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Mother Folker Cattski Espina Recommends the Top Musical Acts That Should Be on Your Playlists

As the Mother Folker behind 22 Tango Records and Room 11, Cattski Espina has been in the local music scene for years. Here are five local musical acts that she feels you should check out.

photography KYLA ESTOYA
hair and makeup KIAN VALENCIA

This story is taken from our archives. Originally published in Zee Digital Vol. 1

DT

Describe your music.
My music is pop with a touch of folk. How did you get into the music industry? It started with a showcase in democrazy—I forgot what year that was. I think that’s how 22 Tango got to hear my songs.

Who are your musical influences?
It’s a mix of different genres. First, I am heavily influenced by Amy Winehouse, Ashley Lilinoe. With all of the artists that influence me, I think it helps the versatility of the songs that I create, allowing me to make more stories to share with other people.

Most memorable song you’ve written?
During my first Cuppa Folk, I performed Woman for the very first time on stage. That song is very close to my heart, since it is a tribute to all the women who have helped me in my life and raised me up. It is sort of a thank you song for them, and I think out of all the songs that I have written, this is the most powerful to me. It talks about my life, and the foundations of my morals and personality.

Plans for 2018?
This year, I’m planning to write more songs. With all of the experiences last year gave me, I have so many stories to write this year. I want to put melody onto that, and share it to all the people who can relate to my stories.

Carlisle and Mary Anchit

CARLISLE

Describe your music.
I produce music in a lot of genres. My favorite genres are pop, hiphop, RnB, afro beats, and all that stuff.

How did you get into the music industry?
I’ve actually been playing the guitar since high school, but the first song that was recognized in the industry was Light Me Up. It was released in December 2016, but sort of got popular in January 2017 when Y101 played it. It was the first song I produced that was on the radio.

Who are your musical influences?
Linkin Park, the first band I fell in love with.

Most memorable song you’ve produced?
It would probably be Light Me Up, because that song launched my career and my sister’s career. Because of that
song, we got to places we’ve never been to, met a lot of great people, and worked with a lot of artists.

Plans for 2018?
I have a lot of songs lined up, both for myself and clients, but the one I am looking forward to is with a Nigerian artist. It is totally different from my old stuff. It’s something new, but feels really familiar.

MARY ANCHIT

Describe your music.
My music is folk and anti-folk. Basically, folk music and melodies tells stories. Antifolk also tells stories, but the melodies are kind of raw and experimental.

How did you get into the music industry?
I played at a songwriters night back in 2010, and Cattski found me.

Who are your musical influences?
Regina Spektor and Sara Bareilles

Most memorable song you’ve written?
I think my most memorable is Hero. Whenever I perform the song, I’ve heard people saying that they’re touched by it, and that it got them through something.

Plans for 2018?
I will be releasing a new album soon.

THINKING CHAIR

Describe your music.
Indie music. Soul. Revolutionary. Raw.

How did you get into the music industry?
We first started in church, and when we kind of took a break from that scene, we started a band. This lineup is actually new—we wanted to revive the original Thinking Chair, but some of them are already in Canada.

Who are your musical influences?
A lot. 1975, Coldplay, Private Island.

Most memorable song you’ve written?
Mirage, because every time we sing it, it’s different. We have so many renditions, and it’s fun to play.

Plans for 2018?
We plan to release an EP, add some new songs to our lineup. Hopefully also do a tour.

JRUSS

Describe your music.
My music is a storytelling kind of pop, or folk pop. I tried to avoid the orthodox
type of songs.

How did you get into the music industry?
I actually didn’t think I could go into the music industry. I only played piano before, but then because of college, I wanted to get more into that. Ever since then, I started singing a lot, and after a few years, I started with 22 Tango’s democrazy.

Who are your musical influences?
The first would be Florence and the Machine, and Of Monsters and Men, which is very indie rock and folk rock. I also like Ben Howard and Bastille.

Most memorable song you’ve written?
January of 2015, I wrote the song Happy New Me. I wrote it online for a national songwriting content on Facebook. There was actually no prize—just bragging rights. It’s about someone thinking they were able to move on from a relationship, but actually in the end, it’s just a desperate attempt to say that you moved on. A month later, I was tagged on Facebook that I won. I won a competition with no prize.

Plans for 2018?
Hopefully I can start recording and get an album released. Aside from that, get some real life experience and start writing more songs.

Arts & Culture

Asia’s Fashion Czar I Knew as Tito Pitoy; Remembrance of a Friendship Beyond Fashion with Designer Jose R. Moreno

by Jose Carlos G. Campos, Board of Trustees National Museum of the Philippines

My childhood encounter with the famous Pitoy Moreno happened when I was eight years old. My maternal grandmother, Leonila D. Garcia, the former First Lady of the Philippines, and my mother, Linda G. Campos, along with my Dimataga aunts, brought me to his legendary atelier on General Malvar Street in Malate, Manila. These were the unhurried years of the 1970s.

As we approached the atelier, I was enchanted by its fine appointments. The cerulean blue and canary yellow striped canopies shaded tall bay windows draped in fine lace—no signage needed, the designer’s elegance spoke for itself. Inside, we were led to a hallway adorned with Art Deco wooden filigree, and there was Pitoy Moreno himself waiting with open arms—”Kamusta na, Inday and Baby Linda,” as he fondly called Lola and Mommy.

“Ahhh Pitoy, it’s been a while,” Lola spoke with joy.
“Oh eto, may kasal na naman,” my mom teasingly smiled.

Linda Garcia Campos and Pitoy Moreno’s friendship started when they were students in the University of the Philippines in Diliman.

When Dame Margot Fonteyn came for a visit to Manila, Pitoy Moreno dressed her up for an occasion.

We had entered a world of beauty—porcelain figurines, ancient earthenware and pre-colonial relics. It was like stepping into a looking glass, only Pitoy could have imagined.

Destiny led me back years later when my mother Linda told me that Pitoy Moreno was working on his second book, Philippine Costume, and needed research material and editorial advice. At this point, around the 1990s, I was in between assignments—unsure of how a broadcasting graduate like me could possibly contribute to a fashion icon’s masterpiece. Fortunately, I agreed to the project.

Former First Lady Leonila D. Garcia and daughter Linda G. Campos in Malacañang Palace.

Returning to the designer’s atelier brought back a rush of pleasant memories. The gate opened, and there stood Pitoy Moreno, beaming as always.
“Come in, hijo. Let me show you what I have in mind—and call me Tito Pitoy, okay?”
He led me to his worktable.
“I want to publish a book that tells the story of Philippine fashion—from our pre-colonial roots to the present. A designer’s collection of images and heritage expressed in clothing.”

I was awestruck. “How can I help you?” I inquired.
“Did you know that your mother, Linda, was my barkada in the University of the Philippines in Diliman?” he grinned.

US President Dwight Eisenhower with First Lady Leonila Garcia and President Carlos Garcia in a state dinner at Malacañang Palace in Manila.

That friendship soon led to one of the proudest moments of the designer’s life. He had the opportunity to dress not only the First Lady Leonila D. Garcia but also President Carlos P. Garcia during his term. It was also during this time that the President of the United States, Dwight Eisenhower, came for an official visit to Manila. The designer was able to make clothes for the President, his daughter, and his staff.
“Eisenhower even asked for discounts on the barong Tagalog,” Tito Pitoy laughed.

Tito Pitoy then asked if I could find a terno he had made for my Lola, the former First Lady, which she wore for President Eisenhower’s state visit in 1960.
“How about her other ternos, dated from the 1920s to the 1960s?” I offered.
He lit up.

I scoured my Lola’s extensive closet—it felt like unearthing a legacy. Tucked behind layers of vintage ternos from countless fashion designers, I found that terno, which was photographed by Dick Baldovino along with other pieces for the book project. Once the project was finished and I myself had moved on, my bond with Tito Pitoy never wavered.

When my Lola passed away, he was deeply touched when I personally informed him of the sad news. Once, at the wake of former Vice President Salvador Laurel, he asked me to assist him in the placement of the medals in the chapel.

Philippine Costume by Jose Moreno is the designer’s collection of images and heritage expressed in clothing.

Tito Pitoy later invited me to his 80th birthday celebration—a dazzling Manila affair in 2012. During the evening’s festivities, he handed me a printed copy of Philippine Costume and added warmly,
“Thank you, hijo. I’ll call on you for the next one.”

The highlight of his career—and his most unforgettable moment—came during the Metro Magazine Gala fashion show: A Tribute to Pitoy Moreno, Fashion Icon. A collection of evening gowns spanning six decades—many of them unseen and tucked away in his atelier—were revealed that night. When the finale came, Tito Pitoy walked the stage, triumphant and waving to a sea of admirers. Longtime friends from the industry, society’s finest, and fashionistas rose from their seats and gave him a standing ovation.

It wasn’t just to celebrate his craft and ingenuity—it was to honor the man who brought elegance, history, and heart in every stitch.

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Arts & Culture

Queer Coding in Cinema: The Best Shows to Binge for Pride Month 2025

compiled by Edge Javier

As Pride Month 2025 goes into full swing, the best way to celebrate LGBTQIA+ voices is with a binge-worthy lineup of shows that center queer stories, joy, love, resilience — and yes, of course, drama. From groundbreaking recent series to must-watch staples and fan favorites, here are the top shows to stream this June that reflect the vibrant spectrum of the queer-coded experience.

1. Heartstopper – Season 3 (Netflix)
Nick and Charlie are back, and the coming-of-age sweetness is stronger than ever. Season 3 explores deeper emotional territory while keeping the wholesome tone fans adore. Expect more queer joy, nuanced relationships, and tearjerker moments that feel like a warm hug.

2. Drag Me to Dinner (Hulu)
Hosted by Neil Patrick Harris, this chaotic culinary competition pairs drag duos in a battle to throw the most fabulous themed dinner party. With outrageous challenges, surprise twists, and plenty of camp, queens serve up equal parts food, flair, and fierce shade. It’s RuPaul meets Top Chef—served with a side of sequins.

3. Queer Planet (Apple TV+)
Hosted by Janelle Monáe, this visually stunning docuseries dives into queerness in the animal kingdom and parallels in human identities. It’s smart, groundbreaking, and perfect for those who want to feel seen—and informed.

4. Fellow Travelers (Paramount+)
This period romance-drama set during the Lavender Scare continues to grip audiences with its tragic beauty and sharp historical insight. If you missed Season 1, now is the perfect time to catch up before the highly anticipated Season 2 lands later this year.

5. The Buccaneers – Season 2 (Apple TV+)
The unapologetically queer period drama returns with more scandal, sapphic yearning, and feminist rebellion among American heiresses navigating high society in 1870s London. Think Bridgerton, but with more edge and better sapphic representation.

6. Our Flag Means Death – The Finale Special (Max)
This fan-favorite pirate rom-com wraps up with a one-hour finale special airing this June. Whether you’re rewatching from the start or jumping into the last hurrah, this show remains a shining example of queer love told with heart and humor.

7. This Is Me Now… The Series (Prime Video)
Following Jennifer Lopez’s genre-blurring film-musical hybrid, the series version delves into themes of love, identity, and self-acceptance, and features cameos by queer icons and allies. It’s campy, messy, and made for Pride Month mood-boosting.

8. Sort Of – Final Season (Max)
This critically acclaimed dramedy about a gender-fluid millennial navigating love, grief, and identity in Toronto comes to a close with an emotionally rich final season. A thoughtful and often hilarious story that never loses its beating heart.

9. Red, White & Royal Blue – Limited Series (Prime Video)
After the hit film adaptation, the beloved queer romance returns in a serialized format, expanding on Alex and Henry’s story with new twists and deeper character arcs. It’s romantic escapism, elevated.

10. POSE: The Legacy (FX/Hulu)
This documentary miniseries honors the cultural legacy of POSE and the real-life ballroom legends who inspired it. Featuring interviews with cast, creators, and icons from the scene, it’s a must-watch tribute to queer history and resilience.

Whether you’re looking for laughter, tears, romance, or revolution, these Pride Month picks for 2025 offer it all—while honoring the complexity and beauty of LGBTQIA+ lives. So press play, turn up the volume, and let queer stories shine this June and beyond. Happy Pride! 🏳️‍🌈

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Arts & Culture

Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art

by Jing Ramos |

Oj Hofer, our fashion contributing editor, is a Fine Arts graduate from the University of the Philippines. Though he began painting at the age of eight, his artistic journey took a transformative turn in 2013. While volunteering as a costume designer for Siddhartha: The Musical, he encountered Venerable Master Hsing Yun’s One-Stroke Calligraphy, sparking a deep devotion to Japanese sumi-e painting and kanji calligraphy. Over the years, he refined his craft, using his art to share the Dharma through exhibitions while supporting the Hsing Yun Educational Foundation. In 2022, his spiritual path deepened at Nan Tien University, where he embraced Zen and Humanistic Buddhism, shaping his artistic philosophy.

“Plum Blossoms in Moonlight.” Serigraphy on abaca.

In his recent works, Hofer merges traditional calligraphy with serigraphy, drawing inspiration from his friend Charles Lahti—an internationally recognized New York-based painter and printmaker. Lahti, known for his collaborations with post-war American artists like Robert Rauschenberg, Donald Judd, Andy Warhol, and LeRoy Neiman, introduced Hofer to silkscreen techniques. Through a workshop Lahti conducted in Cebu—arranged by their mutual friend Greg Urra—Hofer integrated silkscreen into his Zen artworks, particularly those on abaca.

“The Circle of Harmony” Serigraphy and Calligraphy on abaca.

Hofer’s cross-disciplinary approach challenges conventional Zen aesthetics. His layered paintings on abaca may seem far from tranquil at first glance, but closer contemplation reveals a meditative core. His serigraph of an Enso circle, for example, initially appears chaotic, filled with Tang Dynasty poetry and overlapping, repetitive forms. Yet, by focusing on a single calligraphic element, the viewer experiences a moment of clarity—a glimpse of awakening within the visual complexity.

“Monkey Mind” Serigraphy and Calligraphy on abaca.

Even more engaging is his diptych Monkey Mind. At odds with the traditional Zen emphasis on negative space, this piece is deliberately busy, reflecting the restless nature of the mind. A distracted viewer may struggle to find a focal point, but one attuned to emptiness and presence will perceive clarity amidst the seeming disarray.

Ink and intention—creating calligraphy in support of one of my advocacies.

By fusing Zen philosophy with the discipline of serigraphy, Hofer invites his audience to look beyond surface impressions and discover stillness within movement, balance within complexity. His art does not merely depict Zen—it embodies the paradoxes at its core, offering a path to mindfulness through the act of seeing and the experience of doing.

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