HONG KONG SAR – Media OutReach Newswire – 2 March 2026 – Hong Kong’s Kai Tak Sports Park (KTSP) celebrated its milestone first anniversary on Sunday (1 March), successfully hosting nearly 50 major events and delivering over 120 international and local sports and entertainment days since its grand opening.
KTSP has established a unique identity as the city’s new “Home Venue” for major sports and entertainment events. Highlights have included the Hong Kong Sevens (rugby), the Hong Kong Football Festival featuring top teams such as Liverpool, AC Milan, Arsenal and Tottenham Hotspur, as well as concerts by British rock band Coldplay, Mandopop rock band Mayday, singer Jay Chou and global pop icons BLACKPINK.
Kai Tak Sports Park has established a unique identity as Hong Kong’s new “Home Venue” for major sports and entertainment events
Sports activities at the Park have welcomed more than 840,000 participants so far. In terms of sports activities, the three major facilities—Kai Tak Stadium, Kai Tak Arena and Kai Tak Youth Sports Ground—together with the bowling centre, outdoor sports facilities and open spaces in the precinct, are expected to surpass 200 event days from the Park’s opening through to the end of March 2026.
In the past year, the utilisation rates of the Kai Tak Stadium and Kai Tak Arena have reached close to 90%. Kai Tak Stadium has already attracted over 1.8 million attendees, rapidly becoming a powerful new driving force in advancing Hong Kong’s sports industry, events economy, and tourism development.
“Our first anniversary is not only a major milestone for Kai Tak Sports Park, but also a moment of pride for Hong Kong. Over the past year, we witnessed athletes’ determination, outstanding performances from artists, and the unforgettable energy of cheering audiences. Each event has touched and inspired us.
“As Hong Kong’s largest integrated sports, leisure and entertainment landmark, we are committed to bringing the community together while strengthening Hong Kong’s connection with the Greater Bay Area and the international stage,” said a spokesperson for KTSP.
The centerpiece 50,000-seat Kai Tak Stadium was ranked third in the world and top in Asia for total ticket sales in 2025 just nine months after its debut, according to Pollstar’s 2025 year-end stadium charts (published mid-December 2025). Pollstar also ranked Kai Tak Stadium No.5 worldwide and No.1 in Asia for total gross revenue (1.25 million passes worth US$191.34 million). Meanwhile, the 10,000-seat Kai Tak Arena, was ranked Asia’s No. 8 in terms of total gross revenue.
“Seeing the Park evolve over the past year into a major sports destination for Hong Kong has been incredibly inspiring,” said Hong Kong, China karatedo team former representative, Lee Chun Ho. “Every time I walk in, I can feel the energy. The professional facilities not only support large-scale events but also make it easier for the public to access different sports, whether they’re beginners or experienced enthusiasts.”
With an expanding line‑up of exciting events, enhanced visitor experiences and an increasingly compelling programme of global attractions, KTSP will further advance the integration of culture, sports and tourism, ushering in an even brighter and more vibrant chapter for Hong Kong.
A discreet, reservation-led space in TPI Building designed for intimate experiences, elevated service, and a new kind of all-in-one entertainment destination
SINGAPORE – Media OutReach Newswire – 2 March 2026 – Singapore’s nightlife is about to get a new kind of pulse. One that beats smaller, sharper, and far more intentional. Opening on 6 March 2026, Club 666 will debut at TPI Building, positioning itself as Singapore’s first micro club built around exclusivity, discretion, and thoughtfully curated, intimate experiences.
In recent years, the city’s idea of a great night out has shifted. Less “big room, big chaos,” more considered corners, good company, and spaces that feel designed, not accidental. Club 666 arrives with that same instinct, created for guests with busy schedules, little appetite for wasted time, and a growing preference for nights that feel polished rather than frantic. It is a club concept that leans into the art of going smaller, with the confidence that intimacy can be its own kind of luxury.
Inspired by the secretive allure of world-class private clubs, Club 666 is designed for guests who prefer refinement over noise, and atmosphere over volume. The concept is not about scaling up. It is about stripping back, tightening the room, and making every detail count, from the ambience and acoustics to the art of hosting itself. Anchoring the experience are capsule rooms designed for closeness and comfort, creating intimate pockets where groups can settle in, stay present, and move through the night together.
While the space is intentionally intimate, Club 666 is not designed to stay quiet all night. Each evening will feature two signature hype programmes created to shift the room’s energy at key moments, delivering show-led crowd activation and interactive rituals that are designed to feel unexpected, elevated, and distinctly Club 666, without relying on the usual playbook.
Among the club’s signature offerings is a service style not commonly experienced in Singapore’s nightlife landscape, including personal butler service tailored to guest preferences. With a focus on comfort, privacy, and seamless hosting, Club 666 aims to deliver an experience that feels less like a typical night out and more like being welcomed into a carefully orchestrated space, where the night flows and the service anticipates.
Club 666 is helmed by Glenn, who will be known publicly by his first name only. He is also behind The Gentleman’s Club, located within the same building. With plans for another nightlife concept still under wraps, Glenn’s vision for TPI Building is shaping into a one stop destination made up of distinct spaces that move like chapters, each with its own mood, energy, and purpose.
“People go out because they want variety, but the reality is they end up spending half the night moving from place to place,” said Glenn, owner of Club 666. “I want to build a one-stop entertainment hub where guests can experience different moods and environments without wasting time club-hopping. When we do it right, the night flows better, and guests can focus on enjoying themselves.”
What to expect at Club 666
Singapore’s first micro club, built for intimate capacity and elevated ambience
Discreet, curated experiences inspired by private club culture
Personal butler service and hospitality-led nightlife tailored to guest preferences
A new chapter within TPI Building’s evolving entertainment ecosystem
Two signature nightly hype programmes, designed as crowd-led moments you will not find elsewhere in Singapore
More than a dance floor and more than a bar, Club 666 positions itself as a social room for people who value belonging as much as atmosphere. By keeping the experience intentionally intimate, the club aims to make it easier to return, reconnect, and share nights that feel considered from the first arrival to the last song.
HONG KONG SAR – Media OutReach Newswire – 2 March 2026 — MemeStrategy, Inc. (“MemeStrategy” or “the Company”; HKEX: 2440), an Asia-based publicly listed digital asset company, today announced the launch of the world’s first tokenized Pokémon trading card fund (the “Fund”). The Fund is designed to offer professional investors institutional-level access to the collectible trading card market through EVIDENT Platform Services Limited (“EVIDENT”), a licensed alternative asset digital investment platform, marking a significant step in establishing trading cards as a recognized alternative asset class. Scheduled to launch during the 30th anniversary of the Pokémon franchise, the Fund represents a unique initiative that bridges culturally iconic collectibles with traditional institutional-level financial services.
A Booming, Multi-Billion Dollar Market
This February, a PSA 10 “Pikachu Illustrator” card, widely regarded as the holy grail of Pokémon cards and previously owned by internationally renowned influencer Logan Paul, achieved a record-breaking auction price of USD 16.492 million (approximately HKD 128 million). This sale surpassed the previous record for the most expensive sports card, the one-of-one dual-signed Logoman card featuring NBA legends Michael Jordan and Kobe Bryant. The event brought the global spotlight back onto collectible cards and underscored the growing cultural and collector interest in high-end trading cards.
The global collectibles market is projected to reach USD 628 billion by 2031, with the Asia Pacific region demonstrating particularly rapid growth momentum.[1] Within this market, the collectible card games segment is expected to reach USD 37.42 billion by 2034, rising from a projected USD 14.7 billion in 2025.[2] This expansion is driven by increased participation from digital native consumers and heightened institutional attention towards alternative assets. This surge also reflects a broader cultural shift among younger generations, who are increasingly engaging and investing in alternative cultural assets.
Among trading cards, Pokémon cards hold a distinguished position in the collector community. They are viewed not merely as game cards, but also as culturally significant assets supported by active secondary markets and well-established collectible value. According to reports from The Wall Street Journal and historical data from the authoritative platform CARD LADDER[3], Pokémon card values have exhibited long-term appreciation of more than 30x over the past 20 years, reinforcing their status as a resilient alternative asset class.
Crossing the Chasm, Moving Towards Institutional-Level Collection Investment
Although the trading card market presents substantial growth, direct participation by professional and institutional investors has historically been limited due to several structural challenges, including:
Authentication Risks: Concerns over asset provenance and widespread presence of counterfeits remain major deterrents for institutional-grade capital.
Custody Complexities: The high cost and operational difficulty of museum-grade physical storage, including security, insurance and climate-controlled facilities, make proper custody prohibitively expensive and operationally burdensome.
Market Fragmentation: A highly fragmented secondary market, dispersed inventory, and inconsistent sourcing channels make it difficult to acquire curated collections in bulk from reliable counterparties.
In view of this, MemeStrategy aims to deliver a comprehensive, institutional-ready one-stop solution. By launching the Fund through a publicly listed company platform and partnering with a licensed alternative asset digital investment platform, vault custodians supported by a professional third-party, and independent auditors and certifiers, MemeStrategy seeks to establish a robust, transparent, and institutional-level framework for professional investors to access the emerging cultural-asset market.
“Pikachu with Grey Felt Hat”: A Flagship Cultural Asset with Institutional Provenance
The Fund’s portfolio is anchored around a leading Pokémon card: the PSA 10 “Pikachu with Grey Felt Hat” card. Created through an official cross‑disciplinary collaboration between The Pokémon Company and the Van Gogh Museum in Amsterdam, the card draws inspiration from Van Gogh’s iconic “Self‑Portrait with Grey Felt Hat.” It represents a rare convergence of the world’s highest-grossing entertainment franchise and a globally renowned fine art institution.
Widely recognized as one of the most prominent Pokémon cards worldwide, the PSA 10 “Pikachu with Grey Felt Hat” is estimated to have a total market capitalization of over USD 94 million.
In light of its prominence and established market status, the Fund aims to acquire exposure representing approximately 25% of the PSA10 “Pikachu with Grey Felt Hat” cards currently available in the market, underscoring its strategic focus on this key asset. This positioning is supported by the following characteristics:
Appreciation: Secondary market prices for the card have risen more than 400% since its limited release in late 2023, based on publicly available historical data[4].
Scarcity: The Pokémon–museum collaboration was a time-limited initiative that concluded earlier than planned due to overwhelming demand. With a PSA 10 population of approximately 47,000[5] cards now permanently capped, its rarity is firmly established.
Authenticity and GradeAssurance: All cards held by the Fund undergo expert verification and are PSA 10 graded, consistent with market-recognized standards for condition and authenticity.
An Institutional-Level Infrastructurefora New Asset Class
Building on its focus on flagship cultural assets, MemeStrategy complements the Fund’s portfolio construction with an institutional-grade operational framework. By partnering with EVIDENT, a licensed alternative asset digital investment platform through which tokenized interests in the Fund will be made available for professional investors, MemeStrategy aims to provide a secure, transparent and robust structure for accessing cultural-asset investment.
Institutional-Level Custody: All physical cards are authenticated, insured, and stored in a museum-grade environment with temperature control and 24-hour surveillance, operated by Grade10 Vault, the Company’s professional card-vaulting service.
Enhanced Accessibility: Tokenization facilitates primary transactions on a licensed and secure platform, enabling professional investors to access tokenized interests in the Fund with greater efficiency and transparency.
Independent Audits: All underlying assets are subject to biannual Proof-of-Reserve audits by Deloitte or another Big4 international audit firm, ensuring full transparency and independent verification of asset holdings.
Ray Chan, Chief Executive Officer of MemeStrategy, said, “This initiative is about harnessing the distinctive market dynamics of cultural assets through institutional-level financial rigor. The collectibles market is expanding rapidly, yet institutional participation has remained limited due to logistical and security barriers. We are solving that problem. For the first time, we are providing a convenient and secure structure that allows professional investors to engage in this growing market without the burdens of physical ownership. This reflects our core mission to bridge culture and capital by creating accessible structures for the professional market.”
Florian M. Spiegl, Founder & CEO of EVIDENT, said, “Collectibles represent one of the most compelling frontiers in alternative assets — a market with proven performance but, until now, without the infrastructure to serve institutional capital. This fund demonstrates exactly what EVIDENT’s platform is built to do: take high-conviction asset verticals and structure them to the highest regulatory and institutional-grade standards. From custody to compliance to secondary liquidity, every layer is designed for professional investors. As we continue to expand our asset base into new verticals, the standard remains the same: institutional rigor, full regulatory compliance, and market infrastructure that investors can trust.”
MemeStrategy will serve as the General Partner (GP) through its wholly owned subsidiary, RWA Labs Limited, and will also make a strategic investment as a Limited Partner (LP), reflecting its strong conviction in the long-term cultural significance and market relevance of cultural collectibles. By combining blockchain-enabled transparency with institutional-level real-world custodianship, MemeStrategy aims to help shape the evolution of how collectibles are valued and traded in the Web3 era, contributing to the development of a structured cultural-finance landscape.
Disclaimer:This announcement is for informational purposes only and does not constitute an offer or invitation to the public in Hong Kong Special Administrative Region (“HKSAR”) to invest in the Fund or to acquire or subscribe for any securities or interests in any collective investment scheme. The Fund has not been authorized by the Securities and Futures Commission of HKSAR and is only available to “professional investors” (as defined in section 1 of Part 1 of Schedule 1 to the Securities and Futures Ordinance (Cap. 571)). This announcement is not intended for distribution to, or use by, any person in any jurisdiction where such distribution or use would be contrary to local law or regulation.
The Government is investing in extra support for Smokefreerockquest and Smokefree Tangata Beats, Associate Health Minister Casey Costello announced today.
“Any event that promotes a smokefree and vapefree lifestyle for our young people is worthy of government backing, and these events have become an iconic part of our Smokefree work”, Ms Costello says.
“The new contract with Health NZ ensures continuity for these nationwide youth music programmes, which have supported creativity, and, most importantly, wellbeing among our young people for 36 years,” Ms Costello says.
The new 3-year contract is for $550,000 per year – an increase from the previous $355,000. This funding forms part of $5.3 million in investments in marketing and quit smoking campaigns.
“Thankfully, young people have turned their back on smoking – the daily smoking rate for 14–15-year-olds is around 1 percent, and increasingly they are stopping vaping too”, Ms Costello says.
“But while we focus on getting older smokers to quit, it’s also important to keep reminding youth to stay smokefree and vapefree, and these events are a great way of reaching young people.”
The 2025 editions set records with over 1,010 entries, over 14,000 live audience members, and hundreds of thousands engaging online.
New Zealanders are still spending hours of their personal time online each day, despite a steady decline in positive sentiment about the Internet, new research shows.
The latest Internet Insights, annual research commissioned by InternetNZ | Ipurangi Aotearoa, reveals that nearly half (47 percent) of New Zealanders spend four or more hours a day on the Internet.
Less than three-quarters (72 percent) of Internet users feel the positives of the Internet outweigh its negatives. This figure has been in steady decline since 2019, when 90 percent felt there were more positives than negatives.
Fewer people think the Internet has a positive impact on cultural beliefs and values now too – 32 percent think it has a positive impact, down five percentage points in two years.
InternetNZ | Ipurangi Aotearoa chief executive Vivien Maidaborn says the research shows the increasingly complex relationship people have with the Internet.
“Love it or hate it, we’re all using the Internet a great deal in our work and personal lives. It’s become so integral to our day-to-day, I think most of us would struggle to get by without it. But that doesn’t mean it’s something we enjoy engaging with, and this complexity is increasing year on year.”
New Zealanders are concerned about a broad range of Internet issues, the research shows.
Seventy-one percent are extremely or very concerned about young children being able to access inappropriate content, 65 percent are concerned about the security of their personal data, and 64 percent are concerned about misinformation.
“This is the first time we have seen misinformation in the top three concerns,” says Maidaborn. “It shows increasing awareness of the critical eye and media literacy needed as an Internet user, which is a good thing, but it likely also reflects the increasing amount of misinformation online, including this new wave of unidentifiable AI-generated misinformation.”
Key Internet Insights 2025 findings:
47 percent of respondents spend four or more hours of their personal time a day on the Internet.
Internet users primarily spend this time on social media, emails and streaming TV & music.
Key concerns for Internet users are:
71 percent are concerned about young children being able to access inappropriate content.
65 percent are concerned about the security of their personal data.
64 percent are concerned about misinformation.
Some groups are more concerned about specific aspects of the Internet:
70% of Maori are extremely or very concerned about identity theft
87% of Pacific peoples are extremely or very concerned about young children accessing inappropriate content online.
Māori (64%) and Pacific peoples (80%) are extremely or very concerned about the Internet being used to share dangerous or discriminatory messaging.
48% of people aged 30-49 are extremely or very concerned about the Internet being distracting or a waste of time.
76% of people aged 70+ are extremely or very concerned about the security of personal data.
Less than a third of respondents say they know where to report concerning, harmful or dangerous content.
About the research
Internet Insights is an annual research report commissioned by InternetNZ | Ipurangi Aotearoa. The 2025 research was carried out by Verian, with interviews conducted between November 25 and December 8, 2025.
The sample size was 1003 and consisted of New Zealanders over the age of 18 sourced using online consumer panels. Results have a margin of error of +/- 3.1 percent.
The research covers a range of topics, including Internet use, social media use, and Internet-related concerns.
InternetNZ | Ipurangi Aotearoa is the home and guardian of the .nz domain. We’re not government-funded – we’re an independent, not-for-profit organisation that operates .nz for the benefit of all New Zealanders, reinvesting domain revenue back into the community. We provide grants, help to fund other organisations, and advocate for an accessible and safe Internet that benefits everyone in Aotearoa.
HONG KONG SAR – Media OutReach Newswire – 1 March 2026 – The eighth edition of “No Limits”, jointly presented by the Hong Kong Arts Festival and The Hong Kong Jockey Club Charities Trust, officially opened on 28 February evening at the Auditorium of Kwai Tsing Theatre. The opening programme, The Nature of Why, is performed by Paraorchestra—the world’s first professional inclusive orchestra—offering audiences an immersive arts experience inspired by Nobel Prize–winning physicist Richard Feynman. Fusing live orchestral music, contemporary dance and audience interaction, the work redefines the boundaries of inclusive art.
Under the theme “All of Us, All Ways”, the eighth edition of “No Limits” is committed to revealing the richness of diverse values and connecting people through the arts. For the first time, “No Limits” has collaborated with two of Hong Kong’s flagship performing arts companies—the Hong Kong Dance Company and the Hong Kong Chinese Orchestra—to produce multidisciplinary inclusive programmes. These collaborations aim to inspire new perspectives, demonstrate how inclusive arts are being further integrated into Hong Kong’s cultural mainstream, and open up the limitless imagination that diversity brings.
“No Limits” 2026 presents 11 boundary-breaking programmes across music, theatre, dance and film, in a total of 29 performances. In addition to Paraorchestra’s immersive orchestral-dance production The Nature of Why, highlights include: Wayfaring Beyond, a brand-new large-scale outdoor dance work co-produced by “No Limits” and the Hong Kong Dance Company, and co-choreographed and performed with the award-winning China Hong Kong Para Dance Sport Association; Light and Shadow on Strings, co-produced by “No Limits” and the Hong Kong Chinese Orchestra, featuring visually impaired rising star erhu player Yang Enhua in a concert blending traditional and contemporary Chinese music; the Asia premiere of award-winning contemporary dance work Harmonia by Theatre Bremen and Hungarian choreographer Adrienn Hód, challenging established notions of bodily value in dance; the Asia premiere of Precarious Moves, a semi-autobiographical solo performance by Vienna-based artist Michael Turinsky that confronts social expectations and established frameworks surrounding disabled bodies; “No Limits” Asia newly commissioned theatre work Two Blind Women in the Snowy Tokugawa Nights – Sleeping Fires with renowned director Kuro Tanino; and the Asia premiere of Zer-Brech-Lich, an original playful and sensorial musical dance theatre work by Swiss-based choreographer Alessandro Schiattarella, created and performed with three disabled performers. This year, “No Limits” launches the “Local Creative Research and Development Scheme”, pairing local artists with individuals of diverse abilities to co-create new works exploring inclusive practices. The initiative injects fresh vitality into Hong Kong’s inclusive arts landscape, while research outcomes will be presented during “No Limits” 2026 to showcase the potential of inclusive arts.
Ms Sum Fong-kwang, Vivian, JP, Permanent Secretary for Culture, Sports and Tourism, said: “‘No Limits’ provides a stage for artists with different abilities to showcase their creativity and talents, fostering an inclusive community. It bridges people with different origins, backgrounds and abilities, which on the one hand enriches our arts and cultural offerings, and on the other, showcases the role of creativity as a continuous driver of societal development. I wish this year’s ‘No Limits’ resounding success, and every audience find inspiration and enlightenment through the programmes.”
At the opening ceremony, Mr Sebastian Man, Vice Chairman of the Hong Kong Arts Festival Society, said: “Since its inception in 2019, ‘No Limits’ has promoted inclusion through local and international inclusive arts performances, as well as the Jockey Club ‘No Limits’ Education and Community Outreach Programme, showcasing the remarkable talents of artists with diverse abilities. As we enter the eighth edition, we are delighted to collaborate for the first time with Hong Kong’s flagship arts companies to present two locally produced programmes that embody the spirit of diversity and inclusion. We sincerely thank The Hong Kong Jockey Club Charities Trust, co-presenter of ‘No Limits’, for its long-standing support. We also thank our Strategic Supporting Partner, Arts with the Disabled Association Hong Kong, for providing comprehensive accessibility services to ensure that everyone can experience the power of the arts. Above all, we extend our heartfelt gratitude to every participating artist for their tremendous dedication.”
Mr Nicholas D Hunsworth, Steward of The Hong Kong Jockey Club, said: “In keeping with No Limits’ theme this year “All of Us, All Ways” – a series of community programmes will be presented by artists with varying abilities to promote inclusion. It reminds us that differently abled people are not different at all, but an integral part of a diverse society. The Hong Kong Jockey Club has long supported arts and cultural projects to enrich lives and build a culturally vibrant city – as evidenced by over 50 years’ funding for the Hong Kong Arts Festival. The Hong Kong Jockey Charities Trust – in partnership with the Hong Kong Arts Festival – has co-presented No Limits since its inauguration in 2019.”
Photo Caption: (From left) Ms Ida Lam, Chairperson of the Arts with the Disabled Association Hong Kong; Mr Sebastian Man Shiu-wai, Vice Chairman, Hong Kong Arts Festival Society; Ms Vivian Sum, Permanent Secretary for Culture, Sports and Tourism; Mr Nicholas D Hunsworth, Steward of The Hong Kong Jockey Club; and Ms Flora Yu, Executive Director of the Hong Kong Arts Festival, jointly served as officiating guests for the No Limits 2026 opening ceremony.
Building on its established practices, “No Limits” 2026 continues to advance social inclusion and talent development through a wide range of initiatives under the Jockey Club “No Limits” Education and Community Outreach Programme. These initiatives promote inclusivity and creativity, strengthen networks across the education and community sectors, and lay the foundation for a more empathetic and inclusive society. Programmes include the inclusive dance project VISION, International Symposium The Way Forward: A Humanistic–Tech Framework for Inclusive Innovation, school touring concert The Ways We Move, as well as the “No Limits” Creative Training Programme and Community Showcases.
In addition to live performances, online screening programmes include the documentary A Space in Time by Riccardo Servini and Nick Taussig, which follows a couple and their two sons born with Duchenne muscular dystrophy as they journey forward together; Sarah Polley’s Away from Her, portraying a couple of over 40 years facing early-onset Alzheimer’s disease; Taku Aoyagi’s documentary Fujiyama Cottonton, set at Mirai Farm, which serves people with disabilities, and exploring the beauty of everyday life, creativity and community; and Caroline Cavalcanti’s Lapse, a heart-warming story of two teenagers—a deaf skateboarder and a rap enthusiast—who form a bond through sign language and shared struggles.
Tickets for live performances are now available via URBTIX. Half-price concessionary tickets are offered to full-time students, people with disabilities and one companion, and Comprehensive Social Security Assistance (CSSA) recipients. (www.urbtix.hk/series/124?bannerCode=NL2026) Community programmes are free and open to the public without prior registration. Programmes screened online will be available free of charge on the official website www.nolimits.hk from 30 March to 25 May 2026.
Extending the spirit of inclusion beyond the stage, “No Limits” has also launched a brand-new accessibility-themed plush toys collection. Purchase “No Limits” programme tickets worth HK$500 or more in a single transaction via URBTIX to receive one No Limits Inclusive Plush Toy Redemption Coupon upon ticket collection. Available while stocks last.
Arts Accessibility Services “No Limits” collaborates with the Arts with the Disabled Association Hong Kong to enhance high-quality art projects with accessibility services and ensure that audiences with varying needs can enjoy performances without barriers. Accessibility services differ from programme to programme, and include audio description, accessible captions, sign language interpretation, theatrical interpretation, braille booklets, audio booklets, easy-to-read booklets and relaxed performances. Extra wheelchair seats may be available at the venues, and guide dogs are welcome.
For more event details, please visit the “No Limits” website: www.nolimits.hk Click here for programme details: www.nolimits.hk/programme Urbtix: https://www.urbtix.hk/series/124?bannerCode=NL2026
Appendix
Programme
Date
Programme
Performer/ Director
Venue
Highlights
27 Feb – 1 Mar 2026
The Nature of Why
Paraorchestra
Auditorium,
Kwai Tsing Theatre
28 Feb – 1 Mar 2026
Wayfaring Beyond
Hong Kong Dance Company & China Hong Kong Para Dance Sport Association
Parade Ground,
Tai Kwun
13-15 Mar 2026
Zer-Brech-Lich
Alessandro Schiattarella and Ensemble
Black Box Theatre,
Kwai Tsing Theatre
17-18 Mar 2026
Precarious Moves
Michael Turinsky
The Box,
Freespace, WestK
21-22 Mar 2026
Harmonia
Unusual Symptoms / Theatre Bremen / Adrienn Hód
The Box,
Freespace, WestK
27-29 Mar 2026
Two Blind Women in the Snowy Tokugawa Nights – Sleeping Fires
Kuro Tanino
Studio Theatre, Hong Kong Cultural Centre
28 Mar 2026
Light and Shadow on Strings
Hong Kong Chinese Orchestra (Chamber Ensemble)
Yang Enhua (Solo and Ensemble)
Auditorium,
Tsuen Wan Town Hall
“No Limits” International Symposium
8 Mar 2026
The Way Forward: A Humanistic–Tech Framework for Inclusive Innovation
JC Cube, Tai Kwun
Online Programmes
Free screening available on “No Limits” website
Programme
Director
30 Mar – 25 May 2026
A Space in Time
Riccardo Servini & Nick Taussig
30 Mar – 25 May 2026
Away From Her
Sarah Polley
30 Mar – 25 May 2026
Lapse
Caroline Cavalcanti
30 Mar – 25 May 2026
Fujiyama Cottonton
Taku Aoyagi
Hashtag: #NoLimits
The issuer is solely responsible for the content of this announcement.
Canterbury Police arrested drivers, impounded vehicles and issued infringement notices over the weekend as they moved to detect, deter and disrupt anti‑social road user activity.
With several large events drawing crowds to Christchurch, including Electric Avenue and a popular motorsport Chrome Expression Session for car enthusiasts, Police were prepared for the influx of visitors and acted early to keep roads and people safe.
Sergeant Ben Rutherford said the Operation Chrome team included bailiffs and was deliberately proactive. Broadly speaking his team was pleased with the weekend.
“We know unroadworthy vehicles and risky behaviour often go hand in hand with potential disruption and harm,” he said. “By taking illegally modified vehicles and dangerous behaviour off the road early we reduced the chance of trouble.”
He said the significant number of people leaving Hagley Park after the music festival added to the road policing workload.
“With more than forty thousand people spilling onto the streets, we worked hard to keep the city safe.
“One example from Friday night was a guy who did a wheelie off a red light past a crowd of people.
“Stunts can go badly wrong with disastrous consequences, especially right in the middle of a crowd.
“That motorbike was taken off the road immediately.”
Over the weekend Police monitored traffic circulating throughout Christchurch and ran multiple checkpoints targeting unsafe vehicles, licence breaches and alcohol‑related offending.
On Saturday night, more than 300 cars gathered in Northwood for a pre‑planned ‘cruise’ planned by Chrome Event organisers.
“Despite slowing traffic flow the drivers were generally well behaved and it was great to see the vehicles on display,” Sergeant Rutherford said.
The convoy travelled to Halswell with a brief stop in Ferrymead.
“The organisers were excellent. Their communication helped ensure everything stayed lawful and disruption was kept to a minimum.”
However, Sergeant Rutherford said Police still had to step in at times.
“As the weekend wore on, there were groups who needed reminding that dangerous vehicles and behaviour won’t be tolerated. We broke up gatherings, removed unsafe vehicles, issued infringements and intervened early.
“Police frequently see how tragedies can play out so we’re equipped and trained to manage safety risks, and we try to prevent something terrible happening.
“We don’t tolerate excessive noise, disruption, intimidation, street racing or unnecessary speed on our roads.
“It’s simple, we just want a fun and safe weekend for Christchurch visitors and residents.”
Provisional summary from the operation:
Twelve vehicles taken off our roads.
Six drivers gave excess breath‑alcohol readings.
Vehicle compliance: eight vehicles were green‑stickered as unsafe.
Issued over 200 infringement notices.
Police thank all those who reported concerns and encourage anyone with information on illegal or unsafe activity to make a report through the 105 service.
If you have information you’d like to share anonymously, call Crime Stoppers on 0800 555 111.
A bumper crowd brimming with colour and sparkles has descended on Hagley Park in Christchurch for the first day of the Electric Avenue music festival.
Split Enz leads a star studded line-up for Australasia’s biggest music festival this weekend.
Now in its 11th year, Electric Avenue has returned on an unprecedented scale, with 90,000 tickets sold to the $20 million two-day event.
Crowds descend on Chch for Electric Avenue music festival
Checkpoint
Haley Cron
Haley Cron from Dunedin travels every year for the Electric Avenue festival.
Nathan Mckinnon / RNZ
“I love a festival so any chance to get dressed up I’ll do it,” Haley says. “I trashed a bedroom getting ready this morning there’s hair extensions everywhere”.
She’s most excited to see Dom Dolla and Pendulum. “I just love hanging out with everybody, meeting new people, it’s such a good vibe here.”
Bonita and Angelah Rose.
Angelah Rose says her red and black outfit was from a local designer.
Nathan Mckinnon / RNZ
“This is just who I am as a person. Red, black dominating, you know how it is,” Angela says.
She says the pair are seasoned vets at Electric Ave, and have only missed about one over the years.
“So many good artists it’s going to be hard to get them all in.” The pair are most excited to see Becky Hill, Kesha, Split Enz, Pendulum, and Peking Duk.
Jaz and her crew
Jaz Ferguson and her crew have come to the festival in bright, colourful outfits from SHEIN.
Nathan Mckinnon / RNZ
“Really cheap to buy but very effective and bright and helpful for us to look out for each other with the pink hats,” Jaz says of their outfits.
“We have a doof stick coming which has got all our faces on it and lights for night time as well.”
Jaz says it was her and her husband’s 15th wedding anniversary today.
“I feel like it’s a really good vibe here, everyone’s quite chill. Even though there’s like 45,000 people it’s super good.”
Her crew are excited to see Pendulum, Dom Dolla, Kesha and The Streets.
Chloe Carrodus
Chloe Carrodus has come from Palmerston North for her hen’s party.
Nathan Mckinnon / RNZ
“We’re all mums and wives so it’s a big girl’s trip for us, we’re pumped,” she says. She and her group are adorned in sparkly silver outfits.
“I just wanted to wear something like out the gate and sparkly and bridey so here we are,” she says.
Chloe got her outfit from The London EDITION on Instagram, and she’s most excited to see Sammy Virji perform.
Kerry and Ruth
“We just love to be sparkly, and sequins is the theme really, so we’re just here to have fun.”
Nathan Mckinnon / RNZ
Kerry and Ruth from Christchurch have been coming to Electric Avenue together for the last six years and love wearing matching outfits. They’re pumped to see The Streets. Becky Hill, and Dom Dolla.
Anne and her crew
Bright and colourful is the theme of Anne Thorby and her crew’s outfits.
RNZ / Nathan Mckinnon
“The crowns light up at night. We love bright colours, we love festivals we love dressing up it’s so fun. We all got the same outfit and here we are.”
RNZ / Nathan Mckinnon
This group have gone for a “cowgirl” theme for their outfits, which have come from SHEIN and Warehouse Stationary.
They’ve come from Dunedin and Christchurch and are excited to see as many artists as they can, but most of all Kesha.
Michelle
Michelle (middle of the group) has come from the Far North.
RNZ / Nathan Mckinnon
Michelle says the bright yellow outfits came from op shops and Kmart. They can’t wait to see Sammy Virji, Dom Dolla, Becky Hill and Pendulum perform.
Mason
Mason has been to Electric Avenue five times now and is a “big fan of the vibe”.
RNZ / Nathan Mckinnon
Mason has been to Electric Avenue five times now and is a “big fan of the vibe”.
Their colourful outfits came from Temu. He’s excited to see The Streets, Becky Hill and Dom Dolla.
Khan Bell
Khan Bell’s first year at Electric Avenue has gone “brilliantly so far”. He has travelled from Tauranga with his partner.
RNZ / Nathan Mckinnon
“We’ve had a good trip down here, Christchurch has been great hospitality. It was cold this morning so I’m glad the sun’s out so I can bring the fun out.”
– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand
VIENNA, AUSTRIA – Media OutReach Newswire – 27 February 2026 – A high-level cultural delegation from Wuxi, China’s renowned “Home of Erhu,” has completed a landmark two-week musical tour across Belgium, Germany, Austria, and Hungary. Featuring an over 80-member ensemble from the Wuxi Cultural Exchange Group, the tour represents the city’s most significant international outreach since it was designated a UNESCO Creative City of Music in 2025.
Caption: A standing ovation for the Wuxi Cultural Exchange Group at the Elbphilharmonie Hamburg.
Launched on February 14, the “Chinese Folk Music Odyssey” featured seven major concerts alongside a series of academic and grassroots cultural exchanges. The tour served as a high-level dialogue between the traditional heritage of China’s Jiangnan region and the classical musical heartlands of Europe.
The tour opened at the Centre for Fine Arts in Brussels, where a capacity crowd of 2,000 experienced the vibrant Spring Festival Overture. The ensemble presented a “Chinese Music Feast,” using traditional instruments to paint an auditory “Jiangnan Scroll” of southern Chinese life. In a poignant finale, Chinese fiddles joined forces with local keyed violins to perform the classic Horse Racing. The fusion of Eastern and Western strings brought tears to the eyes of the Chinese diaspora and earned standing ovations from local attendees.
“The melodies possess both natural charm and profound cultural heritage,” noted Belgian music critic Philippe, following six curtain calls. “It is a truly borderless musical exchange.”
Beyond the concert halls, the group engaged with European pop culture in the heart of Brussels’ Comic Strip district. A “flash mob” titled Tintin’s Encounter with Jiangnan Music saw musicians performing alongside iconic murals of Tintin, engaging local youth and residents through social media-friendly cultural interaction.
Caption: Local residents experienced traditional Chinese instruments at the street event.
The journey continued through Germany’s elite venues, including Hamburg’s Elbphilharmonie and the Tonhalle Düsseldorf, showcasing the technical precision of Chinese folk orchestration. In the Austrian Tyrol, the tour took an improvisational turn as Wuxi musicians performed alongside local artists against the backdrop of the Alps, a live demonstration of the “beauty without borders”.
The tour concluded on February 26 in Vienna, where the ensemble hosted the “Dreamy Jiangnan” cultural salon at the Wiener Konzerthaus. The event paired musical performances with an interactive exhibition of Wuxi’s intangible cultural heritage, featuring traditional embroidery and clay figurines. The delegation also visited the University of Music and Performing Arts Vienna for the “Jiangnan Charm, Harmonious Resonance” China-Austria Music Exchange event. Through a series of academic dialogues with faculty and students, both sides engaged in a meaningful cultural encounter. These interactions went beyond simple performances, significantly deepening mutual understanding and strengthening the musical ties between East and West.
By integrating the “Voice of China” into the “World Symphony,” the Wuxi Cultural Exchange Group has opened a new chapter in Wuxi’s enduring musical engagement with the world.
Hashtag: #WuxiInformationOffice
The issuer is solely responsible for the content of this announcement.
YUNA Joins Forces with Infinix to Launch the NOTE 60 SERIES, Marking the Brand’s Bold Step into a New Era of Innovation and Style.
HONG KONG SAR – Media OutReach Newswire – 27 February 2026 – In a historic first, Infinix today announced K-pop girl group ITZY’s member, YUNA, as its first-ever Global Brand Ambassador, bringing her confidence, energy, and bold self-expression to global audiences.
The partnership reflects Infinix’s “Joy Tech, Beyond Limits” philosophy, reinforcing its commitment to empowering a new generation of users through creativity, individuality, and innovation. Coinciding with the global debut of Infinix’s annual flagship launch, the new NOTE 60 SERIES, the collaboration also signals a strategic step forward as the brand elevates its smartphone experiences for broader international users.
“I am so excited to reach out to my fans in a new way as Infinix’s Global Brand Ambassador. I’ve always believed that life should be filled with joy and the courage to show the world who you truly are. It’s been amazing to see how Infinix shares that same energy. I’m looking forward to this journey and can’t wait to show everyone the special stories we create together!” — YUNA, Global Brand Ambassador for Infinix.
Infinix Celebrates a Milestone with YUNA
As a young global K-pop icon, YUNA has risen to the top through discipline, self‑discovery, and fearless ambition. As the youngest member of ITZY, her vibrant confidence is her signature. Driven by an energetic passion, she inspires fans worldwide with her boundary-breaking spirit and continuous reinvention across music, acting, and beyond. These qualities align perfectly with Infinix’s commitment to flagship performance, refined aesthetics, and relentless innovation.
This partnership marks a strategic evolution for Infinix, elevating its appeal to the premium market. Together, Infinix and YUNA create a unified narrative that transcends hardware, positioning technology as a catalyst for joy and a powerful tool for self-expression. By integrating YUNA’s infectious energy with the NOTE 60 SERIES, Infinix is redefining its brand identity and empowering users worldwide, driving desirability among tech-savvy youth who demand both flagship-level sophistication and a platform for bold, joyful self-expression.
“Partnering with YUNA accelerates our mission to deliver a fun, cutting-edge mobile experience to young fans globally,” said TT Liu, CMO of Infinix Mobility. “Guided by the philosophy of Joy Tech, Infinix moves beyond talking about how advanced a phone is, to telling stories about how technology creates joy—when brands, users, and YUNA come together to illuminate every unique way of shining.”
Expanding into Global Premium Markets
This collaboration is strategically timed, launching alongside Infinix’s entry into the premium market and the global debut of its flagship NOTE 60 SERIES. This evolution is powered by a world-class ecosystem of industry leaders: Infinix’s first NOTE powered by Snapdragon from Qualcomm Technologies, Inc., Italian automotive and design legend Pininfarina for elegant aesthetics, and immersive SOUND BY JBL experience.
Together with YUNA, this partnership signals a transformative new chapter for Infinix—leveraging the NOTE 60 SERIES to inspire the generation of self-defined youth who prefer to express in their own unique way, and spread their voices to the world.
Amplifying Youthful Expression Through Joy Tech
With YUNA as Infinix’s global brand ambassador, Infinix NOTE 60 SERIES creates a deeper resonance with the youth by championing their pursuit of vibrant self-expression. This partnership transcends traditional technology, inviting a new generation to explore the boundless excitement of the “Joy Tech, Beyond Limits” philosophy.
Looking ahead, Infinix remains committed to advancing innovations that enable richer, more immersive experiences, while YUNA continues to inspire global audiences to embrace the joy, creativity, and limitless potential made possible through these breakthroughs.
Hashtag: #Infinix
The issuer is solely responsible for the content of this announcement.
SINGAPORE – Media OutReach Newswire – 27 February 2026 – Direct Funeral Services, Singapore’s leading funeral service provider, introduces new approaches to grief support with the launch of two pioneering resources: Music for Comfort and The Colours of Missing You.
Music for Comfort is the world’s first music album developed using monaural beats specifically designed for grief support in open spaces, while The Colours of Missing You is a children’s book that guides both young and old through the experience of grief using colour and storytelling. Together, these resources offer gentle, accessible pathways for emotional expression and reflection.
In line with the same commitment to bridging tradition and technology, Direct Funeral Services has also introduced Memory Weave, an AI-driven tool designed to help families honour and celebrate their loved ones through deeply personalised digital tributes, extending remembrance beyond the farewell.
Music for Comfort, a global first in funeral sound healing
Driven by a deep understanding of the needs of grieving families, Direct Funeral Services partnered with The TENG Company to co-develop Music for Comfort. The album is positioned as the world’s first to utilise monaural beats specifically designed for grief support in open environments such as funeral wakes.
Comprising 10 original tracks, the album was developed in collaboration with researchers from the Singapore Institute of Technology, with compositions aligned to the emotional stages of farewell. Early research findings indicate promising reductions in commonly reported grief-related symptoms, including anxiety and emotional overwhelm.
Alongside the album, Memory Weave, an interactive digital tool that offers families and friends a collaborative way to celebrate a life well lived. Attendees can contribute photos, videos, or audio messages via the app. These shared memories are then woven into a personalised digital montage, accompanied by music from the Music for Comfort album and played throughout the wake, offering attendees an intimate and reflective glimpse into the many facets of the departed’s life.
Jenny Tay, Managing Director at Direct Funeral Services, shares, “Every person’s life is a tapestry of stories and moments that deserve to be celebrated. With Memory Weave, we aim to provide families with meaningful ways to remember their loved ones, while creating a deeply personal farewell. By combining innovation with compassion, we hope to honour the beauty of each life lived.”
While Music for Comfort was initially conceived for funeral settings, its therapeutic potential extends beyond death care. The album may also support individuals navigating other forms of emotional loss, including divorce, illness, separation, or major life transitions. Building on The TENG Company’s Music for Mindfulness album released in 2023, Music for Comfort represents a continued exploration into emotional well-being through music. Four of the album’s ten tracks were released on Spotify in the last quarter of 2025:
The Colours of Missing You, a tender guide through loss
Written by Darren, The Colours of Missing You is an exquisitely illustrated book that helps both children and adults navigate the intricate emotions of grief. Inspired by Darren’s personal experience of losing his sister in 2022, and drawing on his expertise as a psychotherapist and leader in the deathcare industry. As the third title in a series of grief-support publications, this book uniquely uses the colours of the rainbow to represent the non-linear nature of grief.
Each colour – from red for anger to blue for sadness and indigo for healing – invites readers to acknowledge and process their feelings without judgment. The book’s captivating visuals were brought to life by Shan Jiang, a Shanghai-born, London-based artist renowned for his collaborations with global brands like Nike and NASA.
“The typical ways of addressing grief through silence, avoidance, or clinical terms can feel heavy and inaccessible. What we need is a softer entry point. Music and story help us feel first, before we think,” said Darren TK Cheng, CEO of Direct Funeral Services.
Together, these initiatives by Direct Funeral Services reflect a growing shift towards more compassionate and inclusive approaches to grief support in Singapore, underscoring how thoughtful integration of art, technology and human care can create meaningful spaces for remembrance, reflection and healing.
Hashtag: #DirectFuneral
The issuer is solely responsible for the content of this announcement.
Thursday, 26 February 2026 – Jim Beam Homegrown is turning up the volume on the future of New Zealand music, announcing six breakthrough acts from 150 entries to perform on the Manuka Phuel Nexus Stage at this year’s festival at Claudelands Oval in Kirikiriroa, Hamilton.
The Jim Beam Homegrown Manuka Phuel Nexus Stage is a dedicated performance platform for emerging Kiwi artists and reflects the Festival’s commitment to fostering homegrown talent.
Andrew Tuck, Jim Beam Homegrown chief executive and managing director, says the new stage represents a defining step in the festival’s evolution.
“Homegrown has always been about backing Kiwi music at every level,” says Tuck. “The Manuka Phuel Nexus Stage gives these emerging artists the opportunity to perform and gain visibility. These artists are already making noise, but we’re providing them with a stage to be louder!”
The selection process The six emerging artists who will perform at Jim Beam Homegrown have been selected from a nationwide competition, which was open to artists of all genres. To be eligible, artists needed to have 2026+ monthly listeners, followers, or streams; 2026+ social followers; a press kit; radio ready single; and the ability to perform a 45-minute set of original music. Jim Beam Homegrown received 150 entries, of which the final six have been selected.
They are: Altercation X Erin G, Cordian, Imani-J, PRINS, Verity, Wet Denim.
Tuck says the overwhelming number of entries to the competition proves the future of Kiwi music is in safe hands.
“To see more than 150 artists put themselves forward shows just how much talent is out there. Narrowing it down to six wasn’t easy, but these artists have something special. In a few years, we fully expect some of these artists to be headlining major stages across the country.”
Tuck says: “Jim Beam Homegrown has always been a ground for fostering Kiwi talent, and this initiative strengthens that pathway. We’re not just booking artists for a set, we’re investing in the next chapter of New Zealand music.”
With seven stages, tens of thousands of fans, and the most ambitious production scale in Homegrown history, the addition of the Manuka Phuel Nexus Stage reinforces the festival’s mission: uplifting local talent while celebrating the artists who carry the sound of Aotearoa to the world.
Manuka Phuel Nexus Stage Line Up
Altercation X Erin G | Auckland Tamaki Makaurau-based singer-songwriter, Erin G, and Queenstown DJ/Producer Altercation will team up to dive into new sonic territory with their EP, Dream it Again, a poignant EP which captures Erin G’s intimate storytelling alongside Altercation’s soulful side of drum and bass.
Cordian | Auckland An alternative/progressive rock group from Auckland, the band consists of Mike Raven (Guitars/Keys, Kris Raven (Drums/Percussion, Nick Raven (Bass) and Dity Maharaj (Vocals/Artwork).
Imani-J | Nelson Haitian-New Zealand artist, Imani-J is crafting music that sits at the intersection of Afrofusion and R&B. An artist in the truest sense of the word, Imani-J is a singer, songwriter, dancer, and performer with a strong vision for her future.
PRINS | Auckland PRINS is a New Zealand-born pop artist carving out a bold, international lane with sleek pop hooks, sharp visuals, and a live show built for scale. Blending high-energy pop with a darker, confident edge, her sound sits comfortably alongside RAYE, Selena Gomez, Tate McRae, and Ashnikko, polished, emotionally charged, and unapologetically modern.
Verity | Hamilton Known for her deeply honest storytelling and blend of pop, soul, and R&B, vocalist, performer and social media star, Verity started her musical journey in Hamilton, Kirikiriroa and continues to carve out a sound that is raw, real and unmistakably her own.
Wet Denim | Wellington Four-piece rock pop band from Wellington, Wet Denim established themselves as a must-see live act in the Australasian scenes. The group’s sound is a blend of captivating vocals, lush guitar chords, syrupy basslines, and hard-hitting drums.
The festival will be held in Hamilton for the first time in 2026, kicking off on Saturday, 14 March at Claudelands Oval.
About Jim Beam Homegrown
Jim Beam Homegrown is New Zealand’s largest Kiwi-only music festival, celebrating the best of Aotearoa’s musical talent. Established in 2008 in Hamilton, initially as X*Air, an extreme sports festival, Jim Beam Homegrown showcases a wide range of genres, including rock, funk, pop, reggae, hip-hop, and electronic music.
HONG KONG SAR – Media OutReach Newswire – 25 February 2026 – International Entertainment Corporation (the “Company“, together with its subsidiaries, the “Group“; HKEX stock code: 1009), is pleased to announce that its revenue for the six months ended 31 December 2025 (the “Period“) recorded a significant period-on-period increase of 71.5% to approximately HK$458.9 million. This notable growth was primarily driven by a rise in land-based casino revenue and increased commission income resulting from provision of gaming platform to other authorised gaming operators for gaming business during the Period.
Meanwhile, the Group reported gross profit of approximately HK$245.0 million, representing a remarkable increase of 169.4% as compared with approximately HK$90.9 million in the six months ended 31 December 2024 (the “PreviousPeriod“). Gross profit margin for the Period was approximately 53.4%, up 19.4 percentage points from approximately 34.0% for the Previous Period, mainly due to the increase in commission income with higher gross profit margin. The Group narrowed its loss by 9.7% to approximately HK$85.8 million during the Period (Previous Period: loss of approximately HK$95.0 million).
Future Outlook
The Group remains optimistic about the long-term prospects of the Philippine gaming and tourism industries, underpinned by its advantageous geographical position in Southeast Asia and growing popularity as a premier travel destination.
The Group commenced a renovation initiative in the previous financial year. An operational milestone was reached in January 2026 with the completion of renovation works on the casino’s ground floor. This project successfully expanded the gaming space, increasing the number of gaming tables from 99 to 116 tables as well as increasing the number of slot machines and electronic gaming machines from 517 to 664 machines by the end of January 2026. With further facility upgrades scheduled for completion, the Group anticipates a grand reopening of the hotel in July 2026. These enhancements are designed to elevate the overall guest experience, thereby driving higher occupancy rates and fostering sustained revenue growth across both gaming and hospitality segments in the long term.
Separately, the Group entered into a Subscription Agreement on 17 November 2025 with DigiPlus Interactive Corp., a leader in the Philippine casino and gaming sector as well as a Fortune Southeast Asia 500 company. Subject to approval at the extraordinary general meeting on 26 February 2026, the Group will issue up to HK$1.6 billion convertible notes with a maturity of five years and an interest rate of 3% per annum, which is expected to significantly bolster the Group’s liquidity and long-term financial position.
Part of the net proceeds will be used to fund the Group’s Investment Commitment, which currently includes capital investments for acquisition of land for the expansion of its integrated resort in Manila City and the construction of additional hotel rooms, for provision of other amenities of the integrated resort, and for ongoing upgrades, refurbishments and renovations to the facilities and infrastructures of both the hotel and the casino.
With the above initiatives in place, the Group is strategically positioned to navigate the evolving Philippine gaming and tourism landscape, leveraging its bolstered capital, expanded gaming capacity, and enhanced hotel facilities to capitalize on emerging business opportunities and create greater sustainable, long-term value for its shareholders.
The issuer is solely responsible for the content of this announcement.
KUALA LUMPUR, MALAYSIA – Media OutReach Newswire – 25 February 2026 – First established in 2019, JIN Gastrobar introduces a refreshed take on modern continental cuisine, bringing together thoughtfully crafted dishes, curated gin selections, and signature cocktails in a warm, contemporary setting. Conveniently located within Aurum Theatre at The Gardens Mall and Mid Valley Southkey JB, the restaurant welcomes diners without the need for a movie ticket, making it an accessible dining destination for both moviegoers and dine-in guests alike.
JIN Gastrobar’s new menu includes a variety of intercontinental mains such as grilled meats and fish, delectable pastas, desserts, and not forgetting JIN Gastrobar’s signature cocktails and mocktails.
Inspired by a play on the words “Jin,” meaning gold in Mandarin, and “Gin,” one of its signature pours, JIN Gastrobar was created as a space where food, drinks, and meaningful moments come together. The space is designed to suit every occasion, from intimate date nights and quality time with loved ones to casual gatherings and solo indulgence.
A Prelude of Flavours
The refreshed menu begins with a variety of appetisers, including sharing platters, starters, soups, and salads designed to offer warmth and balance. Highlights include:
Chargrilled Octopus (RM68)
Canadian Atlantic Lobster Roll (RM58)
Trio of Fries (RM32)
Mains from Land and Sea
The main course selection spans grilled meats, fresh seafood, and comforting pastas, offering something for every palate. Amongst a range of selections, diners can choose from:
Complementary sides such as russet steak fries, sautéed spinach, sautéed mushrooms, truffled mashed potatoes, and Peruvian asparagus with broccolini are available, priced from RM15 to RM35.
Desserts and Signature Sips
To end on a sweet note, guests can enjoy desserts including Classic Tiramisu (RM25), Chocolate Brûlée, Lime and Lychee Mousse (RM25), and Apple Crumble with Ice Cream.
features signature cocktails (RM50 each) with flavour profiles such as olive, pineapple, calamansi, and lychee. Non-alcoholic mocktails include Peach Sunrise, Pineapple Passion, Calamansi Fizz, Elderflower Fizz, and Virgin Mojito.
Dine & Post, Get Rewarded
From 21 January 2026 to 21 March 2026, the first 300 GSC Rewards members who dine in and post an Instagram Story tagging @jingastrobar will receive a complimentary mocktail.
Dine in at JIN Gastrobar.
Post an Instagram Story and tag @jingastrobar.
Present the Story to staff to redeem a complimentary mocktail.
JIN Gastrobar operates daily from 11:00am to 10:00pm at The Gardens Mall, Kuala Lumpur and Mid Valley South Key, Johor Bahru
With its refreshed menu and inviting ambience, JIN Gastrobar offers a versatile dining space suited for every occasion.
For further updates, stay tuned to JIN Gastrobar’s social media channels: https://www.instagram.com/jingastrobar/?hl=en
HONG KONG SAR – Media OutReach Newswire – 23 February 2026 – Esperanza Fintech (Securities) Limited (“Esperanza Securities“, or “Company“) announced today that, following the granting of the formal permission on its tokenized investment business by the Securities and Futures Commission of Hong Kong (“SFC“) on 13 February 2026, the Company is introducing an innovative financing and community engagement model for the live entertainment industry.
The tokenized investment model enables Esperanza Securities to issue investment tokens (also known as security tokens) through an investment fund it manages, allowing eligible investors to participate with a significantly lower entry barrier and trade the tokens in secondary markets.
Against the emerging tokenized real-world-asset (RWA) trend worldwide, Esperanza Securities is among the first platforms with a systematic focus on the live entertainment industry. Following the granting of the permission by the SFC, two upcoming tokenized entertainment investments will include the Chris Wong 40th Anniversary Concert which will take place in Hong Kong on 6 to 7 March 2026 and a Korean boy band concert which will take place in Kuala Lumpur, Malaysia on 11 April 2026.
Innovation beyond technology: a focus on product structure
Entertainment industry assets have long benefited from a clear business model and income structure, which include box office receipts, sponsorships and merchandise revenue. Through tokenization, Esperanza Securities offers a new path for asset owners such as concert organizers to access capital without altering their operational models, while enabling investors to directly participate in opportunities linked to real economic activities.
The application of the tokenized investment model spans beyond the live entertainment industry. In fact, opportunities with clear business models and easily valuated underlying assets possess immense potential for tokenization. For instance, cultural and experiential projects with clear community monetization models and assets with stable and predictable cash flows, such as commercial properties, can all benefit from tokenization.
Bridging global investors to Asian assets through a 24×7 platform
Through the proprietary platform, espetopia.com (“Platform“), Esperanza Securities enables eligible investors to back real economy linked Asian projects, anytime and anywhere, without geographical limitations.
Eligible investors from all over the world can access all investment-related information, trade investment tokens and redeem utilities and experiences associated with the underlying assets through the Platform. This infrastructure enhances the visibility of Asian opportunities in global markets and effectively pools global capital to fund real economic developments, across verticals from cultural intellectual properties to the broader experience economies.
Looking ahead: charting a digital financing path for high-quality real assets
Looking forward, Esperanza Securities will continue to advance its asset-backed tokenized investment model under a prudent and compliant framework. The Company aims to progressively build a sustainable digital investment ecosystem centered on real assets with clear economic foundations.
As market acceptance of RWA digitization continues to grow, the Company sees promising potential for asset-backed tokenization to become an integral financing option alongside traditional public listings and private placements.
Hashtag: #EsperanzaFintech
The issuer is solely responsible for the content of this announcement.
Influencers must stay on the right side of the tax rules. (File photo)Supplied/123rf
Emily Holdaway, or Officially Em, as she is known to her thousands of online followers, says she is running a constant type of mental tally when it comes to what is a “business” expense and what is just the cost of normal life.
While Holdaway had more recently moved her focus to offering social media workshops and building an online community, she was previously best known for her blog Raising Ziggy and related work as a social media influencer.
Some of the admin questions she had to address as part of her business highlight the complexities the influencing industry navigates when it comes to staying on the right side of the tax rules.
Generally, self-employed people could claim their business costs in their tax returns, which reduced the amount of income on which they must pay tax. But people usually cannot claim deductions for personal expenses.
When your income comes from sharing your life, that can be a problem.
Holdaway said she claimed all the business-related expenses any other type of business would. “My computer, my phone, and then we have a percentage of our living expenses that we’re allowed to claim based on the floor area ratio of our office space compared to our house space.
“But for things like when I’m in my car and I’m sharing on my [social media] stories, I’m thinking is this work or is this not?”
She said she did not claim food costs or clothing, whereas other social media influencers might.
“I don’t claim my clothes but I also shop at secondhand shops. If I’m running an event or if I’m somewhere that’s because of work or I’m going to something I’m going to create content with, then yes.
“If I’m going out and getting lunch and sharing that I went to McDonalds I’m not going to claim that because it’s still part of your everyday living. But if I have an event where I’m getting together with a whole heap of people within the community then it’s a business expense.”
She said it was complicated for self-employed people, and particularly influencers.
“Is work the influencing or what you’re getting paid to influence? Is it work when you’re showing up because you’ve got a campaign for someone… or it just the get ready with me, hey I’m having my coffee let’s go for a walk. You could argue both ways, I think. Does my coffee become a work expense if I show that on my story every morning?”
Hnry chief executive James Fuller said, based on the 2023 census, influencers in New Zealand were paying up to $50 million a year in tax but that figure was fluid and growing.
Hnry co-founder James Fuller. (File photo)Supplied/Hnry
“It’s a really interesting development over the last 10 to 15 years in the economy that we have a whole group on the sole trader spectrum who are earning income in content creation and as influencers.
“That can stretch from everything from micro influencers who have a couple of thousand followers all the way through to people who have a couple of hundred thousand.
“I think often when people say ‘influencer’ they imagine someone with millions and millions of followers. But what we are seeing is actually the rise of content creators who are able to generate an audience, bring in brand deals, partnerships, sponsorships and then managing revenue effectively as a sole trader.”
He said people needed to be aware that if they were generating revenue, even if it was just from talking about life, that would come with the same obligations as any other business.
“As such there are things to consider such as the taxes, but also the expenses side of things.”
In the 2023 Census, 2646 people selected “multimedia designer” or “multimedia specialist” from the available occupation options, 228 of whom were self-employed.
“It can be quite tricky to work out, you know, actually is this my life? Am I being paid for being in business or am I being paid for being on social media? But, you know, in the eyes of IRD, it’s very clear that if you’re if you’re generating revenue from it, then it is a taxable activity and therefore you are in business and you have all of the opportunities that come from being in business when it comes to expenses, tax management, those sorts of things.”
Expenses that influencers would often be able to claim would include home office costs, travel expenses, music, the cost of giveaways or the games used by gaming creators.
Inland Revenue said people could claim expenses even in years where they spent more than they earned but there needed to be an intention to make a profit.
“If you monetise content and receive regular amounts from subscribers or platforms, then the amounts are likely income and taxable,” the department said.
Deloitte tax partner Robyn Walker said small scale social media use could sometimes be considered a hobby if there was not a clear intention of making a profit or there was not a lot of activity happening.
But there would always be a level at which it had to be treated as a business.
She said expenses claimed would need to have a sufficiently direct connection to the income-earning activity.
“The other thing to be aware of is that if you are buying assets and then you stop doing content creation that might have implications. If you bought a phone or a camera or a computer and you claim that deduction – normally as depreciation depending on the cost of the asset, if you stop doing then you will have to make tax adjustments to reverse out or effectively sell the asset back to yourself.”
Designed as the next milestone in Infinix’s flagship journey, the NOTE 60 SERIES elevates the brand’s signature NOTE line with a sharper focus on flagship-class performance, expressive design, and immersive everyday experiences that go beyond expectations.
HONG KONG SAR – Media OutReach Newswire – 18 February 2026 – At its annual flagship showcase, Infinix today unveiled the NOTE 60 SERIES, featuring the NOTE 60 Pro and NOTE 60—demonstrating a new chapter in delivering premium technology experiences to global users.
Infinix NOTE 60 Pro
Advancing design and performance within its class, the NOTE 60 Pro marks a significant milestone as Infinix’s first smartphone built on the Snapdragon® 7s Gen 4 Mobile Platform, delivering exceptional responsiveness and seamless multitasking that befits flagship-level performance.
It further elevates everyday experiences with an avant-garde Active Matrix Display that stays invisible when inactive, yet transforms into a dynamic interface for personalized interactivity, intelligent notifications, and on-screen entertainment—expanding what a smartphone can do in everyday life. Paired with a fluid 144Hz 1.5K Ultra HDR Cinematic Display and immersive SOUND BY JBL, the NOTE 60 Pro sets a new benchmark for premium multimedia experiences within its segment, proving that exceptional technology can be both powerful and pleasurable.
“NOTE 60 SERIES is our annual flagship showcase—an ‘all‑out’ blockbuster created with industry leaders,” said Tony Zhao, CEO of Infinix. “Embracing a whole-series 5G strategy, we are bringing together the best of performance, design, and entertainment—from our first NOTE powered by Snapdragon from Qualcomm Technologies, Inc., to premium design craftsmanship with Pininfarina, and immersive SOUND BY JBL. This ensures we deliver a pleasurable, fun experience that lets our global consumers actively enjoy the best modern technology.”
Performance Without Compromise with Snapdragon
The NOTE 60 Pro is powered by the Snapdragon® 7s Gen 4 Mobile Platform, delivering robust multitasking and exceptional gaming efficiency with up to 75%¹ faster CPU performance and 210%¹ improved GPU rendering compared to the NOTE 50 Pro. Infinix and Qualcomm Technologies have collaborated for the NOTE 60 Pro, integrating Infinix’s proprietary performance engine to fully harness the hardware’s capabilities. These optimizations deliver up to 25%¹ enhancement in multitasking performance, significantly faster app launch speeds, and a smoother, more stable experience when switching between apps during heavy use.
Powered by its strong Snapdragon chipset, the NOTE 60 Pro takes gaming performance even further, delivering smooth high‑frame‑rate gameplay across popular titles. Mobile Legends: Bang Bang and Honor of Kings run up to 120 FPS, ensuring ultra‑responsive, fluid action even during intense team battles. To maintain consistent performance, the NOTE 60 Pro also introduces an upgraded 3D IceCore Vapor Chamber cooling system featuring a 0.36 mm copper sheet that directs heat from the chipset to the vapor chamber, reducing temperature by up to 3 °C¹ during intense gaming for stable, sustained performance.
Active Matrix Display: Functionality Through Design
Featured on the back of the NOTE 60 Pro, the all-new Active Matrix Display represents a major design innovation for the NOTE SERIES.
This miniature, interactive LED interface stays invisible until activated, then instantly lights up to show smart notifications, animated pets, or mini-games. It enables at-a-glance information, versatile alerts, and moments of playful interaction. Users can personalize it with custom signatures, emojis, or dynamic patterns, giving users a creative outlet to express their personality and emotions, and turning the phone into a more emotionally connected personal companion.
Built around a robust one-piece frame of high-strength aluminum alloy with a refined micro-matte texture, the NOTE 60 Pro delivers a sophisticated, high-end feel while offering durable practicality and dependable IP64 protection² against dust, splashes, and everyday wear. Infinix NOTE 60 SERIES introduces multiple practical functions on the robust middle frame, including the new One‑Tap Button providing instant, customizable activation of Silent Mode or tools like the flashlight. It also features an industry-exclusive Advanced Health Monitor, providing proactive wellness tracking of key vitals like heart rate, blood oxygen, and long-term HRV to deliver actionable health insights.
Immersive Entertainment: A Stunning 1.5K Display Paired with SOUND BY JBL
The NOTE 60 Pro is engineered for an immersive, all-day comfortable audiovisual experience. It features a vivid 1.5K display with ultra-slim bezels, reaching 4500 nits peak brightness for visibility in any light and a 144Hz refresh rate for ultra-smooth visuals. The display is designed for extended viewing comfort, featuring motion sickness prevention technology, which helps users stay comfortable while reading, watching videos, or gaming when commuting or traveling. Last but not least, NOTE 60 Pro is protected by durable Corning® Gorilla® Glass 7i, and this visual excellence is complemented by a high-fidelity stereo sound system with SOUND BY JBL, to complete a truly compelling entertainment experience.
Capture Anything, Day or Night: The Pro-Grade Camera Setup
At the core of the Infinix NOTE 60 Pro’s imaging system is the exclusive 50MP OIS Night Master Camera, engineered to deliver crystal-clear photos and stable videos even in low light. Paired with a 112° ultrawide sensor, the system effortlessly captures everything from expansive landscapes to group portraits.
The device marks a major leap in imaging with Infinix’s first Ultra HDR pipeline, enabling full-chain HDR imaging, from capture and processing to display for brilliant, true-to-life photos. This high-end shooting mode preserves details in shadows and highlights that standard shots often miss, resulting in greater dynamic contrast range and rendering everything from daylight to neon with perfect clarity. Complementing this, the new Live Photo mode captures life as it happens and turns every photo into a vivid, pocket-sized memory.
Rounding out the professional imaging suite are intelligent features like 2x Lossless Portrait Zoom for studio-quality framing, 4K Ultra-Steady Video recording³ with creative filters, and the Infinix AI Studio for effortless, intelligent editing.
All-Day Power, Intelligent Care
The NOTE 60 Pro features a battery capacity up to 6500mAh⁴, a substantial 25%¹ increase over its predecessor. This provides ample power to support all-day browsing, messaging, and gameplay. To ensure power and performance are maintained in the long run, Infinix combines the increased energy density with an industry-first active healing system that automatically repairs internal battery materials in the long term, extending the battery longevity up to 200 cycles over time and ensuring at least 6 years of effective, hassle-free battery performance. The NOTE 60 Pro keeps you charged with 90W wired and 30W wireless⁵ charging. For the fastest wireless experience, an Infinix MagCharge phone case⁵ is included to guarantee perfect alignment. This gives you both the speed and the flexible convenience to power up seamlessly throughout your day.
Infinix NOTE 60: Flagship Implementation with Greater Accessibility
A design similar in high-end refinement to the NOTE 60 Pro’s graces Infinix NOTE 60, another 5G phone featuring a premium metal frame, a 1.5K Ultra HDR display at up to 144Hz, and exceptional battery capacity with advanced charging and longevity management. It’s built around the ultra-efficient MediaTek Dimensity 7400 Ultimate 5G mobile platform and delivers true 5G performance. The NOTE 60 sports many of the quality features common to the latest NOTE lineup, including Active Halo notification lighting, highly optimized system-level software, and the 3D IceCore Vapor Chamber cooling system. It retains the 50MP OIS Night Master Cam and Live Photo mode of NOTE 60 Pro, promising fun memory capture, editing, organization, and sharing with family, friends, and more.
Beyond “Pro”: Expanding the NOTE 60 SERIES
As a key step in its flagship journey, Infinix also previewed the NOTE 60 Ultra, marking a bold move into the premium segment. Designed by Pininfarina, the NOTE 60 Ultra introduces breakthroughs in form and delivers comprehensive upgrades in imaging, performance, and connectivity—representing the pinnacle of performance and experience within the NOTE 60 SERIES. More details about the NOTE 60 Ultra will be announced at a later date.
Demonstrating Infinix’s commitment to long‑term user support, the entire NOTE 60 SERIES comes equipped with the upgraded XOS 16, offering three generations of XOS platform upgrades and five years of security patches⁶. In addition, the whole series also supports eSIM connectivity⁷, providing users with greater flexibility and convenience in managing their mobile network experience.
Product availability
NOTE 60 Pro is available in five colors:* Mist Titanium, Solar Orange, Deep Ocean Blue, Mocha Brown, Frost Silver, Torino Black (Design by Pininfarina)*
It will be available in three variants:* 8GB + 128GB, 8GB + 256GB, 12GB + 256GB
NOTE 60 is available in five colors:* Mist Titanium, Rose Gold, Fizz Blue, Midnight Black, Mocha Brown
It will be available in two variants:* 8GB + 128GB, 8GB + 256GB
*Availability may vary by country/region. The Turino Black (Design by Pininfarina) will be released at a later date. Please consult local retailers and third-party shopping websites for more purchasing options.
*Available storage and RAM are less than the total memory due to storage of the operating system and software pre-installed on the device.
Price and availability vary between markets and sales channels. Please refer to the Infinix Official website for product availability and detailed regional sales information.
Disclaimer
Snapdragon is a trademark or registered trademark of Qualcomm Incorporated. Snapdragon is a product of Qualcomm Technologies, Inc. and/or its subsidiaries.
¹All data comes from Infinix laboratories. The testing data may vary slightly between different test versions and testing environments.
²The phone is dustproof and splash-proof under normal use. Under controlled laboratory conditions, its performance can reach IP64 level under IEC 60529 standard. Differences exist between real-life scenarios. Any damage caused to the phone by immersion in liquid is not covered under the warranty.
³Record at up to 4K 30 fps, with ultra-steady stabilization and a wide range of creative filters.
⁴Battery capacity and configurations may vary by market.
⁵MagCharge requires using the Infinix-branded magnetic attachment phone case.
⁶The specific XOS upgrade plan for each model will be announced separately. Please note that availability of this upgrade may be limited in certain countries.
⁷eSIM availability is carrier and region-dependent; it may not be supported in all countries.
Hashtag: #Infinix
The issuer is solely responsible for the content of this announcement.
Foo Fighters have announced two huge stadium shows for New Zealand in January 2027.
They will play in Christchurch on 19 January, before performing at Auckland’s Western Springs Stadium on 22 January.
Hawkins had been a member of the Foo Fighters since 1997. They have become one of rock’s most popular bands, winning 12 Grammy Awards including Best Rock Album four times.
The Foo Fighters – currently made up of Dave Grohl, Nate Mendel, Chris Shiflett, Pat Smear, Rami Jaffee and Ilan Rubin – have visited New Zealand several times. They were last here in January 2024.
General tickets go on sale 25 February.
– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand
A Canterbury photographer, who has a project that turns portraits into time capsules, is inviting new faces into his lens at a Christchurch studio next week.
For more than a decade, Charlie Fox has been creating time-lapse portraits. The full-size versions are a towering 1.2 metres-tall and rendered at a staggering 150 megapixels. The detail, in full on his website, is to the point out that viewers can see skin follicles.
“I encourage people to put their noses up against the paper and just drink in the quality,” Fox told Nights.
“The eyes of the images especially, you can see the reflection of me in the catch light. That’s the level of detail that we’re playing with…
“I think the subjects are very brave to participate because they’re shown in such extreme levels of detail and quality that I haven’t really seen it anywhere else.”
The project, Panochron, began in 2013 and has since captured 30 people, including 12 repeat participants.
Fox hopes to reconnect with his earliest subjects and photograph them again, building what one friend described as a “longitudinal study” of the human face.
Some participants under 18 return annually, which Fox hopes will serve as a mini-movie of their journey into adulthood.
“In life, you have a lot of choice about things, but you don’t have any choice at all about the passage of time, that’s just a steady fact.”
Alongside the portraits, he now records brief interviews, asking subjects what they would say to their younger selves and inviting them to leave a message to be heard in a decade’s time.
“Some really interesting conversations will be had between them with themselves, I think, through this.”
Fox, who has spent 25 years behind the camera, traces his fascination with this portrait style back to a black-and-white 35mm portrait that first captivated him.
“Ever since then, I’ve just been sort of driven to keep capturing images in this style.”
Bookings with Fox for Sunday and Monday are available through the Photosynthesis Studio website.
– Published by EveningReport.nz and AsiaPacificReport.nz, see: MIL OSI in partnership with Radio New Zealand