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Problematizing the popular: The dynamics of Pinoy pop(ular) music and popular protest music
Abstract
In 1973, the pop music industry in the Philippines, long dominated by the American Top 40, was jolted by the emergence of a new kind of sound that delivered soulful Filipino lyrics in the medium of Western rock. At about the same time the protest movement found, in the popular forms of Western rock and folk, powerful vehicles for cultural resistance. This experimentation within and outside the industry generated great interest across social classes and opened many possibilities for new kinds of popular music, later to be called Pinoy (slang for Filipino) rock or Pinoy pop music. This article looks into the dynamics of Pinoy pop/rock and protest music during the period of authoritarian rule and after, marking their points of intersection and divergence and analyzing the factors that account for the rich popular music production in the 1970s and the 1980s.
... From the music of folk and indigenous peoples in various regions to church music and the songs brought by colonisers, the Philippines is rich with musical and creative heritage across the country. This musical diversity has resulted in hybridity in terms of the musical styles and practices of Filipino artists (Arceo-Dumlao, 2017;Castro, 2011;Cayabyab, 2018;Gabrillo, 2018;Gil, 2007;Maceda, 2007). It has also generated a unique 'Filipino sound'. ...
... It has also generated a unique 'Filipino sound'. Despite the Anglo-American influence in its melody and musical renderings, Filipino music grew stronger as the Filipino language became more apparent in the songs written by Filipino songwriters, artists and performers (Maceda, 2007). ...
COVID-19 had a global impact on health, communities, and the economy. As a result of COVID-19, music festivals, gigs, and events were canceled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis, however, there are pre-existing trends in the music business – the rise of the streaming economy, technological change (virtual and augmented reality, blockchain, etc.), and new copyright legislation. Some of these trends were impacted by the COVID-19 crisis while others were not.
This book addresses these challenges and trends by following a two-pronged approach: the first part focuses on the impact of COVID-19 on the music business, and the second features general perspectives. Throughout both parts, case studies bring various themes to life. The contributors address issues within the music business before and during COVID-19. Using various critical approaches for studying the music business, this research-based book addresses key questions concerning music contexts, rights, data, and COVID-19. Rethinking the music business is a valuable study aid for undergraduate and postgraduate students in subjects including the music business, cultural economics, cultural management, creative and cultural industries studies, business and management studies, and media and communications.
... From the music of folk and indigenous peoples in various regions to church music and the songs brought by colonisers, the Philippines is rich with musical and creative heritage across the country. This musical diversity has resulted in hybridity in terms of the musical styles and practices of Filipino artists (Arceo-Dumlao, 2017;Castro, 2011;Cayabyab, 2018;Gabrillo, 2018;Gil, 2007;Maceda, 2007). It has also generated a unique 'Filipino sound'. ...
... It has also generated a unique 'Filipino sound'. Despite the Anglo-American influence in its melody and musical renderings, Filipino music grew stronger as the Filipino language became more apparent in the songs written by Filipino songwriters, artists and performers (Maceda, 2007). ...
This chapter addresses the question of how Australian-based music professionals perceived the changing role and function of music charts in the contemporary music economy following the epochal moment in 2017 when streaming was first included in the Australian Recording Industry Association charts. By investigating the impact of music streaming services such as Spotify and Apple Music on patterns of taste making in Australian popular music culture shortly following this historical moment, this chapter examines how music streaming services changed the cultural ecology of music in Australia at this time. In doing so, this chapter contributes to our understanding of the impact that northern hemisphere curated streaming service playlists have on Australia’s homegrown talent, and the country’s popular music industries more broadly. The research informing this chapter was conducted in 2018–19 and it is significant because at that time Spotify’s curation practices were mysterious to the music professionals we interviewed. This meant that they felt their livelihoods had come to depend on a service they did not know how to influence.
... Many Filipinos would be familiar with Bayan Ko (My Country/Nation), written in 1928 by poet Jose Corazon de Jesus and set to kundiman 3 music by composer Constancio de Guzman, that expressed the desire for freedom from colonial power, and since then has become a metaphor for struggle against all forms of oppression (Gimenez-Maceda, 2007). Historically, the song continued to circulate among the population, gaining more traction particularly during the rise of the nationalist movement in the 1960s and throughout the period of the dictatorial regime of former Philippine president Ferdinand Marcos, Sr. (Gimenez-Maceda, 2007), where it inadvertently became the anthem of mass demonstrations, along with other songs that it inspired. ...
... Many Filipinos would be familiar with Bayan Ko (My Country/Nation), written in 1928 by poet Jose Corazon de Jesus and set to kundiman 3 music by composer Constancio de Guzman, that expressed the desire for freedom from colonial power, and since then has become a metaphor for struggle against all forms of oppression (Gimenez-Maceda, 2007). Historically, the song continued to circulate among the population, gaining more traction particularly during the rise of the nationalist movement in the 1960s and throughout the period of the dictatorial regime of former Philippine president Ferdinand Marcos, Sr. (Gimenez-Maceda, 2007), where it inadvertently became the anthem of mass demonstrations, along with other songs that it inspired. Musicians and composers in the Philippines such as Noel Kintanar, Louie Pascasio, Jess Santiago, and the band Joey Ayala at ang Bagong Lumad, among others, crafted and performed songs that are "popular" in that they dramatize the struggles of and can easily be sung by the marginalized population (also the majority). ...
This chapter presents an analysis of the frames used by Vietnam’s online mainstream news websites in their reportage of climate change from 2010 to 2019. It also discusses how they disseminate news reports on climate change in a linear manner—from the newsrooms to the readers. It is found that there is an apparent absence of audience engagement in the comment sections, which has limited the media’s role in shaping critical public opinion. Online mainstream journalism in Vietnam, serving primarily an informative role, has simply conveyed official messages regarding national adaptation strategies of the country but still lacks inclu- sive and interactive spheres for public discourse. This chapter further shows that the use of the governmental responsibility frame recurs in the articles through the frequent utilization of images of and quotes from government officials, affirming the character of Vietnam’s journalism industry as state-controlled. Finally, this chapter also discusses how citizen journalism through social media could generate new ways of understanding and interpreting climate change, offering implications for future research on the possible roles of Vietnamese social media and of novel forms of online environmental citizen journalism in reporting climate change.
... Ang mga pagaaral sa musika na tanyag ay nanatili sa mga margin ng african-american hanggang 1980's (Shepherd, J. et al. 2003).Hanggang 1990s ang mga hip-hop at iba pang mga black na musika na genre ay naging mga paksa para sa mga pagtatanghal ng komperensya, syposium, artikulo, at libro bagamat maraming mga iskolar na minsan ay hindi pinansin ang kanilang musika, sinimulan nila ito bilang isang gamit upang suriin ang iba't ibang mga aspeto para sa mga isyu ng lahi, kasarian, pagkakakilanlan, etniko, may akda at musika sa media (Shepherd, J. et al. 2003). Ang industriya ng musika noong 1973 na pop sa Pilipinas ay matagal na pinangungunahan ng American Top 40, ay nabigla sa paglitaw ng isang bagong uri ng tunog na naghatid ng mga malulugod na liriko ng Pilipino sa daluyan ng Western rock (Maceda, T. G. (2007). Sa halos parehong oras natagpuan ang kilusang protesta, sa mga tanyag na anyo ng rock at folk, daan para sa ipaglaban ang kultura at makilala ang mga ito bilang pagpapakilala natin sa mga ibang bansa. ...
Visayan Popular is a popular singing competition that encourages people (Bisaya) in Cebu to composed songs for its current generation compositions that sings all through out their heart. The culture is important to look at as a place where one of the factors is the use of language in order to determine the culture of a group and its purpose. This study used descriptive research and was anchored to the linguistic style of Noam Chomsky that can facilitate language teaching and learning from what information being heard and read in phenomenological approach. The study aim to analyze selected songs for 1) content style, 2) context, 3) and, social relations. The study found that the use of local language in teaching the lessons and the contextualization of language were rich in social interaction and expanded human attraction to information about the development use of one's own language. Filipino language can be considered a contribution in a society to the linguistic and its universal phenomena. ABSTRACT:
The COVID-19 pandemic has impacted the music industries in many negative ways. Nonetheless, it has also brought about new possibilities for music production, performance and distribution, as well as collaboration and networking. This chapter analyses posts and interactions in Facebook music communities (FMC) involving independent amateur songwriters from the Philippines to show how these ‘virtual music networks’ transformed musical processes and practices during the pandemic. Moreover, the implications of these networks for contemporary music making and business are also examined. As shown in this research, FMCs are regarded as do-it-yourself/do-it-ourselves (DIY/DIO) support systems and sites of career trajectory negotiation, which have been especially helpful to amateur musicians during the COVID-19 crisis. FMCs allow members to reciprocate support and achieve accomplishments as they participate in the platform. Moreover, these virtual music networks are not only devoted to a single artist but to the practice of independent music production for musicians across genres, skill level, experience and involvement in the music industries. This research re-examines virtual platforms as sites that enable independent musicians to participate in, reinforce and complement the mainstream music industries. It problematises the usual business model of reliance on major labels for music production, consumption and distribution in the Philippines.
Music is a vital art form for expressing and interrogating human interconnectedness with both natural and built environments. However, the capacity of Philippine revolutionary music in demonstrating the relations between local fisherfolk and their marine environments remains unstudied. To Philippine scholars of the radical working-class movement, the conditions of the countryside primarily determine the characteristics of revolutionary art, literature, and media, a category that espouses the underclass’s struggle for social change. Hence, a survey of said works would reveal an imaginary moored to images of farmland and plantations juxtaposed to mountains, the tropic reification of guerilla warfare. Thematically, fisherfolk—a sector of the peasant class—and their site of production—the marine coast—are emphasized less. Bodies of works that take the radical potential of fisherfolk as a central concern include the songs produced by the revolutionary musical group Aplaya. Recordings of the songs enter a fluid transmission from the coast and the countryside to digital platforms in cities. Scored in an upbeat rhythm reminiscent of marches, these songs seek to arouse, organize, and mobilize fisherfolk to participate in the working-class movement. This chapter determines and delineates the hydroaesthetics of selected songs from Aplaya’s oeuvre as a lynchpin for politicizing marine lifeways. I argue that, in these media texts, the littoral zone of production is transformed into the guerilla zone of armed struggle, infusing the aquatic in the otherwise terrestrial aesthetics of protest in the Philippines. By strategically using hydrosocial tropes, Aplaya’s music reimagines fisherfolk’s labor as a means of resistance rather than an input for (capitalist) production. What also emerges from this revolutionary hydroaesthetics is a discourse of the natural environment that subverts the bourgeois construction of water as an exploitable resource, asserting a holistic politics against human and ecological exploitation.
The performance of cover songs in popular music has long been a subject of critical discussion and debate due to the artistic, social, cultural, and commercial issues that covers raise. In non-Western societies, most popular songs covered by artists are Anglo-American, a situation which implicitly privileges Western music and reinforces both the “west and the rest” trope and the cultural imperialism thesis. Taking American amateur artists and their online videos performing Filipino popular music as case studies, this article examines how social media platforms facilitate and problematize center-periphery relations in popular music through a diffusion of cultural products “from the rest to the west.” Moreover, we show that more than the promise of audience reach, the phenomenon reflects how these cover artists embody cultural and social situatedness in Filipino culture. As they mimic the mimics, they also embody an identity in motion.
Ang lokalisasyon sa mga piling aralin sa Filipino ay tutugon sa isa sa mga misyon ng batayang edukasyon na base sa kultura. Kagaya ng pagtataguyod ng ibang bansa sa kanilang wika ay siya ring pagtataguyod ng mga Pilipino sa sariling wikang Filipino. Ang pinulungan sugbuanon ay isang estratehikong kanya-kanyang kakayahan na ipabatid sa kahit sinoman ang kausap nito.
Pinatotohanan ito ni Pesirla (2012) nang sinabi niyang: “nilangkub ang kahanás istratikahun sa mga istratihiya nga pangpakigpulungay nga gisulti ug wa gisulti”. Nangangahulugan lamang na mayaman ang sa sariling lokal na panitikan ang kultura ng mga Pilipino. Marami ang paraan ng paghahatid ng mensahe sa kapwa, ito ay maaaring sa pamamagitan ng mga berbal at di-berbal na komunikasyon. Isang halimbawa ang musika tungo sa tagapakinig nito. Ang pagkaunawa sa damdaming nais ipabatid mula sa napakinggan ay naaayon sa mga karanasan. Isa sa mga epektibo at makapangyarihang kasangkapang pandamdamin ay ang musika.
Ayon kay Cabangon (2016) isang kilalang kompositor sa bansa na lumilikha ng mga awiting nasusulat sa Filipino na sumasalamin ang awiting Filipino sa buhay, gawain, kultura, pakikibaka, inspirasyon, pangyayari sa kapaligiran, at sa nararamdaman ng mga Pilipino. Anumang awitin mapaluma mapabago hangga’t naisasapuso ang kahulugan ay malalim ang mapaghuhugutan at ginagamit sa paglalahad ng isang karanasan ukol mga pangyayari sa bawat paligid.
Localization in selected Filipino lessons will address one of the missions of basic culture-based education. Just as other countries promote their languages, Filipinos promote their own language in Sugbuanon pinulongan to use as a strategic assembly for an individual ability to use it. The study uses descriptive research and the use of selected popular Visayan songs to achieve the aforementioned using the institutional linguistics of Halliday (1964) which discusses the relationship of language and its user where the style voice, audience, register, and Brown’s (2016) purpose or VARP that facilitates language teaching and learning from audible and readable information. This study ensures that linguistic content will be answered using 1) Voice- words, phrases, parables: 2) Audience - vocabulary, style of speech; 3) Register- formal and informal: and 4) Purpose - genre and message of songs in society. The study found that the use of local and contextualized lessons is rich in linguistic content in songs translated in the local language and is now trendy music especially in the interest of students because the lyrics of the songs are their vernacular facilitates learning and human relations.
Keywords: voice; purpose; register; audience; content style
Despite the disparity of forms of state violence—from the killing of farmer-activists and peasant organizers in haciendas to the state-endorsed shooting of suspected drug addicts and pushers—protest songs and protest music continues to face the bullets of the state and respond to the issues of the times. This paper then attempts to examine the depiction of state violence in selected post-Marcos protest songs, ranging from folk songs to rock and the newly-emerging protest rap genre, and compare and analyze the trends and motifs employed by these songs despite the differences of the issues they depict.
Rank-and-file supporters of the Bangsamoro rebellion (1972-1977) articulated their personal sentiments about the war in a genre called "rebel songs." The lyrics reveal that fighters' personal aspirations often diverged from the official aims of separatist leaders. This article examines how rebel songs transitioned into "Moro songs" in the post-martial law era and why they came to more narrowly reflect the movement's official goals of Moro unity and Islamic renewal. While Muslim separatists hinged their ideology on the concept of a shared religion and history distinct from the rest of the Philippines, the musical vehicle they approved to convey aspirations for political and religious autonomy was not, however, indigenous genres, such as tudtol or dindiken. Rather, Moro songs set Magindanaon lyrics to the melodies of American folk, country and rock ballads—such as Bryan Adams's "Straight from the Heart"—to frame protests against the Philippine government's incursion into the homeland, the fight for religion and calls for Muslim unity. By endorsing this hybrid genre to broadcast separatist goals, the movement opened up a communicative space for its message to internal and external audiences, across cultural and national boundaries.
In “Dahil Sa Iyo: The Performative Power of Imelda's Song,” Christine Bacareza Balance articulates the role of musical performance in the shaping of the “spectacular politics” of the former Philippine first lady. The article argues against depoliticized aesthetic and critical practices that attempt to separate art from politics. Instead, the article suggests that it was the deployment of musical art forms in Marcos’ performance of self that could bolster the execution of the Marcos’ political agenda, characterized by corruption, extra-juridical violence, and human rights abuse. Thus, the article concludes with a turn to artistic renderings of Marcos, arguing that such performances map the relationship between US imperialism, Filipino history, and the intimate sphere of Filipino America.
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