Indian bakers make world’s ‘longest’ cake
Thrissur, India | AFP | Thursday 1/16/2020 – 09:05 UTC+8 It was a record-baking effort. Hundreds of bakers and chefs in southern…
Instituto Cervantes de Manila and the Embassy of Spain will present “Queremos Tanto a Julio,” a jazz tribute to Latin American writer Julio Cortázar, on Aug. 26, 5 p.m., at the Leong Hall roofdeck of Ateneo de Manila University, Katipunan Avenue, Quezon City.
If the only association you have with spoken word is hugot, heartbreak, and the incomparably brilliant Juan Miguel Severo of Words Anonymous—you’re not alone.
Over the past few days, social media was ablaze with criticism of Ateneo de Manila University’s inviting Imelda Marcos to the Ateneo Scholarship Foundation’s (ASF) 40th anniversary.
Over 120 delegates from all over world joined the conference to feast on the ideas circulated in panel presentations and seminars, on an exhibit of Manga Shakespeare, and on performances and workshops spread out over a three-day period.
Have you ever seen a ghost or apparition? I am sure I have. At least twice. Once about 10 years ago, of all places, at the Henry Lee Irwin Theater of the Ateneo de Manila University in Loyola Heights.
Last April, Ateneo de Manila University (AdMU), with the Department of Science and Technology (DOST), launched its annual “Chem Camp.”
The last time I enjoyed an Ateneo-La Salle game, live, was almost a year ago. It was Aug. 28, somehow the “end” of a terrible playing season for my Green Archers, but for some reason, even though ticket availability to this legendary display of rivalry (which probably sold more than any other game in UAAP history) was iffy, I still believed I could get inside the coliseum hassle-free—just because I willed it.
Last Wednesday, Oct. 5, we celebrated Teachers’ Day. As my way of celebrating teachers’ day, I watched—or re-watched—the film “Good-bye, Mr. Chips,” based on the 1934 classic novel of the same title by James Hilton.
In terms of material, “Spring Awakening” and “They’re Playing Our Song” are polar opposites. The former is a modernist rock musical populated by 19th-century German adolescents on the brink of sexual awakening, while the latter is old-fashioned, feel-good fare about a neurotic musician couple.
Mariel Uyquiengco and Sanne Unson remind me of those girls I would have loved to be friends with in college. They’re funny, friendly and passionate achievers, I can imagine study group sessions filled with lively conversations about anything and everything under the sun.
