Lapu-Lapu Legacy What legacy did lapu leave behind? Lapu-Lapu is regarded, retroactively, as the first Filipino hero.
Why was he regarded as this?
Why was Lapu-Lapu regarded as a Filipino hero?
Lapu-Lapu is regarded, retroactively, as the first Filipino hero. The government erected a statue in his honor on Mactan Island and renamed the town of Opon in Cebu to Lapu-Lapu City. A large statue of him, donated by South Korea, stands in the middle of Agrifina Circle in Rizal Park in Manila, replacing a fountain and rollerskating rink. Lapu-Lapu appears on the official seal of the Philippine National Police. His face was used as the main design on the 1-centavo coin that was circulated in the Philippines from 1967 to 1974.  According to local legend, Lapu-Lapu never died but was turned into stone, and has since then been guarding the seas of Mactan. Fishermen in the island city would throw coins at a stone shaped like a man as a way of asking for permission to fish in the monarch's territory. Another urban legend concerns the statue of Lapu-Lapu erected at the center of the town plaza. The statue faced the old city hall, where mayors used to hold office; Lapu-Lapu was shown with a crossbow in the stance of shooting an enemy. Superstitious citizens proposed to replace this crossbow with a sword, after three consecutive mayors of the city each died of heart attack.  In the United States, a street in the South of Market neighborhood of San Francisco, California is named after Lapu-Lapu. That street and others in the immediate neighborhood were renamed by the San Francisco Board of Supervisors with names derived from historical Filipino heroes on August 31, 1979.  During the First Regular Season of the 14th Congress of the Philippines, Senator Richard Gordon introduced a bill proposing to declare April 27 as an official Philippine national holiday to be known as Adlaw ni Lapu-Lapu, (Cebuano, "Day of Lapu-Lapu").  On April 27, 2017, President Rodrigo Duterte declared April 27 (the date when Battle of Mactan happened) as Lapu-Lapu Day for honoring as the first hero in the country who defeated foreign rule. Duterte also signed the creation of "Order of Lapu-Lapu" earlier in April 7, to recognize the government workers and private citizens on supporting his advocacies. CANNOTANSWER
According to local legend, Lapu-Lapu never died but was turned into stone, and has since then been guarding the seas of Mactan.
Albert George Henry Why, known by the alias Alby Carr, (1899–1969) was an Australian rugby league footballer who played in the 1920s player for South Sydney, who played under his alias for most of his career.

Playing career
He was born at Brewarrina in 1899. His family later moved to Redfern and he played his junior football in Wellington and later at Mascot.

As Alby Carr, he played four seasons for South Sydney between 1924 and 1927, including winning the 1926 and  1927 Grand Final's.  Carr was also a premiership winner with South Sydney in 1925 as the club went the entire season undefeated. He represented New South Wales in 1924 under his alias. He played one last season with South Sydney in 1930, this time under his correct name of Alby Why. He played one season as Alby Why in 1930 before retiring. He was the brother of Australian Kangaroo, Jack Why.

Coaching career
In 1950, Alby Why coached the Canterbury-Bankstown team for a season before taking over from Vic Bulgin halfway through 1951. He continued to coach Canterbury-Bankstown in 1952.

Alias, and exposure
A newspaper report from 1929 exposed Alby Carr as a 'ring-in' , who was actually Alby Why, the brother of Jack Why. The report was tabled at the NSWRFL on 13 May 1929. Alby Carr's true identity was revealed at the meeting regarding the 'ring-in' allegations. Alby Why tells the story: "I commenced my footballing days at Wellington in 1917. In 1921 he was at Redfern Oval and was asked to play third grade for the Mascot team as 'A.Carr'. Alby Why candidly admitted that he was Alby Carr, in what was known in the turf-world as a 'ring-in'. Then selected as A. Carr, he played one year with Newtown in 1922, then joining the City Houses Competition before being graded with South Sydney Rabbitohs in 1924. During this time and later in England playing with Huddersfield, he retained the name 'Carr', but by 1929 he wished to be recognized by his real name, as his brother Jack Why also played with Souths."

Death
Albert George Henry Why died on 29 December 1969, aged 70.

References

Sources
 

1899 births
1969 deaths
Australian rugby league coaches
Australian rugby league players
Canterbury-Bankstown Bulldogs coaches

New South Wales rugby league team players
Rugby league centres
Rugby league second-rows
South Sydney Rabbitohs players "Why I'm Here" is a song by the American hard rock band Oleander. It was the lead single from their major label debut album, February Son. The track was previously included on Oleander's eponymous EP in 1996 and their independent LP, Shrinking the Blob, in 1997. Despite comparisons to Nirvana's "Heart-Shaped Box," or perhaps because of them, "Why I'm Here" would become Oleander's best known song, charting higher than any of their other singles.

The melancholy power ballad features various hallmarks of post-grunge. A simple, clean guitar pattern strikingly similar to "Heart-Shaped Box" begins the song; the first three notes, as well as the overall chord progression, of both songs are indeed identical and largely responsible for its criticism. An additional guitar melody and drums enter shortly after with lonesome singing. The pre-chorus introduces a bittersweet violin and eventually enters an aggressive, heavy chorus. Lyrically, "Why I'm Here" describes people's vague resentment toward the narrator as well his/her indifference toward a significant other, shouting "I can't love you anymore/I'm scared of the sound of it."

The promotional CD single of "Why I'm Here" includes both the album version and a "No Strings Attached" version which omits the violin.

The song was featured in the Dawson's Creek second season finale, "Parental Discretion Advised."

Reception
Allmusic's Heather Phares named "Why I'm Here" one of three AMG Album Picks in her review of February Son. She regarded it as among the band's "finest post-grunge-isms." However, Noel Murray of The A.V. Club viewed the song more negatively, regarded Oleander as "[arriving] too late for grunge and too early for emo." He elaborated that "the band gamely struggles to justify its existence to major-label masters who can hear something marketable, but can't figure out who'd want to buy it."

Track listing

Charts

End of year charts

References

1999 singles
Oleander (band) songs
Rock ballads
1990s ballads
1996 songs
Universal Records singles The Bagpipe Player is a painting by Jacob Jordaens depicting the artist himself dressed as a musician blowing a bagpipe. It was bought in London in 2009 for 93,000 Euros by the King Baudouin Foundation with funds from the Léon Courtin-Marcelle Bouché Foundation, which also financed its restoration. It is now on display in the Rubenshuis in Antwerp.

Subject
The Bagpipe Player was painted 'after life' and is dated to the period of 1638-1640 or 1640-1645 depending on the sources. It is executed in oil on canvas and measures 90 x 110 cm.

Jacob Jordaens sat himself as the model for the painting. Even so, the painting is not regarded as a self-portrait. The precise meaning of the painting has remained unclear. The artist used his own image in a number of other paintings, including the version of As the Old Sing, So the Young Pipe in the Musée des Beaux-Arts in Valenciennes, which dates from a slightly later date than the Bagpipe player. There are at least three more works by the master (or his workshop) in which the artist's own image appears.

As Jordaens was already a successful artist when he painted the work it is not obvious why he depicted himself as a humble player of a bagpipe, an instrument used in popular music. In more formal self-portraits, Jordaens has represented himself with a lute, which in the 17th century was regarded as the noblest musical instrument. Jordaens' depiction of himself as a bagpipe player may be interpreted as a form of self-mockery.

Notes

1640s paintings
Paintings in the collection of the Rubenshuis
Paintings by Jacob Jordaens
Musical instruments in art
Bagpipes