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They lived in New York and she\ngave premature birth to twins, who died. She was scared and the brief\nmarriage was a terrible chapter in her life. Tita went back to Manila,\nwhere as a 22-year-old, she looked for work. Her English speaking\nskills were an asset, and she went to the newly opened dzBB radio\nstation, owned by Bob Stewart. There were a hundred people in the queue\nbut the Spanish mestiza was hired to replace Rose Bush as the new Host\nof "Homemakers' Club of the Air." From thereon, with an initial talent\nfee of Ph. P100 a month, Tita moved into more prominent circles. One\nwas a radio job with the legendary Vero Perfecto. Then Tita transferred\nto dzPI, another radio station, where she hosted a rival show (of\n"Homemakers'"), "Women's Club of the Air." Tita's earnings of Ph. P800\na month was a huge sum already in the 1950s. Tita has also become the\nnewest "Camay" girl (Camay was a popular Filipino soap brand). Already\na radio star, Tita went back to school to finish her history course.\nAfter graduating, Tita accepted a teaching job that paid Ph. P5.00 an\nhour, an pathetic sum compared to her radio fees that paid Ph. P50 a\nminute. Tita eventually became the highest-paid radio talent, earning\nPh. P75 a minute. In 1952, convinced by a magazine editor (Ernie Evora)\nto give the movies a try, Tita reluctantly joined the cast of\n"Rosalinda," starring Rodolfo Ruiz and produced by Philippine Artists\nManagement. The movie launched Tita as the Philippines' version of\nElizabeth Taylor. Tita then moved to Sampaguita Studios to co-star with Pancho Magalona\nin Kasaysayan ni Rudy Concepcion (1952), where Tita portrayed Elsa Oria. Tita was on a roll, and she\nsoon appeared opposite Cesar Ramirez in El indio (1953). Because of her Spanish\nseñorita looks, Ms Muñoz played "Blanquita," a beautiful foil to the\nleading lady, Nena Cardenas. Ms Muñoz also played a Spanish señorita foil to\nLinda Estrella in Teksas, ang manok na nagsasalita (1952), which also starred Magalona, Myrna Delgado and comedian\nTolindoy. This was followed by Tulisang pugot (1952) opposite Fred Montilla. These films\nwere a combination of dramatic romance and sometimes suspense (as in\nTulisang pugot (1952), which means "Headless Bandit.") Tita was appearing in movies\none after the other but she was eyeing a new medium: Television. Ms\nMuñoz, according to herself, became the first (Filipina) woman to\nappear on (Philippine) television; she was also the first production\nmanager, under the aegis of the legendary Koko Trinidad. The "First Lady of\nPhilippine television" also made history with the very first kissing\nscene, opposite actor Ronald Remy. Tita broke new ground with dramatic\ntelevision shows, including "Sorry, Wrong Number" {adapted from the\n1943 American radio by Lucille Fletcher}; it was aired as a one-woman teleplay\non "Caltex Caravan Presents" and was directed by National Artist for\nfilm Gerardo de Leon. Tita also appeared on the Philippine television show\n"Balintataw." Tita continued to appear in an eclectic array of films,\nincluding Mad Doctor of Blood Island (1968) -which was internationally released, and Lilet (1971),\nboth directed by Gerardo de Leon; Destination Vietnam (1968), and The Evil Within (1970), both directed\nby yet another National Artist for Film, Lamberto V. Avellana. National Artist for\nFilm Lino Brocka also handled Tita for Stardoom (1971), a poignant film on decadent\nsexual mores of the era. Still another National Artist for Film,\nIshmael Bernal, directed Tita in Sugat sa ugat (1983) and Pahiram ng isang umaga (1989), both powerful dramatic\nfilms about love and despair. 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They lived in New York and she\ngave premature birth to twins, who died. She was scared and the brief\nmarriage was a terrible chapter in her life. Tita went back to Manila,\nwhere as a 22-year-old, she looked for work. Her English speaking\nskills were an asset, and she went to the newly opened dzBB radio\nstation, owned by Bob Stewart. There were a hundred people in the queue\nbut the Spanish mestiza was hired to replace Rose Bush as the new Host\nof "Homemakers' Club of the Air." From thereon, with an initial talent\nfee of Ph. P100 a month, Tita moved into more prominent circles. One\nwas a radio job with the legendary Vero Perfecto. Then Tita transferred\nto dzPI, another radio station, where she hosted a rival show (of\n"Homemakers'"), "Women's Club of the Air." Tita's earnings of Ph. P800\na month was a huge sum already in the 1950s. Tita has also become the\nnewest "Camay" girl (Camay was a popular Filipino soap brand). Already\na radio star, Tita went back to school to finish her history course.\nAfter graduating, Tita accepted a teaching job that paid Ph. P5.00 an\nhour, an pathetic sum compared to her radio fees that paid Ph. P50 a\nminute. Tita eventually became the highest-paid radio talent, earning\nPh. P75 a minute. In 1952, convinced by a magazine editor (Ernie Evora)\nto give the movies a try, Tita reluctantly joined the cast of\n"Rosalinda," starring Rodolfo Ruiz and produced by Philippine Artists\nManagement. The movie launched Tita as the Philippines' version of\nElizabeth Taylor. Tita then moved to Sampaguita Studios to co-star with Pancho Magalona\nin Kasaysayan ni Rudy Concepcion (1952), where Tita portrayed Elsa Oria. Tita was on a roll, and she\nsoon appeared opposite Cesar Ramirez in El indio (1953). Because of her Spanish\nseñorita looks, Ms Muñoz played "Blanquita," a beautiful foil to the\nleading lady, Nena Cardenas. Ms Muñoz also played a Spanish señorita foil to\nLinda Estrella in Teksas, ang manok na nagsasalita (1952), which also starred Magalona, Myrna Delgado and comedian\nTolindoy. This was followed by Tulisang pugot (1952) opposite Fred Montilla. These films\nwere a combination of dramatic romance and sometimes suspense (as in\nTulisang pugot (1952), which means "Headless Bandit.") Tita was appearing in movies\none after the other but she was eyeing a new medium: Television. Ms\nMuñoz, according to herself, became the first (Filipina) woman to\nappear on (Philippine) television; she was also the first production\nmanager, under the aegis of the legendary Koko Trinidad. The "First Lady of\nPhilippine television" also made history with the very first kissing\nscene, opposite actor Ronald Remy. Tita broke new ground with dramatic\ntelevision shows, including "Sorry, Wrong Number" {adapted from the\n1943 American radio by Lucille Fletcher}; it was aired as a one-woman teleplay\non "Caltex Caravan Presents" and was directed by National Artist for\nfilm Gerardo de Leon. Tita also appeared on the Philippine television show\n"Balintataw." Tita continued to appear in an eclectic array of films,\nincluding Mad Doctor of Blood Island (1968) -which was internationally released, and Lilet (1971),\nboth directed by Gerardo de Leon; Destination Vietnam (1968), and The Evil Within (1970), both directed\nby yet another National Artist for Film, Lamberto V. Avellana. National Artist for\nFilm Lino Brocka also handled Tita for Stardoom (1971), a poignant film on decadent\nsexual mores of the era. Still another National Artist for Film,\nIshmael Bernal, directed Tita in Sugat sa ugat (1983) and Pahiram ng isang umaga (1989), both powerful dramatic\nfilms about love and despair. Tita played mother to Tirso Cruz III in two\nfilms: in "Now" directed by Lino Brocka, where Eddie Garcia was her husband, and\nin Elwood Perez's Till We Meet Again (1985). In 1991 Tita joined the international cast of\n_A Fei jing juen (1991)_, playing the mother of Hong Kong actor Leslie Cheung. In 1992 Tita\njoined the Nora Aunor film Inay (1993), about incest and strained family\nvalues. Tita's last film appearance was in the Sharon Cuneta film Madrasta (1996), an\naward-winning and financially successful film about step-families. She\nalso joined the television soap Sana ay ikaw na nga (2002), as the haughty mother, "Doña\nAmparo," of the secondary lead male, Eric Quizon, opposing her son's\nrelationship and impending marriage to the heroine, played by Tanya Garcia.\nNowadays, Ms Muñoz lives alone in her own condominium unit in San Juan,\nsometimes visited by writer-friends Nestor Torre and Behn Cervantes. 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