
Indigenous people and environment advocates from Nueva Vizcaya gathered in front of the Department of Environment and…

Passengers flying Cebu Pacific (CEB) will soon have access to high-speed in-flight internet as the airline rolls out…

The Department of Social Welfare and Development (DSWD) distributed Family Food Packs (FFPs) on Tuesday to affected…

When Josef was diagnosed with autism at four years old, his family chose acceptance over uncertainty.

The National Bureau of Investigation did not review a video in which Vice President Sara Duterte said she feared for…

More than the name and costimes: Sofia Trazona speaks her mind
Sofia Trazona Tiktok
What's your take?
Google Preferred Sources
Get more Daily Tribune stories in your search results
Add Daily Tribune as a preferred source on Google Search.
Continue reading
In the middle of renewed conversations surrounding the legacy of the iconic dance group, a younger voice stepped forward — not from the stage, but from home.
Sofia Trazona, daughter of original member Izzy Trazona, took to TikTok to share her perspective after remarks criticizing the group’s wardrobe, choreography, and public image circulated online. Rather than reacting with hostility, she reframed the discussion toward meaning and intent.
Speaking candidly, Sofia highlighted what she believes audiences have long overlooked about the performers.
“One thing I love about SexBomb is that people don’t see them because of their clothes. They see them beyond the clothes, they see them as empowering women…
But if people see them the other way around, then there’s something wrong with you because women are not sexual objects.”
Her statement quickly resonated among fans — especially those who grew up watching the group dominate noontime television while balancing humor, athletic choreography, and mass appeal. For many viewers, the routines were never just spectacle; they were energy, confidence, and accessibility.
Sofia’s words also carried generational weight. As a trans woman raised around performers often reduced to stereotypes, she reframed the narrative from objectification to agency — suggesting that meaning lies not in presentation but in perception.