Word: manila
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...world champion. It's unclear if he has a political Roach, or if the ferociously single-minded Pacquiao would listen anyway. "I advised him not to run," says Luis Singson, political kingpin of the northern province of Ilocos Sur, who gave Pacquiao the bulletproof Hummer that ferries him around Manila and who shares his passion for cockfighting and gambling. "I told him, 'Give priority to your boxing. Later on you can go into politics.' But he's committed already." What are his chances of getting elected? "Good," says Singson, unconvincingly...
...told him, 'People look at you as their idol. It's bad if they see you gambling.' So now he's stopped [going to] casinos already." Really? Less than two days after his homecoming, the boxer could be spotted playing Texas Hold'em at a windowless poker joint in Manila in the small hours. Peering protectively through nearby pot plants was his Canadian über-gofer Mike Koncz, who sat next to a bag of money. Twelve hours later, Pacquiao was still playing...
...same concerns that India's monetary policies are sending prices of Indian real estate to bubble levels. "India's growth, though less stellar, does have the reassuring factor that the [risks of] asset price bubbles are less," says Rajat Nag, managing director general of the Asian Development Bank in Manila...
...Magsaysay-Ho, Jose Joya and Fernando Zóbel had been virtually obliterated. Drawing inspiration instead from American artists like Jackson Pollock and Willem de Kooning, the cool mathematical lines of Zóbel fitted surprisingly well into the Marcoses' own propagandistic aims. According to Ramon Lerma, director of Manila's Ateneo Art Gallery, the Marcos regime was preoccupied with modernity. "They wanted to present the Philippines as keeping up with the rest of the world," he says...
...overthrow of Marcos in the mid-1980s that artists were freed of the burden of representing the Philippines. "After Marcos left, the scene exploded and became plural," says Toh. Ranging from the dark paintings of Javier, whose lonely ash-gray landscapes owe as much to film noir as to Manila's inescapable haze, to the surrealism of Ventura, Philippine art has finally become, as Mashadi puts it, "post-ideological." And it is this mature quality that has caught the attention of the Asian art market. Philippine artists today have scattered in their own interesting directions. The achievement of Thrice Upon...