Comments

1. CV says:

   January 8, 2026 at 10:03 am

   Recently I was reading up on Sangguniang Kabataan and I learned one of their favorite activities is sporting events!

   Reply
   • Karl Garcia says:

     January 8, 2026 at 11:06 am

     It is an excellent endeavor that our Sports programs start with the youth in every barangay.

     Reply
2. Irineo B. R. Salazar says:

   January 8, 2026 at 2:05 pm

   Been observing the international spread of Philippine entertainment as a side quest for a while. ChatGPT did a great job helping me put together this overview of international concert tours of Filipino acts since mid-2023:

   **1. SB19’s *Pagtatag!* World Tour (2023–2024)** marked a major international breakthrough for the Filipino P-pop group, supporting their *Pagtatag!* EP across *18 shows* in Asia, North America, and Japan. It kicked off with back-to-back sold-out performances at the Smart Araneta Coliseum in Quezon City, signifying strong domestic momentum before venturing overseas to arenas and theaters where they showcased a mix of electrifying choreography and polished vocals.

   **2. Gigi de Lana’s 2024 *North America Tour*** brought the Filipino singer to key U.S. and Canadian cities during April and May 2024. Her stops included Seattle, Honolulu, San Francisco, Chicago, New York, Winnipeg, Toronto, and Vancouver, performed mainly in mid-sized theaters and performing arts centers. The tour solidified her appeal among diaspora audiences and featured well-attended shows that helped elevate her profile internationally.

   **3. BINI’s 2024 *Biniverse* Tour** spanned Asia and Canada with *12 total shows*, beginning at the New Frontier Theater in the Philippines and continuing with dates in Vancouver, Edmonton, Winnipeg, and Oshawa. These international stops marked an important phase in building the girl group’s global presence, especially in Filipino diaspora markets across North America.

   **4. *Showstoppers Tour* (2024–2025) — Darren Espanto & Morissette:** This collaborative concert series combined European and U.S. legs. In 2024, the duo performed in **Frankfurt (Germany)** and **Madrid (Spain)**, then continued in **2025 with a Paris, France stop** before moving to the United States with shows in **Stafford, Texas; Temecula, California; and Rohnert Park, California**. The tour featured live bands and setlists tailored for international crowds, reinforcing both artists’ reputations beyond the Philippines.

   **5. SB19’s *Simula at Wakas World Tour* (2025)** is their largest tour yet, featuring **21 scheduled shows** across Asia, North America, the Middle East, and Oceania. Beginning May 31, 2025 at the Philippine Arena in Bulacan, the tour saw tickets sell out rapidly, and continued with high demand in cities like San Francisco, Toronto, Dubai, Doha, Bangkok, Sydney, and Auckland. The tour’s strong overseas ticket sales reflect SB19’s expanding global fandom.

   **6. BINI’s *BINIverse World Tour* (2025)** followed their successful 2024 run, with **16 shows across three continents** from February to June 2025. The itinerary included **Dubai (UAE)**, **London (UK)**, and a comprehensive **North American leg** with stops in New York, Washington D.C., Rosemont (IL), Houston, Dallas, Las Vegas, Los Angeles, Temecula, San Francisco, Seattle, and **Vancouver, Canada** — illustrating the group’s sustained international momentum.

   **7. Cup of Joe’s *Stardust World Tour* (2025)** showed a rapid rise from domestic success to international touring. The band’s *Stardust* concert at the Smart Araneta Coliseum in October 2025 expanded to **three consecutive sold-out nights** due to overwhelming demand, filling the arena with fans of their hits such as “Multo,” “Tingin,” “Misteryoso,” and “Sandali.” Following this, the *Stardust* tour moved overseas from **late October to November 2025**, with confirmed stops in **Los Angeles (Saban Theater)**, **San Francisco area (Graton Resort and Casino)**, and Canadian cities including **Calgary, Edmonton, Winnipeg, Vancouver, and Toronto**, before returning to the Middle East with a performance at the **Coca-Cola Arena in Dubai** on November 29, 2025.

   **8. Dionela’s *The Grace World Tour* (2025)** highlights the international reach of the Filipino R&B sensation. Dionela, known for chart-topping hits like “Marilag,” “Sining,” and award-winning “OKSIHINA,” brought soulful R&B to global audiences with tour legs across the **United States, Canada, Australia, and Dubai**, including a major show at the Coca-Cola Arena in Dubai in September 2025. In November 2025, he returned to the Philippines for two nights at the New Frontier Theater in Quezon City, with all proceeds pledged to typhoon relief efforts.

   Reply
   • Irineo B. R. Salazar says:

     January 8, 2026 at 2:21 pm

     this is a most probably incomplete summary of how virality helped drive international success of Philippine entertainment. AMNSE teleserye and GAT’s Daleng-Dale are both from VIVA BTW, so is Alamat and of course BINI and BGYO are from ABS-CBN, Morrisette used to be but went independent, and SB19 was formerly Korean-run but went independent with their own company, 1Z Entertainment. The Wish Bus is part of Wish 107.5 which was formerly an indie rock channel but was bought by Dating Daan (a religious group), before the bus they did mall shows, the bus allowed them to be more flexible (do shows in mall parking lots) and create high quality Youtube videos. What I should add is that Philippine Arena (where SB19 and BINI performed two times each in 2025, before it was just foreign acts who filled that 55K persons indoor venue) is owned by INC. Certainly I could add shows like AOS by GMA, ASAP by ABS (also performing globally, Milan in 2023, LA in 2024, Birmingham in 2025) or It’s Showtime which is now a collab between ABS and GMA to the picture. Some international fans of BINI were at It’s Showtime after the Binified concert in late 2025, meeting other PPop groups like Kaia and G22 who performed there. TFC by ABS streamed the Binified concert globally. Etc Etc..

     1. The Wish Bus phenomenon (since 2016–2017) sparked global discovery of Filipino vocal talent on YouTube.
     Wish 107.5’s roving Wish Bus became a major platform where high-quality live performances by Filipino singers were filmed and uploaded to YouTube, drawing millions of views from around the world. One of the most notable early viral hits was Morissette Amon’s cover of “Secret Love Song,” which was the first WISHclusive to surpass tens of millions of views and later reached over 100 million — a milestone for Filipino artists on the channel.

     Her performance of “Akin Ka Na Lang” also became a huge hit on the Wish channel, further cementing this platform’s role in exposing Filipino vocalists to global audiences.

     2. Early Wish Bus videos began attracting international attention and reactor culture.
     As Wish Bus videos spread, foreign YouTubers and reaction channels began posting reaction videos to Filipino artists’ performances — sometimes without understanding the language but praising the vocal skill and emotion. These reactors helped amplify visibility beyond Filipino and local audiences to North America, Europe, and Southeast Asia.

     3. During the pandemic era, Filipino performers continued going viral — such as Gigi de Lana’s “Unholy” covers and other online clips (not captured in centralized sources but reported widely on TikTok and YouTube trends). These short viral hits helped build familiarity with Filipino voices and performance styles across global youth communities while live concerts were limited.

     4. The rise of P-pop groups — SB19, Alamat, BINI, and others — rode this digital momentum.
     After the groundwork laid by Wish Bus and digital trends, newer Filipino pop acts harnessed YouTube, TikTok, and global fan engagement as central exposure tools. Groups like SB19 and BINI climbed rapidly in global music metrics, gaining millions of streams and international recognition.

     Their strategic use of English-tagalog bilingual songs, high-production music videos, dance challenges, and social media content meant that even casual global viewers encountered them through algorithm­ic recommendations and fan sharing.

     5. YouTube reactors played a notable role in increasing global awareness of P-pop.
     As P-pop videos amassed views, reaction channels — ranging from vocal coaches to casual Western reactors — began featuring songs and dances from groups like SB19, BINI, Alamat, BGYO, and others. These reactions exposed millions of users worldwide to Filipino pop music who might not otherwise encounter it, helping tracks and albums go viral.

     6. Global audiences began embracing P-pop albums and EPs.
     Digital and YouTube traction helped push specific Filipino music collections onto the global stage:
     • SB19’s Pagtatag and Simula at Wakas EPs gained international streaming traction, charting in overseas markets and drawing global fan engagement.
     thepoppulse.space

     • BINI’s Talaarawan and Biniverse EPs (and later FLAMES album) connected with international listeners, with tracks like “Pantropiko” and “Cherry on Top” charting on platforms and becoming dance trends globally.

     • Alamat’s projects like Destino also found appreciation among world audiences with their unique cultural fusion sound. (While precise mainstream chart placements require verification, fan metrics show rising global streams and reactor interest.)

     These digital successes translated into real global recognition, such as P-pop appearances at international festivals, chart placements, and millions of global streams.

     7. The cultural exportability of Filipino content broadened beyond music to drama with Ang Mutya ng Section E.
     The 2025 Philippine teen drama Ang Mutya ng Section E (based on a Wattpad story) became a global sensation, widely recognized across Vietnam, Indonesia, India, the Middle East, and elsewhere. The series garnered millions of views online, and episodes with English and Hindi subtitles helped bring Filipino storytelling to international audiences.

     The show’s incidental musical tie-ins — such as theme songs by P-pop act GAT — gained traction alongside the series, in part due to international fan engagement on YouTube and related streaming platforms.

     8. Together, these trends show how YouTube and digital communities helped Filipino acts break internationally.
     From early Wish Bus virality to YouTube reactors and social media challenges, Filipino artists gained global visibility through accessible digital content. This digital rise created cultural touchpoints — high-view live performances, music videos, and TV series — that fans worldwide shared and celebrated. Platforms such as Spotify, YouTube, and TikTok have allowed Filipino music and media to transcend linguistic and geographic boundaries, creating a genuine global audience for P-pop and related Filipino pop culture in the 2020s.

     Reply
     • Karl Garcia says:

       January 8, 2026 at 2:26 pm

       Thanks a lot Irineo, I was really eager to see your insights on this.

       Reply
     • Irineo B. R. Salazar says:

       January 8, 2026 at 2:33 pm

       Finally, I asked for a summary of prospects for Philippine entertainment in the next two years. Point 8 sounds optimistic but the challenges are clearly mentioned there. I didn’t even ask ChatGPT to be pessimistic and check the risk of “samgyupsal” and “shawarma” type degradation of original booms as has often happened in the Philippines, so let us see how the next two years go:

       1. Philippine entertainment exports are poised for accelerated growth in 2026–2027, driven by the convergence of global festivals, streaming platforms, viral fandom culture, and improved international distribution. Filipino music, television, and youth-oriented content are no longer confined to diaspora audiences; instead, they are increasingly reaching mainstream global viewers through algorithmic discovery, social media, and high-profile international stages.

       2. A major catalyst for this growth is the rise of P-pop, highlighted by BINI performing at Coachella in 2026. This milestone positions P-pop alongside global pop movements and is expected to lead to post-festival streaming spikes, international press coverage, and new collaborations. Over the next two years, similar opportunities could open doors to more global festivals, overseas tours, and cross-border partnerships for Filipino pop acts.

       3. Beyond P-pop, original Filipino music (OPM) continues to expand internationally, with acts such as Cup of Joe gaining listeners even in Latin America, and Zack Tabudlo building a strong following across Southeast Asia. Streaming data increasingly shows non-Filipino listeners discovering OPM through playlists and recommendations, suggesting sustained growth in regional charts, sync licensing, and collaborations with foreign artists.

       4. Streaming platforms are central to this momentum, acting as both discovery engines and export infrastructure. Editorial playlists, regional charts, and algorithm-driven recommendations are introducing Filipino songs to listeners in markets that previously had little exposure to Philippine music. Over the next two years, deeper partnerships between Filipino labels and global platforms could translate this visibility into consistent international revenue and chart presence.

       5. Philippine television and storytelling remain powerful export tools, especially through long-running experience in international licensing by ABS-CBN. Teleseryes have already proven their appeal across Asia, Africa, and parts of Latin America, and the shift toward streaming and co-productions allows Filipino dramas to reach wider audiences with subtitles and localized releases. This positions Philippine TV content for renewed relevance in the global streaming era.

       6. Youth-focused and digital-native narratives are emerging as breakout formats, exemplified by Ang Mutya ng Section E, whose viral success abroad points to strong international appetite for Filipino coming-of-age stories. With a sequel underway, the series has the potential to go viral again, especially if paired with global marketing, multilingual subtitles, and music tie-ins that extend its reach beyond the screen.

       7. Touring and live performance infrastructure will further reinforce exports, as global fan clusters in North America, Europe, the Middle East, Southeast Asia, and Latin America become clearer through streaming and social data. Acts that successfully tour internationally can convert online popularity into sustainable careers abroad, encouraging promoters and brands to invest more confidently in Filipino artists over the next two years.

       8. Overall, the outlook for Philippine entertainment exports is highly positive, though continued growth will depend on strategic investment in global marketing, production quality, and international partnerships. If momentum is sustained, the next two years could see Filipino pop music, OPM, and teleseryes evolve from niche successes into recognizable global cultural products, strengthening the Philippines’ position in the international creative economy.

       Reply
       • Karl Garcia says:

         January 8, 2026 at 3:16 pm

         Nice!

         Reply
       • Joey Nguyen says:

         January 9, 2026 at 6:45 am

         Not to be a downer on this but I still believe that a longer lasting effect would be to use cultural relevancy to increase exports. If this is the case, the Philippines is doing it backwards again. After an artist or group is long played out, what remains? How did that cultural relevancy affect the average Filipino besides “pinoy pride?”

         Since this BINI discussion started months ago I occasionally did culture “spot checks” with the kids. They mentioned they occasionally see/listen to BINI if it pops up in their Spotify playlist, let’s say an Asian pop playlist dominated with mostly K-pop. But they don’t go out of their way to seek P-pop. Most of the most ardent American P-pop fans seem to me to be Fil-Am kids. Other kids I talked to about this subject assumed BINI and SB19 are K-pop groups.

         I also wonder how much of this virality is organic or not. It’s not uncommon for me to read a American small town newspaper that happened to have a story about a Filipino and the comments get mobbed by commenters who are obviously from the Philippines, commenting positively or defensively depending on if that Filipino did a good thing or a bad thing. There is also an entire genre of viral YouTube reaction videos created by either Filipinos or foreign vloggers about how Filipinos are superior in this or that, usually in the area of singing. The clips seem to be selectively, bordering on deceptively edited, and have tons of comments from people obviously from the Philippines. My suspicion is these “viral” reaction videos are actually farming views as the video is heavily interlaced with monetized ads according to my ad skipper in my modified YouTube app; more ads than the usual YouTube video and in line with other hyperbolic videos created expressly for the purpose of farming views. I also constantly prune (“don’t recommend this video”) Filipino “viral” content as watching a relatively benign video like one of Prof. Xiao Chua’s videos then has the algorithm flood my feed with this possibly fake viral content.

         A point of amusement is that constantly online Filipinos have appeared to figured out the various social media algorithms and have become without knowing it SEO experts. A very valuable skill indeed, if applied in areas less inane.

         Reply
         • Irineo B. R. Salazar says:

           January 9, 2026 at 9:02 am

           Not to be a downer on this

           I actually would prefer more people like Dr. Mahar Lagmay of Project NOAH than more PPop groups, similar to what you wrote about the African-American experience. My observing Filipino entertainment was more of a diversion to not look at the sad state of politics there after May 2022.

           After an artist or group is long played out, what remains?

           ABS-CBN has a new batch of PPop trainees and 1Z (SB19’s company) is rumored to have a girl group in training. 1Z often uses mystery as marketing strategy BTW. Whether they will be able to match even just the T-Pop industry of Thailand (way more efficient!) remains to be seen, but it is business in the end.

           Most of the most ardent American P-pop fans seem to me to be Fil-Am kids. Other kids I talked to about this subject assumed BINI and SB19 are K-pop groups.

           same observation. The Fil-Am fans of SB19 and BINI are also quite present online.

           My suspicion is these “viral” reaction videos are actually farming views

           the term “Pinoybaiter” exists for many of these reactors.

           constantly online Filipinos have appeared to figured out the various social media algorithms

           “volunteer streaming teams” for both BINI and SB19 give instructions on how to “stream like a human”, meaning how to get ones views or streams counted, including “don’t skip ads”.

           A very valuable skill indeed, if applied in areas less inane.

           maybe some PPop fans will become online marketers when they grow up, though from what I heard, a lot of SB19 fans are millenials and established professionals (even academics like Prof. Xiao Chua), it is BINI that has mostly Gen Z fans, either young professionals or students.

           Reaction videos have been deprioritized by Youtube since July 2025, meaning PPop and OPM can no longer just coast along the free marketing they used to have. Either the companies will cash in and not reinvest (old Filipino way) or actually get enterpreneurial, one never knows.

           The only possible gain I see is enterpreneurial spirit some learn from the PH music industry could bleed into bigger stuff – if ever.

           Reply
           • Joey Nguyen says:

             January 10, 2026 at 8:37 pm

             I still think going for the culture route first is not long-lasting. A country can’t produce talented people as a person is born with talent or not. But a country *can* produce useful stuff that can be traded to other countries, bringing back economic benefit that would definitely touch more people back home.

             Something interesting about Thai cultural exports: The Thai entertainment exports is connected closely with Thai business and exports. T-dramas and T-pop often have tie-ins with known Thai products that are popular in Mainland SEA. So Thai cultural exports amplify Thai exports, not the other way around. This developed independently of the SK cultural export industry and actually existed before SK cultural exports rose to prominence in the 2000s, though nowadays Thai entertainment companies are sending their trainees to SK to learn as well. Vietnamese entertainment is following along the same path, helping to sell Vietnamese exports. Though the Vietnamese companies made a new innovation I didn’t see in the Thai side. One can look at the Vinfast rollout in the Philippines, they hired local Filipino stars to sell the product to the target audience. Recently rising Vietnamese fashion house Hacchic Couture hired Marian Rivera and arranged for Vietnamese “fans” to greet Marian at the airport on her way to her photoshoot. Philippine bloggers and netizens said something along the lines of “look at all these Vietnamese being amazed by us.” I just went “uhhh.” Well, guess what is one of Hacchic Couture’s target markets? The Philippines.

             Reply
             • Irineo B. R. Salazar says:

               January 10, 2026 at 9:36 pm

               going for the culture route first is not long-lasting.

               the Philippines exporting its music is not something that happened strategically anyway, and I also have already expressed my doubts if that will last.

               the Philippines has produced entertainers (also exported them) for quite a while and exported them as people, actually packaging them as acts that produce music (not just sing covers like Morissette or Gigi but actual own stuff) is a step to more “value added”.

               For sure the music industry will even at best only employ a few people in producing music, creating MVs or such. Even the less likely success of exporting dramas (yes ABS exports teleseryes to Africa, LatAm and SEA, but their scripts are far too “cringe” to seriously compete with even T-dramas, much less K-dramas) will at most give the new ABS-CBN studios in Bulacan a lot of work, not bad for them but a drop in the bucket for the Philippines.

               One can look at the Vinfast rollout in the Philippines, they hired local Filipino stars to sell the product to the target audience.

               the music video below of the PPop girl group KAIA is an example. They are still with the relatively poor Korean firm that created SB19 and barely have a discography, so I wonder how much Vinfast paid to have their cars in the MV. KAIA were also at the Vinfast stand at a Metro Manila motor show.

               “look at all these Vietnamese being amazed by us.”

               I already mentioned the Pinoybaiters. Filipinos are often suckers for foreign validation.

               American PPop Youtube reactors have visited the concerts of BINI and SB19 in Metro Manila and have had great vacations.

               But guess what, they have paying Filipino members on their PATREON. Hmm, does that balance out what AFAM hunters take from foreigners? Haha.

               Reply
               • Joey Nguyen says:

                 January 11, 2026 at 12:36 am

                 AFAIK teleseryes’ foreign popularity peaked in the early 2010s. In the 2000s a lot of the countries where teleseryes were popular in did not have their own local soap operas/dramas yet.

                 Vinfast has a highly vertically integrated model (similar to SK chaebols and Japanese zaibatsu). Vinfast is increasingly making software, components and subcomponents themselves, minus the battery cells which I think are still sourced. During an extended stop in Manila a few weeks ago I saw Green SM taxis as much as I saw Grabs. Green SM is Vinfast’s ride-hailing service btw. Green SM is also aggressively moving into Indonesia at the moment, and has already dethroned Grab in Vietnam.

                 Not sure how much Vinfast pays for local partnerships in the Philippines, but something to be frank about is that Filipinos aren’t well-known for negotiating deals. I’m sure local partners were still paid decently enough; Vietnamese generally are generous to reliable people, which is similar to Chinoys. A problem Green SM seems to be having from anecdotes I overheard is that Filipno drivers using the Green SM platform (they are employees vs on Grab as contractors) try to either game the app and/or ask the customer for extra money, which causes a bad customer experience. I also heard resentment that top management at Green SM are “Vietnamese” with a bit of condescending tone. Well what did they expect? I hardly hear the same condensation for firms with White foreign management.

                 I’ve run into B-tier and C-tier American rappers and basketball players in the Philippines before many a time, where they are treated like royalty by local influencers because they showed some interest in the Philippines. In the US that rapper probably would be selling CD’s out of his car at the street corner. There’s also the running joke in Fil-Am families where something goes along the line of “well you can go back home and become a model/singer/actor there” to their child that failed in school. A former girlfriend who was barely Filipino by blood did that. It should surprise no one that short term celebrity fizzles out quickly. After all, how many K-pop supergroup stars’ names are remembered after they age out and get cycled off the main lineup? I personally prefer something more longer-lasting.

                 Reply
3. Joey Nguyen says:

   January 8, 2026 at 2:33 pm

   During my university years (while I had not emerged from conservatism yet) I did a deep dive on the ideological “battle” between Book T. Washington and W.E.B. DuBois. Washington advocated for incrementalism on building self-sufficiency by upgrading vocational, then intellectual skills. DuBois advocated for radical change of “equality now,” led by a “Talented Tenth” of Black leaders in areas of professorships, culture, and sports. Well in the end DuBois “won” the argument and today Black Americans occupy many cultural and sporting positions. But did that earn Black Americans the respect of the majority? That is something modern Black intellectuals are actively discussing again since the Floyd protests.

   I would argue that following a DuBois model would quickly leave the higher education and intellectual leadership part by the wayside and focus on superheros within the groups: entertainers, sportsmen. Which can be replicated by most people of above average intellectual and physical ability, a degree of self-sufficiency through incremental upgrades that get locked in, or relying on cultural pride by having cultural icons? I would argue the former.

   Reply
   • Karl Garcia says:

     January 8, 2026 at 3:19 pm

     Thanks for insights.

     Reply
   • Karl Garcia says:

     January 9, 2026 at 5:34 am

     Your difficulty relating to the passage is understandable—it is very American, historically specific, and layered with assumptions that are often implicit to Americans but opaque to outsiders. Let me demystify it step by step, then explain what your friend is really arguing, and finally why it may not resonate with you. 1. The historical debate (the part Americans assume everyone knows)

     Your friend is referencing a foundational debate in Black American political thought (1900–1930s): Booker T. Washington

     • Believed formerly enslaved Black Americans should:
       • First gain economic self-sufficiency
       • Emphasize vocational skills, trades, discipline
       • Avoid direct confrontation with white power structures
     • Strategy: “Prove usefulness → earn respect → gain rights gradually”

     This emerged in a post-slavery, post-Reconstruction America where violence against Black Americans was common and political power was brutally suppressed. W.E.B. Du Bois

     • Believed:
       • Civil and political equality must be demanded immediately
       • Education of an elite leadership class—the “Talented Tenth”—would uplift the whole community
     • Strategy: “Rights first → dignity now → institutions later”

     This approach was more confrontational and moralistic. 2. What your friend means by “Du Bois won”

     When your friend says “Du Bois won”, they don’t mean legally or morally—they mean culturally and symbolically.

     In modern America:

     • Black Americans have high visibility in:
       • Music
       • Sports
       • Entertainment
       • Popular culture
     • The rhetoric of “equality now” dominates discourse
     • Protest movements (e.g., Civil Rights era, Floyd protests) follow Du Bois’ confrontational tradition

     So from your friend’s perspective:

     The dominant strategy chosen was Du Bois’, not Washington’s.

     3. The key anxiety your friend is expressing (this is the core)

     Your friend is not denying racism.
     They are questioning strategy and outcomes.

     Their concern is:

     Has cultural dominance and symbolic success actually translated into broad social respect, institutional power, and intellectual leadership?

     They imply:

     • Cultural icons (athletes, musicians, celebrities) are:
       • Highly visible
       • Emotionally empowering
       • But not structurally transformative
     • These roles are:
       • Limited in number
       • Easily commodified
       • Often controlled by majority-owned institutions

     Hence the phrase:

     “superheroes within the groups”

     Meaning: a few exceptional figures standing in for real systemic change. 4. What the last paragraph is really arguing

     Let’s rewrite your friend’s final argument in plain terms:

     Should marginalized groups pursue:

     A) Long-term, boring, incremental institution-building
     (education, trades, professional classes, economic independence)

     or

     B) Symbolic victory through visible cultural heroes
     (celebrities, sports stars, cultural pride)

     Your friend clearly favors A—the Booker T. Washington model.

     They believe:

     • Incremental gains:
       • “Lock in” over time
       • Are replicable by many people
       • Build durable middle classes
     • Cultural prestige:
       • Is fragile
       • Does not automatically produce respect or power
       • Can distract from institutional weakness

     5. Why you might not relate (this is important)

     From your background and interests (Philippines, development, institutions, maritime labor, governance), several things clash: 1. American racial history is unusually culturalized

     In many societies:

     • Economic class
     • Colonial legacy
     • State capacity
       matter more than celebrity visibility.

     America uniquely:

     • Confuses representation with power
     • Treats culture as a political substitute

     2. You think structurally; your friend is thinking culturally

     Your work focuses on:

     • Institutions
     • Long-term development
     • State and economic capacity

     Your friend is wrestling with:

     • Identity politics
     • Social legitimacy
     • Cultural respect

     Different lenses. 3. The debate assumes a stable, rich state

     Washington vs. Du Bois only makes sense in:

     • A wealthy society
     • With functioning institutions
     • Where the fight is over access, not survival

     In developing or postcolonial contexts:

     • Incremental capacity-building is not optional—it’s existential

     So the answer feels obvious to you. 6. One-sentence demystification

     If I had to translate your friend’s passage into one clear sentence:

     “Did demanding visibility and cultural equality too early undermine the slow, institutional work needed for lasting power and respect?”

     That question haunts American racial discourse—and is far less central elsewhere. 7. Why this debate is resurfacing after Floyd

     After George Floyd:

     • America saw massive symbolic change
     • But limited material change
     • Which revived doubts about Du Bois’ strategy

     Hence your friend revisiting the issue. Bottom line

     You’re not missing something intellectually.
     You’re encountering a culture-bound American anxiety about whether moral victory without institutional depth leads to hollow progress.

     If you want, I can:

     • Map this debate onto Philippine development
     • Compare it to postcolonial elites vs. mass capacity-building
     • Or explain why both Washington and Du Bois were partially right—and partially wrong

     Reply
     • Karl Garcia says:

       January 9, 2026 at 5:44 am

       My plain pinoy simplistic take

       White men cant jump…..until the late 90s or 2000s if NBA all stars slam dunk contests are the basis.

       The blacks are the fastest in planet earth.

       Oprah reminds everyoe that the N words should not be spoken or written.

       Reply
       • Karl Garcia says:

         January 9, 2026 at 5:47 am

         The only white man that can rap Eminem can rap….and Marky Mark and maybe John Cena.

         Reply
         • Joey Nguyen says:

           January 9, 2026 at 6:12 am

           I would say that the lesson to be extracted is more important than direct comparisons along cultural lines. My point is more along the lines of an example of a group’s experience in gaining power. More and more Black Americans nowadays are starting to realize that going from the cultural power route rather than gathering economic power first was wrong. Economic power opens up political power which begets cultural power.

           Going back closer to the Philippines, let’s look at how South Korea went at it. South Korea today is a major cultural power with South Korean entertainment being widely consumed across the world, including in the US and the Philippines. But South Korea went for economic power first by building industries and internal development. Something Filipino thinkers must understand is that South Korea is using its cultural power in order to gain *more* economic power for people in other countries to buy South Korean products, not the other way around. The US has been doing this for years with the vaunted American export brands. China is doing this now, trying to develop cultural power in order to sell Chinese products abroad. Suppose the Philippines is successful in gaining cultural relevancy; what products will be sold to increase the Philippines domestic situation?

           Reply
           • Irineo B. R. Salazar says:

             January 9, 2026 at 9:20 am

             Economic power opens up political power which begets cultural power.

             True, even the cultural influence of the Latino world (Gabriel Garcia Marquez novels, Latino music etc.) is an echo of the cultural power of the Spanish Empire.

             The remaining cultural influence of the UK is also an echo of the British Empire’s cultural power, including London which has plenty of people from India, the Carribean etc., and reggae music’s success would probably not have happened without Bob Marley having stayed in London for a while as he hid from some issues in Jamaican politics.

             The empire of Alexander made the entire Eastern Mediterranean Greek-speaking for centuries afterwards and even turned Eastern Rome Greek later. The faded Roman Empire exerted cultural influence on Western Europe for at least a millenium afterward. Every city with Roman ruins in Europe of today shows how successful they were in exporting their “branding”.

             Suppose the Philippines is successful in gaining cultural relevancy; what products will be sold to increase the Philippines domestic situation?

             I doubt that BINI cosmetics will have a significant market share outside the Philippines, to give a concrete example. South Korean cosmetics are better known and probably BINI cosmetics are just a repackaging of something already existing but of course I know nothing of that stuff.

             There is the idea of selling tourism, Jolibee and ube stuff from some but that is about it I guess. The mistake might indeed be the same this time as during Imelda Marcos’ time – her adage that perception is reality, truth is not does not apply in the long run. Selling just improved image without sufficient substance behind it (see Philippine tourism with its known weaknesses) has the illusion falling apart after a while.

             Reply
             • Joey Nguyen says:

               January 10, 2026 at 8:50 pm

               Recently a pinoy Jesuit padre friend mentioned to me sarcastically when he texted me a pic of an ube ice cream tub at Costco that “my culture is taking over the world!” I replied, “joke’s on you padre, because Afters Ice Cream is owned by two Vietnamese-Americans.” Costco does *seasonally* (Christmas) sell Destileria Barako’s ube cream liqueur though, which is made in Aklan, Panay.

               The reason I’m wary of pushing culture first over substance like increasing the local economy via the tried-and-true methods of industrialization is simple. For too long Filipinos have hung onto some kind of far-away “star” that proves that a Filipino has worth. Things like an actor or singer that has perhaps a single drop of pinoy blood, who barely acknowledged their Filipino heritage to begin with, and besides lives and is a star continents away. I just don’t see how desperately searching out “worth” this way to help the average Filipino (I know more than a few Filipinos who eagerly search for famous supposed Filipinos abroad, even if that person might be let’s say a Chamorro with a “Filipino-sounding surname”). The feeling of this “pride” is short and not at all long lasting. I’d rather pride be built by hard work and genuine achievement that cannot be questioned or ignored.

               Reply
               • Irineo B. R. Salazar says:

                 January 10, 2026 at 10:38 pm

                 hard work and genuine achievement

                 the webpage of the K12 Plus program the German goverment and some key industrial players started with the PNoy administration is gone, but I remember the glow of confidence for instance in the eyes of a young man in the San Pedro, Laguna Relocation Center National High School who had learned metalworking in Grade 11 and 12 via an extended form of TESDA modelled on the German vocational dual system and had a job with a German company. That good program was discontinued after a while under the administration of we know who.. the one who would rather have kids from that social class shot as “addicts”. Sometimes I ask whether most “datus” there just WANT most people to remain ignorant of their own true potential, so much better for them to feel they can’t ever better their lives.

                 During Marcos Sr. time, having a star like Nora Aunor whom the poor admired as a small, dark and poor Filipina who had made it somehow provided them a dream but also kept them where they are. The idolization of Imelda Marcos as coming from (relative) poverty by the urban poor was even crazier.

                 Reply
                 • Joey Nguyen says:

                   January 11, 2026 at 12:48 am

                   The K12+ program you mentioned is another example of how the Philippines often becomes discouraged after putting in minimal effort that had not yet born fruit, then got discouraged because it seemed like too much effort versus the rewards. Rational long-term thinking requires delayed gratification.

                   Of course the datus want people to remain ignorant, as then how else would they continue to hold power? It’s not like Filipino dynastic politicians have huge amounts of money from billionaires running propaganda machines like Republicans have in the US Red states. In the Philippines it is more of a small town affair where the methods are not that particularly sophisticated, which makes it feel even more infuriating to think about as to me at least the push needed is not as insurmountable as let’s say your Romanian example where there was a centralized, decades long communist machine molding behavior and thought.

                   Then there are datus in the educated professional class who are well-meaning, liberal at least on paper, but when their own position and power is threatened, they work hard to protect that position and power even if it requires denying others. Those are probably worse in my mind than the dynastic politicians.

                   Reply
           • Karl Garcia says:

             January 9, 2026 at 9:37 am

             South Korea also dismantled Skyways and reopenned spaces and PH is counterflowing or in the wrong lane.

             My series of blogs of frequent resets was inspired by your Korea series.

             Reply
             • Irineo B. R. Salazar says:

               January 9, 2026 at 2:14 pm

               I could add to the picture that indeed it is usually what is associated with success and status that becomes most popular. American music after WW2 was associated with the American Way of Life and America’s success back then, reminds me of stories my mother told about how everyone in class in West Berlin knew what had played on AFN (American Forces Network). KPop today is associated with the hypermodernity of South Korea.

               True, there is music from poorer places that is popular, but if you look at reggae for instance, it has a bit of a slacker image, meaning it is for those from richer countries who at least in their free time rebel against the success ideal there, and Latino music especially in Europe usually has the summer hit / vacation vibe, the temporary escape of the more established mainstream. Despacito!

               There is music that has really strong roots in migrant communities like Afrobeats and reggaeton. Probably those who like it in the West want to “color” themselves a bit. Makes me think about UB40 (we are after all the same generation, you definitely know them) and the white guy in it singing like a reggae man.

               There was a short phase when the Dr. Beat budots remix trended in the West. Most Filipino migrants will not touch budots though except those who demonstrate in front of the ICC prison in The Hague for you know who.

               So where is PPop stuck in terms of image? I have a suspicion that the Philippines can achieve the recognition it desires the moment it no longer cares about it.

               Meanwhile, no issues with those doing business now making money. ABS-CBN mentioned Batang Quiapo and BINI as the two major contributors to paying its debts which stem from them losing their franchise, for instance. SB19 were just fighting to survive, young men recruited by a somewhat strange Korean company in the Philippines, and they managed to create songs based on struggle their fans identify with. BINI meanwhile advertise for a lot of brands that are probably popular with the new middle class: Belo cosmetic treatments, Urban Smiles, a certain brand of glasses (Joey mentioned even fake glasses are popular in the Philippines now), Penshoppe (a discount fashion store if I am not mistaken) and more, even their own BINI cosmetics. They are a mix of lifestyle brand and music group by now.

               Sure, there is a very small community of foreign PPop fans, some even learn Tagalog. Maybe we should ask THEM what is the special thing they see in the Philippines because some actually moved there (Sol y Luna as well as Chaachi from the Dominican Republic) and some are trying to learn Tagalog and go on vacation there or will return for vacation. Might be better to know what people actually appreciate about the Philippines – instead of trying too hard to project what one isn’t.

               Reply
               • Karl Garcia says:

                 January 9, 2026 at 2:21 pm

                 Apparently not enough to stay on TV 5.

                 Thet were not able to pay on time so the Collab ended last week.

                 Reply
                 • Irineo B. R. Salazar says:

                   January 9, 2026 at 2:29 pm

                   They have a collab with ALLTV now and therefore continue to be on the air with their content, so who knows what happened in detail.

                   Of course they are far from being out of the woods, they even sold major parts of their Mother Ignacia compound I think in 2024.

                   But their Star Hunt Academy did present their new trainees late last year, they are obviously planning to continue with the idol business.

                   Reply
                   • Karl Garcia says:

                     January 10, 2026 at 9:19 am

                     Villar is in the picture again.

4. kasambahay says:

   January 10, 2026 at 4:28 am

   why is tiktok po not included, or even facebook which is the most used and favored by majority of gen z filipinos? tiktok is deeply ingrained in our digital culture with tens of millions filipinos users, making philippines among the top ten tik tok users in the world; trawling for news, influencer marketing, ecommerce, even national tourism and promotions.

   Reply
   • Karl Garcia says:

     January 10, 2026 at 5:30 am

     Oo nga no. Per usual…good catch.

     Reply
     • kasambahay says:

       January 10, 2026 at 6:25 am

       sorry po, nagdilim lang ang panigin ko e! biro mo, isang high ranking female police officer was charged for wearing very expensive but quite ugly looking pair of shoe! cost more than 70K the shoes, black as prescribed per uniform but the uniform did not specify that prices of shoes must be below 70K. what if the shoes was gift? and she has to wear them else the giver will feel the gift was unappreciated!

       president marcos wore watch worth around 7millions, he can exudes luxury but not those below him, apparently. or is it because the police was female, had she been male, no one would probly bat an eye.

       pagmultahin yang police officer, but charge her where she is likely to lose her pension and benefits, is way too much punishment. it was not that she wore expensive shoes everyday while she was at work, she only wore the damn shoe two days before her retirement, i.e. two days before christmas. and for that, all that she has worked so hard for was wiped out in an instant! santa should be shot!

       the eurogeneral did not get punished for being detained in moscow airport having been caught with more than the amount of money travelers are allowed to carry, nor did he face disciplinary action once back in philippines, for putting the police force in bad repute. but a female officer wearing a pair of shoes the cost way below the amount the eurogeneral carried, is summat very inconsistent with police policy.

       and why are no women in power batting for the sacked police officer!

       Reply
       • Karl Garcia says:

         January 10, 2026 at 9:17 am

         If you have it use it. Flaunting is in the eyes of the ingit and the lifestyle checkers.

         Reply