk. Cambodia: Returning the Gods (radio version) is on the BBC website and the BBC Sounds app—under The Documentary Podcast stream for the World Service and the Crossing Continents podcast stream in the UK—and on other podcast platforms. Cambodia: Returning the Gods (television version) is on iPlayer in the UK and will be shown again on the BBC World news channel, broadcast date tbc—check listings.Pio Abad: Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Ateneo de Manila University, until 30 July, pioabad.com.Ruth Asawa: Citizen of the Universe, Modern Art Oxford, UK, 28 May-21 August; Stavanger Art Museum, Norway, 1 October-22 January 2023. See acast.com/privacy for privacy and opt-out information.

Why anyone listens to Kurt Campbell and company, what prompted Joe Biden to vow to defend Taiwan, will Bongbong Marcos be an improvement over Duterte in the Philippines, whether Japan will also go to war, the zombie TPP, and what China is up to in the Solomon Islands.

In February 1986, a revolutionary mass revolt in the Philippines led to the downfall of its corrupt and cruel dictator, Ferdinand Marcos. He and his family fled the country. Yet, 36 years later, the Philippines voted in the son of that very same dictator, namely Ferdinand Marcos Jr (also known as Bongbong). So, how did this happen? Dr Maria Atienza, a professor of political science in the Philippines joins us to discuss. Image credit: Wikimedia CommonsSee omnystudio.com/listener for privacy information.

My college friend and fellow teacher Bai and I discuss the recent 2022 Philippine Elections, what transpired, what this means moving forward, and the importance of maintaining the integrity of our history especially with regards to the period of Martial Law under Ferdinand Marcos Sr. We talk about important topics such as the disinformation campaign that Bongbong Marcos ran, the misconceptions about Martial Law, and how to stay strong during these troubling times. Episode is a mix of English and Filipino.

Latest update from President-Elect Marcos.

At the end of June, the Philippines will formally inaugurate a new leadership – but it will feature two very familiar names. There will be a second ‘President Ferdinand Marcos'; and another Duterte – Sara, daughter of the current president – will become vice-president.The new President Marcos, generally known as Bongbong, is the son of the man who led the Philippines from the time he was elected in 1965 until he was deposed by a ‘people power' revolution in 1986. During the two decades in between, Marcos Senior amassed billions of dollars in private wealth, oversaw the killing and disappearance of thousands of political opponents, imposed martial law and created a debt-fuelled economic boom which ended in a major recession.Sara Duterte is the daughter of a man who has polarised the Philippines during the past six years, the current president, Rodrigo Duterte. His signature policy was a ‘war on drugs' which has caused the deaths of somewhere between six and thirty thousand people.Despite these chequered family backgrounds both Bongbong Marcos and Sara Duterte were elected with huge majorities in the elections on May 9th. Now the dust has settled, we're going to find out how they did it and what it means for the country.Our first guest is Ronald Holmes, president of Pulse Asia, one of the Philippines' leading public opinion research companies. He's also Professor of Politics at De La Salle University in Manila.Joining him is Maria Ela Atienza, Professor in the Department of Political Science at the University of the Philippines. Our guest host for this episode is Bill Hayton, Associate Fellow with the Asia-Pacific Programme at the London-based think-tank, Chatham House. As ever, you can find out more about the episodes on our website. 

Ngayong tapos na ang ingay ng eleksyon, ating pag-uusapan ang mga bagay na natutunan natin. Sa dulo ng episode na ito, ating babalikan ang mga plataporma ng ating bagong president-elect na si Ferdinand Marcos Jr. o mas kilala sa tawag na Bongbong Marcos o BBM.Isang maunlad na Pilipinas ang aming ipinagdarasal dito sa Usapang Matsing Podcast.  

Congress may proclaim the presumptive President Bongbong Marcos and Vice-President Sara Duterte Carpio on Thursday, 26 May - Maaaring maiproklama na ng Kongreso ang pagkapanalo sa eleksyon nina presumptive president Bongbong Marcos at presumptive vice president Sara Duterte Carpio sa araw ng Huwebes sa susunod na linggo.

Headlines: Disqualification case of presumptive President Bongbong Marcos, raised to the Supreme Court | Five years imprisonment and up to P10 million fine, will be meted to investment scammers | 3.5 hectare lot, bought by a scavenger from scavenging trashTagalog.com news podcast for Filipino/Tagalog language learnersYou can also listen with Tagalog transcript and English translations here: https://www.tagalog.com/podcast/play.php?podcast_id=64

Filipinos went to the polls on May 9th 2022 for an important general election, to elect president, vice-president, renew the House of Representatives, some Senate seats, and elect governors, and several local officials. The main headline is that a majority of voters in the Philippines elected Ferdinand Marcos, also referred to as Bongbong Marcos, the son of infamous dictator Ferdinand Marcos, as president. Moreover, Sara Duterte, the daughter of illiberal president Rodrigo Duterte won the 2022 contest to become vice-president. Does this reflect a rejection of liberal norms? Nostalgia for a past that never existed? Given that this follows the tenure of authoritarian and illiberal Rodrigo Duterte, does this perhaps reflect a preference for so-called “strong men”? We're joined by Dr. Aries Arugay, Professor of Political Science at the University of the Philippines Diliman, to break down this crucial election and the state of Philippine democracy.   

Mr Marcos meets his supporters waiting outside the Melbourne apartment where he has been staying.  - Inabangan ng mga tagasuporta si Ginoong Marcos sa tinutuluyan nitong apartment sa Melbourne upang makita ng personal.

Entrevue avec Andrée East, agente relationniste, Service de police de la Ville de Gatineau: un maître et son chien blessés par deux molosses laissés libres en fin de semaine à Gatineau. Chronique culturelle d'Anaïs Guertin-Lacroix: Benoit et Anaïs reviennent sur le débat autour des races de chien. Du fromage goût “Hip Hop”. Tournages étrangers: une année 2022 plus tranquille se profile. Netflix répond aux employés en désaccord avec certains de ses contenus. Rencontre de l'heure avec Richard Martineau: nos deux animateurs reviennent sur le débat entourant les races de chiens. Dans certaines écoles, les shorts et les jupes sont mesurées pour s'assurer que leur longueur soit correcte, n'y a-t-il pas un problème là dedans? Zelensky s'est exprimé à Cannes. Entrevue avec Michèle Galipeau, vérificatrice générale de Montréal: la gestion des chantiers routiers fait défaut à Montréal. Quelles solutions existent pour parvenir à résoudre ce problème? Chronique de Geneviève Pettersen, animatrice à QUB radio de 13h à 15h30: certains parents se sentent désespérés parce que leurs enfants ont des problèmes psychologiques allant d'idées noires à des comportements à risques. Chronique d'Antoine Joubert, chroniqueur automobile pour le guide de l'auto: essai du Toyota bZ4X, première voiture électrique de Toyota. Une Mercedes-Benz vendue 135 millions d'euros. Segment d'actualité avec Alexandre Dubé: Lynne McVey ne sera pas reconduite suite à son mandat se terminant en juillet. L'inflation à presque 7%. Le temps d'attente aux petites créances est devenu indécent.  La Rencontre Foisy-Robitaille, chronique politique provinciale et fédérale avec Antoine Robitaille, animateur de l'émission Là-Haut sur la colline à QUB radio, et Philippe-Vincent Foisy, animateur de l'émission matinale de QUB radio: un rapport annonce que l'année 2021 a battu des record en matière de conséquences du réchauffement climatique. Pierre Poilievre et les Bitcoins. Nouvelle candidature pour la CAQ dans Sherbrooke: Caroline St-Hilaire. Entrevue avec Denis Trudel, député du Bloc québécois, Longueuil-St-Hubert: des libéraux fédéraux contre le projet de loi 96 au Québec.  Chronique de Loïc Tassé, politologue et chroniqueur au Journal de Montréal : état de la situation en Ukraine. Les primaires américaines pour les élections de mi-mandat. Bongbong Marcos veut que les Philippines se rapprochent beaucoup de la Chine. En Grande-Bretagne, traiter quelqu'un de chauve est désormais assimilé à du harcèlement sexuel. Chronique sports avec JIC : les séries. Bergie : une série documentaire sur Michel Bergeron, disponible sur la plateforme Vrai de Vidéotron.   Une production QUB radio   Mai 2022     Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Chronique de Loïc Tassé, politologue et chroniqueur au Journal de Montréal : état de la situation en Ukraine. Les primaires américaines pour les élections de mi-mandat. Bongbong Marcos veut que les Philippines se rapprochent beaucoup de la Chine. En Grande-Bretagne, traiter quelqu'un de chauve est désormais assimilé à du harcèlement sexuel. Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Hetvenedik adás, ennek minden előnyével és hátrányával. 00.00: Bede észreveszi, hogy bezárt a Bock Bisztró. 00.30: New Yorkban is food truck, izé.., lángos… 01.50: Hogyan traumatizálta Winklert a molekuláris gasztronómia? Az autós újságírók dickensi nyomora. (Csak a pontosság kedvéért: természetesen nem Ford Ka, hanem Ford Kuga úton tötrént a horror.) 04.50: A katalán három csillag említésére Bede fölriad, majd kétségbe vonja Winkler állításait. 05.30: A hatodik percben megszületik a magyar gasztronómia Dózsa Lászlója.  07.45: Mesélj valamit a múlt heti letöltési statisztikáinkból! 10.00: Tematikus filmajánló: Ghost (1990) 10.30: Bede a magyar Girón. 13.30: Eliud Kipchoge tempója megfeleltethető egy Forma 1-es autóénak? 17.00: Nikola Jokic majdnem magyar sikere. 19.45: Kinek melyik hegy elég kemény? Tíz kilométer, tíz százalék. 23.00: Csecsen agrárvállalkozók kalandjai a high tech John Deere traktorokkal. 26.00: Az orosz befolyásolási kísérletben említett twitterező valójában Irina Van Patten. 28.00: Saul Canelo Alvarez és rémálma, a kirgiz születésű moldáv-koreai orosz. 30.25: Bongbong Marcos megválasztása, és a rövid történelmi emlékezet. 34.00: A Google első ajánlata, ha Imelda Marcos nevére keresel: imelda marcos shoes. 36.00: A fideszes fiatalok kedvelik Putyint. 37.00: Ha ide leraknánk a hetvenes Fidel Castrót, tönkreverné Orbánt. 40.40: Hogyan buktattuk meg a Srí Lanka-i kormányt? 45.00: Kampányszlogen-ötletek Rogán Antalnak, teljesen ingyen. 45.20: A fontos elemző cikk Marcos kommunikációs taktikájáról. 48.15: Szóbeli mémmagyarázat: a rágózó Ancelotti. 49.00: Behozná-e az árát az úszásszimulátor? 52.00: Spanyol–angol lehallgatási botrány. 54.00: Abortusztörvények az Atlanti-óceán két oldalán.

The still unofficial victory of Bongbong Marcos, son of the late dictator Ferdinand Marcos, in the Philippine presidential election, is both comprehensive and complete. A family that had to flee the country is now back in power. For those familiar with the country's politics, it doesn't come as a surprise. Powered by Facebook and other forms of social media, the narrative around the Marcos family was carefully altered over the years. Bongbong replaces strongman President Roberto Duterte, a polarizing figure in the country's politics. Will Bongbong be like his father or Duterte in his political practice? Or will he prove to be a surprise package? The Philippines, which has had a long-standing alliance with the United States, has to contend with an increasingly assertive China. What will be Bongbong's foreign policy? Guest: Ravi Velloor, Singapore-based columnist and Associate Editor of .The Straits Times Host: Amit Baruah, Senior Associate Editor, and former Southeast Asia Correspondent, The Hindu. Edited by Ranjani Srinivasan

--On the Show: --Infowars conspiracy theorist Alex Jones explodes during a recent segment telling his audience that they must buy his products in order to save the world --Fox Host Maria Bartiromo visibly struggles to control Donald Trump Jr during a recent interview --Caller asks if Republicans are going for an outright abortion ban --Caller talks about supporting the Supreme Court as an institution --Caller wonders if Joe Biden can do anything to stop Democrats from losing in the midterms --Caller discusses Bongbong Marcos winning the presidential election in the Philippines --Caller talks about empathy in politics --Caller wonders if Biden can withhold funds to states that ban abortion --Caller asks about Jamie Raskin as a presidential contender --Caller talks about immigration and open borders --Caller discusses when it is moral to break the law --Caller asks about state-run Medicare for All --David responds to viewer emails and social media messages --On the Bonus Show: New Dinesh D'Souza voter fraud movie gets fact checked, stable coin failure causes crypto implosion, and much more...

Presidential front runner BongBong Marcos has taken the first steps in forming his Cabinet    - Prayoridad ni Presidential front runner Bongbong Marcos ang pagbuo ng mga magiging opisyal ng kanyang administrasyon.

With Brace still out on walkabout in a mysterious land, we talk through the recent election in the Philippines of BongBong Marcos, son of the brutal dictator Ferdinand Marcos, and his running mate Sara Duterte, daughter of current president Rodrigo Duterte.

Leading presidential candidate BongBong Marcos asked his supporters to wait for official results before celebrating their victory in the May polls . - 'Hintayin muna na matapos ang bilangan ng mga boto bago magdiwang.' ito ang naging pahayag ni BongBong Marcos sa kayang mga taga-suporta.

Morse code transcription: vvv vvv Lake Mead Shrinking reservoir reveals more human remains Sri Lanka Protesters torch leaders homes in night of unrest Wordle Controversial answer was unintentional NYT Ultra MAGA longshot roars into contention in key Senate race Protests break out as Philippines election returns a Marcos to presidency Trump news live Esper says he stopped ex president from doing terrible things Russia Ukraine war live updates Missiles strike Odessa Biden signs bill to expedite military aid Bodies surfacing in Lake Mead recall mobs time in Las Vegas Climate change Fifty fifty chance of breaching 1.5C warming limit Queens Speech Prince Charles to deliver speech focused on economy and protesters Maryville couple found dead in the Bahamas ran vacation travel agency Missing Alabama guard and inmate captured after 10 day manhunt Philippines election Bongbong Marcos poised to win presidency in landslide Young Thug booked into Fulton County Jail Yoon Suk Yeol sworn in as South Koreas new President The tuk tuk garden beating the heat in India Ukraine latest news Missiles strike Odesa as Russia renews assault on steelworks Warhols Marilyn Monroe painting sold for record breaking 195m Two slain in Mexico are the latest in unrelenting slaughter of journalists Alabama corrections officer who escaped with inmate has died in hospital, sheriff says

Voting in the Philippines presidential election concluded yesterday, and an unofficial tally revealed that Ferdinand Marcos Jr., known as BongBong Marcos, won nearly 31 million votes. We look into the significance of this outcome in light of the Marcos family history in politics, and how it could affect diplomatic dynamics in the region. Image source: Bongbong Marcos, Official Facebook Page

Rakyat Filipina memilih. Pemilu presiden Filipina tahun 2022 akan mempertarungkan beberapa nama, tapi ada dua yang paling unggul: Ferdinand "Bongbong" Marcos Sr dan Leni Robredo. Marcos diunggulkan, tapi Robredo terus mengejar. Apakah Filipina akan jatuh kembali ke tangan klan Marcos? Warisan Rodrigo Duterte mana yang akan langgeng? Bareng Rafi, Ikhlas, Hafizh, dan Shofwan, dengerin di Podcast Bebas Aktif! Kita ngomongin: Filipina memilih! Siapa aja yang bertarung dan siapa yang unggul? (4:45) Bongbong Marcos adalah anak dari diktator Filipina di Ferdinand Marcos. Tapi, justru Bongbong yang jadi unggulan di pemilu kali ini. Kenapa bisa gitu? (8:00) Whitewashing sejarah oleh Bongbong Marcos melalui sosial media, termasuk TikTok. (12:04) Ada keinginan sebagian besar rakyat Filipina akan seorang "strongman" yang bisa menstabilkan kondisi. Ada semacam paralel dengan Suharto, sepertinya. (12:58) Apa iya Marcos menawarkan stabilitas? Apa bedanya dia dengan Rodrigo Duterte? (18:54) Presiden Filipina selalu ditantang untuk menyeimbangkan pengaruh Cina dan Amerika Serikat dalam kebijakan luar negerinya. Gimana dengan Marcos dan Robredo? (21:32) Harus seimbangkan AS dan Cina, seberapa penting sih Filipina buat para great powers ini? Ngomongin juga soal Laut Cina Selatan yang gak kelar-kelar. (30:57) Apakah pemilu ini akan mengubah kondisi soal kelompok militan di Mindanao seperti Abu Sayyaf atau Moro? (44:10) PREDIKSI PEMILU FILIPINA 2022: Marcos or Robredo? (49:09) Instagram: @kontekstualcom Twitter: @kontekstualcom YouTube: Kontekstual Kunjungi kontekstual.com untuk berita HI paling aktual!

Bongbong Marcos has won the Philippine presidential election which sets the stage for the return of the Marcos family into the Malacanang Palace 36 years after they were ousted following the People's Power revolt. Andrea Chloe Wong, a Philippines' political analyst tells us what to expect from his rule. Image credit: EPA-EFE

Around 40 million people in the Philippines will cast their vote in the national election today. The heavy favourite in opinion polls is Bongbong Marcos, the son of former dictator Ferdinand Marcos, with current vice-president Leni Robredo a distant second among a crowded field which also includes world champion boxer Manny Pacquiao. University of the Philippines associate professor of political science Juhn Espia, who is studying toward a PhD at the University of Canterbury, spoke to Corin Dann.

The brutal and corrupt regime of Ferdinand and Imelda Marcos was overthrown in 1986, yet their son, known as Bongbong, is leading the race to become the next president of The Philippines. Edward Stourton profiles the life and career of Philippine presidential hopeful, Ferdinand Marcos Jr.

On today's episode, we start with some fun facts and jokes about abortion, Kailia Posey of Toddlers & Tiaras passes away at the age of 16, Supreme Court set to overturn Roe and let states decide what to do with abortion laws, plus a man climbs the Salesforce Tower in San Fransisco and his stance may shock you (00:10:43), Pat gives an update on fugitives Vicky and Casey White (00:35:43), Power Rankins revealed, Japanese home for the disabled is a house of horrors (00:51:00) Putin flying his doomsday plane, Bongbong Marcos poised to take over Philippines, and finally new Met-averse sex tech revealed (01:01:30) (00:00:00) - Timestamps Cup of Coffee in the Big Time (00:04:45) - Fun Fact: Abortion (00:06:50) - Jokes about Abortion (00:07:50) - RIP To 16 Year Old Kailia Posey, former star of “Toddlers & Tiaras” and famous gif face (00:10:43) - ABORTION & SCOTUS & Man climbs Salesforce Tower In San Francisco White Watch Day 6 (00:35:43) - Update On Alabama corrections officer Vicky White and killer Casey White, who are still on the run TikTok International Moment (00:48:55) Updated Power Rankings (00:51:00) - Japan - Bad things happening in a Japanese home for the disabled (00:55:00) - Russia - Putin is flying his doomsday plane over Russia in case he needs to drop some nukes and avoid an attack (00:56:25) - Bongbong Marcos poised to take over The Philippines and reinstate his families reign of terror (01:01:30) - New technology could soon let you feel kisses and other sensations on your real lips while making out and doing other stuff in the Metaverse!! These stories, and much more, brought to you by our incredible sponsors: Harrys - First-time Harry's customers can redeem a Starter Set for just $3 at https://harrys.com/HARDFACTOR First Person - Start improving your brain health and cognition with First Person! Get 15% off your first order by going to https://getfirstperson.com/hardfactor and use code hardfactor Go to store.hardfactor.com and patreon.com/hardfactor to support the pod with incredible merch and bonus podcasts Leave us a Voicemail at 512-270-1480, send us a voice memo to hardfactorvoicemail@gmail.com, and/or leave a 5-Star review on Apple Podcasts to hear it on Friday's show Other Places to Listen: Spotify, Google Podcasts, Stitcher, Lots More... Watch Full Episodes on YouTube Follow @HardFactorNews on Instagram, Twitter, TikTok, and Facebook --- Support this podcast: https://anchor.fm/hard-factor/support

Chronique de Loïc Tassé, politologue et chroniqueur au Journal de Montréal : état de la situation en Ukraine. BongBong Marcos en avance aux Philippines. L'Inflation fait baisser l'appui des hispaniques aux démocrates. La Gateway Foundation veut construire un hôtel de 400 places dans l'espace d'ici 2027 Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Entrevue avec Frantz Benjamin, député de Viau pour le Parti libéral: le député libéral a supprimé un tweet dans lequel il livrait un poème en hommage au jeune Pacifique, arrêté pour agression sexuelle.  Chronique culturelle d'Anaïs Guertin-Lacroix: Bill Murray s'exprime après l'arrêt d'un film à cause de son comportement. C'est le grand retour de la poterie ! Netflix annule la série animée produite par Meghan Markle.  Rencontre de l'heure avec Richard Martineau: le New York Post annonce que Poutine a un cancer et va donner son pouvoir au chef de la police! Le secrétaire général de l'ONU a fait une sortie à vous retourner le cerveau. Les québécois se font encore une fois rouler dessus. Entrevue avec Pierre Paul-Hus, député conservateur de la circonscription de Charlesbourg-Haute-Saint-Charles, porte-parole de l'opposition en matière des Services publics et de l'Approvisionnement: nous cherchons à comprendre sa position suite à l'annonce de son appui à Pierre Poilievre.  Chronique de Geneviève Pettersen, animatrice à QUB radio de 13h à 15h30: l'hôpital Ste Justine est dans un terrible état. On peut y voir du tape et des bâches cachant de la moisissure et plus globalement, la misère. Chronique de Réjean Tremblay, chroniqueur au Journal de Montréal, Journal de Québec: Chapelle ardente de Guy Lafleur. Le cas de Shea Weber. Segment d'actualité avec Alexandre Dubé: point de presse réunissant le premier ministre Legault, la mairesse Plante et Chantale Rouleau à propos du REM. Chapelle ardente pour Guy Lafleur. La Rencontre Foisy-Robitaille, chronique politique provinciale et fédérale avec Antoine Robitaille, animateur de l'émission Là-Haut sur la colline à QUB radio, et Philippe-Vincent Foisy, animateur de l'émission matinale de QUB radio: un tramway s'en vient à Montréal. Nos animateurs débattent sur ce projet controversé. We Charity se dit victime de l'incompétence libérale.  Entrevue avec Paul St-Pierre Plamondon, chef du Parti Québécois: le Québec doit donner un véritable «coup de barre» pour changer la façon dont il s'occupe de ses aînés, affirme le Parti québécois (PQ) qui propose de tripler l'offre de soins à domicile dans leur nouveau plan pour les aînés présenté hier. Le parti présente 30 propositions.  Chronique de Loïc Tassé, politologue et chroniqueur au Journal de Montréal : état de la situation en Ukraine. BongBong Marcos en avance aux Philippines. L'Inflation fait baisser l'appui des hispaniques aux démocrates. La Gateway Foundation veut construire un hôtel de 400 places dans l'espace d'ici 2027  Chronique sports avec JIC : chapelle ardente pour Guy Lafleur. Bilan du CH.  Une production QUB radio   Mai 2022    Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

On the anniversary of the 1986 EDSA People Power revolution on Feb. 25, allies of Bongbong Marcos mocked the historic event and declared victory in the May 2022 polls. If Marcos wins, who is to say if EDSA will be celebrated at all in the future? But Leni Robredo and her supporters were defiant. "This is not the last EDSA. We will fight for the people," read a placard in the Iloilo crowd. Her campaign has turned into a crusade.

Alam mo na ba kung sino ang iboboto mo? Teka Teka News brings you a research-based snapshot of where the men and woman vying for the highest office in the land, stand on certain issues. Meet Ferdinand "Bongbong" Marcos Jr. From the Teka Teka News podcast. See omnystudio.com/listener for privacy information.

In this episode, campaign reporters discuss how candidates managed to use their proclamation rallies to project strength by gathering their political allies and even friends in showbiz. Proclamation rallies are where politics and entertainment collide. Dancing politicians? Check. Campaign jingles performed by artistas? Check. Lights, camera, speech! "AND I QUOTE:" This episode also features a clip of Rambo Talabong asking the Ping Lacon-Tito Sotto tandem about members of their senatorial slate who appear to be supporting Bongbong Marcos and Sara Duterte.

Croc meat krapow? What the croc? Bangkok is apparently experiencing a “pork-flation”, and food hawkers and foodies are putting this reptile meat in demand. Coconuts Bangkok's Nicky Tanskul gives us the lowdown on devouring this (arguably) cute creature, what it tastes like, where first-timers should give it a go, and whether it's better than chicken. Tune in!Other stories include:Thai YouTuber faces prosecution over her own leaked sex tape | iClout: Status symbol for rent in Indonesia | The #MarcosDuwag fiasco has a sequel, after Bongbong Marcos declines another presidential forum | Quarantine hotels and direct flights: Bali gears up for international tourism re-relaunch this week | New York Times on boil over its bizarro ‘Singaporean Chicken Curry'The Coconuts Podcast delivers impactful, weird, and wonderful reporting by our journalists on the ground in eight cities: Singapore, Bangkok, Hong Kong, Manila, Jakarta, Kuala Lumpur, Yangon, and Bali. Listen to headline news and insightful interviews on matters large and small, designed for people located in – or curious about – Southeast Asia and Hong Kong.The Coconuts Podcast is available on Apple, Spotify, Google, or wherever you listen to podcasts. Subscribe today!

Bakit Ikaw: The Presidential Job Interview' with former Sen. Bongbong MarcosSubscribe to The Manila Times Channel - https://tmt.ph/YTSubscribeVisit our website at https://www.manilatimes.netFollow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotionSubscribe to our Digital Edition - https://tmt.ph/digitalCheck out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tuneinSoundcloud: https://tmt.ph/soundcloud #Desisyon2022 #Elections2022 #TheManilaTimes #TheManilaTimesTV #BongbongMarcos #DZRH Hosted on Acast. See acast.com/privacy for more information.

History has long seen people protest against government-imposed restrictions, designed to stem pandemics. Meanwhile, opposition to vaccination is as old as vaccination itself. Yet anyone who thought rioting in the face of disease was something consigned to the distant past has had a rude awakening this week. There have been violent protests in Austria and Belgium in response to new Covid-related restrictions. However. the most bitter street battles were seen in The Netherlands, where police at one point fired live rounds. Anna Holligan was there. Ever since the coronavirus first appeared, it has caused social division: between those in favour of and against lockdown, or pro and anti-vaccination, and also between those able to carry on working and those who could not. Yet these splits came at a time when many believe the world was already increasingly polarised, and there were signs of that in Chile this week, where the first round of presidential elections were held. Centrist candidates were eliminated, and the two front runners who got through to the next round are a man who defends some aspects of the military dictatorship let by General Pinochet, and another whose critics accuse of having Communist leanings. Jane Chambers says this has happened partly because many Chilean voters seem to have their minds on the past. While Chile may be split along political lines, the split in Cyprus is geographical. Turkey invaded the island in 1974, leaving it divided between a mainly Turkish speaking part, and one where most are ethnically Greek. However, Cyprus has a third, far smaller community: Maronite Christians, whose ancestors arrived from the Middle East many centuries ago. Adelle Kalakouti grew up in one of the Maronite Christian villages, and says their future is now at risk. Plenty of autocratic leaders have attempted to hand over power to their children, but The Philippines seems to be taking this one step further; two politicians' offspring are attempting to win power on a joint ticket. Presidential elections will be held in The Philippines next year, and one man who has just announced his candidacy is Bongbong Marcos, son of the country's former dictator, Ferdinand Marcos. Meanwhile, his running mate, standing for Vice President, is Sara Duterte, whose father, Rodrigo Duterte is The Philippines current President. Howard Johnson has been trying to understand why these family familiars remain popular. When the writer, Tishani Doshi accepted a temporary academic post in Abu Dhabi, she did not expect to end up helping refugees there. But Abu Dhabi has taken in more than eight thousand Afghans, who fled when the Taliban took over their country. One day, Tishani got a call, asking if she could lend them a hand.

Gaano katagal ang magiging pagdinig ng Comelec sa petisyong kanselahin certificate of candidacy ng presidential aspirant? Pakinggan ang talakayan nina Lian Buan at Jodesz Gavilan. Kung gusto mong suportahan ang malayang pamamahayag sa Pilipinas, bisitahin ang https://rplr.co/supportRappler para mag-donate sa Rappler.