UNIVERSITY OF THE PHILIPPINES Bachelor of Arts in

UNIVERSITY OF THE PHILIPPINES
Bachelor of Arts in Journalism
Mark Louie A. Bonayon
INTERPRETING ENSEMBLES: A COMPARATIVE STUDY OF THE
PROMOTIONAL COVERAGE OF LOCAL AND INTERNATIONAL MUSIC
EVENTS BY THE PHILIPPINE DAILY INQUIRER, SUMMIT MEDIA, AND WHEN IN
MANILA FROM JANUARY TO DECEMBER 2012
Thesis Adviser:
Professor Marichu C. Lambino
College of Mass Communication
University of the Philippines
Date of Submission
March 2012
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Available only to those bound by confidentiality agreement
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ii
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________________________________
Mark Louie A. Bonayon
April 2013
iii
INTERPRETING ENSEMBLES: A COMPARATIVE STUDY OF THE
PROMOTIONAL COVERAGE OF LOCAL AND INTERNATIONAL MUSIC
EVENTS BY THE PHILIPPINE DAILY INQUIRER, SUMMIT MEDIA AND WHEN IN
MANILA IN THE PHILIPPINES FROM JANUARY TO DECEMBER 2012
by
MARK LOUIE A. BONAYON
has been approved for
the degree of BACHELOR OF ARTS IN JOURNALISM
by
Professor Marichu C. Lambino
and approved for the
University of the Philippines College of Mass Communication
by
Dr. Rolando B. Tolentino
Dean, College of Mass Communication
iv
BIOGRAPHICAL DATA
PERSONAL DATA
Name
Mark Louie A. Bonayon
Permanent Address
40 Longhorn St. Rancho Estate IV – East
Concepcion Dos, Marikina City
Telephone Number
(+63-2) 933-4564
Email Address
[email protected]
EDUCATION
Secondary Level
Marist School, Marikina City
Primary Level
San Beda College, Manila
ORGANIZATIONS
Assistant Vice President and Finance & Corporate Affairs
Manager, UP Advertising Core
Publicity Committee Member, UP Journalism Club
WORK EXPERIENCE
Intern, Nickelodeon, May 2012
Intern, Vgrafiks Branding & Advertising Co., April 2012
English Tutor, RareJob Philippines, Inc., August 2011 to
present
v
ACKNOWLEDGEMENTS
To my thesis adviser, Professor Marichu Lambino, who imparted her knowledge,
helped me in the continuous improvement of my thesis to the very last detail, and
unwaveringly guided her advisees all throughout, thank you.
To the journalism department: all my professors who educated us during our stay
in the university and trained us for our future careers, and Ate Raquel who never grew
tired of updating us and granting our requests for the completion of our thesis, thank you.
To my resource persons, Mr. John Hudson Go and Ms. Emmie Velarde, who
accommodated me for interviews which contributed a lot to my thesis, thank you.
To my survey respondents, friends from Facebook, who did not mind my
pestering and took time to seriously answer the questions on my survey, thank you.
To my dear colleagues who were always there for consultation during times of
confusion, gave relief when I’m worried and stressed, and helped me enjoy life despite
the burdens of schoolwork, thank you.
To all my relatives who gave me a pat in the back when I’m almost out of morale
and energy, especially my aunt, Ampy Valera and my cousins, thank you.
To my beloved parents, Edilberto and Aurie, and my dearest siblings, Patricia and
John Patrick, who were always there at all means, ever supporting me through each and
every way they can, thank you so much.
To God Almighty whom I depend on through all these hardships, and to whom I
offer all that I do, thank you.
This research would not be completed without the help of the abovementioned.
THANK YOU.
vi
DEDICATION
God Almighty, the Creator of all music.
Parents, relatives, friends who support my jam.
For people who continue to dedicate their lives for music.
My inspirations in music:
Katy Perry,
Glee, One Direction, Taylor Swift, Keane, JoJo, Owl City, Ke$ha, Lawson,
David Archuleta, Colbie Caillat, Kelly Clarkson, Greyson Chance,
Daughtry, Westlife, Corrinne May, Rihanna, Beyoncé, Ed Sheeran, The Script,
Jon McLaughlin, Demi Lovato, John Mayer, Rob Thomas,
And to all my classical legends from the jukebox times,
My childhood favorites of the 90s and 2000s,
OPM,
And to the emerging artists of today and tomorrow who make music alive.
For all music makers who continue to give emotion and harmony to each moment of
every day in a person’s life.
For the love of music.
vii
ABSTRACT
Bonayon, M. A. (2013). Interpreting Ensembles: A comparative study of the promotional
coverage of local and international music events by the Philippine Daily Inquirer,
Summit Media and When In Manila in the Philippines from January to December 2012.
Unpublished Undergraduate Thesis, University of the Philippines College of Mass
Communication.
This thesis analyzes the role that media plays in covering music events and how
the perception of Filipinos is affected by the coverage. 2012 has been a busy year for
Filipino music enthusiasts as a lot of music events were staged in the country. With the
surge of foreign music events in the Philippines, the researcher looks at how much
attention the Philippine Daily Inquirer, Summit Media and When In Manila gives to these
foreign acts in comparison with their coverage on local music events. The researcher
examines the treatment of media on local and international music events through
archiving, interviews and a survey and utilizes the subculturalism framework to analyze
the data. With the domination of foreign music events, the researcher finds an imbalance
on the coverage of local and international music events. Journalism through the various
platforms of media plays a vital role in giving exposure to these music events and
influencing music consumers on which music events to patronize.
viii
TABLE OF CONTENTS
Page
Title Page
i
University Permission Page
ii
Approval Sheet
iii
Biographical Data
iv
Acknowledgements
v
Dedication
vi
Abstract
vii
Table of Contents
viii
List of Tables
xi
List of Charts
xii
List of Figures
xiii
I.
II.
III.
INTRODUCTION
1
A. Background of the Study
1
B. Statement of the Problem and Objectives
5
C. Significance of the Study
6
REVIEW OF RELATED LITERATURE
7
A. The International Music Scene
7
B. The Local Music Scene
9
C. Music and the Media
12
D. Music in the Global State
13
STUDY FRAMEWORK
15
ix
A. Theoretical Level
15
B. Conceptual Level
18
C. Operational Level
19
D. Operational Definition of Terms
19
METHODOLOGY
24
A. Research Design and Methods
24
B. Variables and Measures
25
C. Research Instruments
26
D. Units of Analysis and Sampling
26
E. Data Gathering/Generation and Construction
27
F. Data Analysis
31
G. Scope and Limitations
32
V.
RESULTS AND DISCUSSION
33
VI.
SUMMARY AND CONCLUSION
55
A. Summary
55
B. Conclusion
56
IMPLICATIONS AND RECOMMENDATIONS
58
A. Theoretical Issues
58
B. Methodological Issues
58
C. Practical Issues
59
IV.
VII.
Bibliography
60
Appendix A
64
Appendix B
134
x
Appendix C
144
Appendix D
150
Appendix E
154
xi
LIST OF TABLES
Number
1
2
3
4
Title
Timetable of the Study
Budget Report
Tally of PDI's Foreign Music Articles for January 2012
Tally of PDI's Foreign Music Articles for January 2012
Page
27
27
30
33
xii
LIST OF CHARTS
Number
1
2
3
4
5
6
Title
Type of Music Event Attended by Survey Respondents
Media Source Patronized by Survey Respondents
Consideration of Survey Respondents of Music Articles
in Decision-making
Awareness of Respondents on Foreign Music Events
Based on Media Sources
Awareness of Respondents on Local Music Events Based
on Media Sources
Influence of Music Articles on Filipinos on Music Events
to Attend
Page
42
42
43
44
44
45
xiii
LIST OF FIGURES
Number
1
2
3
Title
Theoretical Framework
Conceptual Framework
Operational Framework
Page
18
19
20
1
CHAPTER I. INTRODUCTION
A. Background of the Study
“America‟s Sweetheart” J Lo (Jennifer Lopez), who had her “Dance Again World
Tour Live in Manila” in November 2012, has sold out the SM Mall of Asia Arena despite
ticket prices ranging from an already pricey Php 2,590 for the farthest seat available
(General Admission) to a luxurious Php 25,840 for VIP seats. While “Asia‟s Songbird”
Regine Velasquez-Alcasid filled the same humongous venue with a mere Php 370 for
Gen Ad and Php 5,280 for the seat nearest the stage. The difference could also be seen as
many K-Pop fans go after Girls Generation having their “Dream K-Pop Fantasy Concert”
with Php 1,040 on their cheapest ticket available while “Rock Loqal,” a gathering of
more than two dozens of local bands, are priced with Php 1,060 for the best seats present,
only with a Php 20 difference for the minimum and maximum, respectively.
A poll on the website of Philippine Concerts (philippineconcerts.com) shows how
much support artists, both international and local, get from their perceived audiences.
Respondents were asked on which concerts they would attend this October 2012;
“Tanduay Rhum Rockfest MOA,” a local music event, ranked only fourth with 62 votes
or 10% of the total votes (as of 9:50 pm of October 29, 2012). Three other foreign acts,
Foster the People, Jonas Brothers, and Big Bang (ranking first with 166 votes or 26% of
the total votes) reigned the poll.
Concert tour promoters for foreign artists cannot be blamed for asking this big an
amount for these shows as they are charged steep taxes as well. However, it is still
evident that a large fraction of the Filipino audience do not support local artists and favor
foreign artists. This correlates with the media attention the Filipino music acts receive.
2
Back in the 1970s, a genre of OPM (Original Philippine/Pinoy Music) called the
Manila Sound emerged and became a hit among Filipino audiences. According to It’s In
The News (colin143.blogspot.com), it is described as “a smooth, easy-flowing pop/rock
music, added [with] a twist of funk, jazz and disco” (“1970's - 1980'S: The Years Of
Manila Sound,” 2009, ¶ 1). Some artists who popularized these groovy hits are The
Hotdog Band, VST & Company, Hagibis, and Sharon Cuneta. With the “Manila Sound”
fading from the limelight, artists like Rico J. Puno, Claire dela Fuente, Freddie Aguilar
and Rey Valera continued to produce timeless music. Nearing the end of the millenium,
relatively younger artists such as Regine Velasquez, Ogie Alcasid, Martin Nievera, Gary
Valenciano and Lea Salonga kept OPM alive, still making music for Filipino audiences.
However, music acts today are evidently not as vibrant as it used to be back in the
1970s to the 1990s. An article in ABS-CBNnews.com stated: “At a time when foreign acts
have been dominating the concert scene for the past couple of years, „Icons at the Arena‟
was a reminder of the excellence of both Filipino singers and their music.” (Bunoan,
2012, ¶ 2). The title of the article, “Review: 'Icons at Arena' relives OPM glory days,” is
suggestive of how OPM used to be dominant among Filipino audiences.
In the 1790s to 1980s, at the time of Martial Law, OPM was the avenue for
Filipino artists to voice out their repressed thoughts on the government without being put
to jail. OPM was later used as propaganda music during the EDSA Revolution. Freddie
Aguilar was known for his original composition “Anak” during the 70s and “Bayan Ko”
during the 1986 EDSA Revolution.
In the 1990s, new OPM emerged with Eraserheads, bringing hit songs to Filipino
audiences. However, it is at this point when OPM production declined.
3
In an editorial by The Manila Times (2012), it was stated that after its glory days,
The first wave of OPM kings and queens eventually faded, and for a while
it seemed that original songs were little more than a fad whose time had
come and gone.
But as the saying goes, you can’t keep a good man down. In the case of
OPM, you can’t keep good musicians down. Another wave of singers and
bands arose in the ‘80s and ‘90s, and they were every bit as creative and
original as the musicians who came ahead of them.
In recent years, however, there appeared to be another dimming in the
prospects of OPM. There appeared to be a smaller and smaller number of
Filipino musicians writing and playing their own material.
The success of music is also attributed to its record sales. With the rise of new
technology in the 90s and 2000s, cassette tapes and vinyl records went obsolete.
Television and other forms of media, including the internet, gave Filipino consumers
more exposure to foreign music. Cheaper and free sources of music became available
with the rise of digital media.
In a study by Cruz, Pauso, & Sison (2011), results showed that OPM physical
album sales dropped from Php 2.7 billion in 1999 to Php 699 million in 2010. In terms of
digital music sales, data showed an increase by 400% from 2005 to 2010. However, the
sales in digital format cannot make up for the loss of the physical record sales. The study
conducted by Cruz et al. (2011) also highlights music piracy as a major cause of the
decline in OPM album sales.
4
Having faced with these challenges, OPM artists strive to survive the music
industry through staging music events. However, foreign acts steal the attention of
Filipino audiences from local artists‟ shows. In an article by the Manila Bulletin, Jose
Mari Chan expressed the struggle of Filipino artists: “We will only be singing OPM
songs in the show. I hope that the audience out there will show their support because our
musicians and our local artists are suffering from the massive influx of foreign artists.”
Jaya on a separate article said “Andun pa rin „yung colonial mentality. Mas malaki pa ang
sales ng album ng mga foreign artist kesa sa OPM artist. Sa mga concerts pa nga lang
dito sa atin, mas tinatao ang foreign acts kesa sa local acts. [Colonial mentality is still
present. Album sales of foreign artists are greater than OPM artists. Here in our country,
foreign concerts are more patronized than local acts.]”
OPM artists Kuh Ledesma, Jim Paredes and Isay Alvarez suggested that there
should be a regulation limiting the number of foreign acts in the country to support local
music. However, the General Agreement on Tariffs & Trade (GATT), to which the
Philippines is a signatory, promotes “free trade” but at the same time, prohibits the
Philippines from totally protecting local artists from foreign music. Foreign music can
compete with local music in the country while OPM cannot fully export itself to other
countries, making GATT provisions disadvantageous to Filipino artists.
Music events peaked in 2012 and continue to rise with the pervasiveness of social
media. Through technology and the internet, Filipinos are easily reached by promotional
blitzes of these music events. Newspapers also help in the dissemination of information
to music consumers. However, there seems to be an imbalance in the promotional
5
coverage of music events in favor of foreign acts, to the detriment of the local music
industry.
This study was conducted as the researcher saw the need to examine the apparent
imbalance in the promotional coverage of music events, a current trend hyped by media
and other means of publicity. The field of journalism plays a vital role in the promotion
of these music events through the articles that are published on print and online media.
The researcher looked into how these stories are collected, processed and published to
determine if media outlets make any effort at all to maintain balance in their news stories
of music events.
To determine if the success of foreign music acts in the Philippines is affected by
the exposure that the media gives, the researcher will look into and compare how the
chosen media platforms, print and online, encourage attention to concerts and music
events. Also, the researcher will partly touch on the concept of “globalization” and how it
affects the Filipino consumers in patronizing music acts.
B. Statement of the Problem and Objectives
Media plays a great role in shaping the Filipinos‟ perception and reception of
music. The coverage and exposure that media provides for both local and foreign music
events could be gauged by the space and attention that they give to the industry. Media
influence on Filipinos‟ liking and awareness of music events can be observed through a
study of media coverage and audience perception. With the surge of international music
acts entering the Philippines, from concerts to album promotions, how balanced or
6
unbalanced are print and online media, specifically the Philippine Daily Inquirer, Summit
Media, and When In Manila, in covering local and international music events?
In this study, the researcher‟s objectives are:
(1)
To discover how much coverage foreign and local music acts receive by
looking into the selected print and online media;
(2)
To determine if the success of foreign music acts in the Philippines is
affected by the exposure that the media gives;
(3)
To evaluate the coverage of music events in the field of journalism
(4)
To explore on the concept of globalization and its relation to the foreign
music domination in the Philippines.
C. Significance of the Study
Since the success of most Philippine music events relies on Filipino audiences,
these events need multimedia support to keep OPM, the music industry, and Filipino pop
culture, alive. With the continuous surge of music acts staged by foreign artists in the
country, the media plays a role in influencing Filipino music consumers through its
coverage of significant music activities in the country.
There is a need for editors and music journalists to examine the role that
promotional coverage plays in the rise and fall or resurrection of OPM and Philippine
music events. Failure to do so may eventually lead to the death of the Philippine music
industry and Filipino pop culture, while a timely re-examination may help in infusing it
with renewed vigor.
7
CHAPTER II. REVIEW OF RELATED LITERATURE
A. The International Music Scene
To understand completely the relation of music to media, communication and
journalism, one has to examine the various approaches in studying music. Chris Rojek’s
Pop Music, Pop Culture (2011) delves on musicology and provides a view of where pop
music is situated in the field of culture, media and communication, and production.
A deeper understanding is given by Rojek as he discusses the main theoretical
approaches used in studying music, particularly pop music. This part will surely help
understand deeper the meaning of music and society. Examples from various music
writers and producers are given to help interpret further. Rojek states: “The aim here is to
draw on a much wider range of resources in the social sciences and cultural and
communication studies that is normal in the analysis of pop music.” (Rojek, 2011)
Further discussed is the role of technology and mass communications in the pop
music industry. Along with the other sectors of the music industry, the role of
communication and media in the reception and feedback of the audience, especially
music fans, is discussed. The field of communication and media truly plays an important
role in the music scene.
Anna Tomasino’s Music and Culture (2005) brings its readers the total music
experience as it touches on the essentials of music introduction and branches out to other
issues in music and society.
The first chapter discusses the appeal of music and how music is used as a form of
communication and expression. Music is also viewed from the business perspective and
is examined with the trend of globalization and living the “American Dream.”
8
The diversity of the literature will provide different views of the music industry,
having various sources, from documents to internet articles. It also provides a larger
perspective of issues in music related to culture and society and looks deeper into other
fields related to the matter, including communication and media. The essentials to
studying music and its relation to a different field and its issues are all packaged in this
book, providing researchers a complete background and a good kick-off on their study.
Many countries have given their own share of music to the world. Some of these
are Jamaica with reggae, Trinidad with calypso, and from other small countries in South
America, the music of the Andes. These are some of the small countries mentioned in
Wallis and Malm’s Big Sounds From Small Peoples (1984), a book that focuses on
smaller countries that produce valuable music for the rest of the world to hear.
Malm and Wallis explain how small countries, like the ones mentioned,
contribute to the international music scene:
The reason is twofold. Small countries fulfill a dual role for the music
industry. They provide marginal markets for international products. They
also, by virtue of their unique cultures, can provide the sort of talent that
comprises invaluable raw material for international exploitation. (Malm
& Wallis, 1984)
The Music Industry in Small Countries (MISC) Project is a three-year research
project which studied 12 sample countries from Europe, Africa, South America and Asia
to discover what these small countries’ issues are in the music industry and how they
manage to survive in the international scene.
9
Big Sounds From Small Peoples also discusses the overall view of the local and
international music scene, significant accounts from the sample countries, government
policies affecting the industry, the structure of media in relation to music and patterns
that explain music and media relations, and the role of media and communications in the
music industry
B. The Local Music Scene
Indian Malaysian music also struggles to emerge from the challenge of
globalization. Production of music in Tamil language, the most common language used in
India, and other Malaysian languages, especially by the youth sector, is a great endeavor
with the mainstream Bollywood dominating indigenous local music.
“The richer people use English more commonly while the poorer people
tend to speak Tamil more.” (Sathiabalan, 2001). Sasidharan Naidu quoted Indra
Sathiabalan explaining the importance of bilingualism and how his music could unite the
youth from different social and economic classes. “My music is universal … it appeals
not just to fans of Tamil pop [and] many feel that it’s got a world music concept [with]
Malay, Chinese, Indian, Western and Latin musical styles in [it].” (Vengadesan, 2002)
Sumit K. Mandal’s Indianness in Malaysia: Between Racialized Representations
and the Cultural Politics of Popular Music depicts how Indian Malaysian music has tried
to create its own music identity despite the trend of globalization that threatens their local
music industry.
This becomes especially clear when we turn to the cultural politics of
popular music in Peninsular Malaysia. Young musicians produce work in
10
the genres of rock, hip-hop, reggae, and so forth in Tamil—the most
commonly spoken language of Indian origin—as well as in other
Malaysian languages. An admixture of rebellion and commercial drive
colors their efforts as they capitalize on the enabling aspects of
globalization while trying to curb its damaging consequences. As a result
of their exposure to—if not familiarity with—different cultures and
languages, and through contact, exchange and partnership with musicians
of other ethnic backgrounds, Indian Malaysians have forged a distinct
musical identity. (Mandal, 2007)
The colonials already had their way of using the power of music to impose power
on their would-be colonies. The Americans and the Spaniards both utilized music as part
of their colonial plan to take over the Philippines.
The abstract of Raul C. Navarro’s paper, “Ang Musika sa Pilipinas:
Pagbuo ng Kolonyal na Polisi, 1898-1935” briefly discusses American colonialism
through music.
This paper argues that music, particularly vocal music, was a prime tool
in the dissemination of the American colonial worldview. Utilized in
public schools, music introduced a culture forged in the context of
American life, thus bringing a whole world of beliefs and a process of
cultural homogenization that pervaded American colonial schools. Given
the structured public educational system the Americans created in the
Islands, the colonial project of “a true general Philippine culture” in
musical terms have almost resulted in homophony with the Americans
11
whistling away the melody and the Filipinos doing the accompaniment.
(Navarro, 2008)
The author tries to show the Filipino artists’ resistance to the hegemonic cultural
imposition of the new colonial masters.
Ang Bagong Lipunan, 1972-1986: Isang Panimulang Pag-aaral sa Musika at
Lipunan (2008) discusses how Marcos’ regime used music as a powerful tool to capture
the interest of Filipinos and impose on them the new law.
According to Navarro (2008), even the Spaniards introduced the Catholic faith
through music while Americans used it to educate Filipino students in using the English
language.
Cultural transformation in the Marcos regime, through music, has been
institutionalized through various programs like the Philippine Society for Music
Education (PSME) in 1971, the National Music Competitions for Young Artists
(NAMCYA) in 1973, the Philippine Youth Orchestra (PYO) in 1974, the CCP
Philharmonic Orchestra, the Popular Music Foundation of the Philippines in 1977, and
other programs related to the enrichment of culture. Through the formation of these
organizations, music played an important role in supporting the Marcos regime in its
implementation of the “New Society.”
Ang karaniwang proyekto ni Imelda sa panahong ito ay may
layong itaas ang edukasyong pangkultura ng mga Filipino upang
marating nila ang antas na tanggap sa kanluraning pamantayan. At
ang edukasyon ding ito ay inaasahang maghahatid sa sambayanang
12
Filipino sa isang maunlad na buhay. [The usual project of Imelda in this
time aims to uplift the cultural education of Filipinos to attain the Western
standard. And this education is expected to bring the Filipino community a
better life.] (Navarro, 2008)
Even from the time of the Marcoses, the Western way has always been the
standard of high state of living. Culture has been used to enforce what is believed to be
the standard of a convenient life.
C. Music and the Media
Music has always played an important role in each nation’s history. Countries
from different regions of the world have already experienced the change that music can
bring and how it can greatly affect a nation.
Malm and Wallis’ Media Policy and Music Activity (1992) presents the music
industry and how it affects media policies. It is composed of case studies of various
countries, namely Jamaica, Trinidad, Kenya, Tanzania, Sweden and Wales, and how
musical activity shapes the media in each of these nations.
It is notable for the study to mention that this literature explores an international
comparative study that explains how they arrive with media policies. It also touches on
trends on globalization and integration in the music industry, as seen in Wallis’ separate
dissertation.
Both Kenya and Sweden were able to use music as a revolutionary tool to bring
about change in media policies. Despite being totally unsuccessful, they were able to
make the United States and the conglomerates aware of their concerns.
13
The case studies on the six countries are good to look into as they are faced with
the same challenge of globalization in the music industry. Kenya, Tanzania, Jamaica and
Trinidad have been British colonies and both Jamaica and Trinidad have great
contributions to the international music scene. Like the Philippines, they are developing
Third World countries. It is good to look at the differences and similarities with the
Philippines having been colonized by Spain and being of almost the same economic
status.
Media Policy and Music Activity introduces the music industry of selected smaller
nations while comparing it to the international music scene. The book also focuses on
globalization and its effects on the music industry. Lastly, the focus on media policies can
provide insights on how the music industry affects the media and vice-versa.
This book is complete with parts that could help researchers analyze various
issues in music and media that each case study touches on. It even provides theories and
frameworks that could support the study. All information discuss issues that the local and
international music scenes are facing and bring life to media’s role on the music industry.
D. Music in the Global State
Previously published literatures have shown that music has been an integral part
of peoples’ lives in all parts of the world.
Along with the struggle of Philippine music, other smaller countries continue to
survive with the rise of globalization. However, only a limited number of countries were
tackled in these books regarding their efforts in sustaining their position in the global
music scene.
14
With the limitations of previously and more recently published literatures on
Philippine music relating to its struggle in its own land due to the presence of global
music, the researcher finds the need to conduct further studies on the said matter. Also,
there were limited data found that discuss media coverage of both local and international
music scenes in the country.
Music is an integral part of the Philippines’ culture, being one of the most
valuable heritages that the Filipino race could be proud of, having numerous talented
Filipino musicians.
To find ways on how media can help support the well-deserving Filipino
musicians, the researcher will look into the way people integrate music in their activities
and how media coverage affects the patronization of music in the Philippines.
15
CHAPTER III. STUDY FRAMEWORK
A. Theoretical Level
The study will be utilizing the theory of subculturalism to help readers have a
grasp of the music scene, the Philippine media and the Filipino music consumers to
provide a deeper understanding of how the subject matter is analyzed. The theory is
inspired by the realizations from the book Pop Music, Pop Culture by Chris Rojek
(2011).
In Pop Music, Pop Culture subculturalism is defined as “an approach to explore
social and cultural relations as the articulation of common rules of group practice, and
values that depart from, are in outright antagonism with, the dominant order.” (Rojek,
2011)
To understand how subculturalism is relevant to the study, the researcher looked
deeper into the various elements that make up the global and local music scenes.
Western music has been considered as the mainstream music for the longest time,
making it the universal music known across the globe. This makes Western music the
dominant order—the most influential kind, and what other nations look up to and try to
imitate.
Zooming into the smaller countries, each local music industry has its own
subcultures. On individuals and later on to groups of people, psychological and social
factors affect the choice of music, as well as other attitudes towards economic, political
and cultural dynamics. Music is greatly influenced by the local community, its activities
and how people interact with music. Hence, a subculture emerges.
16
In other countries, jazz, punk, rap, rock, blues, soul, bossa, a capella and many
other music genres have become the subculture through their localization. The
Philippines has its very own Original Pilipino (or Pinoy) Music or what is popularly
known as “OPM.” More recently, P-Pop or Pinoy Pop even came out, patterned after
other Asian countries which had their very own K-Pop (Korean Pop) and J-Pop
(Japanese Pop).
To further explore subculturalism, Rojek also laid down Raymond Williams’
concept of dominant culture, alongside emergent and residual subcultures. Dominant
culture is described as:
The values, institutions and practices characteristic of the class or other
social group who occupy a position of advantage and privilege over other
social and cultural strata. That is these values, institutions and practices
are hegemonic [or impose domination over others through influence or
authority] in the sense of constituting the social, cultural and political
context of association, positioning and practice. (Rojek, 2005)
Residual subculture is defined as culture from the past carried over to the present
(Rojek, 2005). Subculture brought about by dominant culture from years ago is
continually being experienced and still has a great impact at present.
Lastly, emergent subculture is defined as “new meanings and values, new
practices [and] new relationships” (Rojek, 2005). Emergent subcultures pertain simply to
those catering to alternative music.
Western or American music has emerged as the dominant culture. Residual
subcultures have been formed through time and are still omnipresent. The Philippine
17
music industry has been molded and transformed through the dominant culture, resulting
in residual subculture. Still, a lot of emergent subcultures continue to surface and try to
veer away from the dominant.
Another significant material to discuss in this study is the subculturalist approach
on the trend of “globalization” in the music scene.
Rojek discussed how local music was incorporated with not only foreign music
but also global music. “The trend in subculturalism, then, has been to move away from
regional or national studies of recruitment, integration and transformation to the level of
global diffusion and synthesis.” Rojek (2005)
Subcultures have transformed from local music being mixed with foreign music
and now, global music, which is not only attributed to certain foreign subcultures but is
widespread across nations.
With the “globalization” of music, media is influenced by the same trend, thus
affecting coverage. Like music, media is experiencing the impacts of “globalization.” The
capitalist motivation on “globalization” explains how media conglomerates use their
power to drive people into their own interests.
In conclusion, the researcher looks deep into the relation of each subculture of
music to the global scene. The political, social, cultural and economic values of
“globalization” in music boils down to the commodification brought about by the
capitalists. In effect, media coverage is influenced by “globalization,” including the
coverage of the music scene. The theory of subculturalism helps the researcher discover
how the invasion of foreign music and the standardization of music events can affect the
local music industry and its events and in effect, the way media covers music events.
18
B. Conceptual Level
In the conceptual level, the theory explains how the media is affected by and in
turn, affects the presence of all surrounding entities, from the music scene to the activity
of the people surrounding it.
The study focuses on the promotional coverage of media on music events. It
would be helpful for the researcher to see how the media relates to music and the people
buying it through the exposure media provides to these music events. Local and foreign
music is considered to be of opposing forces due to the evident imbalance of its
emergence and sustenance in the Philippines. This disparate poles are also visible on how
alternative and global music is presented everywhere in the world, with alternative music
being the underdog on the scene. With the promotion of music events and the delivery of
music news to homes through the various platforms of media, including print and online,
media has an effect on how people patronize music.
With the continuous flourishing of “globalization” in the Philippines, along with
the rest of the world, Philippine music continues to emerge and this is where
subculturalism finds its place. Despite the invasion of foreign acts and music items in the
country, OPM tries to regain its share of Filipino music consumers. The outright
antagonism of the Philippine music industry, which should not be taken in bad light, with
the dominant order, which is the global music, is how subculturalism works in the
concept of the study.
19
C. Operational Framework
In comparing the media coverage of local and international music acts, it would
be helpful for the researcher to look into how subculturalism explains how local music
events strive to emerge with “globalization.”
The comparison of media coverage in print and online, through archiving, uses
the theory to substantiate the findings and explain how music events are affected by
media coverage. The theory also explains the behavior of Filipino audiences in
patronizing music events.
Aside from these, interviews with resource persons from the media outlets will be
analyzed by the researcher based on the theory of subculturalism. The theory’s view of
subcultures emerging from different social and cultural environments can enlighten
readers on how concert promoters, music artists and the media are subjected to the
audiences’ perception.
The theory helps the researcher in utilizing context analysis, interpreting how the
data gathered is affected by the engagements of people to and from both the media and
the music scene.
The figures in the last pages of this chapter represent the frameworks discussed
and shall give the readers a clearer view of the frameworks.
D. Operational Definition of Terms
Globalization, as defined by the Merriam-Webster Online Dictionary (2004), is
the “process by which the experience of everyday life, marked by the diffusion of
commodities and ideas, is becoming standardized around the world.” Simply, the term
20
globalization by dictionary definition refers to internationalization or the availability of
products from all over the world to the local market, and, supposedly, vice-versa.
In this study, however, the term “globalization” is given economic and cultural
context due to the nature of the research topic. “Globalization” here pertains to the
domination of popular American and European music in the Philippines.
Popular American and European music continues to be the dominant group in the
Philippine music scene due to social, cultural and economic influences by the West.
21
Figure 1. Theoretical Framework
DOMINANT
ORDER
Opposing forces from
dominant and subcultures
SUBCULTURES
RESIDUAL
SUBCULTURE
EMERGENT
SUBCULTURE
Subcultural
Behavior
Reception to
Dominance
VARIOUS
CULTURES FROM
DIFFERENT PARTS
OF THE WORLD
Contribution to
the Dominant
22
Figure 2. Conceptual Framework
23
Figure 3. Operational Framework
LOCAL
MUSIC
INDUSTR
FOREIGN
MUSIC
INDUSTR
MEDIA
COVERAGE
Effects of Media on
Music Events
Effects of Music
Events on Media
MEDIA
Music
Patronization
Filipino Music
Culture
Audience
Perception
Media
Reception
FILIPINO MUSIC
CONSUMERS
24
CHAPTER IV. METHODOLOGY
A. Research Design and Methods
The study utilized quantitative approach in determining the weight of media
coverage given to the international and local music-related events. The results were based
on the section or location and the amount of space provided for these events on the
chosen newspaper, website, and magazine. The researcher then compared which of the
two music scenes were given more exposure by these media outlets.
In looking on how media covers these music events, the researcher covered one of
the leading newspapers in the Philippines, the Philippine Daily Inquirer. This newspaper
was chosen based on its known popularity, readership and credibility. The said
broadsheet also presents news coverage on both local and international music scenes.
Aside from the abovementioned newspaper, the researcher also looked into a
magazine publishing company, particularly Summit Media, conducting the same kind of
research. Summit Media was chosen as it publishes a total of 26 major magazines, two of
which focus on entertainment alone, and the rest touching on some articles related to the
music industry. It has also published one-offs, which cater to music fans, which were also
focused on by the researcher.
For print media, the research covered issues which include music news and
articles published from January to December 2012.
Other than print media, the research also explored the online media. The
researcher looked at one of the country’s top blogs/music-related news sources, When In
Manila, which comprehensively covers music events.
25
Interviews on representatives of the selected media were done by the researcher to
hear directly what these media organizations have to say regarding their coverage on
music events, as well as the researcher’s preliminary findings.
The researcher also conducted a survey which helps gain insights from people
who have experienced music events. The survey satisfies the need to understand the
perception of people on their awareness of music events based on the media platforms
used in the study and the influence of media coverage on their behavior towards the
music scene.
B. Variables and Measures
The utilization of content analysis by the researcher helped arrive at a conclusion
on how much media covers the local and international music scenes. The variables
considered by the researcher were (1) the space given to the news or article (number of
pages, dimensions), (2) the location of the article (for newspaper, the section where the
article is found), and (3) the frequency of news or article given to each music scene (local
and international). The quantitative approach was a good determinant to conclude on the
exposure given by the media to local and international music events.
The researcher also analyzed the results of the interview through the arguments
and points raised by each of the parties involved. The interpretation of the researcher
were based on the facts and reasoning of the interviewees.
26
C. Research Instruments
The researcher made use of archives from the various media establishments
mentioned above to conduct the content analysis. The needed data were recovered with
the cooperation of the aforementioned publication companies, available online resources
and with the help of the University of the Philippines’s libraries. Through these published
archives of music news and articles, the researcher was able to determine the exposure
given to both local and international music events.
The researcher also conducted interviews which aim to provide information on
the media coverage of these publications and tackle the issues related to media coverage
in the local and international music scenes. Through interviews with credible sources
from key persons in the field, the researcher was able to gather views from these media
representatives and provide a more in-depth discussion of the issues at hand.
D. Units of Analysis and Sampling
The selected newspaper, magazine, and website were chosen with regard to their
known popularity to Filipino audiences, the wide reach in terms of audiences, and their
known credibility to the masses. The chosen units of analysis are the major broadsheet
Philippine Daily Inquirer, the selected magazines of Summit Media, and the website
When In Manila which can contribute well to the study and make it as credible and
accurate as possible.
The persons interviewed are also those that can give insightful thoughts to the
issues being discussed and are the most credible as well. They are representatives of the
27
company who can echo the opinions of the establishment but can voice out their own
personal opinion as well.
E. Data Gathering/Generation and Construction
The research was initiated through the researcher’s personal efforts in having a
general view of the music scene in the Philippines. The researcher tallied all music events
in the Philippines during the given time frame, which is from January to December 2012.
The references of the researcher were credible websites that release regular
announcements on concerts and other music-related events such as Manila Concert Scene
(manilaconcertscene.blogspot.com) and Philippine Concerts (philippineconcerts.com).
The purpose of listing down these events was to equate the number of local music events
and international ones. This part of the study was a good start for the researcher as it
proved that there is minimal difference in the number of local and international musicrelated events covered by the Philippine media.
After proving that both the local and music scenes offer almost equal amount of
events for the music consumers, the researcher proceeded to searching for information on
the newspaper. As advised by the Philippine Daily Inquirer, the researcher browsed
through each and every newspaper copy of the Philippine Daily Inquirer from January to
December 2012. This was the only way for the researcher to figure out how much music
coverage is allotted in the said newspaper.
The researcher accessed the newspaper archives through the UP Diliman College
of Mass Communication library and the UP Diliman Main Library.
28
The researcher noted down the different sections of the newspaper where the
music articles are found. The name of the artist, artists or music event featured in the
article is then listed together with the section where it is found. The sections were given
codes as origin to whatever section the music article belongs to (E for Entertainment, LS
for Lifestyle, N for News, etc.).
Also, the researcher divided each page of the newspaper to a fraction of eight
imaginary segments. A single page of the Philippine Daily Inquirer measures 9 x 53 ccm
(cubic centimeter) or 29.75 inches in length and 23.5 inches in width. This was the basis
of the researcher on measuring the music-related articles ranging from less than oneeighth (tallied as <1/8) of the page to a whole page (tallied as 8/8). Each article is
classified according to its measurement for the researcher to determine the amount of
space provided to the music-related event, translating to its importance as set by the
standards of the newspaper.
The survey forms were formulated and prepared by the researcher based on the
necessities of the study on the consumers’ perception on music and to determine the
readership of the selected media sources. The survey also figured out if these chosen
media sources, and media in general, have an impact to its readers and how it influences
the respondents on their choice of music to consume or patronize. In sending out the
survey forms, the researchers utilized the social media, particularly Facebook, to ask for
respondents to answer the questionnaire. People of both sexes, varying ages, ranging
from 14 to 33, and location, both urban and rural, were randomly selected to respond to
the survey. The researcher was able to gather a total of 162 responses, which details’ are
to be discussed further in the following chapter.
29
Summit Media refused to disclose further information aside from the “Media Kit”
that was sent to the researcher. Through this Media Kit, the researcher was lead to
looking at the one-offs that the publishing company has produced in the covered time
frame of research, since their one-offs are dedicated to the music scene and feature artists
on the front cover backed with an inside scoop. Also, Summit Media did not respond to
the researcher’s request for an interview despite the researcher’s efforts in contacting the
media firm, inviting a resource person for the interview.
The online media outlet, When In Manila, was accessed by the researcher through
its website, wheninmanila.com. The website was easy to navigate with tags and news
articles of the same nature under one tab. In search for the articles needed for the study,
the researcher selected the “concerts” tab where all the music events covered by When In
Manila are located. The articles are written by various contributors and writers from the
said website. The very reason that the researcher chose the website among many others
was its approach in reporting music events. The articles found in the website are usually
first-hand experiences, and contain the essentials of the news story, including critiques
and notable happenings, apart from just promoting the event with a digital poster and
limited details.
After contacting resource persons from the selected media sources, the researcher
was able to successfully schedule interviews with representatives from these media firms.
Scheduled on February 17, Monday, at Promenade Greenhills, the researcher interviewed
John Hudson Go, the top contributor and writer from When In Manila. He is also
currently a professor at the Enderun Colleges and formerly taught at UP Diliman. He
30
covers mostly music events making him a credible resource person. He was referred by
the owner of the website, Vince Golangco.
On February 18, the researcher interviewed Emmie Velarde, the entertainment
editor of the Philippine Daily Inquirer at their office in Makati. Both interviews lasted for
around 20 to 30 minutes.
The interviews were transcribed by the researcher and used in the study to back
up the preliminary information gathered from these media sources.
Table 1. Timetable of the Study
Duration
November 19 – 30, 2012
November 22, 2012 – February 17, 2013
January 7 – February 17, 2013
February 7 – 27, 2013
February 17 – 21, 2013
February 21 – 28, 2013
February 28 – April 5, 2013
Action
Gathering of Preliminary Data (online)
Archiving
Contact Sources for Information Request
and Interview Request
Surveys
Interviews and Transcription
Collation of Data
Data Analysis and Thesis Writing
Table 2. Budget Report
Activity
Transportation
Miscellaneous
Printing
Binding
CDs
Total Cost
Amount
Php 384.00
Php 2, 500.00
Php 917.00
Php 375.00
Php 16.00
Php 4, 192. 00
31
F. Data Analysis
The data above were organized in a way that would be easiest for the researcher
to compare the coverage of local and international music events.
After tallying the music events published by the Philippine Daily Inquirer from
January to December 2012, the researcher highlighted each of the sections of the
broadsheet in corresponding colors. This paved way for an easier distinction of the
sections of the newspaper which were later on tallied according to the number of music
articles that were printed on a certain month. Aside from this, the dimensions of the
articles (divided in portions of eights per page, based on a certain measurement), were
also tallied and added to arrive at a total sum of the space provided for the music events.
Each portion was accounted for as a single count, depending on the size. For example, a
4/8 article was tallied as 4 summed up with the rest of the articles. Articles less than 1/8
in space were considered as 0.5 in the final count. This made it simpler for the researcher
to determine the space given to these music events and compare the local and
international coverage more conveniently. Furthermore, after the monthly tally was done,
the researcher added up all 12 months to determine the overall space provided for music
events in the broadsheet for the whole year and compare the space allotment for local and
international music scenes.
The survey results were recorded digitally in Google documents form. The
researcher could access the survey results through an online database of all the
respondents’ answers. To organize the data, graphs and pie charts were created to clearly
see the proportion of the responses. Available online is a summary of all the responses for
quick reference while all answers could be found on a more detailed database.
32
For the interviews, the researcher transcribed the audio clips from the interview
and used the transcriptions to quote the resource persons in the study. They served as
back up to the initial findings of the researcher and an avenue for the media sources to
voice out their views and insights on the issues covered by the study.
G.
Scope and Limitations
The researcher conducted a study on the media coverage of both local and
international music events in print and online media only. The researcher gathered data
from the Philippine Daily Inquirer, Summit Media and When In Manila, some of the top
media outlets dedicated to print and online journalism. Broadcast media is not included in
the scope of the study.
The study will cover only music events (concerts, musicals, album launches,
promo tours, etc.) and not the music industry as a whole.
The researcher also looked at globalization and its relation to the behavior of
Filipinos and the media towards music events.
The research included data from January to December 2012, considered to be one
of the busiest years in terms of music events in the Philippines and the rise of social
media; but still included data from other time frames which are deemed to be necessary
in the study.
33
CHAPTER V. RESULTS AND DISCUSSION
The Philippine Daily Inquirer yielded a total of 1,012 articles with music content
from all its published broadsheets from January to December 2012. Five hundred
seventy-nine of these articles are international while 433 involve local artists and events.
The results show the evident difference between the covered local and foreign music
news.
The articles were also classified based on the section they are located in the daily
broadsheet, as well as the amount of space allotted for each article. Below is a sample
table that the researcher did to tally and compare the foreign and local music events
covered by the Philippine Daily Inquirer (PDI):
Table 3. Tally of PDI's Foreign Music Articles for January 2012 (N=35)
Legends: S - Super Lifestyle, SS - Saturday Special, E - Entertainment, LS - Lifestyle, L Learning, W - World, F - Front Page, N - News, M - Motoring, GP - Global Pinoy, Met Metro, SB - Sunday Biz, B - Business, O - Opinion
FOREIGN
JANUARY
Date
Artist
Section
Size 1
Size 2
2
Lady Gaga
E
<1/8
U2, Adele, John
Legend, Lana
3
E
4/8
del Rey, Van
Halen
Taylor Swift,
Bruno Mars,
E
3/8
Korn
Booked sold: A
hectic concert
calendar:
LMFAO, AJ
E
3/8
Rafael, James
Ingram, Cyndi
Lauper, The
Ventures
34
4
7
8
9
10
11
13
14
15
16
Elton John
Michael
Jackson
Michelle
Wiliams in My
Week With
Marilyn
Joe Jonas
Mamma Mia!,
My Fair Lady
Symphony of
My Dreams
Mamma Mia!
David
Archuleta
Boys Like
Girls, The Click
Five, All Time
Low,
Secondhand
Serenade,
Simple Plan,
The Summer
Set, A Rocket
to the Moon,
The Ready Set,
A+ Dropouts,
Forever the
Sickest Kids,
The Cab, Cobra
Starship
The Ventures
Ryan
Villanueva
Katy Perry,
Demi Lovato,
Lea Michele,
Adame Levine
Madonna,
Michelle
Williams, Marie
J. Blige
David
Archuleta
AJ Rafael
E
1/8
SS
1/8
SS
2/8
SS
2/8
LS
4/8
LS
3/8
E
3/8
E
<1/8
LS
3/8
E
Across the
Nation
2/8
E
3/8
E
<1/8
E
1/8
E
2/8
<1/8
1/8
2/8
2/8
3/8
35
21
22
23
24
25
Frank Sinatra,
Will Smith,
Bette Miller,
Justin
Timberlake,
Cher
Mamma Mia!
American Idol
Mamma Mia!
Rafael el
Cabeza, Dani de
Moron (Spanish
flamenco
guitarist)
Mamma Mia!
Evancescence,
OMD, A1, Jeff
Timmons, Blue
David
Archuleta
26
Mamma Mia!
28
Katy Perry
Katy Perry
Katy Perry
Katy Perry
James Ingram
The Beatles
29
31
TOTAL
E
5/8
F/N
SS
LS
<1/8
<1/8
3/8
LS
2/8
E
4/8
E
2/8
E
3/8
Second Front
Page (F)
S
S
S
LS
E
E
2/8
6/8
3/8
3/8
4/8
2/8
2/8
1/8
<1/8
sections
size
E = 18
45
SS = 4
6
S=3
9
LS = 6
24
F=2
3.5
N=1
2
AcrosstheNation
2
=1
35
91.5
2/8
1/8
36
Table 4. Tally of PDI's Local Music Articles for January 2012 (N=24)
LOCAL
JANUARY
Date
2
3
6
8
9
10
13
14
16
Artist
French cafe
concert
Booked Solid:
Martin Nievera,
Sharon Cuneta,
Ogie Alcasid,
Regine
Velasquez,
Rachelle Ann
Go, The
CompanY,
Basil Valdez,
Rico J. Puno
Gloc-9, SKarlet,
Bituin
Escalante, Jett
Pangan
Dio Saraza
Ariel Rivera
Barbie
AlmalbisHonasan
Cebu Arts
Council, etc.
Fides CuyuganAsensio
Billy Crawford,
Nikki Gil
True Faith
Ogie Alcasid,
Regine
Velasquez
Basil Valdez
Session on 25th
Street
You're A Good
Man, Charlie
Brown
(Musical)
Section
Size 1
Size 2
LS
1/8
1/8
E
1/8
E
3/8
LS
E
<1/8
4/8
E
4/8
LS
4/8
E
6/8
E
<1/8
E
2/8
E
1/8
SS
2/8
SS
<1/8
LS
2/8
1/8
37
17
21
24
28
29
30
31
TOTAL
Kyla
The
Bloomfields
Ryan Cayabyab
Rivalry
Musical, Joseph
Legaspi
(Classical), The
CompanY w/
Jon Santos, Red
Horse
Muziklaban,
AFP-PNP
Singing Stars
Battle of the
Champions
Jacqui Magno,
Rico J. Puno,
Vernie Varga,
etc.
Jacqui Magno,
Lonie Reyes,
Pat Castillo,
Ding Mercado,
Eugene
Villaluz, Ray an
Fuentes
UST Symphony
Orchestra
Dystocia Curve
(Indie Band)
Trina Bascon,
Chris Cantada
Memphis Fest:
The Bleu
Rascals, The
Jerks, etc.
E
<1/8
E
1/8
SS
<1/8
E
6/8
SS
<1/8
E
2/8
LS
6/8
E
1/8
E
2/8
E
2/8
sections
E = 15
SS = 4
LS = 5
24
size
41.5
3.5
14.5
59.5
2/8
2/8
<1/8
38
Based from the data collected, only two out of the 12 months had a greater share
of media coverage on local events. March and December were the only months where
news articles on local events were greater in number than the foreign ones. March 2012
had a total of 39 local articles and only 33 foreign articles. In terms of size, the local
music events garnered a total of 99 counts on the space provided for while the foreign
ones summed a total of 90.5. December 2012 had a total of 29 local music articles and 27
international ones, running short of only two articles. The space provided for had a great
difference, though, with local music articles totaling to 108 while international music
articles got only 62 counts.
While other months had minimal differences in the frequency of articles on local
and international music events, with at least a 3-point difference on the month of
November – local having 36 and international having 39 articles – some months
exhibited quite a huge difference in frequency. Other months had differences between the
two music scenes at an average of 10-15 articles. Among the most notable months in
terms of difference in frequency and size are the months of October, with 48 articles and
131.5 counts in space dedicated to foreign music news while having only 27 articles and
62 counts in space for local music news. June 2012 could also be noticed for the great
gap, with 45 articles and 100 counts in space for international music events versus 29
local music articles with 77 counts in space. The largest gap, however, goes to the month
of May with 85 articles dedicated to international music news while allotting only 37
music articles for the local scene. This month yielded a total of 214 counts on spacing for
foreign music articles, the largest in the whole year of the research's coverage. The local
music scene had a total of only 70 counts for the month of May.
39
The great difference in the frequency and space allocated for local and
international music articles on the Philippine Daily Inquirer shows the imbalance in
terms of coverage on music events in the said newspaper. With these results, the
researcher relates the current situation of music events in the Philippines with
subculturalism in Rojek’s Pop Music, Pop Culture (2011). Based on the data where
foreign music events are covered more than Filipino music events, foreign music may be
referred to as the dominant order. Foreign music is dominant in the Philippines because it
is supported more by the media through their massive coverage of these events. Filipino
music, specifically OPM, is the subculture that the Filipino musicians have made to
emerge from the dominance of foreign music. The struggle of this subculture in the
Philippines continues as media fails to give enough and equal exposure to OPM.
The researcher consulted the Entertainment section editor of the Philippine Daily
Inquirer, Emmie Velarde, regarding her insights on the great gap on the coverage of local
and foreign music events and she disagreed with the findings of the researcher. Velarde
said:
Oh, I doubt that very much. Siguro may nakita ka lang one month na
heavy ang influx ng foreign acts but on a regular basis, take the whole
year, mas maraming OPM. Mas maraming OPM kaysa sa foreign stories
kami, oo. [Oh, I doubt that very much. Maybe you just saw a month where
there was a heavy influx of foreign acts but on a regular basis, take the
whole year, we have a greater coverage on OPM. We have more OPM
than foreign stories, yes.]
40
Velarde insisted that in her section, as editor, she ensures that there is balance and
makes it a point to make room for OPM in the newspaper.
Asked how they weigh stories and its importance in being covered and included
in the broadsheet, Velarde said:
I look at every story as a story. I don’t say, oh this is foreign, this is local
— a story. Marami namang foreign artists na hindi namin pinlay up.
Siguro dumating 'yung story, they’re not so big. Or dumating 'yung story,
maraming magagandang local news. At least dito sa'min, a story is a
story. They’re weighed as stories. Yes, I am proud to say that na wala
kaming biases. [I look at every story as a story. I don’t say, oh this is
foreign, this is local — a story. There are a lot of foreign artists that we
didn't play up. Maybe the story came but wasn't that big. Or it came at a
time when there are a lot of newsworthy local news. At least with us, a
story is a story. They’re weighed as stories. Yes, I am proud to say that we
don't have biases.]
Velarde reiterates that the Inquirer is very balanced when it comes to covering
local and international news and they try to be balanced as much as possible. They try to
be fair and weigh stories, covering as much as possible all newsworthy events. She cited
covering a music workshop in Dumaguete, a music festival on February 27, and Ryan
Cayabyab mentoring new composers selected from all over the country, among others.
She also bragged about being the first to cover Zendee Tenerefe, known as “Random
Girl” singing on a karaoke. Velarde explained that they also cover international music
41
events depending on the weight of the event. She mentioned covering Psy, the Korean
artist who popularized the YouTube hit “Gangnam Style,” visiting the Philippines:
Psy is an event. One billion hits. He’s in the Philippines. Performed with
Madonna, performing with Ai-ai. It’s news. As far as the section is
concerned, the music news gets weighed, kasi meron kaming weighing
system [we have a weighing system] along with the rest of the stories.
Velarde also mentioned Jessica Sanchez, who has received a large bulk of
coverage during her American Idol competition. She even had numerous front page
features and articles under the news section. Velarde discussed that Jessica Sanchez was
covered heavily because she was big news due to her being a Filipino. Leaning on the
Filipino side, she also mentioned that the Inquirer, during Jessica Sanchez’s concert, first
tweeted on Twitter.com that Jessica Sanchez sang an OPM song.
Velarde said that she also supports OPM. In the entertainment section of Inquirer,
a reporter is designated to cover Filipino music alone. Event organizers contact Inquirer
regularly to update them on music events and invite them for coverage. At the same time,
the OPM (Original Pilipino Music) beat reporter contacts the OPM (Organisasyon ng
Pilipinong Mang-aawit) to ask them regarding upcoming events as well. She even
mentioned that a certain day is dedicated to OPM in the entertainment section of the
newspaper:
‘Yung Tuesdays namin, as much as possible, OPM ‘yun, Kaya lang if
there’s not much going on, mahahalo siya sa ibang news. If there’s
enough stories, then that whole day, puro OPM ‘yan. [Tuesdays, as much
as possible, are dedicated to OPM. However, if there’s not much going on,
42
OPM will be mixed with the other news. If there’s enough stories, then,
that whole day would be dedicated to OPM.]
Velarde said that the newspaper was objective. However, the findings of the
researcher are contrary to what the editor stated. It could be possible that Velarde only
considered the coverage of what was under her, the entertainment section, neglecting
other sections like the lifestyle section, which contained a huge amount of music articles
as well. In another light, the editor supported Filipino music and tried to provide coverage
of local music in the broadsheet as much as possible.
The music events covered by When In Manila sum up to a total of 154 articles
published online by different contributors of the website. 85 of the 154 articles are
foreign while only 69 are dedicated to local music news.
According to John Hudson Go, major contributor and writer of When In Manila,
they receive invitations from event organizers which become their basis for events to
cover, sending out the invitation to their more than a hundred writers and/or contributors,
giving the coverage to whoever agrees to cover the event first.
In When In Manila, articles are written usually on a first-hand experience
perspective, giving its readers a personal approach on the event covered. Writers of When
In Manila do not only write about their experiences going to the event but also lay down
comments and critiques that would help readers appreciate or dislike the event.
Since media coverage of the local and international music scenes has a great gap
on the said website, the researcher asked the writer’s insights on the massive influx of
foreign artists in the country, overshadowing the local music scene.
43
According to Go, the number one factor for the success of international acts is the
strong marketing of the promoters of international artists. He states that the problem of
local events is that they do not want to market despite having a relatively large fan base.
Aside from the lack of marketing efforts of press relations officers of local artists,
it has been instilled in most Filipinos that local artists are easier to reach, having regular
shows in the country, compared to international artists who visit the country only once in
a long period of time. On their end, Go said that they exerted extra effort in the coverage
of international music events, especially if they happen once in a blue moon:
Ngayon in terms of, ‘yun nga, pagdating ‘dun sa willful na kami pa ‘yung
magsusulat to those people to invite us in, you wouldn’t give as much
effort to something that you would see every year as opposed to giving
effort to something that you might see just once in your lifetime. [Now, in
terms of being willful enough that we would be the ones to send to those
people to invite us in, you wouldn’t give as much effort to something that
you would see every year as opposed to giving effort to something that you
might see just once in your lifetime.]
An example of a regular local music event would be “Foursome,” a concert staged
by local artists Martin Nievera, Pops Fernandez, Ogie Alcasid and Regine Velasquez.
The show was first seen on Valentine’s Day of 2012 and staged its repeat about just more
than a year later on March 16, 2013.
Go pointed out that the size of the event is something to be considered when
covering music events. Local artists who stage their shows in smaller venues have a
limited capacity of inviting the media since they have limited space to offer as well. He
44
compares international artists staging their tour shows – an all-out production with an
average of 20 songs, at the Smart-Araneta Coliseum or the Mall of Asia Arena – to local
shows and gigs with a limited number of performances at smaller venues like the Music
Museum, which cannot accommodate as much media.
With the lack in effort of local concert promoters in making the Filipino music
events successful through promotional and marketing strategies, local music has less
support than foreign music. As mentioned in earlier chapters, dominant culture “occupy a
position of advantage and privilege over other social and cultural strata” and this is
happening through the strong marketing and promotion of international music events,
making local music less patronized by Filipino music fans.
The survey the researcher conducted gathered a total of 162 responses from
random respondents, consisting of 81 males and 81 females. Most respondents come
from Metro Manila cities while a few reside in nearby provinces like Bulacan, Laguna
and Rizal. Since most of the music events are staged in Manila, the data shows that most
respondents have access to these events.
Of the 162 respondents, 91 or 56% have seen both local and foreign music events.
52 or 32% of them have experienced solely local events and 19 or 12% have gone to
foreign music acts exclusively. This shows the diversity of the survey’s respondents in
terms of exposure to local and international music events.
45
Chart 1. Type of Music Event Attended by Survey Respondents
To make sure that most of the respondents have read music articles from the
media sources covered by the study, the researcher included this in the survey. 83 or 36%
of the respondents said that they have read music articles from Summit Media
publications. 70 or 31% said that they have seen music articles from the Philippine Daily
Inquirer while 26 or 11% answered When In Manila. Only 49 or 21% said that they do
not patronize any of the three news sources. Most of the 49 respondents mentioned social
networking sites such as Facebook and Twitter for knowing the latest music events while
some others said music channels, other websites, and even word of mouth or friends.
Take note that in this part of the survey, respondents may choose more than one option.
Chart 2. Media Source Patronized by Survey Respondents
46
To know if these articles are significant to a person’s choice in attending music
events, the researcher asked if the articles are being considered. 105 or 65% of the
respondents said that they consider the articles that they have read on which events to
attend to while only 57 or 35% of the respondents remain unaffected by these articles.
Chart 3. Consideration of Survey Respondents of Music Articles in Decision-making
To further gauge how much these articles have made its readers aware of music
events, the researcher asked the respondents to rate their awareness of events through
these media sources on a scale of 1 to 5, 1 being the lowest and 5 being the highest
awareness provided.
Based from the responses, these media sources have made its readers more aware
of foreign music events in the year 2012.
For international music events, a total of 47 or 29 % of the respondents said that
the media sources given “made me really aware of the events” at a maximum scale
(rating of 5). The top gainer was “4” with 57 hits or 35% of the total respondents. 30
voted in the middle (rating of 3) while only 12 or 7% of the 162 voted “2” and 16 or 10%
said that they have “never seen any at all” from these media sources when it comes to
47
foreign music articles. The graph below illustrates the ratings given by the respondents
based on the awareness of foreign music events through these media sources.
Chart 4. Awareness of Respondents on Foreign Music Events Based on Media Sources
For local music events, only 16 or 10% of the total respondents said that these
media sources made them totally aware of these local events (rating of 5). A total of 40 or
25% of the respondents voted for “4.” Most of the respondents voted a rating of 3,
accounting for 38% or 62 out of the total 162. 30 or 19% voted for “2” while 14 or 9% of
the respondents voted for the least rating for awareness given for local music events.
The graph below illustrates the ratings given by the respondents based on the
awareness of local music events through these media sources.
Chart 5. Awareness of Respondents on Local Music Events Based on Media Sources
48
To have a concrete grasp of the perception of the respondents on the effect of
these music articles to Filipinos’ choice of events to patronize, the researcher asked, “Do
you think that these music articles in various forms of media influence the decisions of
Filipinos on which music-related events to attend?”
The results show that most respondents think that these sources of information
really affect the decision-making of Filipinos when it comes to patronizing music events.
131 of the total 162 respondents or 81% agreed while only 31 or 19% contested that these
articles influence the attendance on these events.
Chart 6. Influence of Music Articles on Filipinos on Music Events to Attend
Most of the respondents who answered “No” to the previous question believed
that music articles are just to provide information, and not necessarily influence the way
people decide on which music acts to patronize. One pointed out that advertisements
influence music consumers more than the articles. Some also said that personal
preference when it comes to taste in music is the major decision-making point.
“The decision of what music-related events to attend is not base[d] on the article;
it’s still based on the music itself and to the person's taste in music,” said one respondent.
According to Patrick Javier:
49
Nasa taste mo pa din iyan kung anong kanta ang papakinggan mo. Siguro
dagdag puntos na lang ang social media sa kung anong genre ng music
ang papakinggan natin. May sarili tayong desisyon. Kahit anong
impluwensya sa atin, kung hindi nating gusto, hindi natin gugustuhin. [It
still depends on your taste on what songs to listen to. Social media may
have some influence on what genre of music to listen to. But we still have
our own decision. No matter what kind of influence is served upon us, if
we don’t like it, we wouldn’t like it.]
“They generate event awareness for the most part, but they don't really persuade
people to attend the event,” said another respondent.
Some of these respondents who answered “No” explained that no matter how the
events are promoted or are written by these media sources, it does not affect audiences
since they attend events if they like the music or the artist who will stage the act. Also,
not all people are exposed to these media sources and still a lot of them attend music
events. They have other sources of information that would make them aware of the
events that are according to their preferences. They believe that even without the
publication of these articles on media, people will still patronize the music they support.
On the other hand, many others believe that articles from various forms of media
promote these music events effectively, which in turn hypes the interest of concert goers
and music enthusiasts thus, making them attend and patronize these music acts.
Nesii Genilza emphasizes the vital role that media plays in communicating
effectively with its audiences and influencing them and their decisions. She said:
50
They use the power of persuasion, where they use "enchanting"
words to describe musical acts, list their accomplishments and
significance why people should go out and check them out. Like for
example, the heightened media attention given to the 2012 movie
version of the musical 'Les Miserables'. Generally, media
described it as such a phenomenon and gave it good reviews, that
is why people went to see the movie. And also as a Communication
student, I believe that media platforms have the power to make or
break or to predict the success of a certain musical act.
One respondent said that the credibility of the media source makes the music
event of prominent importance. The respondent said:
Well-written articles on an upcoming musical event provide context about
it and more information about the artist. The appearance of such an
article in a reputable publication gives the event more exposure and
makes it appear important (in the sense that it matters enough for the
mag/paper to devote space to it). Such an impression can encourage
readers to attend a certain event or patronize the artist.
Another respondent believes that despite the final decision still lying on the
consumer’s preference, music news still promote the events and target the prospective
audiences:
The promotions/reviews/accounts kind of persuade the audience through
the sharing of opinions and insights. They basically provide reasons why
people should not dare miss the event. Also, the types of medium involved
51
cater to the same people who would likely be attending these concerts. The
final decision of the viewer though still depends largely on his or her taste
in music. Nevertheless, online and print media are good channels to
endorse and encourage attendance.
One respondent even expressed perceiving articles both ways, positive and
negative influence, saying, “Of course, it gives them a hint or even persuade the
audience. Sometimes, when the author does not want the singer or performer, he or she
discourages the readers to attend the music-related event.” The way the article is written
also matters, according to a number of respondents.
Some respondents focused on the Filipinos themselves and their culture and
behavior as individuals and as consumers. “Filipinos can be easily persuaded by famous
people and sweet words,” said one respondent. She said:
Filipinos really love music. The way people advertise these events made
people, like me, connected. They reach out to every individual using the
most famous single of the artists. Also, they give out promos and conduct
contests that encourage us more to attend the said events.
Another respondent believes that recommendations influence a person on their
decisions. “A person's nature of trying something based from another person's experience
or recommendation largely plays a part,” she said.
Beata Carolino said that “these articles are the avenue for people to view the
music-related events which may shape the way they view music.” Music articles do not
only persuade Filipinos in going to the events but also influences them in their perception
52
of music. This, in turn, goes back to music fans patronizing events based on how they
view music and what their preferences are.
Patrick Espiritu pointed out the colonial mentality of Filipinos affect the way
people choose which music events to patronize. People who have colonial mentality tend
to accept the culture or what the colonizer offers in thought that these colonizers are more
superior to them.
Another respondent said that it’s just a bandwagon effect. The bandwagon effect
simply explains how an individual is persuaded to follow what others around him/her
have done. The more people who conform to the trend, the higher possibility for an
individual to do the same.
Filipinos like to be in the scene. That's why I think that those who read
these music-related articles get that excitement and willingness to attend
such events. They may have this lingering urge to actually go and attend
such events, they just need a little extra in order to actually make a
decision.
Jayvee Fulgencio said that the success of an event can sometimes rely on the way
it is publicized through these articles. “It's not only a form of information dissemination,
but also a form of marketing. Package the events right, and people will surely be enticed
to go. Even the best events can become a failure because of bad publicity,” he said.
Others think that these write-ups on music-related events are actually
advertisements. “How media package a musical event is crucial because it serves as an
advertisement. If they write it in a way that is enticing, then it will be able to get people
to attend to these events,” Alfred Panes said.
53
One respondent highlights the significance of the bulk of articles published on
these media sources as an important consideration of music audiences in selecting which
music events to patronize, affecting the way they behave and decide. She said:
To a certain extent, yes. Dahil mas maraming nakikitang articles on
foreign music-related events across different media platforms, Filipinos
become more aware of these over local music-related events. Posible
kasing isipin nila na wala naman silang ibang option kasi nga yun lang
yung mga nakikita nila. Then again, there are still other factors to
consider such as ticket prices, location of the event, or whether die-hard
fans sila ng isang artist or group. [To a certain extent, yes. Because the
readers see more articles on foreign music-related events across different
media platforms, Filipinos become more aware of those over local musicrelated events. There is a possibility that these readers would think that
there are no other options [aside from these foreign events] since they are
the only ones they see. Then again, there are still other factors to consider
such as ticket prices, location of the event, or whether die-hard fans sila
ng isang artist or group.]
For most respondents who agreed to music articles influencing its readers in
patronizing musical acts, they believe that the awareness of the event that the article
provides is sufficient to persuade Filipinos to attend these events. These articles
published on various media sources reinforce the willingness of the audiences and this
results to a higher rate of attendance of these music events. These articles also inform
potential audiences on the essential details of the event like the artist’s background, date,
54
venue and ticket prices, not to mention bonuses like promos or contests that could let
them score invites to the event which really attract most music fans and is a current trend.
The “globalization” of music events have affected the decision-making of Filipino
music event-goers, considering foreign music’s dominance and its perceived better
quality in terms of production and the artist’s value. The way people view Western music
has been elevated to its global dominance and the subculture that OPM offers is defeated
with the perception of Filipinos and their decision in patronizing foreign music events
over local ones. The way people viewed the dominance of foreign culture over local
culture could be attributed to how media presents music events and how much emphasis
they provide foreign music events. The preferences of Filipinos, based on the survey
responses, show the supremacy of foreign music events through the influence of media
and other factors that they consider in patronizing these events.
55
CHAPTER VI. SUMMARY AND CONCLUSION
A. Summary
As seen in the previous chapter, the media sources covered by the study, namely
Philippine Daily Inquirer, When In Manila and Summit Media, exhibited a more
favorable promotional coverage of foreign music events compared to local ones, based on
the standards of frequency, space provided and section where article is located.
As discussed, a significantly greater percentage of the broadsheet Inquirer
promoted foreign music events, based on the frequency and dimensions of the articles
published by the local newspaper. Aside from this, almost all music events that made it to
the “News” section are international ones, giving them more exposure and importance.
The imbalance in promotional coverage, however, cannot be attributed to media
alone as there are many other factors that affect media coverage, as mentioned earlier in
the study.
The success of music events is not solely credited to the way media publicizes
these events. However, with the discussion presented in this study, it was shown that
media truly plays a vital role in the promotion of a music act.
Based on the survey conducted, most of the respondents believe that media really
does affect the way its audiences think, decide and behave. The various responses to the
most significant question in the survey regarding the influence of media to music
consumers have shown how much promotion contributes to the success of music events.
Journalists should not only consider the commercial aspect of the news but also
the duty of providing information on as much as possible all significant events happening
in the media scene. The findings of this study indicate that there is a notable difference in
56
the promotional coverage of local and foreign music events. To help attain the goal of
providing fair and balanced promotion, the media should provide equal exposure to both
international and local music to influence audiences to patronize both music scenes.
The domination of Western music, has affected the way Filipinos think and
behave. The culture of Filipinos has been incorporated with ways of the West. Due to
“globalization,” people have been consuming products which they think are the best
according to world standards. With this, music as well is viewed and consumed the same
way Filipino consumers perceive other products.
The way media presents these music events – its frequency and emphasis on the
various media platforms – is a great factor in contributing to the globalized culture of the
Filipino people. Aside from the media included in the study, international music has
already captivated the Filipino consumers through wide-scale promotions and all other
avenues in almost all corners of the country.
B. Conclusion
The imbalance in the promotional coverage of the selected media sources on
music events are seen through the data presented in the previous chapters. Despite the
media outlets’ efforts to cover both international and local scenes equally, the data
presented clearly showed the advantage of foreign acts over the local ones due to the
publicity that these articles provide them. The resource persons from these media outlets
have expressed that as much as possible, they tried to support both music scenes and
share with their audiences the latest in international and local music; however, there are
still a lot of factors to consider, including marketing, press relations, and event size and
57
venue, to mention a few, which produce the visible difference between the promotional
coverage of international and local music events in media.
58
CHAPTER VII. IMPLICATIONS AND RECOMMENDATIONS
A. Theoretical Issues
The findings of the researcher showed how the theory on subculturalism showed
the dominance of foreign music events over local music events. Media plays a vital role
in the promotion of music events and in shaping the view of Filipinos towards local and
international music.
The researcher was able to effectively utilize the theory of subculturalism in OPM
and the dominance of foreign music, and how “globalization” affects the music scene.
For further studies regarding music events in the Philippines and how media affects
Filipinos’ preference in music, the Cultivation/Culmination Theory could be used. Future
researchers could explore on the desensitization of Filipino music consumers on the
dominance of foreign music over local music in due time.
Potential researchers may also consider the Uses and Gratification Theory to see
how consumers choose music to patronize through their free will of selecting which
media they would utilize and determine how they would intend media to influence them.
This would offer a different approach on the issue as Filipino music consumers are
viewed as media users who do not fully recognize media’s influence and power on them.
B. Methodological Issues
The researcher was not able to extensively research on the topic due to time
constraints and limited resources.
In future studies regarding the topic, it is recommended that the time frame
covered by the study be broadened to further compare data. It is also recommended that
59
more media sources be included in the scope of the study to comprehensively analyze the
situation of media and music in the Philippines. If resources permit, it is highly
recommended that artists from both local and foreign music scenes be interviewed
regarding the issues touched by the study. This will help the researcher gain input from a
more diverse resource base in the field of music. Representatives from music
organizations pushing for the promotion of OPM can also be interviewed to air their
sentiments regarding the matter.
Aside from print and online media, future researchers could also tap the field of
broadcast journalism if a wider scope of study will be conducted.
The relationship of journalism and music has very limited research available so
there is room for further studies in the future. These can open opportunities for the
improvement of media coverage on music in the Philippines.
C. Practical Issues
For future researchers, it is highly recommended that they know how music
events are planned and staged. It will be helpful if the researcher is knowledgeable about
local and foreign music and its different aspects. It is also recommended that the
researcher discovers how media relations are towards music events. If the researcher is
passionate about the study, he/she should have also experienced music events to relate to
the consumers of music and media. For future studies, a researcher with connections on
both the media and the music industry (promotions, events) can effectively work on a
good output.
60
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64
APPENDIX A
Tally of Music Articles from the Philippine Daily Inquirer (January – December 2012)
Legends: S - Super Lifestyle, SS - Saturday Special, E - Entertainment, LS - Lifestyle, L Learning, W - World, F - Front Page, N - News, M - Motoring, GP - Global Pinoy, Met Metro, SB - Sunday Biz, B - Business, O - Opinion
FOREIGN
JANUARY
Date
Artist
Section
Size 1
Size 2
2
Lady Gaga
E
<1/8
3
U2, Adele, John
Legend, Lana
E
del Rey, Van
Halen
4/8
4
7
Taylor Swift,
Bruno Mars,
Korn
Booked sold: A
hectic concert
calendar:
LMFAO, AJ
Rafael, James
Ingram, Cyndi
Lauper, The
Ventures
Elton John
Michael
Jackson
Michelle
Wiliams in My
Week With
Marilyn
Joe Jonas
8
9
10
Mamma Mia!,
My Fair Lady
Symphony of
My Dreams
Mamma Mia!
E
3/8
E
3/8
E
1/8
SS
1/8
SS
2/8
SS
2/8
LS
4/8
LS
3/8
E
3/8
<1/8
1/8
65
11
13
14
15
16
David
Archuleta
Boys Like
Girls, The Click
Five, All Time
Low,
Secondhand
Serenade,
Simple Plan,
The Summer
Set, A Rocket
to the Moon,
The Ready Set,
A+ Dropouts,
Forever the
Sickest Kids,
The Cab, Cobra
Starship
E
<1/8
LS
3/8
The Ventures
E
2/8
Ryan
Villanueva
Katy Perry,
Demi Lovato,
Lea Michele,
Adame Levine
Madonna,
Michelle
Williams, Marie
J. Blige
Across the
Nation
2/8
E
3/8
E
<1/8
David
Archuleta
E
1/8
AJ Rafael
E
2/8
2/8
3/8
66
21
22
23
24
25
Frank Sinatra,
Will Smith,
Bette Miller,
Justin
Timberlake,
Cher
E
5/8
Mamma Mia!
F/N
<1/8
American Idol
SS
<1/8
Mamma Mia!
LS
3/8
LS
2/8
E
4/8
E
2/8
E
3/8
Rafael el
Cabeza, Dani de
Moron (Spanish
flamenco
guitarist)
Mamma Mia!
Evancescence,
OMD, A1, Jeff
Timmons, Blue
David
Archuleta
26
Mamma Mia!
28
Katy Perry
Katy Perry
Katy Perry
Katy Perry
James Ingram
The Beatles
29
31
Second Front
Page (F)
S
S
S
LS
E
E
sections
E = 18
SS = 4
S=3
LS = 6
F=2
N=1
AcrosstheNation
=1
35
2/8
6/8
3/8
3/8
4/8
2/8
2/8
1/8
<1/8
size
45
6
9
24
3.5
2
2
91.5
2/8
1/8
67
LOCAL
JANUARY
Date
2
3
6
8
9
10
13
14
Artist
Section
French cafe
LS
concert
Booked Solid:
Martin Nievera,
Sharon Cuneta,
Ogie Alcasid,
Regine
Velasquez,
E
Rachelle Ann
Go, The
CompanY,
Basil Valdez,
Rico J. Puno
Gloc-9, SKarlet,
Bituin
E
Escalante, Jett
Pangan
Size 1
Size 2
1/8
1/8
1/8
3/8
Dio Saraza
LS
<1/8
Ariel Rivera
Barbie
AlmalbisHonasan
E
4/8
E
4/8
LS
4/8
E
6/8
E
<1/8
E
2/8
E
1/8
SS
2/8
Cebu Arts
Council, etc.
Fides CuyuganAsensio
Billy Crawford,
Nikki Gil
True Faith
Ogie Alcasid,
Regine
Velasquez
Basil Valdez
1/8
68
Session on 25th
Street
16
You're A Good
Man, Charlie
Brown
(Musical)
Kyla
SS
<1/8
LS
2/8
E
<1/8
17
The
Bloomfields
E
1/8
21
Ryan Cayabyab
SS
<1/8
24
28
29
Rivalry
Musical, Joseph
Legaspi
(Classical), The
CompanY w/
Jon Santos, Red
E
Horse
Muziklaban,
AFP-PNP
Singing Stars
Battle of the
Champions
Jacqui Magno,
Rico J. Puno,
SS
Vernie Varga,
etc.
Jacqui Magno,
Lonie Reyes,
Pat Castillo,
Ding Mercado, E
Eugene
Villaluz, Ray an
Fuentes
2/8
6/8
<1/8
2/8
2/8
69
30
31
UST Symphony
Orchestra
Dystocia Curve
(Indie Band)
Trina Bascon,
Chris Cantada
Memphis Fest:
The Bleu
Rascals, The
Jerks, etc.
LS
6/8
E
1/8
E
2/8
E
2/8
sections
size
E = 15
41.5
SS = 4
3.5
LS = 5
14.5
24
<1/8
59.5
FOREIGN
FEBRUARY
Date
3
4
5
6
Artist
Lady Gaga,
Justin Bieber
Mamma Mia!,
Abba
Section
Size 1
LS
<1/8
E
2/8
Adele
E
<1/8
Javier Colon
(The Voice)
S
4/8
Death Cab For
Cutie
S
4/8
LS
2/8
LS
2/8
E
E
<1/8
<1/8
Mamma Mia!
La Traviata:
Taziana
Fabriccini, etc.
Madonna
Smash
7
Engelbert
Humperdinck
E
2/8
8
Madonna
E
1/8
Size 2
<1/8
1/8
70
9
11
Engelbert
Humperdinck
E
2/8
MIA, Madonna
(Super Bowl)
E
<1/8
Hanson
S
2/8
One Direction,
The Fray, Gavin
DeGraw, Lana
del Rey, The
Black Keys,
Katy Perry, Piss
Copperman,
S
Adele, Jason
Mraz, Snow
Patrol, David
Guetta, Usher,
Calvin Harris,
Rihanna, The
Cab
Glee: Naya
Rivera,, Chris
Colfer, Lea
Michele,
S
American Idol:
Steven Tyler,
Jennifer Lopez,
Ryan Seacrest
Evanescence
SS
3/8
1/8
1/8
Japanese Jazz
Concert
LS
3/8
Madonna, Demi
Lovato
SS
2/8
1/8
1/8
71
12
13
David
Archuleta,
Smitten
E
1/8
Avril Lavigne,
American Idol,
Blue, Jeff
Timmons, A1,
Taylor Dayne,
Edwin McCain
E
2/8
James Ingram
E
<1/8
Paul McCartney E
2/8
Grammys:
Rihanna, Adele,
Foo Fighters,
Coldplay, Katy
Perry, Chris
Brown
E
5/8
Madonna
E
3/8
American Idol:
Katharine
E
McPhee,
Jennifer Hudson
2/8
Whitney
Houston
F/N
1/8
3/8
Whitney
Houston
F/N
<1/8
2/8
MIA, Madonna
E
1/8
Kelly Price
E
2/8
72
David
E
Archuleta
Grammys: Lady
Gaga, Skrillex, E
etc.
14
15
16
2/8
3/8
Adele
F/N
<1/8
2/8
Whitney
Houston
F/N
<1/8
2/8
ABBA
E
2/8
1/8
Blue, A1 Jeff
Timmons
E
4/8
Whitney
Houston, David
Archuleta
E
2/8
Whitney
Houston
E
<1/8
E
5/8
W
1/8
E
E
<1/8
<1/8
Sasha Gradiva,
Carrie
Underwood,
Nicki Minaj,
Fergie, Katy
Perry
Whitney
Houston
Grammys
Whitney
1/8
73
17
18
19
20
21
23
24
25
Houston
Whitney
Houston
Madonna
James Ingram
Live 5, Forever
the Sickest
Kids, A+
Dropouts
Whitney
Houston
Whitney
Houston
Whitney
Houston
Evanescence,
Taylor Dayne,
Edwin McCain
An Alton,
Christine
Coyiuto,
Michael Emery
Mamma Mia!,
Annie Brazil,
Engelbert
Humperdinck,
Avril Lavigne,
James Ingram
Foo Fighters,
Dave Guhl
Kevyn Lettau,
Dave Eggar
Apl.de.Ap
Acoustic
Alchemy, A1,
Blue, Jeff
Timmons
Lady Gaga,
Cher, Mery J.
Blige, Pat
Benatar, Mariah
Carey
Whitney
Houston
David
Archuleta
W
1/8
LS
E
3/8
2/8
E
3/8
SS
2/8
S
2/8
N
3/8
E
2/8
LS
2/8
E
3/8
E
1/8
E
3/8
E
2/8
E
1/8
LS
<1/8
E
<1/8
S
3/8
<1/8
1/8
2/8
1/8
74
27
Laneway Music
Festival
Adele
Korean soprano
Yun-Kyoung Yi
Michael Young
S
3/8
SS
3/8
LS
1/8
LS
2/8
sections
E = 35
SS = 4
S=8
LS = 9
F=4
N=5
W=2
size
71.5
8.5
24
16.5
2.5
12
2
67
137
LOCAL
FEBRUARY
Date
2
Artist
Size 1
Size 2
E
1/8
Sarah Geronimo E
1/8
3
Sharon Cuneta,
Martin Nievera
E
2/8
5
Nove Deypalan
GP
2/8
E
2/8
4/8
E
2/8
3/8
LS
2/8
LS
E
1/8
1/8
LS
<1/8
E
2/8
6
7
APO
Section
The Yuzon
Brothers
(Yanny & Yael)
The CompanY
La Traviata:
Rachelle
Gerodias, etc.
Angel Peña
Pijazzfest
Rondalla of the
Bayanihan
National Folk
Dance
Company
Sponge Cola
<1/8
1/8
75
8
10
11
Loving in the
70s, Sitti, Gong
and Bamboo
Music Festival,
Rico J. Puno,
Sharon Cuneta,
Martin Nievera,
etc.
Battle of the
Champions
Rachelle Ann
Go, etc.
E
<1/8
E
3/8
E
1/8
Somedaydream
S
<1/8
Basil Valdez
SS
<1/8
Katy dela Cruz
Aiza Seguerra,
Jon Santos, Bo
Cerrudo,
Rachelle
Gerodias & The
Filipino Tenors,
Pinky Marquez,
Jacqui Magno
SS
1/8
SS
1/8
Martin Nievera
SS
1/8
1/8
2/8
76
12
13
Smitten by
Love, Sharon
Cuneta, Regine
Velasquez &
Ogie Alcasid,
Engelbert
Humperdinck,
The Sound of
Music: Joanna
Ampil, Mamma
Mia!
SS
5/8
Dave Eggar,
Smitten
SS
2/8
SS
4/8
E
<1/8
Lea Salonga
E
2/8
Philippine
Chamber
Singers
E
5/8
Bamboo Organ
Festival
LS
5/8
Janine Santos,
Raymond
Roldan (UP
Singing
Sweethearts),
The Executive
Band
LS
1/8
Basil Valdez,
Rachelle Anne
Go, The
CompanY,
Smitten
Nikki Gil &
Billy Crawford
2/8
77
16
Nyoy Volante,
Juris, RJ and
Tiongco
Brothers, Nikki
Gil and Billy
Crawford, Isay
Alvarez, Robert
Seña
Muziklaban
Kitchie Nadal,
Gloc-9
X Factor Ph
17
Lea Salonga
14
19
20
Helen
Bartolome,
Noel Cabangon,
Willie
Nepomuceno,
Cookie Chua,
Bayang Barrios,
Jinky Oda and
Renz Verano,
Christian &
Karylle, Rex
Smith, Sound of
Music
Rachelle Ann
Go, The
CompanY,
Basil Valdez
Opera House,
Sound of Music
Cellist Wilfredo
Pasamba, Opera
House, Sound
of Music,
Vionilist Gina
Medina, Pianist
Mary Anne
Espino
A musical
tribute to 16
martyrs
E
1/8
E
4/8
E
3/8
E
1/8
E
3/8
E
2/8
E
2/8
LS
3/8
LS
3/8
L
4/8
1/8
78
21
22
25
27
Lea Salonga,
Ogie Alcasid,
Regine
Velasquez, Rico
E
J. Puno, Emey
Corteza, Pat
Castillo, Ferdie
Topacio
2/8
Brass Munkeys
E
1/8
Basil Valdez
Lea Salonga,
etc.
Sarah Geronimo
La Traviata
E
<1/8
E
4/8
SS
LS
1/8
<1/8
sections
size
E = 24
61
SS = 8
S=1
LS = 8
15.5
0.5
18
L=1
4
GP = 1
2
43
2/8
101
FOREIGN
MARCH
Date
2
Artist
Cobra Starship,
Dashboard
Confessional,
The Cab, The
Used,
Morrissey,
Orchestral
Maneuvres in
Section
E
Size 1
2/8
Size 2
79
the Dark
(OMD)
3
Cranberries
S
1/8
OMD
Jessica Sanchez
Katharine
McPhee
An Alton,
Michael Emery,
Christine
Coyiuto
SS
E
<1/8
2/8
E
2/8
LS
<1/8
6
OMD
E
3/8
E
<1/8
E
1/8
8
Charlie Green
Kinna Grannis,
Smash Project,
Dashboard
Confessional,
Cobra Starship,
The Cab, The
Used
Lady Gaga
E
1/8
10
Smash Project
S
4/8
Cyndi Lauper
S
2/8
Jessica Sanchez
E
2/8
LS
<1/8
E
<1/8
David
Archuleta
E
1/8
Whitney
Houston
E
4/8
Malasimbo Arts
and Music
Festival
S
2/8
4
5
11
12
13
14
17
La Traviata,
Kun-KyoungYi
Kina Grannis
4/8
1/8
80
DJ Trouble
Trevor Andrew
Smash
S
4/8
S
3/8
S
4/8
E
3/8
E
<1/8
E
2/8
E
2/8
S
4/8
Brian McKnight S
4/8
Erika Van Pelt
E
<1/8
Barney, Hanson
E
1/8
E
2/8
E
2/8
E
2/8
E
2/8
E
2/8
E
3/8
Smash
18
19
21
24
25
26
29
30
Michael
Jackson, Frank
Sinatra, Lady
Gaga, etc.
Lady Gaga
David
Archuleta
Olivia-NewtonJohn
Blake
Platters, Taking
Back Sunday,
Phantom of the
Opera, The
King and I
The Cranberries
Ricky Martin,
Glee
Terrence Manu,
Stephanie J.
Block, Peter
Lockyen, Marie
Zamora, Brian
Stokes Mitchell,
etc.
Lindsay Lohan,
Glee
Susan Boyle
1/8
<1/8
81
31
Super, Avenged
Sevenfold, The
Cranberries,
LMFAO,
Taking Back
Sunday, Israel
Houghtonw
with New Breed
and the
Plantshakers,
S
Greyson
Chance, Ed
Kowalczyk and
Vertical
Horizon,
Secondhand
Serenade, Lady
Gaga,
Lifehouse,
Morrissey
The Cranberries S
90s: Christina
Aguilera, Spice
Girls, Moffatts,
Alanis
S
Morissette,
Celine Dion,
Ricky Martin,
etc.
4/8
2/8
5/8
LMFAO
SS
<1/8
David
Archuleta
SS
2/8
sections
size
E = 22
39.5
SS = 3
3
S=6
43
2/8
82
LS = 2
5
33
90.5
LOCAL
MARCH
Date
Artist
1
Charice
2
Jose and Wally
Show
Charice
Carina Afable
Outerhope
3
6
8
10
11
Size 1
E
<1/8
E
2/8
E
E
S
<1/8
8/8
3/8
SS
3/8
LS
4/8
LS
1/8
Jose and Wally
E
2/8
Basil Valdez
Kine Kalibre,
Slapshock
Jett Pangan
Flippin' Soul
Stompers
Akafellas, Live
AIDS
Arnel Pineda
E
1/8
E
1/8
E
2/8
S
4/8
SS
<1/8
E
5/8
Basil Valdez
5
Section
Metro Manila
Concert
Orchestra
UST
Conservatory
Size 2
1/8
83
12
Cecile Licad,
Lea Salonga,
Lisa Macuja
Rogelio "Jun"
Peñaverde,
Repertory
Philippines
Jekyll and Hyde
14
15
18
19
20
<1/8
LS
2/8
LS
2/8
Mandaluyong
L
Children's Choir
Basil Valdez
E
Cecile Licad,
Lea Salonga,
E
Lisa Macuja
Ogie Alcasid
17
LS
4/8
1/8
2/8
4/8
1/8
1/8
E
2/8
S
1/8
S
1/8/2013
S
SS
4/8
1/8
E
5/8
E
2/8/2013
E
2/8
2/8
Charrito,
Charice,
Christian
Bautista, etc.
E
1/8
1/8
Myx Awards
Bodjie Dasig
E
E
1/8
2/8
Karl Roy
Concert
Karl Roy,
Razorback
Artiste Connect
Charice
Karl Roy,
Razorback
Quartetto
Expressivo,
UST Symphony
Orchestra,
Philippine
Madrigal
Singers
Ryan
Cayabyab, The
CompanY,
Basil Valdez,
etc.
5/8
84
21
Ogie Acasid,
Jett Pangan, etc.
E
<1/8
2/8
22
Jekyll and Hyde
E
1/8
1/8
24
Martin Nievera
SS
2/8/2013
25
26
Sarah Geronimo SS
2/8
Charice
"Mad For
Music" Basil
Valdez, Pops
Fernandez,
Billy Crawford,
Nikki Gil, etc.
Lea Salonga,
Lisa Macuja,
Cecile Licad
The Kolisko
Waldorf School
Ensemble
Mad For Music,
Spirit of 67,
Draybers
Cesar Montano,
Noli Aurillo,
etc.
The Perfect
Jam, Music
Hearts Trio
E
<1/8
E
<1/8
LS
2/8
LS
1/8
E
2/8
E
5/8
E
6/8
4/8
85
27
28
Ogie Alcasid
Kid Punk Band,
Cathy Go,
Robin Nievera,
Tria Bascon
Pagcor - OPM
@ Pagcor 2
E
1/8
1/8
E
1/8
1/8
E
2/8
sections
E = 28
SS = 5
S=5
L=1
size
70.5
8.5
18
2
39
99
FOREIGN
APRIL
Date
1
2
Artist
American Idol:
Jessica
Sanchez,
Mariah Carey,
Steven Tyler,
Samuel
Jackson,
Katharine
McPhee, Adam
Lambert,
Jennifer Hudson
American Idol:
Heejun Han
Myanmar poprockers: Phyu
Phyu Kyaw
Thein, Me N
Ma Girls, etc.
Taylor Swift
Lady Gaga
The Voice:
Christina
Aguilera, Blake
Shelton, Cee Lo
Green, Adam
Section
Size 1
E
3/8
E
1/8
E
4/8
E
E
2/8
<1/8
E
<1/8
Size 2
3/8
86
3
5
8
9
10
13
14
Levine
Paul
McCartney,
David Garnett
Bob Lappin and
the Palm Beach
Pops Orchestra,
Davd Burnham
Olivia NewtonJohn
Sofya Gulyak
The Phantom of
the Opera
Greyson
Chance,
LMFAO
Sergio Mendes,
The
Cranberries,
LMFAO, The
Stylistics,
Taking Back
Sunday,
Avenged
Sevenfold
Pearl Jam + All
Original Artists:
"The Hottest
Hits...Ever!"
LMFAO,
Maroon 5, One
Republic, etc.
Cranberries
American Idol:
Jessica
Sanchez,
Mariah Carey,
Steven Tyler,
Samuel
Jackson, Ryan
Seacrest
Jessica Sanchez
The Voice:
Cheesa Laureta
Zac Efron
Hanson
E
2/8
E
1/8
E
2/8
LS
2/8
LS
2/8
E
2/8
E
1/8
E
1/8
E
3/8
F/N
1/8
N
1/8
N
1/8
S
S
4/8
3/8
<1/8
1/8
2/8
4/8
87
15
17
19
20
21
22
Hanson
Bon Iver,
Rihanna,
Beyonce, etc.
Madonna
Jessica Sanchez
Lady Gaga,
NKOTBSB
Avenged
Sevenfold,
Taylor Dayne &
Edwin Mccain
S
1/8
S
2/8
SS
SS
2/8
1/8
<1/8
SB
2/8
4/8
E
1/8
Rihanna
E
<1/8
Ed Sheeran
E
<1/8
Greyson
Chance
E
2/8
1/8
Daniel Berlin,
etc.
E
1/8
2/8
E
2/8
S
3/8
Jessica Sanchez
SS
2/8
Katy Perry
Greyson
Chance, Sergio
Mendes and
Brasil, Avenged
Sevenfold,
Vertical
Horizon and Ed
B
2/8
E
1/8
Camryn &
Greyson
Chance, Ed
Kowalczyk &
Vertical
Horizon,
Avenged
Sevenfold,
Lifehouse
Taking Back
Sunday
1/8
88
Kowalczyk
24
25
26
28
29
Greyson
Chance
N
3/8
Lady Gaga
E
2/8
Thia Megia
E
<1/8
Robin Gibb
E
<1/8
Levon Helm
E
1/8
Craig David
LS
<1/8
Barney Space
Adventure
LS
2/8
F/N
<1/8
E
2/8
F/N
1/8
S
3/8
SS
3/8
SS
E
E
1/8
1/8
1/8
sections
E = 27
SS = 5
S=6
LS = 4
F=3
N=6
SB = 1
B=1
size
47.5
9.5
20
6.5
2.5
10
6
2
Sergio Mendes
and Brasil
Mamma Mia
Jessica
Sanchez, Elise
Teston
SHINee
One Direction,
The Wanted
Jason Mraz
Adele
Barney
2/8
1/8
89
53
104
LOCAL
APRIL
Date
5
8
9
10
11
12
Artist
ABS-CBN
Philharmonic
Orchestra
Charice, Anna
Maria de Tagle,
Charmaine
Clamor,
FilipinoAmerican
Symphony
Orchestra
Cecile Licad
Philippine
Philharmonic
Orchestra
Care Divas
Forbidden
Broadway
Forbidden
Broadway
The Dream
Musicale
Jett Pangan,
Ogie Alcasid,
Jaya, Camyl
Besinga, DJ
Dondi Virrey of
Techy
Romantics,
Rannie
Raymundo
Tanya Markova
Kuh Ledesma,
Aiza Seguerra
Christian
Bautista, etc.
OPM @
PAGCOR 2
Lea Salonga
Section
Size 1
Size 2
E
1/8
E
2/8
2/8
LS
2/8
3/8
LS
1/8
LS
3/8
LS
2/8
LS
2/8
L
<1/8
E
2/8
3/8
E
1/8
<1/8
E
4/8
<1/8
E
2/8
E
2/8
E
2/8
<1/8
90
13
14
15
16
17
20
21
22
23
24
25
Eat Bulaga
Concert
The Mabuhay
Singers, Cely
Bautista, etc.
Arnel Pineda
Jekyll and Hyde
Tanduay's First
Five
Robin Nievera
Cathy Go
Sitti
Kuh Ledesma
Earth Day Jam
Angeline
Quinto, Ryan
Cayabyab
Singers
E
2/8
S
2/8
E
LS
4/8
2/8
5/8
E
1/8
1/8
E
E
E
E
E
1/8
<1/8
<1/8
<1/8
1/8
<1/8
SS
2/8
LS
2/8
E
<1/8
LS
1/8
LS
2/8
2/8
E
3/8
2/8
Sarah
Geronimo, Gab
and Gary
Valenciano
LS
<1/8
Forbidden
Broadway
LS
1/8
Ingrid Sala
Santamaria
KBP Pop Music
Festival
Fidel Calalang
(UST Singers)
Michael
Jacinto, UST
Wind
Orchestra, etc.
Ryan
Cayabyab, Gary
Granada, Noel
Cabangon,
Dulce, Gary
Valenciano,
Aiza Seguerra,
etc.
1/8
91
26
28
30
Sitti (Front act
of Sergio
Mendes &
Brasil)
Earth Day Jam
N
<1/8
E
1/8
June Marieezy
S
3/8
Arnel Pineda
V Fort,
Carectivas, UP
College of
Music, Jose
Mari Chan,
Janet Basco and
Shela
Vaderrama
Monks' Hood
Forbidden
Broadway
Lea Salonga,
Cecile Licad
Philippine
Philharmonic
Orchestra
UP College of
Music,
Regalado S. L.
Jose
SS
2/8
SS
1/8
SS
<1/8
LS
2/8
LS
2/8
LS
4/8
LS
2/8
Young JV
E
<1/8
sections
size
E = 20
43.5
SS = 4
S=2
LS = 15
N=1
L=1
7.5
5
6
0.5
0.5
43
63
1/8
2/8
1/8
92
FOREIGN
MAY
Date
2
Artist
LMFAO
Section
LS
4
Jessica Sanchez
N
2/8
5
Jessica Sanchez
F/N
<1/8
The Cranberries
S
3/8
LMFAO
S
5/8
S
4/8
S
3/8
SS
2/8
SS
1/8
LS
2/8
LS
2/8
LS
3/8
E
<1/8
E
1/8
E
E
E
N
S
S
3/8
<1/8
3/8
3/8
4/8
4/8
S
4/8
7
8
9
10
11
12
Secondhand
Serenade
Vertical
Horizon
Norah Jones,
Gotye
Carrie
Underwood
Sofya Gulyak
Michael
Consteau,
Florence
Guignolet, etc.
Madama
Butterfly
Beastie Boys
Morrissey,
Lady Gaga,
Lifehouse
Ricky Martin
Madonna
Morrissey
Jessica Sanchez
Jay Park
Lifehouse
Avenged
Sevenfold,
Strings of Fury
Size 1
1/8
Size 2
3/8
1/8
1/8
93
17
18
19
20
The Apostles,
etc. (Pulp
Summerslam)
S
3/8
Every Avenue,
The Fray
S
1/8
1/8
E
1/8
2/8
E
<1/8
N
2/8
E
F/N
<1/8
3/8
<1/8
4/8
Lady Gaga
F/N
1/8
2/8
Lady Gaga
N
2/8
Blush
S
1/8
Morrissey
Zac Efron
Jessica Sanchez
S
SS
SS
<1/8
1/8
2/8
4/8
Carrie
Underwood
SS
<1/8
<1/8
Lady Gaga
F/N
2/8
4/8
Jessica Sanchez
E
<1/8
2/8
Burt Bacharach,
Hal David
Jessica Sanchez
American Idol:
Mariah Carey,
Steven Tyler,
Samuel
Jackson, Jessica
Sanchez, etc.
Lady Gaga
Jessica Sanchez
94
21
22
23
24
25
26
27
Sofya Gulyak
Pianist Raff:
Kasparian
Chaka Khan,
Whitney
Houston
Justin Bieber,
etc.
Jessica
Sanchez, Donna
Summer
Phantom of the
Opera
Jennifer Lopez
Lady Gaga
Bee Gees
Morrissey
Jessica Sanchez
Lady Gaga
Lady Gaga
Jessica Sanchez
Michelle
Branch, JoJo,
NKOTBSB,
Chris Botti
Jessica Sanchez
Lady Gaga
Super Junior
Choi Siwon,
Donghae
Joe Jonas
Joe Jonas
Michael
Jackson
Jessica Sanchez
American Idol
Lady Gaga
Joe Jonas
Lady Gaga
Jessica Sanchez
Jessica Sanchez
Jessica Sanchez
Joe Jonas
Justin Bieber
LS
3/8
LS
3/8
E
<1/8
E
1/8
E
2/8
E
3/8
E
N
W
E
F/N
Met
Met
F/N
2/8
3/8
3/8
1/8
<1/8
1/8
<1/8
3/8
E
2/8
F/N
LS
2/8
1/8
LS
4/8
LS
E
2/8
2/8
E
1/8
E
S
S
S
SS
SS
N
F/N
LS
LS
2/8
2/8
7/8
1/8
1/8
2/8
3/8
<1/8
3/8
<1/8
2/8
3/8
1/8
5/8
5/8
6/8
2/8
1/8
4/8
4/8
1/8
1/8
95
28
29
30
31
American Idol,
Jennifer
Holiday, Jessica
Sanchez,etc.
Elton John
Lady Gaga
Jennifer Lopez,
Jessica Sanchez
Jessica Sanchez
Lady Gaga, etc.
John
Abercrombie
Lady Gaga
Lady Gaga
E
2/8
E
E
<1/8
2/8
E
<1/8
E
E
2/8
2/8
E
1/8
O
E
2/8
2/8
sections
E = 27
SS = 7
S = 14
LS = 11
N = 14
F=8
O=1
W=1
Met = 2
85
size
52
11
56.5
32.5
42
12.5
2
3
2.5
214
4/8
<1/8
LOCAL
MAY
Date
1
2
7
8
Artist
Arnel Pineda
Skabeche,
Troubadors
Jim Paredes
Myramae
Meneses, Jade
Riccio, Elainne
Vibal, etc.
Forbidden
Broadway
Section
E
Size 1
2/8
E
2/8
M
2/8
LS
2/8
LS
1/8
Billy Crawford
E
2/8
The Rockin 60s
Band, K.O.
Jones
E
3/8
Size 2
2/8
96
Bamboo
E
1/8
9
10
Kjwan
Arnel Pineda
E
E
<1/8
<1/8
12
Pulp Summer
Slam
S
1/8
S
4/8
S
3/8
SS
1/8
SS
E
E
E
S
SS
1/8
2/8
2/8
<1/8
2/8
<1/8
SS
2/8
<1/8
E
<1/8
2/8
E
2/8
1/8
Boy Katindig
E
2/8
3/8
Gary
Valenciano
E
1/8
The CompanY
S
3/8
15
16
17
19
20
21
22
26
General Luna,
etc.
Outerhope
Zsa Zsa Padilla
& Zia Quizon
Mitch Valdes
Kamikazee
Charice
Sarah Geronimo
Army Of One
Basil Valdez
Ryan Cayabyab
Singers
Celeste
Legaspi, Sharon
Cuneta, Ogie
Alcasid, Lea
Salonga, Leah
Navarro, Moy
Ortiz, Ryan
Cayabyab,
Madonna
Decena, Gary
Valenciano
Luke Mejares,
Martin Nievera,
Joey Generoso
(Side A),
Robert Seña,
Duncan Ramos
1/8
97
27
28
29
30
31
Xian Lim
True Faith
Ang Bagong
Harana
National
Heritage Month
Romblon Local
Singers
Ogie Alcasid,
Gary
Valenciano,
True Faith, Jed
Madela, Bo
Cerrudo, Leah
Navarro, Sitti,
Kyla
Ryan Cayabyab
Chad Borja
The CompanY
First Philippine
International
Jazz & Blues
Guitar Festival
Mig Ayesa,
Vina Morales,
Nyoy Volante,
Jett Pangan
Ryan
Cayabyab, etc.
SS
E
1/8
1/8
LS
3/8
LS
<1/8
E
2/8
E
E
E
2/8
1/8
1/8
E
1/8
E
2/8
E
<1/8
sections
size
E = 22
42.5
SS = 5
6
S=5
13
LS = 4
6.5
M=1
37
2
70
1/8
1/8
98
FOREIGN
JUNE
Date
2
3
4
5
6
7
8
9
Artist
Rock of Ages
Section
SS
Adam Lambert,
Kris Allen
SS
2/8
American Idol
E
1/8
Donna Summer
E
2/8
Jessica Sanchez
E
<1/8
E
1/8
E
2/8
E
3/8
F
2/8
Paul McCartney F
1/8
Bobby Brown,
Whitney
Houston
Smash
First Philippine
Jazz and Blues
Guitar Festival
London
Diamond
Jubilee Concert
The Fray, Drum
Tao
Whitney
Houston
Taylor Swift
Nicki Minaj,
Snow Patrol,
Tears For Fears,
Fra Lippo
Lippi, Roberta
Flack, David
Cook
New Kids on
the Block,
Backstreet Boys
(NKOTBSB)
NKOTBSB
Size 1
2/8
LS
2/8
E
1/8
E
<1/8
E
3/8
S
4/8
S
4/8
Size 2
8/8
99
Nicki Minaj
S
2/8
Rock of Ages
S
5/8
Lifehouse
S
4/8
Marie Presley
SS
2/8
American Idol
SS
2/8
10
Phillip Phillips
E
<1/8
11
Madama
Butterfly
LS
2/8
1/8
Jessica Sanchez
E
2/8
2/8
Nicki Minaj
Madonna
Jessica Sanchez
Rock of Ages
Silverstein,
Tears For Fears,
Megadeth, The
Smashing
Pumpkins,
David Cook,
Snow Patrol
Rock of Ages
Mary J. Blige,
Whitney
Houston
E
E
E
E
3/8
1/8
1/8
2/8
4/8
S
3/8
SS
2/8
E
2/8
13
15
16
1/8
1/8
100
17
22
23
24
26
30
Jessica Sanchez
& Apl.de.Ap
Chris Botti,
Lisa Fischer
Whitney
Houston, Donna
Summer, Robin
Gibb
Maroon 5
The Temper
Trap
Rock of Ages
Jessica Sanchez
Whitney
Houston
Spice Girls
Justin Bieber
Jessica Sanchez
Justin Bieber
Jessica Sanchez
Carly Rae
Jepsen
N
<1/8
E
1/8
E
2/8
S
3/8
S
1/8
S
LS
2/8
1/8
E
2/8
S
S
SS
S
SS
2/8
<1/8
1/8
<1/8
1/8
SS
1/8
sections
E = 19
SS = 8
S = 12
LS = 3
N=1
F= 2
45
size
36.5
14
40
6
0.5
3
100
LOCAL
JUNE
Date
5
6
Artist
Lea Salonga
First Philippine
Jazz and Blues
Guitar Festival
Julie Ann San
Jose, Elmo
Magalona
Nora Aunor
Icons at the
E
Section
Size 1
3/8
E
3/8
E
<1/8
E
3/8
E
1/8
Size 2
101
7
8
9
12
14
16
17
Arena,
Bloomfields
OJ Mariano,
Lea Salonga
Gary
Valenciano
E
3/7
E
<1/8
Independence
Day Concert
S
2/8
Junji Lerma
E
1/8
E
2/8
E
4/8
S
E
2/8
3/8
E
1/8
E
2/8
3/8
S
2/8
1/8
E
6/8
5/8
E
2/8
Rock of Ages:
Nyoy Volante,
Aiza Seguerra,
Vina Morales,
Mig Ayesa, etc.
Noel Cabangon,
etc.
6cyclemind
Becca Godinez
Bryson Andres
(front act)
19
23
The Amp Band,
The Glass
Onion Band,
etc.
Cynthia
Alexander
Lea Salonga,
Basil Valdez,
Ryan
Cayabyab, Jose
Mari Chan,
Rachel
Alejandro,
Verni Varga,
Dulce, Ogie
Alcasid &
Regine
Velasquez,
Freddue
Aguilar,
Bamboo, etc.
Angeline
2/8
102
25
26
28
30
Quinto
The Manila
Chamber
Orchestra
Carmen
Camacho, etc.
(Catanduanes
musicians)
Jekyll & Hyde
Philippine
Coast Guard
Symphonic
Band with the
Japanese
Maritime SelfDefense Force
Band
Philippine
Opera Company
Ramon Jacinto,
Raimund
Marasigan,
Nyoy Volante,
Rene Garcia,
Richard Poon,
Sitti, etc.
Rock of Ages
Angeline
Quinto
Ryan Cayabyab
X Factor Ph
6cyclemind,
Philippine
Popular Music
Festival
LS
3/8
LS
3/8
LS
2/8
LS
2/8
LS
1/8
E
5/8
E
3/8
E
<1/8
SS
SS
2/8
2/8
SS
1/8
sections
size
E = 18
53.5
SS = 3
5.5
S=3
7
<1/8
103
LS = 5
29
11
77
FOREIGN
JULY
Date
1
2
3
4
7
9
Artist
Section
AI: Jessica
Sanchez
E
5/8
E
2/8
LS
4/8
E
2/8
Aki & Kuniko
The Phantom of
the Opera
The Phantom of
the Opera
Carly Rae
Jepsen: Call Me
Maybe
David Cook
LS
1/8
LS
2/8
LS
4/8
S
3/8
S
2/8
Justin Bieber
SS
2/8
David Cook
Madama
Butterfly:
Soprano Mako
Nishimoto
Glenn Miller
Orchestra
International
Choral
SS
2/8
LS
2/8
LS
3/8
LS
<1/8
Nicki Minaj,
David Cook,
Snow Patrol,
Maroon 5,
American Idol
Madama
Butterfly
The Smashing
Pumpkins
Size 1
Size 2
4/8
1/8
104
Kathaumixw
10
11
12
15
16
17
18
20
21
23
Jessica Sanchez
E
2/8
Rolling Stones
Jason Mraz
Black Eyed
Peas
E
E
2/8
1/8
E
<1/8
Dan Hill
E
1/8
Marié Digby
E
1/8
Nicki Minaj
S
3/8
Nicki Minaj
S
3/8
Justin Bieber
SS
1/8
Justin Bieber,
Taylor Swift
E
1/8
Elvis Presley
(Tribute)
E
2/8
Nicki Minaj
E
2/8
Katy Perry
Spanish
Guitarist Javier
Alvarez
Helen Reddy
Drum Tao
David Cook
The Phantom of
the Opera
David Cook
Chris Carrabba,
The Smash
Project
David Cook
Anne Hathaway
as Fantine (Les
Misérables)
The Phantom of
the Opera
E
6/8
LS
<1/8
E
E
E
2/8
3/8
3/8
E
1/8
S
2/8
S
4/8
SS
1/8
SS
2/8
LS
3/8
1/8
<1/8
2/8
2/8
105
25
26
27
28
29
31
Barber of
Seville
Teen Choice
Awards: Justin
Bieber, Taylor
Swift, Gwen
Stefani, Lea
Michele
Mariah Carey
DJ Femme
(Melbourne) Beldevere Beat
Nicki Minaj
The Smashing
Pumpkins
Snow Patrol
Paul
McCartney, etc.
(London
Olympics)
Tears for Fears
The Smashing
Pumpkins,
Snow Patrol
LS
3/8
E
1/8
E
1/8
LS
1/8
W
1/8
S
2/8
S
2/8
N
1/8
E
4/8
E
1/8
sections
E = 21
SS = 5
S=8
LS = 11
N=1
W=1
47
size
46.5
8.5
23
31
1
1
111
2/8
LOCAL
JULY
Date
1
Artist
Fil-Am
Stephanie Reese
with Jed
Madela, Luke
E
Mejares, The
Madrigal
Singers & AMP
Band, John
Section
Size 1
2/8
Size 2
106
Florencio
2
Arthur Espiritu
4
I Do Bidoo
Bidoo
"William"
Musical, Noel
Cabangon,
Ryan Cayabyab
Singers, Jolina
Magdangal
Christian
Bautista
6
7
8
9
10
11
13
14
16
20
Myrus
Apl.de.ap
(Pinoy
approach)
Mandaluyong
Children's Choir
6cyclemind
Ryan
Cayabyab,
Philippine
Popular Music
Festival
Sarah Geronimo
Ogie Alcasid,
Martin Nievera,
Apl.de.Ap,
Nicole Sheri
Ogie Alcasid,
etc.
Cynthia
Alexander
Gina Medina
(Violinist)
Dondi Ong
Aiza Seguerra
LS
2/8
E
2/8
LS
1/8
E
2/8
SS
<1/8
E
1/8
LS
<1/8
E
3/8
1/8
E
3/8
1/8
E
2/8
E
<1/8
E
4/8
SS
2/8
LS
3/8
E
E
1/8
1/8
1/8
107
21
22
23
26
28
31
PhilPop
The Dubai
Vocal Ensemble
Filipino
American
Symphony
Orchestra
(FASO)
Barber of
Seville
Filipino Tenor
Rodell Rosel
Florante
Aguilar
(guitarist) with
Harana Kings
Isay Alvarez,
etc. in "Katy!"
Jovit Baldivino,
Marvin Ong,
Dong Abay
Nina, Rico J.
Puno, Hajji
Alejandro,
Marco Sison in
"Greatest Hits"
SS
1/8
GP
4/8
E
4/8
LS
3/8
LS
3/8
E
1/8
SS
3/8
E
3/8
E
1/8
sections
1/8
size
E = 15
SS = 4
S = 11
37.5
6.5
34
LS = 6
12.5
GP = 1
4
37
3/8
94.5
FOREIGN
AUGUST
Date
1
3
4
5
Artist
Jessica Sanchez
J-Pop
Fra Lippo Lippi
Justin Bieber
Section
E
LS
S
E
Size 1
1/8
2/8
2/8
<1/8
Size 2
108
7
8
10
11
12
13
14
17
18
20
Smashing
Pumpkins
Snow Patrol
Psy
Tears for Fears
Smashing
Pumpkins
Sparkle ft.
Whitney, Jordin
Sparks
Corrinne May
Madonna
Tears for Fears
Phantom of the
Opera
Olympics
music: (British
music) Queen,
Take That to
George
Michael, Spice
Girls, Madness,
Beatles, Freddie
Mercury, John
Lennon, Ray
Davies, Fatboy
Slim, Jessie J,
Russell Brand,
Pink Floyd
Snow Patrol
Bryan Anders
SiWon,
Donghae (Super
Junior)
SiWon,
Donghae (Super
Junior)
Nelly Furtado
Tears for Fears
Snow Patrol
Snow Patrol
E
3/8
E
E
N
2/8
<1/8
3/8
S
4/8
SS
2/8
SS
E
N
1/8
<1/8
2/8
E
6/8
3/8
N
F 3/8
4/8
E
E
4/8
<1/8
3/8
S
2/8
1/8
S
2/8
S
S
S
S
3/8
2/8
1/8
3/8
Jennifer Lopez
SS
2/8
Elvis Presley
E
3/8
1/8
1/8
109
21
23
24
25
28
29
Phantom of the
Opera
Olivier
Ochanine
Yeon-Cheng
Ma & Michael
Dadap
Joe Bonamassa
Phantom of the
Opera
Madonna
LS
3/8
LS
2/8
LS
2/8
E
4/8
2/8
E
4/8
2/8
E
<1/8
E
2/8
E
1/8
S
2/8
S
4/8
Jessica Sanchez
S
2/8
Maroon 5
Maroon 5, Per
Sorensen, Fra
Lippo Lippi,
Smashing
Pumpkins
Katy Perry
Maroon 5,
American Idol,
John Robinson
SS
1/8
E
3/8
E
<1/8
E
1/8
sections
E = 18
SS = 4
S = 11
LS = 4
N=3
40
size
47
6
34
11
12
110
Jessica Sanchez
The Zombies,
James
Morrison,
American Idol,
Maroon 5
Claire Lyon
Gary Lightbody
(Snow Patrol)
2/8
4/8
110
LOCAL
AUGUST
Date
4
5
6
11
12
13
16
17
20
21
22
Artist
Sarah Gaugler
Sarah Geronimo
X Factor Ph
Sarah
Geronimo, Zsa
Zsa Padilla
Philippine
Women's
University
Music School
Concert Series
Rock Ed
Charice
Repertory
Philippines:
Wizard of Oz
Musical
Musical plays
Adrian Andres
(Saltimbanco)
"Random Girl"
Zendee Rose
Tenerefe
Joey G (Side A)
Leo Valdez
(The King and
I)
Charice
Female Trio
Charice,
Jerrianne
Templo, Mark
Mabasa
Susan Fuentes
Richard Poon
I Do Bidoo
Bidoo: Heto
nAPO Sila
Bryan Termulo
Protegé
Kean Cipriano
(Calla Lily)
Section
S
SS
SS
Size 1
2/8
1/8
2/8
E
<1/8
LS
1/8
S
E
2/8
<1/8
LS
2/8
LS
3/8
E
5/8
E
2/8
E
2/8
E
2/8
E
E
1/8
<1/8
E
2/8
LS
E
4/8
1/8
E
2/8
E
E
2/8
2/8
E
2/8
Size 2
2/8
111
24
25
27
28
29
31
Aiza Seguerra
Diwa de Leon,
Sinosikat, etc.
Monique
Wilson, Ogie
Alcasid
E
<1/8
E
3/8
SS
2/8
Sarah Geronimo SS
2/8
Dingdong
Avanzado
Isay Alvarez,
Dulce, etc.
Khalil Ramos
Ogie Alcasid,
Sarah Geronimo
Gloc9,
6cyclemind
I Do Bidoo
Bidoo: Heto
nAPO Sila
E
<1/8
SS
2/8
SS
1/8
E
1/8
E
2/8
E
<1/8
Mon David,
Louie Reyes,
Becca Godinez
E
4/8
Marc Abaya
E
3/8
Jay Durias
E
<1/8
3rd Elements
National
SingingSongwriting
Camp, Sing @
Ning
E
<1/8
sections
size
E = 24
48
SS = 6
10.5
S=2
LS = 4
4
10
72.5
36
3/8
<1/8
2/8
4/8
112
FOREIGN
SEPTEMBER
1
3
5
7
8
9
10
11
Zac Efron
Phantom of the
Opera
Rihanna
Jessica Sanchez
Keane
Christina
Aguilera, Adam
Levine, Blake
Shelton, Cee Lo
Green (X
Factor)
The Wanted,
Keane, James
Morrison
S
1/8
LS
7/8
E
F
E
1/8
1/8
1/8
S
5/8
S
3/8
American Idol
World Tour
S
2/8
Maroon 5
S
2/8
Zac Efron
SS
1/8
Michael Paulo
E
2/8
Simon Cowell
Lady Gaga
Beast
Beast, 2NE1,
Jang Keun Suk,
Rain
American Idol
Erika Van Pelt
American Idol
Heejun
E
E
LS
2/8
2/8
1/8
LS
4/8
E
2/8
E
1/8
2/8
113
Psy
12
13
14
E
<1/8
E
2/8
E
2/8
E
2/8
E
2/8
E
3/8
E
1/8
E
2/8
E
2/8
S
2/8
S
3/8
Zac Efron
S
3/8
Lee Min Ho
American Idol
Skylar Laine
Jennifer Lopez,
Phantom of the
Opera
S
2/8
E
2/8
E
2/8
Sting
E
2/8
One Direction,
Demi Lovato,
A$AP Rocky,
Rihanna, Taylor
Swift, P!nk,
Alicia Keys,
Chris Brown,
Nicki Minaj
(MTV VMAs)
Deandre
Brackensick
Britney Spears,
Demi Lovato,
LA Reid, Simon
Cowell (X
Factor)
American Idol
Colton Dixon
Jerry Lawson
and Talk of the
Town with
Whiffenpoofs
Actc of
Congress, The
Wanted
Quartet
15
16
17
American Idole
Elise Testone
Adam Levine
(Maroon 5)
Zac Efron
5/8
114
18
19
21
22
23
24
American Idol:
Hollie
Cavanagh,
Joshua Ledet,
Phillip Phillips
E
3/8
American Idol
Jessica Sanchez
E
4/8
F
3/8
N
4/8
E
2/8
E
1/8
S
2/8
S
8/8
Phillip Phillips
S
4/8
Jessica Sanchez
Adam Levine
(Maroon 5)
Phantom of the
Opera
SS
1/8
LS
1/8
LS
6/8
Jessica Sanchez
(American Idol
World Tour)
American Idol
World Tour
Top 10
Nicki Minaj,
American Idol
Justin Bieber
Adam Levine
(Maroon 5)
American Idol
Finalists Joshua
Ledet, Skylar
Laine, Phillip
Phillips, Heejun
Han, Colton
Dixon, Elise
Testone, Jessica
Sanchez, Hollie
Cavanagh,
Erika Van Pelt
1/8
6/8
115
25
26
27
29
30
The Wanted,
Maroon 5
E
3/8
Led Zeppelin
E
1/8
E
1/8
M
1/8
F/N
S
S
S
<1/8
3/8
2/4
3/8
S
5/8
S
3/8
S
3/8
SS
SS
<1/8
2/8
E
<1/8
sections
E = 27
SS = 4
S = 18
LS = 5
F=3
N=2
M=1
60
size
52
4.5
69
19
4.5
6
1
156
Saved Music
Festival, Joe
Bonamassa
Katy Perry,
Maroon 5,
Bananarama,
The Pretenders,
The
Proclaimers,
Jay Chou
Jessica Sanchez
Jessica Sanchez
David Guetta
Jessica Sanchez
Dean Geyer
(Glee)
James Valentine
(Maroon 5)
Foster The
People
Timomatic
Jessica Sanchez
America Idol:
Colton Dixon,
Skylar Laine,
Phillip Phillips
2/8
6/8
2/8
116
LOCAL
SEPTEMBER
1
2
3
4
6
7
I Do (Bidoo
Bidoo)
S
2/8
Apo
SS
2/8
KZ Tandingan
Zia Quizon
Jennifer Paz
SS
SS
E
2/8
1/8
2/8
Assumption
College Metta
LS
1/8
X Factor Ph
E
2/8
E
5/8
E
2/8
E
2/8
E
2/8
E
1/8
SS
SS
1/8
1/8
Ramon RJ
Jacinto,
Raimund
Marasigan,
Nyoy Volante,
Noel Cabangon,
etc.
Orchestra, Lea
Salonga
Regine
Velasquez
Dolphy Musical
Tribute: Jacqui
Magno, Pat
Castillo, Tillie
Moreno,
Nanette
Inventor, Tessie
Tomas, Mitch
Valdes, Jon
Santos, The
Company, Bo
Cerudo, RJ
Jacinto, etc.
Christian
Bautista
Sarah Geronimo
Comic Divas
6/8
2/8
117
Musical Trip
Down Memory
Lane
SS
1/8
Mon David
SS
2/8
SS
<1/8
LS
4/8
Noel Cabangon
E
3/8
Daniel Padilla
E
<1/8
12
Jay Durias,
Gloc-9, Juris
E
4/8
13
Aiza Seguerra
E
4/8
14
SMB
Oktoberfest
E
<1/8
15
KZ Tandingan
SS
2/8
Jennylyn
Mercado, Bryan
Termulo, Joey
G
SS
2/8
Arnel Pineda
E
2/8
E
1/8
E
3/8
E
3/8
E
2/8
10
17
Never The
Strangers
Philippine
Philharmonic
Orchestra
21
Parokya Ni
Edgar
Jett Pangan, etc.
Allegiance, Lea
Salonga, etc.
Martin Nievera
22
X Factor Ph
SS
2/8
"Unfair
Competition"
SS
2/8
18
4/8
<1/8
1/8
118
23
24
Julie Anne San
Jose
Novem
Cambios and
the Prime Note
Ensemble
YouTube
Sensation
Arianne Abela
with the 3Penny
Concert Chorus
& Orchestra
Tonyboy
Cojuangco,
Glass Onion
Alay Tawa:
Dolphy
Foundation
Fundraiser
SS
1/8
GP
4/8
LS
1/8
LS
2/8
4/8
E
6/8
1/8
Sarah Geronimo E
<1/8
Ang Bagong
Harana
Nine
Felliniesque
Musical
Manila
Symphony
Orchestra,
Victor
Asuncion,
Arturo Molina
25
Douglas
Nievas,
Powerdance
Homecoming
Concert
Noel Cabangon
Folies de
Mwah, Midlife
Crisis Band
Parokya Ni
Edgar
LS
2/8
LS
3/8
LS
2/8
LS
3/8
LS
3/8
E
4/8
E
1/8
119
26
27
Nanette
Inventor, Tessie
Tomas, Mitch
Valdes (Care
Divas), Sabado
Boys, Aiza
Seguerra, Noel
Cabangon, The
Circus Band
Aiza Seguerra,
Ogie Alcasid
Christian
Bautista, Kris
Lawrence
E
1/8
E
2/8
E
1/8
Liezl Garcia
SS
1/8
X Factor Ph
SS
2/8
sections
E = 24
SS = 15
size
57
22.5
S=1
LS = 9
GP = 4
53
8
29
4
120.5
FOREIGN
OCTOBER
4
5
6
David Guetta
Glee
Foster the
People, James
Morrison, The
Zombies,
America,
Calapana
Zac Efron
Zac Efron
Keane
Keane
E
E
1/8
4/8
E
4/8
S
S
S
S
6/8
8/8
6/8
2/8
120
7
8
9
10
12
Foster the
People, James
Morrison,
Alanis
Morissette
SS
1/8
Nicki Minaj
E
1/8
Glee
E
8/8
E
1/8
E
2/8
E
4/8
E
2/8
LS
LS
2/8
<1/8
E
1/8
E
1/8
E
2/8
S
4/8
S
3/8
Jonas Brothers,
Elton John, Jeff
Lorber Fusion
Keane
OMD, Nicki
Minaj, Jay Park
David Guetta,
Alesso
Big Bang
Psy
Lady Gaga
13
Rihanna, Nicki
Minaj
The Zombies,
Wilson Phillips,
Big Bang
James Morrison
America with
Kalapana,
MxPx All-Stars
and Unearth,
Big Bang,
Saved Music
Festival,
Modern Music
Masters (Mike
Portnoy, Billy
Sheehan, Derek
Sherinian, Tony
Macalpine),
The Fray,
Creed, Jennifer
Lopez, Elton
121
John, Sting
14
15
16
17
18
19
20
22
Jeff Lorber
Claire Primrose
Foster the
People, David
Guetta
E
LS
2/8
5/8
E
4/8
Britney Spears,
Whitney
Houston
E
<1/8
Justin Bieber
E
1/8
Psy
Katy Perry
Glee
The Fray
James Morrison
David Guetta,
Kaz James,
Alesso
Greyson
Chance
Darren Chris,
Jane Lynch,
Glee
Big Bang
The Zombies
Wilson Phillips,
Jonas Brothers
Madonna
M
E
E
S
S
3/8
<1/8
1/8
4/8
3/8
S
6/8
S
1/8
SS
3/8
SS
E
<1/8
2/8
E
1/8
E
1/8
2/8
122
23
26
27
28
29
30
31
Jeff Lorber,
Philippine
International
Jazzfest
Antoine
Debarge, DJ
Callum David
Jonas Brothers
Barbra
Streisand
Siedah Garrett
Corrinne May
Argentine
Pianist Emilio
Peroni
Dingdong
Avanzado
Creed, The Fray
The Company,
Jon Santos, Bo
Cerrudo
E
2/8
E
<1/8
S
7/8
S
2/8
E
E
4/8
2/8
E
2/8
E
1/8
E
1/8
E
4/8
sections
E = 29
SS = 3
S = 12
LS = 3
M=1
48
2/8
size
62.5
4.5
54
7.5
3
131.5
LOCAL
OCTOBER
1
2
3
5
Stageshow
Lea Salonga
E
E
<1/8
6/8
Mark Bautista,
Bianca King
E
<1/8
S
S
LS
8/8
6/8
4/8
LS
4/8
Eraserheads
Eraserheads
Pianists
UP Concert
Chorus
1/8
123
6
Joselle
Feliciano,
Garrett Bolden
Jr., Rafael
Gutierrez
Ryan
Cayabyab,
Dumaguete
Music Fest
Gloc-9, Jay
Darias, Calla
Lily,
6cyclemind,
Noel Cabangon,
etc.
Parokya ni
Edgar, Calla
Lily
Parokya ni
Edgar
LS
4/8
E
2/8
E
2/8
E
2/8
E
1/8
8
Miss Saigon
E
4/8
9
Loonie (rapper)
E
2/8
13
14
Rico Blanco
Noel Cabangon
Piolo Pascual,
Zia Quizon.
Pepe's Secret
Christmas
X Factor's KZ
Tandingan
E
LS
4/8
4/8
E
1/8
E
2/8
Roger Herrera
E
2/8
Jaya
E
2/8
15
16
124
17
Allrock aka
Carlo Torres
S
4/8
Ryan Cayabyab
Regine
Velasquez
E
2/8
E
1/8
22
Jose Mari Chan
E
2/8
E
1/8
23
Wolfgang, 3rd
Avenue, Brass
Munkeys, Jun
Lopito,
Razorback,
Skarlet and
Silverfilter
Next College
Rockstar
Miss Saigon
Eddie Munji III
Stageshow
Christmas
Carols
Regine
Velasquez
LS
2/8
E
E
LS
2/8
2/8
1/8
SS
1/8
SS
1/8
20
24
27
28
Sarah Geronimo E
1/8
Dagsa Music
Festival
E
4/8
Wolfgang
E
1/8
sections
size
E = 23
47
SS = 2
2
125
S=3
19
LS = 6
18
27
62
LOCAL
NOVEMBER
1
2
Village People
Big Bang
E
LS
2/8
4/8
Taylor Swift
SS
2/8
Pitch Perfect
George Bizet
K-Pop Boyfriend,
Boys on Fire,
etc.
Green Day
SS
LS
1/8
4/8
Special Issue
2/8
E
1/8
Don Moen
E
1/8
Sting
E
2/8
Psy
E
1/8
9
Bruno Mars
E
2/8
10
One Direction
One Direction
Amanda Brown
(X Factor)
Michael
Jackson
Elton John
S
S
1/2
8/8
S
4/8
SS
4/8
E
8/8
Mick Jagger
E
1/8
Village People
E
2/8
JLO
E
1/8
Big Bang
LS
4/8
3
5
6
8
13
15
16
126
17
20
21
22
24
25
27
28
29
JLO
S
2/8
Madonna
S
5/8
The Fray
Sundown
Festival
S
4/8
S
2/8
E
2/8
Hi-5
Justin Bieber,
etc.
Lee Ritenour &
Dave Grusin
Madonna
Lee Min Ho
Christmas
LS
3/8
E
2/8
E
1/8
W
S
SS
JLO
F
1/8
8/8
1/8
<1/8 (inset
photo)
JLO
E
1/2
Sting
JLO
Chris Botti
JLO
Elton John
E
E
E
E
E
6/8
4/8
1/8
2/8
4/8
Greyson
Chance
sections
E = 19
SS = 4
S=8
LS = 4
B=1
F=1
W=1
Special = 1
39
size
44
8
38
15
4
0.5
1
2
112.5
LOCAL
NOVEMBER
1
2
Stageshow
Lea Salonga
E
E
<1/8
6/8
127
3
5
6
8
9
13
14
15
16
17
20
Mark Bautista,
Bianca King
Eraserheads
Eraserheads
Pianists
UP Concert
Chorus
Joselle
Feliciano,
Garrett Bolden
Jr., Rafael
Gutierrez
Ryan Cayabyab
Gloc-9, Jay
Darias, Calla
Lily,
6cyclemind,
Noel Cabangon,
etc.
Parokya ni
Edgar, Calla
Lily
Parokya ni
Edgar
Lea Salonga
Loonie (rapper),
Francis M
OPM
Rico Blanco
Disney's Camp
Rock: The
Musical, Noel
Cabangon
Piolo, Zia
Quizon, Pepe's
Secret
Christmas,
KZ Tandingan
(X Factor)
Roger Herrera
Jaya
Allrock aka
Carlo Torres,
Ryan Cayabyab
Regine
E
1/8
S
S
8/8
6/8
LS
4/8
LS
4/8
LS
4/8
E
2/8
E
6/8
E
2/8
E
1/8
E
4/8
E
2/8
E
E
1/8
4/8
LS
4/8
E
1/8
E
2/8
E
E
2/8
2/8
E
2/8
E
1/8
128
22
23
24
27
28
FOREIGN
DECEMBER
Date
1
3
4
6
8
Velasquez
Jose Mari Chan
Wolfgang, 3rd
Avenue, Brass
Munkeys, Jun
Lopito,
Razorback,
Skarlet,
Silverfilter
Marty's Search
Miss Saigon
E
2/8
E
1/8
LS
E
2/8
2/8
Eddie Munji III
E
2/8
Stageshow
Christmas
carols
Regine
Velasquez
Sarah G
Dagsa Music
Festival
Wolfgang
LS
1/8
SS
1/8
SS
1/8
E
1/8
E
4/8
E
1/8
sections
E = 24
SS = 2
S=4
LS = 6
36
size
52.5
2
14
19
87.5
Artist
JLO
Christina
Aguilera
Scotty
McCreery,
Philip Phillips
Psy
The Script
Adam Lambert
Elto John, Nigel
Olsson
Beyonce, etc.
S
Section
Size 1
8/8
S
3/8
SS
3/8
E
E
E
4/8
1/8
1/8
E
3/8
SS
2/8
Size 2
129
10
13
14
15
16
17
18
19
20
23
28
29
Rihanna , Susan
Boyle, etc.
Sting
Psy
Blake
K-Pop coffee
house
Britney Spears,
Taylor Swift,
Rihanna, Lady
Gaga, Katy
Perry
Bruno Mars,
Alicia Keys
Celine Dion,
David Foster
Taylor Swift,
Adele
Adele
Psy
Led Zeppelin
Psy
Psy
Psy
Do Concerts
Make Money? :
Jennifer Lopez,
Madonna, Katy
Perry, Maroon
5, Keane, David
Guetta, etc.
Iyaz
Carly Rae
Jepsen, Psy,
Adam Levine,
Bruno Mars,
Lee Min Ho,
Joe Jonas, One
Direction,
Whitney
Houston,
Beyonce,
Phantom of the
Opera, etc.
SS
4/8
SS
E
E
<1/8
1/8
3/8
LS
3/8
SS
1/8
SS
2/8
SS
1/8
E
4/8
E
E
E
E
E
E
1/8
1/8
1/8
2/8
1/8
1/8
B
4/8
E
<1/8
S
3/8
130
Smash Project,
Lady Gaga,
NKOTBSB,
Smashing
Pumpkins,
Snow Patrol,
Nelly Furtado,
Maroon 5,
Foster the
People, Big
Bang, Katy
Perry, Jennifer
Lopez
S
3/8
sections
LOCAL
DECEMBER
Date
1
Artist
Geneva Cruz
Camp Rock:
The Musical
Aladdin: The
Musical
Mitch Valdes
Regine
size
E = 14
24.5
SS = 7
13.5
S=4
17
LS = 1
3
B=1
4
27
62
Section
S
Size 1
3/8
LS
4/8
LS
4/8
SS
SS
1/8
2/8
Size 2
131
3
5
6
7
8
10
11
13
17
Velasquez
Regine
Velasquez
Pepe's Secret
Christmas
Lani Misalucha,
The Company
UST Christmas
Concert
Yeng
Constantino
Charice
Sharon Cuneta
Noel Cabangon,
etc.
Super Concert
Guide for 2013
Lea Salonga,
Cecile Licad,
Lisa MacujaElizalde, Gerald
Salonga
Philippine
Madrigal
Singers, etc.
Noel Cabangon
Calla Lily,
Kitchie Nadal,
Third Nature,
She's Only
Sixteen,
RunManila,
Gracenote, etc.
Lea salonga
George Yang's
Klassikal
Musical
Foundation
Noel Cabangon,
Gab
Valenciano,
Acel Bisa-Van
Ommen,
Julianne
Tarroja, Jericho
Rosales
E
3/8
LS
4/8
LS
4/8
LS
2/8
E
4/8
E
SS
3/8
1/8
SS
<1/8
S
2/8
LS
3/8
LS
4/8
E
1/8
E
8/8
E
3/8
LS
2/8
E
4/8
132
18
Zendie Rose
Tenerefe
Up Dharma
Down
Philippine
Popular Music
Fest 2012
20
24
25
28
29
Shamrock
College Musical
Gary
Valenciano,
Martin Nievera,
Zsa Zsa Padilla,
Piolo Pascual,
Sarah
Geronimo, etc.
UST Christmas
Concert
St. Luke's
Hospital
Christmas
Concert
Mitch Valdes in
Bethlehem
Manger Square
Makati InterHigh School
Christmas
Caroling
Competition
Manila
Broadcasting
Corporation
National Choral
Competition
General Luna,
The
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Melissa
Zendee Rose
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133
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GMA New
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sections
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SS = 6
S=3
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29
2/8
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134
APPENDIX B
Transcriptions of Interviews with Emmie Velarde and John Hudson Go
Interview with John Hudson Go, top writer and contributor of When In Manila
Promenade, Greenhills, San Juan City. Feb. 18, 2013, 1:53 pm.
Ano yung bases kung paano nacocover kung anong events yung pipiliin?
Sa When In Manila, usually by invitation. So either sila yung magsusulat to us or kami
yung magsusulat to the artists—not really the artists but rather the promotions who are
managing yung event. So in my case, usually, ang bias ko ay rock events kasi yun yung
gusto kong music. Tapos recently, we’re into yung bands na house music, that’s
personally on my part. But in terms of When In Manila as a whole, usually talaga, nauuna
yung promotion, nauuna yung management entities to contact us. Tapos dun kami
nagpapadala ng appropriate na writer.
Since ganun yung genre, na pinipili ng writer, not specifically kung local or foreign
siya?
Wala, wala talaga. Depende kasi. Ang online kasi iba sa print media. For example, sa
print media, halos lahat ng events meron silang invitations. Sa amin, minsan, hindi kami
invited. Minsan nagsusulat kami [kahit] hindi pa kami tinatanggap. Even as big as When
In Manila already is, hindi pa rin lahat ng times na magsusulat kami sa isang promotion
ay tinatanggap kami for coverage. As much as we’d want to, we’d like to cover all—local
and/or international. But, the truth is, compared to print media, online media, is, how
shall we say it, second fiddle to print media pa rin talaga.
So lahat ng invitation, paano sinosort kung alin ang pupuntahan?
Yung process sa When In Manila is kung may nag-invite sa’min, ibablast namin yan sa
lahat ng writers namin which is more than a hundred. So sino yung pinakauna, first come,
first served basis kami, so kung sino yung pinakanaunang lumitaw doon na interested,
siya yung pinapapunta namin. And the reason for that is we want, among the one hundred
writers, we want the most, sabihin na nating, into that music to cover it. Kasi syempre iba
yung, kunwari ako, mas mahilig ako sa rock. Kung ipapapakinig mo ako ng hiphop, hindi
ko siya ganun ka maeenjoy. Yung write-up ko would be very different from when I write
for rock music, for example. Kasi ako, I also play guitars, for example, so I understand
how guitar-playing goes, and so if I see that the act is really really good in the guitar, I
would appreciate it. Whereas kung hiphop, hindi naman ako nagrarap, pare-pareho lang
sila, for me. So we want the most discriminating writer to be there to cover the event for
us.
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So bale kung ganun, not more of a critique siya?
Ang blog is really a very personal first-hand experience written in an article for everyone
to reflect on their own experience. Parang ganun kasi ang blog e, diba, you write about
something based on your own experience. And for those people who went to the same
concert, I agree with you or I don’t agree. And if they don’t agree, it’s fine. If they agree,
that’s good. On the other hand, if you say hindi sila nakapunta, we want to give them that
first-hand experience, sort of that perspective, which is very different from, for example,
people who write in print media, lalo na yung mga veterans na ng print media. However,
what we’re seeing is that sa online media ngayon, nagkakaroon ng shift towards being
more objective although still maintaining that I-perspective, that phenomenological “I”
approach to it. Pero at the same time, nakikita natin na sa print media, nagbabago rin sila,
na nagiging mas “I” yung orientation, whereas dati, vert detached, very objective.
Ngayon, nagbabago na rin. Mas nagigin personal na rin yung approach nila. I guess that
means they’re seeing the good in blogs as much as we’re seeing the good in print media.
And base dun, makikita natin na, and even with your topic, na halos pinapansin na ng
mga tao, ng madla, na yung print media tsaka yung online media, hindi naman talaga siya
one on top of the other kundi two means of, shall we say, delivery, pero almost the same
yung content. Definitely pag titingnan mo ang blogs, iba’t ibang levels pa rin ng writing.
Para sa mga mas personal talaga na blogs, definitely napakalakas pa rin ng “I” approach.
Para sa amin na When In Manila na, more or less, parang online magazine, nandun na
yung balance ng pagiging personal but at the same time being objective about what we
see. If it sucks, we can’t say it’s great. If it’s great, we can’t say it sucks. But for us to get
that, going back to the previous question, for us to get that, kailangan talaga, yung writer
namin knows and appreciates the music that we are covering.
Going back to the first question, can we say na it’s a way na PR siya ng promoters?
Definitely. This is a secret na hindi sinasabi ng tao. Akala nila, diba, print media is such
an objective thing. But really, print media and online media is very much a publicity
stunt. Even, lalo na as I see now, print media lalo na. Kasi print media, yung way na
hinahandle sila ng PR ng mga concerts, ibang klase, ng mga events, ibang klase. Sa
online media, medyo ano pa nga e, parang “here’s the ticket, thank you.” Pero sa print
media, lalo na pag titingnan mo pa yung TV, sobrang pampered sila. If you see Gretchen
Fullido going to a concert, sobrang alaga yan. Why? E TV yan e, TV Patrol yan e. So
alagang-alaga siya. So makikita mo dun na hindi lang siya talagang, you know, you go
there and objective, objective. May narinig ka na bang pangit na concert? May narinig ka
na bang sinabing nilangaw? Wala. Recently wala. Dati meron, ngayon wala na. Bakit?
Kasi walang nagbabayad sa mga media outlets, walang magbabayad to go to a concert
and feature them. Why? It’s advertisement. Yun yung X deal dun.
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Personally, as a writer/contributor, ano po yung stand niyo na parang yung foreign
events, naooverwhelm niya na yung local scene, as we can see?
Mas malakas lang yung marketing ng foreign. I mean if we were asked to cover
Wolfgang, I’m sure maraming pupunta, Parokya Ni Edgar, I’m sure maraming pupunta,
from a rock perspective ha. Maraming fans. Ang problema lang, yung marketing nila.
Ayaw nilang magmarket e. Actually kung titingnan mo pa lang yung presyo, kahit hindi
ka writer, if you look at it, mas mahal pa minsan yung local events kaysa dyan sa foreign
acts. Bakit? Kasi ang lakas ng marketing nung isa, yung foreign.
Sa When In Manila, may 85 na foreign events and 69 na local (events in 2012). What
is the reason behind the large gap?
So, nabanggit ko na nga, marketing talaga. Secondly siguro, sa psychology ng pagpunta
ng foreign versus local, ay yung idea na pag foreign yan, once-in-a-lifetime, or twice, or
thrice. Pag local, maaabutan at maaabutan mo sila. Yung fact na for example si Martin
Nievera yan or si Gary Valenciano, several times sila magshoshow, halos every year may
show sila e. Kung in terms of ififeature mo kunwari, si David Guetta for example, baka
isang beses lang yun pumunta sa Pilipinas ever. So, posible yun. Pero iisipin ko, hindi rin
kasi kung 100+ kaming writers, I’m sure may sampu dun to twenty to fifty, na who
would be interested to go to for example yung Foursome, na very recent lang, ni Ogie
tsaka ni Martin. Pero hindi kami sinulatan. What does that say? Yung ibang mga foreign
acts, nagsusulat sila. Ngayon in terms of, yun nga, pagdating dun sa willful na kami pa
yung magsusulat to those people to invite us in, you wouldn’t give as much effort to
something that you would see every year as opposed to giving effort to something that
you might see just once in your lifetime. And I guess yun yung bakit, personally, in my
case, kung hindi kami imbitado, magsusulat ako to the foreign act.
So you make more effort sa pagcontact sa kanila?
Especially kung fan ka—kung fan ka. Kung hindi ka naman fan, hindi mo naman
susulatan e. So for example, again, kung kunwari, Wolfgang nga, nung nalaman ko na
may Wolfgang concert.
Isa pa, siguro, yung third would be kung gaano kalaki yung event. Can you imagine kung
Music Museum lang yung event. Tapos kailangan pa nilang magpapasok ng sandamukal
na media. Gaano karaming tao na lang yung nagbabayad talaga? Compare that to for
example, concert na Smart-Araneta o kaya MOA Arena. Ang laki nun e. Kaya mas may
capacity rin siguro yung promotions to invite a lot of media. And sabi ko nga, sa mata ng
mga promoters, ang online, kahit na gaano na siya kablatant, kaimportante ngayon, ay
second fiddle lang talaga, sa tingin ng promoters, compared to print media. One way that
you could look at it, siguro rin kasi dati, pumapantay na yung dalawa. Kaya lang ngayon
kasi, yung mga print media, meron na rin silang online entities. So meron na silang online
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like Inquirer, may online nay an, Bulletin, Star, lahat sila may online na. At very active
na rin sila sa social media. So in a way, parang ang nangyayari, ang competition namin
hindi talaga yung print media kundi yung online version ng print media. Kasi again,
palagi silang nakikita as reliable, objective, pero sa totoo lang, nagkokopyahan lang kami
ng style.
So sa 2012, hindi malaki ang difference ng local at international acts?
Siguro yung kailangan nating tingnan dun ay mas maraming malalaking events na foreign
acts. Kung ililimit mo ang bilangan sa MOA Arena tsaka sa Smart-Araneta, sama mo na
yung SMX Convention Center, gaano karami dun yung foreign versus yung local. Kasi,
yun nga, kung malaki yung event, mas marami rin siyang maiinvite na media. Kung
maliit lang yung event, kung Music Museum, marami sa Music Museum e, puro local,
problema ang liit ng space, paano ka pa mag-iinvite ng napakaraming media entities.
Siguro ma-iinvite lang nila, onting-onti lang, piling-piling tao lang.
By invitation, kung gaano kalaki yung event, tsaka yung psychology ng once in a lifetime
versus every year or maybe even twice a year.
So medyo global yung thinking ng tao?
I would think na lumalawak na. Maganda yung plug-in or yung ID ng MTV dati na
sinasabi niya na pag sa airwaves dati, sobrang American pop yung gusto ng tao tapos
ngayon nagshishift na towards Filipino rock. I guess napapanood mo rin yun sa MTV.
And that I think is still true until now. But the means that we’re attacking, shall we say,
international acts versus local acts is that the international acts are doing it bigtime, one
time big time. The local acts are doing it per show. Iba rin kasi e. For example sa rock
bands, makikita mo sila nakahilera sa UP Fair. Bakit? Kasi, 40,000 yata dati per night
ang bayad sa banda. So sila, parang sige, game, gig type yung tingin nila. Gigs siya
whereas yung foreign acts, tour yung dating. Pag gig din kasi, usually mas kaunti yung
kanta. Pag tour siya, usually, full setlist siya, 20 songs, ganun. So sa isang consumer,
kung kunwari magbabayad ka ng, magkano ba yung minimum sa Araneta, minsan 500
lang e, pero sabihin na nating 1,500. Para sa 20 songs, sulit ka. E pag local act, baka hindi
pa umabot ng 20 songs. Mapapagastos ka pa sa pagkain, kasi may cover charge pag
pumasok ka sa mga clubs. So yung ganung thinking. Pero, tingin ko, sa lahat ng yun,
babalik at babalik sa publicity. Availability talaga. Lalo na for media, for us. Kung
available para sa amin yung show, syempre pupunta kami. Sa amin kung mapapansin mo
hindi naman kami masyadong nagfefeature ng Ovation e. Yung malalaking international
promotions: Ovation, Dayly, Pulp tsaka MMI. Kung titingnan mo naman kasi yung mga
yun, ang sinusulatan lang talaga namin na consistent, Dayly. Bakit? Kasi sila, willing sila
na makipag-tie-up sa amin, partnership. Ovation, sinusubukan lang namin makapasok sa
mga shows nila lalo na yung mga very maiinit na mga concerts. Pero hindi sila
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pumapayag, edi hindi rin namin sinusulatan. So in the end, depende talaga sa
collaboration nung promotion tsaka media entity.
Interview with Emmie Velarde, Entertainment Editor of the Philippine Daily Inquirer
Philippine Daily Inquirer, Inc. Editorial Office, Makati City
How are the events to be covered chosen?
Well, events organizers call us, inform us, by whichever media, that they have these
events coming up and then we see if it’s worth covering. How do we decide that? If it’s a
good story, generally. Not only if they are being headlined by big names, not only that,
but also if halimbawa it’s a music workshop in Dumaguete. We are interested because we
support the OPM. In fact, we have always, PDI ha, we always have one reporter covering
OPM. Kami lang meron nyan, kami lang. So organizers inform all the newspapers pero I
bet na kami lang ang merong reporter dedicated to OPM. Yung mga iba case to case
basis lang yan.
So parang you make sure po na regular nacocover mostly lahat ng OPM events?
As much as we can, tulad nyan (pointing to her desktop flashing an unfinished article of
an OPM event), see this is an OPM event. It’s a festival starting on February 27. Basta
mga ganung OPM-related.
So by invitation po, bale, and pag nainform po kayo?
Hindi lang yun. Meron nga kaming reporter. So the reporter always calls OPM to ask
what’s up.
So parang two-way po siya?
Yes. And on the other hand, OPM knows that we have a reporter covering OPM—OPM
(Organisasyon ng Pilipinong Mang-aawit), the organization, and OPM (Original
Pilipino/Pinoy Music), the beat.
Despite this, makikita po na sa 2012, mas marami pa rin yung foreign events
covered. So what do you think is the reason behind this?
You are talking about where, which paper?
Inquirer, Ma’am.
Inquirer?
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Yes, music-related events.
More foreign?
More foreign.
Oh, I doubt that very much. Siguro may nakita ka lang one month na heavy ang influx ng
foreign acts but on a regular basis, take the whole year, mas maraming OPM na. Mas
maraming OPM kaysa sa foreign stories kami, oo.
So you make sure that there is balance po talaga?
I make sure that in the same manner that if we come up with the movies that are opening
today, weekly, inuuna namin yung Tagalog, kahit gaano kaganda yung English movies,
inuuna namin yung local. So, in the same breath, given five events, OPM mayroong four,
uunahin namin talaga. Makikita mo yun sa aming Valentine concerts listing, una talaga
ang local, una talaga yun.
Ma’am, ano naman po yung stand niyo since ngayon po overwhelming yung influx
of foreign events na music-related. Ano po yung stand niyo? Do you think it’s too
much for the local artists?
Alam mo, that’s a very complicated subject. Because there was a year we suggested to
some artists. Wag na nating sabihin kung sino kasi I’m frustrated. We suggested to them,
why don’t you go for legislation that every February 14, the week of Valentine’s, since
it’s only one of two seasons of the year na malaki ang kita ng local music artists. Why
don’t you call for legislation na pag Valentine week, local performers lang ang dapat
magshow. Yung mga foreign artists can go for before and after Valentine week. Tulad
nung ginagawa ng Metro Manila Film Fest. Parang, binoblock nila yung week na yun
only for local movies. So why don’t you do that? Wala e, walang nangyari. Do not think
that we do not care for OPM. It’s also because some of the artists are involved in
importing foreign acts. So parang may conflict of interest din dun sa ibang local artists.
Yun, Inquirer, I don’t know about other media organizations, we here, Inquirer
Entertainment, we really really try to help them. Pero meron silang mga conflicts.
Ma’am, what can you say about, diba po music-related events, parang ang
nangyayari po more on PR more than media coverage ang nangyayari. Is it really
PR? PR-driven?
Okay, sige, let me put it this way. PR is not the enemy because they are sources of
information. Kung sa kanila manggaling yung information na mayroong concert na ongoing, why not, why not? Pero if you’re asking kung meron din kaming enterprise
stories, yes, we do. Except, tulad nga nung mga, we don’t have to cover these workshops
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but we do. I cannot say that of all the other media organizations. Pero Inquirer does. We
go out of our way. See, ayan o (pointing at the appointment of each reporter posted on the
wall), I’m not making this up, I’m not making this up just now, see, OPM. Somebody is
assigned to OPM. Wala kang makikitang ganyan sa ibang dyaryo. So kahit PR-driven
yung information, it’s not the bad thing. PRs are not the enemy. Ikaw ang enemy. You,
kasi ikaw ang magdedecide kung maganda ba to or hindi. Icocover ko ba to dahil lang sa
PR? Ikaw na yun. It’s not the PRs. PRs are just sources of information. It’s your own
decision. See, kita mo yung decision namin. We decide to. See, someone is assigned to
foreign acts pero mayroong OPM. Meron kaming beat system. PDI is the only newspaper
na mahahanap mo yan na Entertainment, meron kaming beat system. Reporters are
assigned to beats, like the news.
So ganun po, pag nakikinig kayo ng newsworthy events, you send beat reporters,
ganun yung process?
Yeah. The reporter, or kung magkasabay-sabay, then we have other writers who also
cover events.
So parang ang nangyayari po, going back to PR, you become a bridge para
magkaroon ng publicity yung event pero not necessarily na it’s against your
principles?
No, you seem to have a prejudice against PR. I’m just saying, ito yung position ko about
PRs: they are sources of information. Kung ayaw naming puntahan, we have the option.
Yung decision whether to go or not because PR or not, nasa kanya-kanya, iba’t ibang
publications have different approaches to that. I cover OPM, as a matter of course. I am
clear about that. I want to help Filipino artists who want to help themselves. You know,
some of them don’t e. Or some of them don’t know how. Sino ang…when there was a
group who decided, no, they just formed a group na who will help sick musicians. Sino
lang bang sumulat nun? Kami—kami lang. Because meron kaming ganun. We have
enterprise stories about Filipino musicians. Because stories about Filipino musicians are
not just up to shows. It’s also about…recording, meron pa bang nagrerecording? You
know, tiny percentage lang. Um, what is your thesis about?
Ma’am, icocompare po if balance yung coverage on local and international musicrelated events.
Ah, you should also research about other publications. Kasi PDI, we are very balanced.
And when I say balanced, I just mean fair. If it’s a really big foreign artist, we should
cover kasi newsworthy, newsworthy yun. But did we cover… We covered what… What
was the latest? Jessica Sanchez. Was she big? She’s big. Why is she big? Because she’s
also part Filipino. Hindi nga lang OPM. Pero during the coverage of her concert, ano
yung unang tinweet ng PDI Twitter, that she sang an OPM. So maraming degrees yun e,
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marami lang degrees. Pero we do not… OPM artists are not second citizens for us. Sila
yung priority namin.
Sa placement ng articles, paano niyo po nadedetermine kung saan, kung front page,
and how big?
Yung first page, it’s out of my hands.
Pero may mga nakita rin po kasi akong music-related events.
Yes, because they’re events. Like, Psy is an event. One billion hits. He’s in the
Philippines. Performed with Madonna, performing with Ai-ai. It’s news. As far as the
section is concerned, the music news gets weighed, kasi meron kaming weighing system,
along with the rest of the stories. Kasi Entertainment section is not just music. It’s
movies. It’s television. It’s musicals. It’s not just OPM. So kung may malaking OPM, edi
siya ang main story. Kung maliit, I’m sorry. Lalabas siya pero maybe not the main story.
But if it’s really big… Merong, alam mo yung inorganize ni Ryan Cayabyab na big
names in the business mentoring new composers na sinelect nila from all over the
country, major coverage namin yun. Photographer, reporter, may pumunta roon. Big
news sa’min yun.
So you mean to say by big po, malaki ang impact sa readers?
Oo, tsaka also, depende kung gusto naming ipush yung…hindi pa, wala pa siya sa level
of advocacy, kasi yung level of advocacy namin right now is indie, indie films. Pero yun
yung gusto kong next. I want to have something as big for OPM as our annual indie
awards. And I want OPM to be next. Kaya lang, yung industry nila, there’s so many
groups. It’s not easy to do as much for them as it was easy to do for indie films. Ang
dami ng groups kasi nila e. We are really trying. We want to. Yun pa lang e, yun pa lang
ang masasabi ko sa you. We are looking at OPM. We want to do something good for
OPM. Kahit saan kang maghanap na dyaryo, kami lang ang may ganyan. I promise you.
Mayroon kaming reporter na dedicated to OPM, dedicated to looking for new artists, old
artists coming back, old artists doing better than ever, new artists being a surprise. Sino
ba ang unang naglabas kay Zendee? Diba kami. Hinahanap ko naman, right now, as we
speak, pinapahanap ko si Abra. Tinitingnan ko yan, as section editor, tinitingnan ko yan. I
really have a heart for our local musicians.
And this is your way to be objective, walang bias sa foreign, walang bias sa local?
I look at every story as a story. I don’t say, oh this is foreign, this is local—a story.
Marami namang foreing artists na hindi namin pinlay up. Siguro dumating yung story,
they’re not so big. Or dumating yung story, maraming magagandang local news. At least
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dito samin, a story is a story. They’re weighed a stories. Yes, I am proud to say that na
wala kaming biases.
I have a day dedicated to music. Yung Tuesdays namin, as much as possible, OPM yun.
Hanapin mo yung mga Tuesdays namin. Dinedicate ko sa kanila yan. Nagkaroon kami ng
Top 10 albums every week. Kami ang unang gumawa niyan ha. Kaya lang nagpartner
kami kasi we have no way of knowing. Nagpartner kami with Odyssey so that meron
kaming overall OPM listing. If a local artist is doing well, siya yung hineheadline namin.
Emphasis lang naman yun e. I did, I dedicated a day to OPM. Kaya lang if there’s not
much going on, mahahalo siya sa ibang news. If there’s enough stories, then that whole
day, puro OPM yan. I don’t have to do that. I do not even know Ogie Alcasid. I mean, I
know, but he doesn’t know me. Only the reporters get to talk to the sources, not me. I
don’t know them. I know Ryan Cayabyab from way back pero. I’m saying, hindi ito
personal. For me, it’s nothing that I should do. It’s not because they are my friends. But
it’s nothing that I should do if I want to do something right. Because Filipinos tayo e,
we’re musicians e. Noong nag-Cinemalaya, anong pinlay-up ko? Anong favorite ko sa
lahat ng napanood ko? Harana. Why? It’s about these old haranistas. These
threeharanistas, yung isa sa kanila, this musician, nung pumunta siya rito, guitarist, gusto
niyang gumawa ng dokyu about the harana. Nakakita siya ng isang mangingisda, isang
magsasaka, isang tricycle driver, who used to be haranistas. Syempre wala nang harana
ngayon e. Very sad but they were asked to sing old songs that they used for harana. The
documentary was trying to, he asked them, sinong sumulat nitong songs na to? They
don’t know. Wala nang authorship, hindi na nila alam kung sino ang sumulat o
nagcompose. And I find that really fascinating talaga. Tapos itong documentary na to,
yung tatlong matandang manong na to, pinagconcert niya, pinagrecording niya, dinala pa
sa LA, pero hindi na nakarating yung isa kasi he was very sick, matanda na e. And then
he died, he died recently. And I’m just saying, naligaw na tayo, I’m just saying that I
really, I do have a heart for the Filipino musician and I do not forget that. I think it’s just
right to look at them as something that I should be reporting on. Lahat kami. The beat
goes around so it’s not always Anna, every six months. Every six months para
nakakapag-ugat ka naman sa isang… Well I promise you, kami lang ang gumagawa nito.
Every Valentine’s day, instead of just saying, sabi mo PR-driven, instead of just saying
so and so will have a concert here at blah blah…no, we go to the artist. We interview.
Five questions, pare-pareho. So they can answer pare-parehong questions. Did I give the
same treatment to foreign artists? No. Yung mga local lang, iniinterview namin yan.
Basta, para mas maganda yung exposure nila. We really help in every way we can.
So usually pag local iniinterview, pag foreign…
PR na lang. And hindi naman pwedeng hindi ilagay, news yun e, public service din. The
thing is, dun sa listing namin ng Valentine shows, makikita mo saan lang pumasok si
Jessica, sa huli. Sinong nasa taas? Si Jon Santos. OPM, tinalo niya yung foreign artists.
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We know who we should help. Now, hindi na namin macontrol kung sinong pupuntahan
ng mga tao, kahit gaano kamahal ang tickets. As I said, hindi PR ang kaaway mo dyan e.
Ang kalaban mo dyan our conditioning for things foreign or for performers who are,
hindi mo naman masisi minsan, kasi pagdating nila dito full production. But still we
cannot stop the people who have money to spend, we cannot tell them where to go. But
we tried, we really tried. See, yan ha, proof yan ha (referring to the unfinished OPM
article once again). Makakahanap ka ba ng ganyan sa ibang dyaryo? Hindi. Hindi, kami
lang, kami lang gumagawa nyan.
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APPENDIX C
Photos of News Articles in PDI
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APPENDIX D
Survey Form
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APPENDIX E
Survey Responses
For complete survey responses, visit:
https://docs.google.com/spreadsheet/ccc?key=0AmrfFeuZmiR7dE1jRVEyTk92S05maEl
jRFVWcGtvdVE#gid=0