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adobo Talks POV

MANILA, PHILIPPINES — “It takes a village to raise a child.” Derived from an African proverb, the quote’s essence is to set up children, specifically in marginalized communities, for success by providing a safe and healthy environment. But, in this day and age, a village goes beyond extended family and friends; corporations now play a crucial role in a child’s development with the prominence of the internet. This raises the question: how should companies bear the responsibility of ethical marketing towards minors?

This month’s adoboTalks discussion, produced in partnership with Mondelēz International, was an overflow of people, snacks, and insight on the topic. The session, which took place on July 05, 2024, at KMC Armstrong Cafe, was packed with attendees eager to listen to what the speakers and panelists had to say about “Responsible Marketing to Children.”

Adobo Magazine Associate Editor Pauline Nacar emphasized the talk’s significance in her opening remarks. “The welfare of our country’s future generations takes the spotlight. Young as they may be, children are already exposed to marketing campaigns and advertising that are tailored to their wants, and it’s up to the brands to adhere to ethical standards and responsible approaches with their materials.”

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The first guest, Kristian Jebsen Bandong, Nutrition Officer for the Nutrition Policy and Planning Division at the National Nutrition Council, elaborated on the Philippine government’s current efforts to regulate advertising and marketing towards children, particularly when it comes to food products. He explained that several factors contribute to malnutrition, and food that may feel satiating in the moment does not necessarily meet the nutritional value needed. “A third (33%) of Filipino households can’t afford [a] nutritious diet; that’s a fact,” Jebsten stated, saying social media, particularly in the Philippines, is an alleged key factor in the unhealthy dietary landscape among children today. 

To combat the crisis, Jebsen mentioned various interventions that are managing obesity and malnutrition, such as the Philippine Plan of Action for Nutrition 2023-2028 which addresses malnutrition across all life stages and plans with the Department of Education (DepEd) to make healthy living more appealing to children. The goal, according to Jebsen, is to focus on better diets and practices while including a more multi-sectoral, holistic approach. That means making healthier food options more accessible to the public and for the government and industries to support these important advocacies.

Aleli Arcilla, Managing Director of Mondelēz International in the Philippines, graced the stage next to impart the steps the company has been taking to ensure an ethical approach when marketing their products. “As a global leader in snacks, every year, we make it a responsibility to know about snacking: why consumers all over the world snack and why they do it.” She brought up their “State of Snacking Report,” which has been released annually for the past five years, and listed the four pillars of this year’s report:

  • An evolving consumer mindset: Six in ten global consumers prefer to eat many small meals throughout the day as opposed to three larger ones.
  • Mindful snacking: 67% look for snacks that are portion-controlled. The number one snacking advice from global consumers is, “Everything is fine in moderation.”
  • Snack curation: 76% are loyal to certain snacks or brands for a long time, and 59% consider themselves “snack adventurers” — people who enjoy trying new snacks.
  • Snacking with purpose: 67% prioritize snacks with less plastic packaging while 74% typically recycle their snack packaging.

Aleli underscored the importance of marketing responsibly for the majority of her presentation. “[Marketing responsibility] is important because it is the heart of our policy. We believe it is the gatekeepers — the parents and guardians — who should ultimately make the decision on what food their children should consume.” Active measures are being taken on Mondelēz International’s end to implement this: no advertising directed to children under age 13, no in-school marketing below the university level, and no showcasing overindulgence to encourage unhealthy behavior, among others.

All these efforts are to drive the main point home. “We understand that we have a very significant role to play in ensuring that our consumers snack mindfully, and they choose well,” Aleli said as she drew to a close.

As the last speaker, Miko David, President of David & Golyat; and Treasurer and Board Member of ASC talked about data dynamics, regulation in the marketing industry as well as ASC’s procedures when catering to young audiences. “When we advertise for children, the avenue will be specific in certain touchpoints.”

To make sure that customers, especially children, are not misled, harmed, or offended by ads and that fair competition is encouraged, self-regulation — from ASC’s standpoint — is a must. “Hey, is it truthful what we’re advertising?” is the question that serves as Miko and the organization’s guiding light, and ASC’s goal to preserve the truth through accountability is seen in their ASC Code of Ethics & Standard Manual of Procedures. “To have a framework, you have to have a code of ethics [which] is our basis that should be applied to all [sectors].”

Before the event concluded, Chrissy Roa, Vice President of PANA and Ayala Land Group Head of Marketing and Communications, and Dr. Gail Reyes, Galang, PHD, Associate Director Center for Peace Education Chairperson and Faculty Psychology Department at Miriam College, joined the speakers and Marco Sumayao, adobo Magazine’s Editorial Director and the event’s host and moderator, for a fruitful, hour-long panel discussion about the psychological impact of marketing on children, strategies for developing age-appropriate advertisements and balancing commercial interests with child well-being.

When asked how to form a coalition of action to ensure responsible marketing to children, both Chrissy and Dr. Gail offered compelling answers. “We all should be advocates for children [first]. Then, we can be advocates [for] the products we try to sell,” Dr. Gail said.

The problems regarding children, food insecurity, and advocating for healthier lifestyles may be complex, but to Dr. Gail, knowledge is power, and that knowledge should be integrated into the structures of society. “For association[s], education is key, and I think it’s also important to get NGOs involved.” She then touched on how parents, psychologists, and professionals should verify the ethicality of commercials and campaigns that market to children.

Meanwhile, Chrissy thinks parents should be included in the conversation, especially as their first guardians and primary caregivers. “I, myself, am a mother, and I always [used to] ask myself back in the day, ‘Is this going to be something that is beneficial to my children?’ It always has to answer those questions positively because at the end of the day, what we are protecting are the rights of our children.”

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Adobo Magazine believes that to build a better tomorrow, one must guide the children of today. Children are a product of their environment and the adoboTalks was a call for companies, along with parents and guardians, to work together in creating a world where the next generation can flourish.

MANILA, PHILIPPINES — Ronnie del Carmen never wanted to work in animation, and now he has two Academy Award nominations (one win) to show for it. In the second episode of the adoboTalks Podcast | the business of creativity, the industry veteran shared lessons from his unexpected career in making some of animation’s most resonant works.

Ronnie’s portfolio speaks for itself: his first big break came in 1992, when he became a storyboard artist for Batman: The Animated Series, often regarded as the seminal depiction of the Caped Crusader during the ’90 and early 2000s. He worked as a story artist on 1993’s Batman: The Mask of the Phantasm, then on 1998’s critically lauded The Prince of Egypt.

His knack for storytelling later earned him the role of Story Supervisor on films such as The Road to El Dorado (2000), Finding Nemo (2003), and Up (2009), for which he is also credited as one of the main creative forces behind its timeless opening sequence. 

In 2015, he put out his most successful work yet as co-director and writer of Inside Out (2015), which won the Oscar for Best Animated Feature and was nominated for Best Original Screenplay. Since then, he’s served as a member of Pixar’s Senior Creative Team on Coco (2017), The Incredibles 2 (2018), and Toy Story 4 (2019), while also voicing characters in Soul (2020) and Elemental (2023).

With a resume like his, one might imagine that animation was always in the plan for Ronnie, but he’ll be the first to say otherwise. “I didn’t want it! Keep it away from me!,” he candidly told adobo Magazine President and Editor-in-Chief Angel Guerrero during his interview at the adoboTalks Podcast. 

Destiny, as well as his own openness to failure, ensured that he would become a role model to Filipino storytellers everywhere. In his podcast episode, “Storytelling without a Safety Net,” Ronnie shared the following key lessons he’s learned through his reluctant 30-plus-year career in animation:

Stay open – the career you never wanted may be the one you fall in love with

In another world, Ronnie might have been one of the Philippines’ top advertising creatives. It was, after all, what he went to school for.

“I graduated in Fine Arts but majored in Advertising,” he shared. “I went to do that course specifically to do this unholy marriage of art and commerce, to be able to draw and create, but get paid and make ads for soap and toothpaste.”

“I did that here in Makati, a long time ago. I had a great time, actually!,” he added.

In 1989, however, Ronnie migrated with his family to the US, where his father had spent the last 11 years working on his residency paperwork. The job market for advertising was wildly different in Ronnie’s new home, and doors weren’t opening for him.

Then, a friend of his suggested he apply to be animator Stephan Martiniere’s assistant, a prospect that immediately revulsed Ronnie.

“It is an industry that I swore I would have nothing to do with,” he expressed. “The thing about animation is that the principle of animation is that 24 frames is what you need to have one second of experience. Twenty-four drawings for one second of experience! That’s a lot of drawings for one second of experience. So I was like, ‘I don’t want that job!’ I’m an illustrator. No, I want one drawing to tell me whole stories.”

But that was the open job, and it ended up being the start of an illustrious career.

A learning mindset is what sets great storytellers apart from average ones

It would turn out that much of Ronnie’s reluctance to enter animation came from insecurities about his education. He had only taken one class in animation during college, and he wasn’t exactly a fan of his instructor. 

When he applied to be Stephan’s assistant, he voiced his hesitations.

“I said, like, ‘Well, Stephan, hold your horses. I’ve gotta tell you, I know nothing about animation. In fact, I don’t even really wanna be in animation.’ And then all he’s saying is like, ‘Well, I’ll teach you.’” 

Through this first job with Stephan, Ronnie grew accustomed to a work environment where learning was supported and asking questions was encouraged. “I had to go and figure out how to do the job that was left to me by asking everybody, ‘What is this? What am I supposed to do with this?’ I had to find out – desperation – to go and learn it!” 

“If you’re making mistakes along the way, there’ll be a lot of people you can ask.”

A couple of years later, Ronnie would again be thrust into an unfamiliar role within the animation industry. He had initially applied to work in character design for Batman: The Animated Series, but the show’s creator and producer, Bruce Timm, noticed the narrative work in Ronnie’s portfolio and hired him as a storyboard artist instead. What followed was essentially on-the-job training on cinematic language and the craft of storyboarding.

Ronnie attributed his ability to survive all this to his readiness as a learner.

“This is the curious thing about what I feel is a mystical rule about being out there in the world, not just anywhere – I mean, in the Philippines, I felt like it may have happened – but it’s happened to me around the world: there is a system that’s in place that you can rely on, that if you are earnest and needing the help to upgrade your knowledge, there will be people who show up to help you,” he said. “The expression is when the student is ready, the teacher appears.”

“But the first part of the expression – when the student is ready – that’s when the teacher appears,” he continued. “Because if the student’s not ready, you can’t learn even if the teacher’s there. So when those moments happened to me, I’d pay attention.”

Failure is a storyteller’s best friend

Ronnie also shared his thoughts on failure as an opportunity to learn, rather than the career-ending downfall it feels like. What is important, he said, is that we create a work culture that allows us to fail over and over again until we get it right.

“Failure is failure; I don’t wanna sugarcoat it like it’s fine. It’s not. It stinks. It hurts. It’s embarrassing,” he confessed, before expounding on how his co-workers helped him re-frame his relationship with failure. “I started to learn that my friends also weren’t broken about it. It wasn’t disabling. And they didn’t carry it past that moment when it stung. And they redoubled their effort.” 

“[For] most people who I work with, who have to give you just the plain unvarnished truth that it’s not working, it’s not personal – it’s about the work. It’s not succeeding. Not you. Because you are gonna come back. You’re gonna come back with another solution that may also not work. Maybe ten more times. Maybe 20.” 

That much rang true during story development for Inside Out, for which he won his Oscar. The team was, in his own words, clueless about what to do or how to make the story work for roughly three whole years. Because of their persistence and strong creative leadership, they finally started to make everything make sense.

“At some point, all of the dues paying, the failures – at some point, on the planet, there were only a choice few people who deserved to tell this story,” he said. “And we were it. But it was not going to become a daily success story. We failed more times than we’d care to admit. And in the culture we’re in, all of the people around us are going to say, ‘Yeah that didn’t work – but you’re gonna get it.’”

“Now, who’s the leader do you wanna listen to? The one who just wants to finish the movie, make a good movie?,” he continued. “Or the one who says, ‘I want you to go for it.’ And they’re not gonna be able to give you more time or more resources; they just wanna believe in you, that you can make a great movie. That’s a lot of fuel.”

Safety hinders innovation

The fear of failure, Ronnie explained, is also what leads many storytellers to play it safe with their material. But playing it safe is exactly what leads to a dearth of innovation, especially in creative industries like film-making.

“You put in things that are familiar, and then people are not happy,” he said. “They’re like, ‘I’ve seen this before; it’s been done better elsewhere.’ Why? Because I borrowed it from other things!”

However, this need for safety – this aversion to risk – is something Ronnie believes to be a product of traditional educational systems. Most schools reward students for delivering the expected; put the right answer on the blank, and you get a medal. The moment you go off-book, however, you’re wrong.

It’s this mindset that Ronnie hopes every storyteller gets to shake off. It took him years in the animation industry to learn how to veer away from making what he thinks to be the right choices, and instead explore other ways of making an impact on his audience.

“Movie-making is not about coming up with the expected; otherwise we shouldn’t watch these movies because we know what to expect,” he said. “We want surprise, we want thrills, we want emotions that we didn’t think we were gonna feel.” 

“The thing about it is that I’m late to the party,” he continued. “That was the job. I was trying to say it’s this other job. But they were always telling me […] you’re supposed to do this. It’s actually working without a net.” 

“You could fail. It could be embarrassing. But do it. There is no roadmap; you’re gonna risk it.” 

YOU are the story

Ronnie’s last piece of advice for storytellers was that, once you’ve grown accustomed to treating failure as a learning opportunity, and that taking risks is what leads to brand-new stories, the best place to mine for emotionally resonant moments is your own life.

One of his earliest challenges was during his time working on The Prince of Egypt. His pitches had repeatedly been shot down, and no matter what he did, he just couldn’t write a scene that excited his supervisors. As he put it, heading into the pitch was “like walking into a punch.” 

Then a lightbulb flashed over his head.

“You know what I did? I was like, ‘You know what, my brothers and I used to actually hang out together, and this is a movie about brothers,” Ronnie said.

“When we were young, my mom would ask us to take naps in the afternoon. To me, it felt like, ‘I’m a boy, and I wanna go and play!’ So I would wake my brother; ‘Come on, let’s go!,’ and we’d sneak out the house, climb the guava tree behind the house, and we would play like little monkeys,” he shared. “It was so fun; you’re swaying from the branches, you’re having a good time and laughing. And then my mom would wonder like, ‘Where are the boys?’” And then she would open the door to the house and scream to the neighborhood.” 

“And then what we’d do is we’d climb down the tree and go in the back and come in, and it’s just like, ‘What’s the matter? What are you looking at?’” he chuckled. “We’d trick her and we’d feel like, ‘Oh that was awesome! We should keep doing that!’”

“I put it in the story of Moses and Ramses,” he said. “When Ramses is there inside, a failing king, and then Moses comes in and then starts talking to statues, and telling the statues that ‘I remember when we used to switch the heads of these gods over here, and dad got angry.’ And then the statue answers back, ‘Yeah that was a lot of fun, except I’m the one who got in trouble!’”

It was this very scene that excited the team during Ronnie’s next pitch. Because he had drawn from his own experiences with his brother, the film’s two leads also started feeling like brothers themselves. Tapping into his personal history made their relationship feel that much more real and that much more resonant. 

Since then, Ronnie has been unafraid to let his own story be part of the films he makes. This was most apparent in Up, wherein the lead character Carl was, by accident or suggestion of the subconscious, the spitting image of Ronnie’s own father. In working with a character that felt so familiar to him, Ronnie was able to help create the intimate, yet emotionally powerful opening to the movie.

Catch the inspiring full conversation with two-time Oscar-nominated Filipino animator and storyteller Ronnie del Carmen on Episode 2 of the adoboTalk Podcast on Spotify, YouTube, and Soundcloud.

The adoboTalks Podcast, adoboTalks | the business of creativity, is presented by adobo Magazine, and produced in partnership with The Pod Network and Hit Productions. The adoboTalks Podcast is available on Spotify, Soundcloud, and YouTube, with a new episode premiering every Thursday at 7:00 am.

MANILA, PHILIPPINES — The plight of creative workers is close to Congressman Toff De Venecia – he is a creative himself, having worked in film, publishing, and most recently, theater as Managing Artistic Director of The Sandbox Collective. In the first episode of the adoboTalks Podcast, he spoke with adobo Magazine Founder, President, and Editor-in-Chief Angel Guerrero on the importance of the Philippine Creative Industries Development Act (PCIDA) and how it can finally help world-class Filipino creatives – always on the cusp of brilliance – take the leap and break ground on the global stage.

Creative industries in the Philippines are the backbone of the country’s economy, generating PHP 1.6 trillion in 2022. Yet despite the significant contribution these sectors bring to the Philippines’ GDP, they are fraught with little understanding, leading to a lack of protection for these creative workers and a drought of support in developing these industries to create sustainable livelihoods across the board. 

There is a lot of uncertainty that riddles creative sectors; it is not uncommon to hear stories of talented youths being discouraged by their parents and loved ones to embark on creative careers. Yet one law hopes to change that, leading the charge in a fundamental shift of support towards our creative economy and nurturing these workers and their craft.

The PCIDA or RA 11904, authored and sponsored by Cong. Toff, was passed into law on July 28, 2022 — just on the tail-end of pandemic restrictions that had seen various creative industries struggling to survive in an unprecedented period.

Here are just some of the takeaways from his episode of the adoboTalks Podcast:

1. Creative industries are more important to the country’s economy than people realize.

The PHP 1.6-trillion revenue that creative industries generated in the Philippines accounts for 7.3% of gross domestic product – that’s just behind agriculture, which contributed 8.6% to the country’s GDP.

That means 12.5% of the Filipino workforce is employed in creative industries. Yet that hardly captures the entire picture, given those working freelance and in the informal sector. 

These numbers should hardly come as a surprise – about 73 industries alone were identified and defined in the law, all classified under nine domains modeled after the United Nations Conference on Trade and Development (UNCTAD) framework on creative economy.

Despite these strides in formalizing support for a creative economy in the Philippines, Cong. Toff shared that there is much work to be done, particularly in allocating resources that can support the growth of these creative industries.

2. Creative industries make up more than just the arts.

So little is the understanding of creative industries that traditional art disciplines usually come to people’s minds, Cong. Toff said. “The automatic impression of a layman of creative industries is, ‘Arts ba yan? Is that like theater? Is that like music? Is that painting? In reality, arts are just segments of the entire creative economy pie,” Cong. Toff explained. “You also have science and technology, you have design, which are functional and antithetical to arts.”

Ultimately, the creative economy deals with the value of creativity, which can be found in other realms – and it continues to be an ongoing discussion. One example is the inclusion of gastronomy under the law’s nine domains, which is not part of the original UNCTAD model, and yet food continues to be undeniably recognized as a creative endeavor in places such as Thailand and Indonesia.

3. Look at K-entertainment for inspiration.

South Korea is the prime example of a fully harnessed creative economy, made possible by synergistic partnerships between public and private sectors, Cong. Toff said. The K-Pop industry has grown into a global force to be reckoned with, and its thriving filmmaking industry has led to barrier-breaking films such as the Oscar-winning Parasite.

The lawmaker said that success for South Korea didn’t happen overnight. “While we look towards South Korea as like, ‘Wow, they seem to have gotten their act together,’ as though their success happened overnight – it didn’t. The South Korean government’s pivot towards content industries or creative industries happened in the ‘90s.”

The lawmaker adds that support is important in developing markets not just internationally but also domestically. “I think something that we don’t realize with Hallyu or the Korean wave is that the biggest consumers of K-content are the Koreans themselves,” he explained.

“I think with the shifting trends right now in the creative economy, to go global is to be hyper-local.”

4. Encourage and harness grassroots creative talent in the regions.

Manila may be regarded as the country’s center of culture, but talent and creativity doesn’t exist in one city alone. Cong. Toff asserted that the country needs to decentralize creativity and empower local grassroots creatives in order to build thriving industries in their regions. “They don’t have to uproot themselves from their locality, where they studied, where they grew up, where their friends live, and their families, and have to migrate to Manila and duke it out here in an oversaturated labor market for the creative industries, [so] we need to be able to spread out the development of creativity across the regions,” he explained.

With Baguio named as the Philippines’ first Unesco Creative City for Crafts and Folk Art, followed by Cebu for Design, and most recently Iloilo for Gastronomy, these are steps forward in reclaiming our creative heritage and strengthening pockets of creativity in these places outside Metro Manila.

Develop more original Filipino content.

The Philippines ranks number one among ASEAN countries in exporting creative services – which speaks to the undeniable talent of the country’s creatives. Yet much of this work deals in working on intellectual property from other countries, such as Filipino animators working on shows and films for Disney and Pixar.

“We’re trying to encourage more Filipino content. We create our own characters, our animation, and you can actually have intellectual property protection,” Cong. Toff said, citing the example of Netflix’s Trese, based on the local graphic novel by Budjette Tan and Kajo Baldisimo, also opening the doors for local filmmakers and content creators to produce high-quality content for global viewing.

With a law in place to institutionalize support for creative industries, there are opportunities for those involved in the creative sector to fully realize the potential of the creative economy. Learn more about Cong. Toff’s views on developing a comprehensive creative roadmap, how Filipino creatives can create globally relevant content, and whether Jollibee counts as creative gastronomy by listening to his episode of the adoboTalks Podcast on Spotify or Soundcloud, or by watching it on YouTube.

The adoboTalks Podcast, adoboTalks | the business of creativity, is presented by adobo Magazine, and produced in partnership with The Pod Network and Hit Productions. The adoboTalks Podcast is available on Spotify, Soundcloud, and YouTube, with a new episode premiering every Thursday at 7:00 am.

MANILA, PHILIPPINES — Adobo magazine is strengthening its commitment to uplifting the Philippines’ creative economy with adoboTalks | the business of creativity, a podcast series featuring enlightening talks with some of the creative industries’ most brilliant minds. Kicking off this new venture from The Word on Creativity is a 10-episode slate featuring intimate interviews with key figures in creativity, including Congressman Toff De Venecia, Ronnie Del Carmen, and Raoul Panes. The first episode of the podcast debuts on February 22 at 7:00 am on adobo Magazine‘s official website and Spotify, Soundcloud, and YouTube accounts.

adoboTalks | the business of creativity is presented by adobo Magazine, and is produced in partnership with The Pod Network and Hit Productions. The podcast aims to deliver high-level inspirational and educational sessions on how creativity inspires and unleashes inventive solutions via essential lessons from top creative leaders.

The podcast’s first episode, “The Big Pinoy Breakout,” features a chat between Cong. Toff De Venecia and host Angel Guerrero, Editor-in-Chief and President of adobo Magazine, on how the former’s landmark Creative Industries Act came to be and how it empowers Filipino creatives to take their talents to the global stage. 

Director and animator Ronnie Del Carmen, an industry veteran whose decades-long portfolio includes Batman: The Animated Series, The Prince of Egypt, Inside Out, and Elemental, brings his insights on storytelling to the second episode.

In Episode 3, Executive Creative Director for Leo Burnett Manila and Publicis Groupe Philippines Raoul Panes gives a scintillating talk on how McDonald’s “The Unbranded Menu” was the darling of 2023’s awards season, what it took to develop the idea, and what creatives can learn from its success.

Denise Haak, Head of Product Design for Globe Group, gives her two cents on leveraging disruptive technologies, as well as the need for more women in tech, in the fourth episode, while graphic designer AJ Dimarucot offers plenty of advice for freelance creatives in Episode 5.

Executive Creative Director for 180 Amsterdam Katrina Encanto joins the podcast at its halfway point from halfway around the world, calling in from the Netherlands for a chat on how working in international markets impacts one’s creativity. Melvin Mangada, Chairperson and CCO of TBWA\Santiago Mangada Puno, has a rousing discussion on disruption’s role in creative industries in Episode 7.

For the eighth episode, institutional critic and curator Marian Roces engages audiences by highlighting the importance of heritage and traditional arts in creative growth. Tuomas Peltoniemi, Managing Director at Accenture Song, follows this up with his own episode on innovation and his outlook for the creative industries’ future.

Closing out the initial set of episodes is Hit Productions’ President and Managing Partner, Vic Icasas, who talks about the current state and future of the Philippines’ sound design and creative audio industries.

adoboTalks | the business of creativity will be releasing a new episode at 7:00 am every Thursday, starting February 22. With even more episodes planned for production this year, the podcast promises to be an inspiring, enlightening, and educational start to every creative’s day.

adoboTalks | the business of creativity is presented by adobo Magazine, and produced in partnership with The Pod Network and Hit Productions. Episodes are produced by The Pod Network, and recorded at Hit Productions. adoboTalks | the business of creativity is available on Spotify, Soundcloud, YouTube, and adobo magazine’s platforms beginning February 22.

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