PINOY ROCK MUSIC

ETYMOLOGY AND ORIGIN

Rock music is a broad genre of popular music that originated as "rock and roll" in the United
States in the early 1950s, and developed into a range of different styles in the 1960s and later,
particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and
roll, a style which drew heavily on the genres of blues, rhythm and blues, and from country music. Rock
music also drew strongly on a number of other genres such as electric blues and folk, and incorporated
influences from jazz, classical and other musical styles. Musically, rock has centered on the electric
guitar, usually as part of a rock group with electric bass, drums, and one or more singers. Usually, rock
is song-based music usually with a 4/4 time signature using a verse–chorus form, but the genre has
become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide
variety of other themes that are frequently social or political.

By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged,
including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, and jazz-rock, many of
which contributed to the development of psychedelic rock, which was influenced by
the counterculturalpsychedelic and hippie scene. New genres that emerged included progressive rock,
which extended the artistic elements; glam rock, which highlighted showmanship and visual style; and
the diverse and enduring subgenre of heavy metal, which emphasized volume, power, and speed. In the
second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political
critiques. Punk was an influence in the 1980s on new wave, post-punkand eventually alternative rock.
From the 1990s alternative rock began to dominate rock music and break into the mainstream in the
form of grunge, Britpop, and indie rock. Further fusion subgenres have since emerged, including pop
punk, electronic rock, rap rock, and rap metal, as well as conscious attempts to revisit rock's history,
including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s.

Rock music has also embodied and served as the vehicle for cultural and social movements,
leading to major subcultures including mods and rockers in the UK and the hippie counterculture that
spread out from San Francisco in the US in the 1960s. Similarly, 1970s punk culture spawned
the goth, punk, and emosubcultures. Inheriting the folk tradition of the protest song, rock music has
been associated with political activism as well as changes in social attitudes to race, sex and drug use,
and is often seen as an expression of youth revolt against adult consumerism and conformity.

Rock is one of the most popular forms of music that has evolved over the past couple of
decades. Characterized by the use of electric guitars, a strong rhythm with an accent on the offbeat, and
youth oriented lyrics. Many people would describe rock as a type of music that its own form of
entertainment. It is different from reading a book or working out. Rock is universal as most types of art
usually are. Shaping the lives of people all over the world, even in the Philippines.
 The foundations of rock music are in rock and roll, which originated in the United States during
the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate
origins lay in a melding of various black musicalgenres of the time, including rhythm and
blues and gospel music, with country and western. In 1951, Cleveland, Ohio disc jockey Alan
Freed began playing rhythm and blues music (then termed "race music") for a multi-racial audience, and
is credited with first using the phrase "rock and roll" to describe the music.

Debate surrounds which record should be considered the first rock and roll record. Contenders
include Goree Carter's "Rock Awhile" (1949); Jimmy Preston's "Rock the Joint" (1949), which was
later covered by Bill Haley & His Comets in 1952;and "Rocket 88" by Jackie Brenston and his Delta Cats
(in fact, Ike Turner and his band the Kings of Rhythm), recorded by Sam Phillips for Sun Records in 1951.
Four years later, Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to
top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new
wave of popular culture.

Elvis Presley in a promotion shot for Jailhouse Rock in 1957

It has also been argued that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun
Records in Memphis, could be the first rock and roll record, but, at the same time, Big Joe Turner's
"Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&B charts. Other
artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry
Lee Lewis, and Gene Vincent. Soon rock and roll was the major force in American record sales
and crooners, such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous
decade of popular music, found their access to the pop charts significantly curtailed.

Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly,
combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-
1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest
commercial success, Elvis Presley. In contrast doo wop placed an emphasis on multi-part vocal
harmonies and meaningless backing lyrics (from which the genre later gained its name), which were
usually supported with light instrumentation and had its origins in 1930s and 1940s African American
vocal groups. Acts like the Crows, the Penguins, the El Dorados and the Turbans all scored major hits,
and groups like the Platters, with songs including "The Great Pretender" (1955), and the Coasters with
humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the
period.

The era also saw the growth in popularity of the electric guitar, and the development of a
specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty
Moore. The use of distortion, pioneered by electric blues guitarists such as Guitar Slim, Willie
Johnson and Pat Hare in the early 1950s, was popularized by Chuck Berry in the mid-1950s. The use
of power chords, pioneered by Willie Johnson and Pat Hare in the early 1950s, was popularized by Link
Wray in the late 1950s.

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to
Britain. Lonnie Donegan's 1955 hit "Rock Island Line" was a major influence and helped to develop the
trend of skiffle music groups throughout the country, many of which, including John
Lennon's Quarrymen, moved on to play rock and roll.

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early
1960s. By 1959, the death of Buddy Holly, The Big Bopper and Ritchie Valens in a plane crash, the
departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of
Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures,
including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that
the rock and roll era established at that point had come to an end.

Rock was brought to the Philippines by the United States when it occupied the Islands in 1898
until 1935. Introduced in the late 1950s, Filipino performers adapted Tagalog lyrics for American rock n
roll music, ensuing the origins of Philippine rock. The major accomplishment in Philippine rock was the
hit song “Killer Joe,” which launched the group “Rocky Fellers.” It even reached number 16 on the
Americanradiocharts.

Popular rock music began beginning written and produced in English until the 1970s. In the
1970s, rock started to be written in local languages, such as bands like the Juan Dela Cruz Band being
among the popular Filipino bands to do so. Mixing both languages, Tagalog and English lyrics, became
popular in songs, such as “Ang Miss Universe Ng Buhay Ko,” by the band Hotdogs. That led to
revolutionizing the Manila sound, which is the mixing of two languages known as Taglish. Taglish
became all the rage in rock music after Sharon Cuneta’s hit, “Mr. DJ.”

Philippine rock music included a mixture of folk music, which helped to breakthrough Freddie
Aguilar. His songs were not only popular in the Philippines, but in Asia and Europe as well. Aguilar’s
songs have been translated into different languages by singers worldwide. Filipino rock has also included
many other types of music, such as hard rock, heavy metal, and alternative rock. Bands that incorporate
these styles of music are Wolfgang, Razorback, Greyhoundz, Queso, Grin department and the
progressive band Paradigm.

Today, the Philippine Islands feature western style music, producing distingushed bands such as
Pupil, Hale, Sponge Cola, Callalily, Chicosci, Bamboo, Silent Sanctuary, Rocksteddy, Kjwan, Kamikazee,
Cueshe, Itchyworms, Imago, The Ambassadors, Moonstar 88, Faspitch, and Urbandub, and the
emergence of its first virtual band, Mistula. But as time goes on, rock music in the Philippines continues
to blossom into greater heights.

Origin and Early History of Pinoy Rock Music

One of the first popular Filipino rock stars was Bobby Gonzales, whose major hit was "Hahabul-
Habol." Eddie Mesa, another teen idol from the period, became known as the "Elvis Presley of the
Philippines." Back then, many Filipinos referred to Rock bands as "combos," many of which used
nontraditional instruments like floor-bass bongos, maracas, and gas tanks.

1960s: Early years

In the early 1960s, as electric instruments and new technology became available, instrumental
American and British bands like The Shadows and The Ventures flourished. In 1963, during the British
Invasion, bands such as The Beatles rose to mainstream audiences worldwide. Their widespread
popularity and their embrace of the counterculture injected the possibility of socio-political lyrics with
mature comments on real life into popular music. Immensely influenced by this new breed of British
artists, many Filipino bands began adopting similar musical styles.

One of the first popular Filipino balladeers was Bobby Gonzales, whose major hit was "Hahabul-
Habol". Eddie Mesa, another teen idol from the period, became known as the "Elvis Presley of the
Philippines". Back then, many Filipinos referred to rock bands as "combos", many of which used
nontraditional instruments like floor-bass bongos, maracas, and gas tanks.

1970s: Manila Sound and classic Pinoy rock.

Into the early 1970s, Filipino music was growing more nationalistic and socio-political in nature,
as well as using Tagalog more often. Pop music still dominated the airwaves with disco and funk bands
such as the APO Hiking Society and Hotdog. Songs like Hotdog's "Ikaw ang Miss Universe ng Buhay Ko"
("You're the Miss Universe of My Life") combined Filipino and English (also known as Taglish) within the
same song. This helped innovate the so-called "Manila Sound". OPM (Original Pinoy Music) also became
popular.

However, emerging social and political consciousness somehow creeped into the industry with
the traditional allied genres that are folk and rock music. Folk musicians and bands included Freddie
Aguilar, Asin, Heber Bartolome and Florante. (In 1978, Freddie Aguilar's debut single, "Anak", became
the most commercially successful Filipino recording in history. The song became known also in other
Asian countries and in Europe.) Perhaps Asin, an ethnic-folk band, was the first commercial band to
successfully bring a pro-environment song to the airwaves with "Masdan Mo ang Kapaligiran". Also
famous for providing subtle rebellious (anti-Marcos dictatorship sentiment was growing at that time)
and peace messages behind its skillful vocal harmonizing, Asin gave the masses hits such as "Bayan Kong
Sinilangan (Cotabato)" and "Balita".

Juan de la Cruz Band, a garage and blues-rock influenced group consisting of drummer Joey
"Pepe" Smith, bassist Mike Hanopol, and lead guitarist Wally Gonzales, are often credited for ushering in
the first "rock & roll revolution" in the Philippines that lasted from the late '60s to the late '70s (also
known as the "Golden Age of Pinoy Rock").

Being influenced by the counterculture, the bands of the '70s were known to have never been
sidelined commercially and sometimes took the center stage by storm. The radio station DZRJ,
particularly the AM weekend "Pinoy Rock and Rhythm" show hosted by the ex-Fine Arts student
from Philippine Women's University named Dante David, a.k.a. Howlin' Dave, provided the much-
needed support and publicity to Pinoy rock during this era.

1980s

In the early to mid-1980s, groups like RP, with Goff Macaraeg and Bob Aves, Nuklus, Sinaglahi,
UP Sintunado, Patatag, Tambisan, and soloists like the nationalist folk rock singers Paul Galang and Jess
Santiago, the progressive folk duo Inang Laya, the progressive Pinoy rock band The Jerks, and Noel
Cabangon were a hit on street concerts and campus tours. These groups of artists reunited and formed
Buklod (Bukluran ng mga Musikero para sa Bayan), which later Rom Donggeto of Sinaglahi, Noel
Cabangon and Rene Bongcocan of Lingkod Sining took as their new band name when it disbanded after
the EDSA Revolution.

The Dawn is another Pinoy rock band that emerged in the '80s; the songs that they created were
influenced by new wave music and post-punk. The Dawn released their independently released single
"Enveloped Ideas" in 1986.

Many music journalists and enthusiasts, as well as musicians themselves, attributed the
flourishing in the mid-'80s of new wave and post-punk influenced bands to DWXB-FM, which began
playing independently released singles of unsigned local bands. Other bands emerged including Dean's
December, Ethnic Faces, Identity Crisis and Violent Playground, all of which were able to record and
release their respective albums in the years that followed.

Another band named The Wuds was formed in the '80s; its members were composed of Alfred
Guevara (bass), Bobby Balingit (guitar) and Aji Adriano (drums). The group was established in July 1983.
Guevara and Bobby Wuds Balingit were sing-along home boys that were born and bred in the streets of
a tough Manila neighborhood. Before forming the group, Guevera and Balingit had first created an
acoustic folk singing group called Think God, playing covers of James Taylor and Crosby, Stills and Nash
songs at various Shakey's Pizza parlors in the Philippines. They changed their name to The Woods, after
the Jethro Tull album Songs From the Wood. Bobby Wuds continues to perform; he attended a street
concert in Baguio City during the Baguio Day Celebrations in 2012 that was organized in Assumption
Road by Christel Pay Seng.

1990s

During the start of the decade, The Hayp, Introvoys and AfterImage were among the prominent
bands enjoying mainstream recognition. An underground music scene was already burgeoning in some
unknown bars in Manila. Red Rocks (which later became Club Dredd), together with Mayric's (now
Sazi's) and Kampo (Yosh in the mid '90s), were the only venues where unsigned bands were allowed to
play their own songs. Bands were influenced from such genres as power pop, shoegazer, post-punk,
alternative rock (Eraserheads, Color It Red, The Youth, Half Life Half Death, Feet like Fins, Advent Call,
Alamid), hard rock, heavy metal (Razorback, Askals, Wolfgang, Dahong Palay), hardcore, punk and death
metal (Skychurch, Genital Grinder , Death After Birth, Disinterment, Kabaong ni Kamatayan, Loads of
Motherhood, WUDS, Yano, Bad Omen, Rumblebelly, Disinterment, Deiphago, Savanna's tool), Signos
(Cebu City's underground death metal) and Siakol, a prominent fixture of the Tunog Kalye era in
the Philippines.

The late 1980s and early 1990s marked the beginning of what was known as the era of
underground rock and progressive music, with NU107.5 playing unknown bands through Francis Brew's
"In the Raw". It was through this station that many of the prominent and promising rock bands were
discovered such as The Breed, GreyHoundz, Slapshock, Sugar Free, Fatal Posporos, Itchy Worms,
Peryodiko, Monsterbot, Tanya Markova, Pedicab, and many others. NU107.5 was the only radio station
that played music longer than the standard radio format would allow, as well as soundtracks (The Reel
Score). Apart from allotting air time to new and known foreign rock bands such as Save Ferris, Veruca
Salt, Metallica, Audioslave and Sound Garden etc., it gave full exposure to Filipino groups such as Sugar
Hiccup, Eraserheads, Imago, Cynthia Alexander, Parokya ni Edgar, Wolfgang, Razorback, Ciudad, Teeth,
Urbandub, Putreska, Tropical Depression, Rivermaya, Yano, Siakol, and Cheese. Its prestigious NU107
Rock Awards honored the Philippine rock industry's best and brightest for 17 years.

To add to the plight of the underground bands, radio stations would not play their music due to
the payola system in the radio industry despite the fact that most of these bands, if not all, had self-
produced (indie) albums. But DWLA 105.9 challenged the current system by providing a venue for the
bands to broadcast their original songs. Pinoy rock enthusiasts were finally elated to hear their favorite
underground bands ruling the airwaves.

The commercial success of Eraserheads paved the way for more Pinoy rock acts such
as Rivermaya, Siakol, Rizal Underground and The Youth getting record deals. Some brave all-female
bands got signed (Kelt's Cross, Tribal Fish, Agaw Agimat) and a few solo artists as well (Maegan
Aguilar, Bayang Barrios, DJ Alvaro). Rappers crossed over with great success (Francis M with Hardware
Syndrome and Erectus), despite some earlier controversy with hip hop-bashing allegedly incited by some
artists. These bands adopted a variety of influences both in image and music; many fell under a
particular genre; however, the crossing over of styles was most often inevitable.
 The logo of defunct Pinoy rock radio station, NU 107.

2000s

In the early 2000s, hip hop, reggae, acoustic pop/jazz and R&B-influenced bands dominated the
Philippine music scene, causing Pinoy rock to take a backseat. Only a number of Pinoy rock bands
managed to stay in the mainstream during this period. In 2003, a not-so-well-known home-educated DJ
named DJ RO started playing in a small bar and restaurant known as Gweilos; DJ RO helped promote the
club every Monday night while there was an emergence of Filipino rock bands like Bamboo, Orange and
Lemons and Kitchie Nadal that started performing in Gweilos and eventually became popular. In 2004,
Pinoy rock once again gained prominence, with the rise of yet another wave of Filipino rock bands.
During this time, the Pinoy rock music scene in Cebu also gained exposure.

2001 saw indie band The Pin-Up Girls, made up of former Keltscross members and underground
musicians, signing to Know-It-All Records in Tacoma, Washington, making them the first Manila-based
band to sign with an American label. This development caused quite a negative reaction from the Manila
rock scene as most musicians deemed the band unworthy of the break.

The Pin-Up Girls released an EP worldwide called Taste Test that sold out. Know-It-All then printed a
new batch dubbed "Taste Test: The Expanded Menu". The lead-off single "Caress" hit number one on
the New Jersey and Internet-based radio, flashbackalternatives.com.

2004 also saw the emergence of the first Philippine virtual band, Mistula. With the internet as
their stage, Mistula came alive through their official website, a fusion of music, graphic art, literature,
photography and other art forms.

The rest of the 2000s further ushered in the mainstream buzz on Pinoy rock, and along with it
bands that leaned more towards pop sensibilities. During this time, bands such as Hale, Cueshe, Sponge
Cola, and Callalily gained mainstream exposure.

2006 was when Filipino band, Kāla appeared in the commercial music scene with their full-
length album entitled Manila High, distributed by SonyBMG Music Entertainment. Their first hit was
"Jeepney" which was released in the summer of 2006. According to the Philippine Daily Inquirer, the
band started the resurgence of the Manila Sound genre into the modern world through their own mix of
funky, jazzy electronic rock music.The band was also part of the tribute album Hopia Mani Popcorn.
They made a funky remake of VST & Co.'s "Rock Baby Rock" which hit number 1 in the airwaves.
 In recent years as well, bands like Urbandub, Pupil, Chicosci, Slapshock and Typecast have also
played in other countries such as Singapore and the US, amongst others. Some have even garnered
nominations and recognition from internationally based publications and award-giving bodies. This is
mainly attributed to the effect of the internet and globalization on almost anything including music, as
listeners from other countries can now see and hear songs and videos of bands overseas without leaving
their country.

2010s

In mid-2010, NU 107, known as the nation's premier FM station using a rock format, had been
taken down as it was sold by its management after a declining interest by the audience. In the early
2010s, rock music is still largely popular in the country, despite declining in sales, the domination of K-
Pop, pop and electronic music, and the rise of music streaming services.

During the early 2010s, new acts were emerged such as Gracenote, Banda ni Kleggy, and Tanya
Markova.

Following NU left the airwaves, another FM station Jam 88.3 has been fully transitioned to
alternative rock/indie pop, including songs played by local popular rock artists and bands. Since 2013,
the station began playing songs from local and unsigned Filipino independent artists/bands through its
supplemental program Fresh Filter.

2013 saw the re-emergence of Pinoy indie music. Some indie acts became popular (and
eventually gained into mainstream) such as Autotelic, Bullet Dumas, Ang Bandang Shirley, Flying
Ipis, Cheats, BP Valenzuela, She's Only Sixteen, Rusty Machines, Farewell Fair Weather, The Ransom
Collective, Drive Me to Juliet, Oh, Flamingo!, Sud, Jensen and The Flips, MilesExperience, Tom's
Story, Ben&Ben, IV of Spades, Clara Benin, Reese Lansangan, and others. Today, various indie bands
continue to perform through daily/weekly gig schedule at popular gig places like B-Side and SaGuijo in
Makati, Route 196 and Mow's Bar in Quezon City, 19 East in Parañaque, 70s Bistro in Anonas, and at
various music festivals (such as Wanderland and Fete de la Musique Philippines).

In 2015, entrepreneur and musician RJ Jacinto launched the Pinoy Rock 'n Roll Hall of Fame,
which was established to recognize notable Filipino musicians.

STYLISTIC ORIGINS OF PINOY ROCK

Manila Sound is a musical genre in the Philippines that began in the mid-1970s in Manila,
flourished and peaked in the mid to late 1970s, and has not waned in popularity to this day. It is
often considered the "bright side" of the martial law era and has influenced all modern genres in the
country by being the forerunner to OPM.

Manila Sound is typified and was popularized by the pop rock band Hotdog with its many hit
singles: "Ikaw Ang Miss Universe Ng Buhay Ko" ("You Are the Miss Universe Of My
Life"), "Panaginip" ("Dream"), "Langit Na Naman" ("Heaven Once Again"), "O Lumapit Ka" ("Oh,
Come Closer"), "Bitin Sa Iyo" ("Left Hanging Over You"), and "Dying to Tell You", among others. The
name "Manila Sound" may have been derived from Hotdog's hit single "'Manila'", which has come to
epitomize this genre. Manila Sound is characterized by catchy melodic phrases. In its later period,
Manila Sound was dominated by the discomania that swept the Philippines, led by groups such
as VST & Co., The Boyfriends and Hagibis, among others. Alternately described as "the
marshmallow sound", Manila Sound generated a string of calculated radio hits by groups such
as Cinderella, VST & Co., Apolinario Mabini Hiking Society, Florante, Rico J. Puno, Sharon Cuneta,
and many others. Manila Sound's unprecedented and meteoric appeal provided viability to a
Philippine recording industry that until then had relied on cover versions and imitation of foreign hits
to entice consumer acceptance. Unfortunately in its later years, formula-addled lyrical bias toward
camp humor and parody eventually caused the Manila Sound to devolve into an explicitly theatrical,
if not juvenile, subgenre as exemplified by Hagibis (a parody of the Village People) and The
Boyfriends, until it diminished in the late 1970s under a wave of disco and dance-oriented hits from
American films such as Saturday Night Fever, Grease and Footloose. But perhaps more importantly,
by the early 1980s, disco had waned in popularity, mirroring disco's serious backlash and decline
that occurred earlier in the United States. Moreover, musical tastes had changed, moving away
from soft rock into newer musical forms, particularly adult contemporary, and to a lesser extent, punk
rock and new wave, and radio airplay reflected these changes.

Manila Sound's laid-back and unpretentious musical style gave way to the intricate, multi-
layered, and sometimes symphonic arrangements of OPM (Original Pilipino Music) that dominated
popular, radio-friendly Philippine music starting in the late 1970s up until the 1990s. OPM, spawned
initially and heavily influenced by the annual Metro Manila Popular Music Festival, emerged as radio
favorites. Two of OPM's early and highly successful releases were the songs "Anak" by folk rock
singer-songwriter Freddie Aguilar, and "Kay Ganda Ng Ating Musika" by
pianist/composer/conductor Ryan Cayabyab, both of whom produced a new generation of Original
Pilipino Music, represented by artists such as Kuh Ledesma, Zsa Zsa Padilla, Basil Valdez, Gary
Valenciano, Martin Nievera and later, Regine Velasquez.

A resurgence in interest in the Manila Sound in recent years has yielded several compilation
albums. In 2006, the Apo Hiking Society relaunched their retro hits in a double-CD package, coupled
with reinterpretations of each by Manila's young alternative bands. Riding on the appeal of this
revival, The Best of Manila Sound: Hopia Mani Popcorn was released the same year, featuring
interpretations of a number of classic Manila Sound hits. The Best of Manila Sound: Hopia Mani
Popcorn 2followed in 2008.

CULTURE ORIGINS

Pinoy Rock acquired on the Philippines in 1950’s in

Manila (/məˈnɪlə/; Filipino: Maynilà, pronounced [majˈnilaʔ] or [majniˈla]), officially the City of
Manila (Filipino: Lungsod ng Maynilà [luŋˈsod nɐŋ majˈnilaʔ]), is the capital of the Philippines. It is
the most densely populated city proper in the world. It was the first chartered city by virtue of the
Philippine Commission Act 183 on July 31, 1901 and gained autonomy with the passage of Republic Act
No. 409 or the "Revised Charter of the City of Manila" on June 18, 1949.

The Spanish city of Manila was founded on June 24, 1571, by Spanishconquistador Miguel López
de Legazpi. The date is regarded as the city's official founding date. Manila was also the seat of power
for most of the country's colonial rulers. It is home to many historic sites, some of which were built
during the 16th century. Manila has many of the Philippines' firsts, including the first
university (1590), light station (1642), lighthouse tower (1846), water system (1878), hotel (1889),
electricity (1895), oceanarium (1913), stock exchange (1927), flyover (1930s), zoo (1959), pedestrian
underpass (1960),[13] science high school (1963),[14] city-run university(1965), city-run hospital (1969),
and rapid transit system (1984; also considered as the first rapid transit system in Southeast Asia).

The term "Manila" is commonly used to refer to the whole metropolitan area, the greater
metropolitan area or the city proper. The officially defined metropolitan area called Metro Manila,
the capital region of the Philippines, includes the much larger Quezon City and the Makati Central
Business District. It is the most populous region of the country, one of the most populous urban areas in
the world, and is one of the wealthiest regions in Southeast Asia.[17][18] The city proper is home to
1,780,148 people in 2015, and is the historic core of a built-up area that extends well beyond its
administrative limits. With 71,263 people per square kilometer, Manila is also the most densely
populated city proper in the world.

The city is located on the eastern shores of Manila Bay. The Pasig Riverflows through the middle
of the city, dividing it into the north and south sections. Manila is made up of 16 administrative
districts: Binondo, Ermita, Intramuros, Malate, Paco, Pandacan, Port Area, Quiapo, Sampaloc, San
Andres, San Miguel, San Nicolas, Santa Ana, Santa Cruz, Santa Mesa and Tondo, while it is divided
into six districts for its representation in Congressand the election of the city council members. In 2016,
the Globalization and World Cities Research Network listed Manila as an "alpha –" global city.

TYPICAL INSTRUMENTS

Singing is the act of producing musical sounds with the voice and augments regular speech by
the use of sustained tonality, rhythm, and a variety of vocal techniques. A person who sings is called
a singer or vocalist (in jazz and popular music). Singers perform music (arias, recitatives, songs, etc.) that
can be sung with or without accompaniment by musical instruments. Singing is often done in
an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform
as soloists or accompanied by anything from a single instrument (as in art song or some jazz styles) up to
a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese
opera, Indian music and religious music styles such as gospel, traditional music styles, world
music, jazz, blues, gazaland popular music styles such as pop, rock, electronic dance music and filmi (film
songs).

Singing can be formal or informal, arranged or improvised. It may be done as a form of religious
devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a
profession. Excellence in singing requires time, dedication, instruction and regular practice. If practice is
done on a regular basis then the sounds can become more clear and strong. Professional singers usually
build their careers around one specific musical genre, such as classical or rock, although there are
singers with crossover success (singing in more than one genre). They usually take voice
training provided by voice teachers or vocal coaches throughout their careers.

An acoustic guitar is a guitar that produces sound acoustically by transmitting the vibration of
the strings to the air—as opposed to relying on electronic amplification (see electric guitar). The sound
waves from the strings of an acoustic guitar resonate through the guitar's body, creating sound. This
typically involves the use of a sound board and a sound box to strengthen the vibrations of the strings.
In standard tuning the guitar's six strings are tuned (low to high) E2 A2 D3 G3 B3 E4.

The main source of sound in an acoustic guitar is the string, which is plucked or strummed with
the finger or with a pick. The string vibrates at a necessary frequency and also creates many harmonics
at various different frequencies. The frequencies produced can depend on string length, mass, and
tension. The string causes the soundboard and sound box to vibrate, and as these have their own
resonances at certain frequencies, they amplify some string harmonics more strongly than others, hence
affecting the timbre produced by the instrument.

An electric guitar is a guitar that uses one or more pickups to convert the vibration of its strings
into electrical signals. The vibration occurs when a guitar
player strums, plucks, fingerpicks, slaps or taps the strings. The pickup generally uses electromagnetic
induction to create this signal, which being relatively weak is fed into a guitar amplifier before being sent
to the speaker(s), which converts it into audible sound.

The electric signal can be electronically altered to change the timbre of the sound. Often, the
signal is modified using effects such as reverb, distortion and "overdrive"; the latter is considered to be a
key element of electric blues guitar music and rock guitar playing.

Invented in 1931, the electric guitar was adopted by jazz guitar players, who wanted to play
single-note guitar solos in large big band ensembles. Early proponents of the electric guitar on record
include Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker, and Charlie Christian. During
the 1950s and 1960s, the electric guitar became the most important instrument in popular music.[1] It
has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging
from pop and rock to country music, bluesand jazz. It served as a major component in the development
of electric blues, rock and roll, rock music, heavy metal music and many other genres of music.

Electric guitar design and construction varies greatly in the shape of the body and the
configuration of the neck, bridge, and pickups. Guitars may have a fixed bridge or a spring-loaded hinged
bridge, which lets players "bend" the pitch of notes or chords up or down, or perform vibrato effects.
The sound of an electric guitar can be modified by new playing techniques such as string
bending, tapping, and hammering-on, using audio feedback, or slide guitar playing.

There are several types of electric guitar, including: the solid-body guitar; various types
of hollow-body guitars; the six-string guitar (the most common type), which is usually tuned E, B, G, D, A,
E, from highest to lowest strings; the seven-string guitar, which typically adds a low B string below the
low E; and the twelve-string guitar, which has six pairs of strings.

In pop and rock music, the electric guitar is often used in two roles: as a rhythm guitar, which
plays the chord sequences or progressions, and riffs, and sets the beat (as part of a rhythm section); and
as a lead guitar, which provides instrumental melody lines, melodic instrumental fill passages, and solos.
In a small group, such as a power trio, one guitarist switches between both roles. In large rock and metal
bands, there is often a rhythm guitarist and a lead guitarist.

The bass guitar (also known as electric bass, or simply bass) is a stringed instrument similar in
appearance and construction to an electric guitar, except with a longer neck and scale length, and four
to six strings or courses. The four-string bass is usually tuned the same as the double bass,[5] which
corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and
G).[6] The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it
sounds. It is played primarily with the fingers or thumb, by plucking, slapping, popping, strumming,
tapping, thumping, or picking with a plectrum, often known as a pick. The electric bass guitar
has pickups and must be connected to an amplifier and speaker, to be loud enough to compete with
other instruments.

Since the 1960s, the bass guitar has largely replaced the double bass in popular music as the
bass instrument in the rhythm section.[7] While types of basslinesvary widely from one style of music to
another, the bassist usually plays a similar role: anchoring the harmonic framework and establishing the
beat. Many styles of music include the bass guitar, and it is occasionally a soloing instrument.

A drum kit — also called a drum set, trap set (a term using a contraction of the word,
"contraption"), or simply drums — is a collection of drums and other percussion instruments,
typically cymbals, which are set up on stands to be played by a single player, with drumsticks held in
both hands, and the feet operating pedals that control the hi-hat cymbal and the beater for the bass
drum. A drum kit consists of a mix of drums (categorized classically as membranophones, Hornbostel-
Sachs high-level classification 2) and idiophones – most significantly cymbals, but can also include
the woodblockand cowbell (classified as Hornbostel-Sachs high-level classification 1). In the 2000s, some
kits also include electronic instruments (Hornbostel-Sachs classification 53). Also, both hybrid (mixing
acoustic instruments and electronic drums) and entirely electronic kits are used.

A standard modern kit (for a right-handed player), as used in popular musicand taught in music
schools, contains:

 A snare drum, mounted on a stand, placed between the player's knees and played with drum
sticks (which may include rutes or brushes)

 A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater

 One or more toms, played with sticks or brushes (usually three toms: rack tom 1 and 2, and floor
tom)

 A hi-hat (two cymbals mounted on a stand), played with the sticks, opened and closed with left
foot pedal (it can also produce sound with the foot alone)

 One or more cymbals, mounted on stands, played with the sticks

 All of these are classified as non-pitched percussion, allowing the music to be scored
using percussion notation, for which a loose semi-standardized form exists for both the drum kit
and electronic drums. The drum kit is usually played while seated on a stool known as a throne. While
many instruments like the guitar or piano are capable of performing melodies and chords, most drum
kits are unable to achieve this as they produce sounds of indeterminate pitch.[6] The drum kit is a part of
the standard rhythm section, used in many types of popular and traditional music styles, ranging
from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the
piano, electric guitar, electric bass, and keyboards.

Many drummers extend their kits from this basic configuration, adding more drums, more
cymbals, and many other instruments including pitched percussion. In some styles of music, particular
extensions are normal. For example, rock and heavy metal drummers make use of double bass drums,
which can be achieved with either a second bass drum or a remote double foot
pedal.[7] Some progressive drummers may include orchestral percussion such as gongs and tubular
bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements
from the basic setup. Some drum kit players may have other roles in the band, such as providing backup
vocals, or less commonly, lead vocals.

DERIVATIVE FORMS

Filipino reggae or Pinoy reggae is reggae music created in the Philippines. The country has
several bands and sound systems that play reggae and dancehall music in a style faithful to its
expression in Jamaica. Reggae in the Philippines comprises the many forms of reggae and its subgenres,
and at times combining traditional Filipino forms of music and instruments in their music.

The provinces of Aklan (mainly Boracay Island), Quezon, Pampanga and Pangasinan, Negros
Occidental and Negros Oriental, Palawan, Surigao del Norte (mainly Siargao Island) and Marinduque,
and the cities of Manila, Cebuand Davao are some of the places that reggae has found a base, with many
artists residing in these cities and performing at local bars and clubs. The Visayas section of the
Philippines has had the largest concentration of reggae groups, with Cebu City of Central Visayas even
being dubbed "The Reggae Capital of the Philippines". In early 2007, Ziggy Marley performed at the MTV
Philippines festival, "Reggae Fest by the Bay" in Manila. Marley played with local Filipino reggae talents.

GENRE CLASSIFICATION OF OPM SONGS

The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its
modern form in the 1950s with the popularity of rock and roll. Also, it was influenced by the sounds
of electric bluesguitarists. The sound of an electric guitar in rock music is typically supported by an
electric bass guitar, which pioneered in jazz music in the same era, and percussion produced from
a drum kit that combines drums and cymbals. This trio of instruments has often been complemented by
the inclusion of other instruments, particularly keyboards such as the piano, the Hammond organ, and
the synthesizer. The basic rock instrumentation was derived from the basic blues band instrumentation
(prominent lead guitar, second chordal instrument, bass, and drums). A group of musicians performing
rock music is termed as a rock band or a rock group. Furthermore, it typically consists of between three
(the power trio) and five members. Classically, a rock band takes the form of a quartet whose members
cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist, drummer, and
often keyboard player or other instrumentalist.

Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter,
with a repetitive snare drum back beat on beats two and four. Melodies often originate from
older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies
range from the common triad to parallel perfect fourths and fifths and dissonant harmonic
progressions.[10] Since the late 1950s and particularly from the mid 1960s onwards, rock music often
used the verse-chorus structure derived from blues and folk music, but there has been considerable
variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock. Because of
its complex history and its tendency to borrow from other musical and cultural forms, it has been
argued that "it is impossible to bind rock music to a rigidly delineated musical definition."

A simple 4/4 drum pattern common in rock music

Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes,
including romantic love, sex, rebellion against "The Establishment", social concerns, and life
styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition,
folk music, and rhythm and blues. Music journalist Robert Christgau characterizes rock lyrics as a "cool
medium" with simple diction and repeated refrains, and asserts that rock's primary "function" "pertains
to music, or, more generally, noise." The predominance of white, male, and often middle class musicians
in rock music has often been noted,[17] and rock has been seen as an appropriation of black musical
forms for a young, white and largely male audience. As a result, it has also been seen to articulate the
concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some
exceptions, "rock and roll usually implies an identification of male sexuality and aggression".

Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it
has usually been contrasted with pop music, with which it has shared many characteristics, but from
which it is often distanced by an emphasis on musicianship, live performance, and a focus on serious
and progressive themes as part of an ideology of authenticity that is frequently combined with an
awareness of the genre's history and development.[21] According to Simon Frith, rock was "something
more than pop, something more than rock and roll" and "[r]ock musicians combined an emphasis on
skill and technique with the romantic concept of art as artistic expression, original and sincere".[21] In the
new millennium, the term rockhas occasionally been used as a blanket term including forms like pop
music, reggae music, soul music, and even hip hop, which it has been influenced with but often
contrasted through much of its history.

Pinoy rock, or Filipino rock,

The brand of rock music produced in the Philippines or by Filipinos. It has become as diverse as
the rock music genre itself, and bands adopting this style are now further classified under more specific
genres or combinations of genres like alternative rock, post-grunge, ethnic, new wave, pop rock, punk
rock, funk, reggae, heavy metal, ska, and recently, indie. Because these genres are generally considered
to fall under the broad rock music category, Pinoy rock may be more specifically defined as rock music
with Filipino cultural sensibilities.

Alternative rock (also called alternative music, alt-rock or simply alternative)

Style of rock music that emerged from the independent music underground of the 1980s and
became widely popular in the 1990s. In this instance, the word "alternative" refers to the genre's
distinction from mainstream rock music. The term's original meaning was broader, referring to a
generation of musicians unified by their collective debt to either the musical style or simply the
independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music.
At times, "alternative" has been used as a catch-all description for music from underground rock artists
that receives mainstream recognition, or for any music, whether rock or not, that is seen to be
descended from punk rock (including some examples of punk itself, as well as new wave, and post-
punk).

Alternative rock broadly consists of music that differs greatly in terms of its sound, social context
and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, and word of
mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define
a number of distinct styles (and music scenes) such as noise pop, indie rock, grunge, and shoegaze. Most
of these subgenres had achieved minor mainstream notice and a few bands representing them, such
as Hüsker Dü and R.E.M., had even signed to major labels. But most alternative bands' commercial
success was limited in comparison to other genres of rock and pop music at the time, and most acts
remained signed to independent labels and received relatively little attention from mainstream radio,
television, or newspapers. With the breakthrough of Nirvana and the popularity of
the grungeand Britpop movements in the 1990s, alternative rock entered the musical mainstream and
many alternative bands became successful.

Post-grunge

A derivative of grunge and a style of alternative rock and hard rock that began in the 1990s.
Originally, post-grunge was an almost pejorative label used to describe bands that emulated the grunge
sound. During this time, bands like Bush, Candlebox and Collective Soul were viewed as post-grunge.

In the late 1990s, post-grunge morphed into a more clearly defined style that married the sound
and aesthetic of grunge with a tone less intense and less abrasive than grunge. Post-grunge rose to
prominence in the 1990s and continued to remain popular in the 2000s. Post-grunge bands such as Foo
Fighters, Puddle of Mudd, Staind, Nickelback, Creed and Matchbox Twentyall achieved mainstream
success.

Folk music

Includes traditional folk music and the genre that evolved from it during the 20th-century folk
revival. Some types of folk music may be called world music. Traditional folk music has been defined in
several ways: as music transmitted orally, music with unknown composers, or music performed
by custom over a long period of time. It has been contrasted with commercial and classical styles. The
term originated in the 19th century, but folk music extends beyond that.

Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk
music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This
form of music is sometimes called contemporary folk music or folk revival music to distinguish it from
earlier folk forms.[1] Smaller, similar revivals have occurred elsewhere in the world at other times, but
the term folk music has typically not been applied to the new music created during those revivals. This
type of folk music also includes fusion genres such as folk rock, folk metal, and others. While
contemporary folk music is a genre generally distinct from traditional folk music, in U.S. English it shares
the same name, and it often shares the same performers and venues as traditional folk music.

New wave

A genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk
rock. New wave moved away from blues and rock and roll sounds to create rock music (early new wave)
or pop music (later) that incorporated disco, mod, and electronic music. Initially new wave was similar to
punk rock, before becoming a distinct genre. It subsequently engendered subgenres and fusions,
including synth-pop.

New wave differs from other movements with ties to first-wave punk as it displays
characteristics common to pop music, rather than the more "artsy" post-punk.[22] Although it
incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in
both music and lyrics. Common characteristics of new wave music include the use of synthesizers and
electronic productions, and a distinctive visual style featured in music videos and fashion.[22]

New wave has been called one of the definitive genres of the 1980s,[24] after it was promoted
heavily by MTV (the Buggles' "Video Killed the Radio Star" music video was broadcast as the first music
video to promote the channel's launch). The popularity of several new wave artists is often attributed to
their exposure on the channel. In the mid-1980s, differences between new wave and other music genres
began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several
new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a
number of acts, such as the Strokes, Interpol, Franz Ferdinand and The Killersexplored new wave and
post-punk influences. These acts were sometimes labeled "new wave of new wave".
Pop rock (also typeset as pop/rock)

Is rock music with a greater emphasis on professional songwriting and recording craft, and less
emphasis on attitude. Originating in the 1950s as an alternative to rock and roll, early pop rock was
influenced by the beat, arrangements, and style of rock and roll (and sometimes doo-wop). It may be
viewed as a distinct genre field, rather than music that overlaps with pop and rock. The detractors of
pop rock often deride it as a slick, commercial product, less authentic than rock music.

Much pop and rock music has been very similar in sound, instrumentation and even lyrical
content. The terms "pop rock" and "power pop" have been used to describe more commercially
successful music that uses elements from, or the form of, rock music.[7] Writer Johan Fornas views
pop/rock as "one single, continuous genre field", rather than distinct categories.[4] To the authors Larry
Starr and Christopher Waterman, it is defined as an "upbeat variety of rock music" represented by
artists and bands such as: Andy Kim, the Bells, Paul McCartney, Lighthouse, and Peter Frampton.[8]

The term pop has been used since the early twentieth century to refer to popular music in
general, but from the mid-1950s it began to be used for a distinct genre, aimed at a youth market, often
characterized as a softer alternative to rock and roll.In the aftermath of the British Invasion, from about
1967, it was increasingly used in opposition to the term rock music, to describe a form that was more
commercial, ephemeral and accessible.

As of the 2010s, guitar pop rock and indie rock are roughly synonymous terms.

Punk rock (or "punk")

Is a rock music genre that developed in the mid-1970s in the United States, United Kingdom,
and Australia. Rooted in 1960s garage rockand other forms of what is now known as "proto-punk"
music, punk rock bands rejected perceived excesses of mainstream 1970s rock. Punk bands typically
produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down
instrumentation, and often political, anti-establishmentlyrics. Punk embraces a DIY ethic; many bands
self-produce recordings and distribute them through independent record labels and other informal
channels.

The term "punk rock" was first used by certain American rock critics in the early 1970s to
describe 1960s garage bands and subsequent acts then perceived as stylistic inheritors. Between 1974
and 1976 the movement now bearing the name "punk rock" emerged. It produced a new generation of
bands such as the Ramones, Johnny Thunders and the Heartbreakers, Richard Hell and the
Voidoids in New York City, the Sex Pistols, the Clash, the Damned and Buzzcocks in the UK, and the
Saints in Brisbane—by late 1976 these acts were generally recognized as forming its vanguard. As 1977
approached, punk rock became a major and highly controversial cultural phenomenon in the United
Kingdom. It spawned a punk subculture expressing youthful rebellion characterized by distinctive styles
of clothing and adornment (ranging from deliberately offensive T-shirts, leather jackets, studded or
spiked bands and jewelry, as well as bondage and S&M clothes) and a variety of anti-authoritarian
ideologies that have since been associated with the form.
 In 1977 the influence of punk rock music and subculture became more pervasive, spreading
throughout various countries worldwide. It generally took root in local scenes that tended to reject
affiliation with the mainstream. In the late 1970s punk experienced its second wave in which acts that
were not active during its formative years adopted the style. By the early 1980s, faster and more
aggressive subgenres such as hardcore punk (e.g. Minor Threat), street punk(e.g. the Exploited)
and anarcho-punk (e.g. Subhumans) became the predominant modes of punk rock. Musicians
identifying with or inspired by punk often later pursued other musical directions, resulting in a broad
range of spinoffs, giving rise to genres such as post-punk, new wave and later indie pop, alternative rock,
and noise rock. By the 1990s punk rock re-emerged in the mainstream, as punk rock and pop
punk bands such as Green Day, Rancid, The Offspring, and Blink-182 brought the genre widespread
popularity.

Funk

Is a music genre that originated in African-American communities in the mid-1960s when

African-American musicians created a rhythmic, danceablenew form of music through a mixture of soul
music, jazz, and rhythm and blues(R&B). Funk de-emphasizes melody and chord progressions and
focuses on a strong rhythmic groove of a bass line played by an electric bassist and a drum part played
by a drummer. Like much of African-inspired music, funk typically consists of a complex groove
with rhythm instruments playing interlocking grooves. Funk uses the same richly colored extended
chords found in bebopjazz, such as minor chords with added sevenths and elevenths, or dominant
seventh chords with altered ninths and thirteenths.

Funk originated in the mid-1960s, with James Brown's development of a signature groove that
emphasized the downbeat—with heavy emphasis on the first beat of every measure ("The One"), and
the application of swung 16th notesand syncopation on all bass lines, drum patterns, and guitar
riffs.[2] Other musical groups, including Sly and the Family Stone, the Meters, and Parliament-Funkadelic,
soon began to adopt and develop Brown's innovations. While much of the written history of funk
focuses on men, there have been notable funk women, including Chaka Khan, Labelle, Lyn Collins, Brides
of Funkenstein, Klymaxx, Mother's Finest, and Betty Davis.

Funk derivatives include the psychedelic funk of Sly Stone and George Clinton; the avant-funk of
groups such as Talking Heads and the Pop Group; boogie, a form of post-disco dance music; electro
music, a hybrid of electronic music and funk; funk metal (e.g., Living Colour, Faith No More); G-funk, a
mix of gangsta rap and funk; Timba, a form of funky Cuban popular dance music; and funk jam
(e.g., Phish). Funk samples and breakbeats have been used extensively in hip hop and various forms
of electronic dance music, such as house music, old-school rave, breakbeat, and drum and bass. It is also
the main influence of go-go, a subgenre associated with funk.

Reggae (/ˈrɛɡeɪ/)

Is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern
popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was
the first popular song to use the word "reggae," effectively naming the genre and introducing it to a
global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican
dance music, the term reggae more properly denotes a particular music style that was strongly
influenced by traditional mento as well as American jazz and rhythm and blues, especially the New
Orleans R&B practiced by Fats Domino and Allen Toussaint, and evolved out of the earlier
genres ska and rocksteady. Reggae usually relates news, social gossip, and political comment. Reggae
spread into a commercialized jazz field, being known first as ‘Rudie Blues’, then ‘Ska’, later ‘Blue Beat’,
and ‘Rock Steady’. It is instantly recognizable from the counterpoint between the bass and drum
downbeat, and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady;
from the latter, reggae took over the use of the bass as a percussion instrument.

Reggae is deeply linked to the Rastafari, an Afrocentric religion which developed in Jamaica in
the 1930's, aiming at promoting Pan Africanism. Soon after the Rastafarian movement appeared, the
international popularity of reggae music became associated with and increased the visibility of
Rastafarianism spreading the Rastafari gospel throughout the world. Reggae music is an important
means of transporting vital messages of Rastafarianism. The musician becomes the messenger, and as
Rastafarians see it,"the soldier and the musician are tools for change."

Stylistically, reggae incorporates some of the musical elements of rhythm and

blues, jazz, mento (a celebratory, rural folk form that served its largely rural audience as dance music
and an alternative to the hymns and adapted chanteys of local church singing), calypso, and also draws
influence from traditional African folk rhythms. One of the most easily recognizable elements is offbeat
rhythms; staccato chords played by a guitar or piano (or both) on the offbeats of the measure. The
tempo of reggae is usually slower paced than ska but faster than rocksteady. The concept of call and
response can be found throughout reggae music.The genre of reggae music is led by the drum and
bass. Some key players in this sound are Jackie Jackson from Toots and the Maytals, Carlton
Barrett from Bob Marley and the Wailers, Lloyd Brevett from The Skatalites, Paul Douglas from Toots
and the Maytals, Lloyd Knibb from The Skatalites,[20] Winston Grennan, Sly Dunbar,[22] and Anthony
"Benbow" Creary from The Upsetters.[23] The bass guitar often plays the dominant role in reggae. The
bass sound in reggae is thick and heavy, and equalized so the upper frequencies are removed and the
lower frequencies emphasized. The guitar in reggae usually plays on the off beat of the rhythm. It is
common for reggae to be sung in Jamaican Patois, Jamaican English, and Iyaric dialects. Reggae is noted
for its tradition of social criticism and religion in its lyrics, although many reggae songs discuss lighter,
more personal subjects, such as love and socializing.

Reggae has spread to many countries across the world, often incorporating local instruments
and fusing with other genres. Reggae en Español spread from the Spanish speaking Central American
country of Panama to the mainland South American countries of Venezuela and Guyana then to the rest
of South America. Caribbean music in the United Kingdom, including reggae, has been popular since the
late 1960s, and has evolved into several subgenres and fusions. Many reggae artists began their careers
in the UK, and there have been a number of European artists and bands drawing their inspiration
directly from Jamaica and the Caribbean community in Europe. Reggae in Africa was boosted by the visit
of Bob Marley to Zimbabwe in 1980. In Jamaica, authentic reggae is one of the biggest sources of
income.
Heavy metal (or simply metal)

Is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United
Kingdom. With roots in blues rock, psychedelic rock, and acid rock, the bands that created heavy metal
developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos,
emphatic beats, and overall loudness. The genre's lyrics and performance styles are sometimes
associated with aggression and machismo.

In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep
Purple were founded. Though they came to attract wide audiences, they were often derided by critics.
During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of
its bluesinfluence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed.
Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def
Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as
"metalheads" or "headbangers".

During the 1980s, glam metal became popular with groups such as Bon Joviand Mötley
Crüe. Underground scenes produced an array of more aggressive styles: thrash metal broke into the
mainstream with bands such as Metallica, Slayer, Megadeth, and Anthrax, while other extreme
subgenres of heavy metalsuch as death metal and black metal remain subcultural phenomena. Since the
mid-1990s popular styles have further expanded the definition of the genre. These include groove
metal and nu metal, the latter of which often incorporates elements of grunge and hip hop.

Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense
bass-and-drum sound, and vigorous vocals. Heavy metal subgenres variously emphasize, alter, or omit
one or more of these attributes. The New York Times critic Jon Pareles writes, "In the taxonomy of
popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less
blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist,
a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard
instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an
overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; by
the 1990s, in "almost every subgenre of heavy metal" synthesizers were used.

Judas Priest, performing in 2005.

 The electric guitar and the sonic power that it projects through amplification has historically
been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of high
volumes and heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels
gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in
the music; the guitar amplifier is turned up loud to produce the characteristic "punch and grind". Thrash
metal guitar tone has scooped mid-frequencies and tightly compressed sound with lots of bass
frequencies. Guitar solos are "an essential element of the heavy metal code ... that underscores the
significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", which
is "a primary means through which the heavy metal performer expresses virtuosity". Some exceptions
are nu metal and grindcore bands, which tend to omit guitar solos. With rhythm guitar parts, the "heavy
crunch sound in heavy metal ... [is created by] palm muting" the strings with the picking hand and using
distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end.

The lead role of the guitar in heavy metal often collides with the traditional "frontman"
or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a
spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall
sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion"
is required from the vocals as a sign of authenticity. Critic Simon Frith claims that the metal singer's
"tone of voice" is more important than the lyrics.

The prominent role of the bass is also key to the metal sound, and the interplay of bass and
guitar is a central element. The bass guitar provides the low-end sound crucial to making the music
"heavy". The bass plays a "more important role in heavy metal than in any other genre of rock". Metal
basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling
complex riffs and licks along with the lead or rhythm guitars. Some bands feature the bass as a lead
instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar
solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead often played
overdriven power chords in his bass lines.

The essence of heavy metal drumming is creating a loud, constant beat for the band using the
"trifecta of speed, power, and precision". Heavy metal drumming "requires an exceptional amount of
endurance", and drummers have to develop "considerable speed, coordination, and dexterity ... to play
the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal
choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other
hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is
generally much larger than those employed in other forms of rock music.[23] Black metal, death metal
and some "mainstream metal" bands "all depend upon double-kicks and blast beats".
 Enid Williams from Girlschooland Lemmy from Motörheadsinging "Please Don't Touch" live in
2009. The ties that bind the two bands started in the 1980s and were still strong in the 2010s.

In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's

description—is considered vital. In his book Metalheads, psychologist Jeffrey Arnett refers to heavy
metal concerts as "the sensory equivalent of war". Following the lead set by Jimi
Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for
volume. As Blue Cheer's Dick Peterson put it, "All we knew was we wanted more power." A 1977 review
of a Motörhead concert noted how "excessive volume in particular figured into the band's
impact." Weinstein makes the case that in the same way that melody is the main element of pop and
rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of
metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a
"shot of youthful vitality".

Heavy metal performers tended to be almost exclusively male until at least the mid-1980s apart
from exceptions such as Girlschool. However, by the 2010s women were making more of an impact, and
PopMatters' Craig Hayes argues that metal "clearly empowers women". In the sub-genres of symphonic
and power metal, there has been a sizable number of bands that have had women as the lead singers;
bands such as Nightwish, Delain, and Within Temptation have featured women as lead singers with men
playing instruments.

Ska (/skɑː/; Jamaican: [skjæ])

Is a music genre that originated in Jamaica in the late 1950s and was the precursor
to rocksteady and reggae. It combined elements
of Caribbean mento and calypso with American jazz and rhythm and blues. Ska is characterized by
a walking bass line accented with rhythms on the off beat. It was developed in Jamaica in the 1960s
when Prince Buster, Clement "Coxsone" Dodd, and Duke Reid formed sound systems to play American
rhythm and blues and then began recording their own songs. In the early 1960s, ska was the dominant
music genre of Jamaica and was popular with British mods. Later it became popular with
many skinheads.

Music historians typically divide the history of ska into three periods: the original Jamaican
scene of the 1960s; the 2 Tone ska revival of the late 1970s in Britain, which fused Jamaican ska rhythms
and melodies with the faster tempos and harder edge of punk rock; and third wave ska, which involved
bands from the UK, other European countries (notably Germany), Australia, Japan, South America and
the United States, beginning in the 1980s and peaking in the 1990s.
 There are multiple theories about the origins of the word ska. Ernest Ranglin claimed that the
term was coined by musicians to refer to the "skat! skat! skat!" scratching guitar strum.[8] Another
explanation is that at a recording session in 1959 produced by Coxsone Dodd, double bassist Cluett
Johnson instructed guitarist Ranglin to "play like ska, ska, ska", although Ranglin has denied this, stating
"Clue couldn't tell me what to play!" A further theory is that it derives from Johnson's word skavoovie,
with which he was known to greet his friends.[10] Jackie Mittoo insisted that the musicians called the
rhythm Staya Staya, and that it was Byron Lee who introduced the term "ska". Derrick Morgan said:
"Guitar and piano making a ska sound, like 'ska, ska,"

Independent music (often referred to as indie music or indie)

Is music produced independently from commercial record labels or their subsidiaries, a process
that may include an autonomous, do-it-yourself approach to recording and publishing. The term indie is
sometimes used to describe a genre (such as indie rock and indie pop), and as a genre term, "indie" may
include music that is not independently produced, and many independent music artists do not fall into a
single, defined musical style or genre and create self-published music that can be categorized into
diverse genres. The term ‘indie’ or ‘independent music’ can be traced back to as early as the 1920’s after
it was first used to reference independent film companies but was later used as a term to classify an
independent band or record producer.

Independent labels have a long history of promoting developments in popular music, stretching
back to the post-war period in the United States, with labels such as Sun Records, King Records,
and Stax.

In the United Kingdom during the 1950s and 1960s, the major record companies had so much
power that independent labels struggled to become established, until the launch of new concepts
like Virgin Records. Several British producers and artists launched independent labels as outlets for their
work and artists they liked; the majority failed as commercial ventures or were bought by the major
labels.

In the United States, independent labels and distributors often banded together to form
organizations to promote trade and parity within the industry. The Recording Academy, famous as the
organization behind the Grammy Awards, began in the 1950s as an organization of 25 independent
record labels including Herald, Ember, and Atlantic Records. The 1970s saw the founding of the National
Association of Independent Record Distributors (NAIRD), which became A2IM in 2004. Smaller
organizations also existed including the Independent Music Association (IMA), founded by Don Kulak in
the late 1980s. At its zenith, it had 1,000 independent labels on its member rosters. The 1990s brought
Affiliated Independent Record Companies (AIRCO), whose most notable member was upstart punk-
thrash rock label Mystic Records, and The Independent Music Retailer's Association (IMRA), a short-lived
organization founded by Mark Wilkins and Don Kulak. The latter is most notable for a lawsuit involving
co-op money it filed on behalf of its member Digital Distributors in conjunction with Warehouse Record
Stores.[5] The adjudication of the case grossed $178,000,000 from the distribution arms of major labels.
The proceeds were distributed amongst all plaintiffs.
 During the punk rock era, the number of independent labels grew. The UK Indie Chart was first
compiled in 1980, and independent distribution became better organized from the late 1970s onward.
From the late 1970s into the 1980s, certain UK independent labels (such as Rough Trade, Fast
Product, Cherry Red, Factory, Glass, Cheree Records and Creation) came to contribute something in
terms of aesthetic identity to the acts whose records they released.

In the late 1980s, Seattle-based Sub Pop Records was at the center of the grunge scene. In the
late 1990s and into the 2000s as the advent of MP3 files and digital download sites such as
Apple's iTunes Store changed the recording industry, an indie neo-soul scene soon emerged from the
urban underground soul scenes of London, New York, Philadelphia, Chicago and Los Angeles, primarily
due to commercial radio and the major labels' biased focus on the marketing, promotion & airplay
of popand hip hop music during this period. Independent labels such as Dome Record and Expansion
Records in the U.K. andBurger, Wiener, and Ubiquity Records in the U.S. and a plethora of others around
the world continue to release independent bands and music.

Famous artist/bands and their successful works/career

Sheryn Mae Poncardas Regis (/rɛˈhiːz/ reh-HEEZ; born November 26, 1979)

better known simply as Sheryn Regis, is a Filipino pop singer-songwriter, host, entrepreneur and
occasional actress. She rose to fame during the first season of the singing competition Star in a
Million where she placed runner-up to Erik Santos in 2003.

After the competition, Regis became known for singing theme songs from TV series on ABS-
CBN including Marina, Krystala, Kampanerang Kuba, Gulong ng Palad, Maria Flordeluna and Prinsesa ng
Banyera. She has released four studio albums under Star Records and was a member of ABS-CBN's Star
Magic roster of artists.

Sheryn was born in Carcar City, Cebu, to Bernardo and Daisy Regis. She is the eldest of three
children, with brothers Elton and Joseph. Sheryn's mother guided her in singing, and at the age of two,
she was able to hum and sing simple tunes. Her first and favorite contest piece was Kuh Ledesma's Dito
Ba? which she learned at age 5. At seven, Regis started joining amateur singing contests. Her winnings
were used to buy Shirley Bassey's cassette tapes for her next contest piece. She won her first grand prize
at age 8 after singing Tillie Moreno's Saan Ako Nagkamali.

Aside from singing in contests, Sheryn earned income by offering voice lessons to children while
in high school. She finished her B.S. Secondary Education degree with a major in English at Cebu Normal
University. It was during her college years that she was exposed to theater acting and chorale singing
which eventually gave her the chance to travel and perform for Filipino communities in Canada and in
the USA. Veteran actors Leo Martinez and Gina Alajar served as her workshop mentors. In 1999, she was
awarded "Best Interpreter" at the Cebu Metro Pop Music Festival (a songwriting festival), when she
sang Among Gabayan, a Cebuano tribute song to Cebu's patron Sto. Niño written by Fr. Jed Ponce
Billones. Their entry was also hailed as the Grand Prize winner.

Sheryn worked as a lounge singer at the Cebu Plaza Hotel where she met Earl Echiverri (cousin
of Caloocan City mayor Enrico Echiverri). They married in 2002 and had their first child Lourdes the
following year.

Marri Nallos

A pop singer from the Philippines. Nallos was born in Rome and raised in London. She is a
graduate of the London Academy of Music and Dramatic Arts with honors. She was discovered by the
late Inday Badiday and George Canseco who described Nallos as having a "crystal voice" after seeing her
in gigs at Hyatt's Calesa Bar in 2000.

She signed a contract with Star Records for her first single, "Alipin Mo Ako". She released her
self-titled second record under Universal Records, Marri Nallos. Her cover of "Making Love Out of
Nothing at All" by Jim Steinman is featured on the album.

Her first EP is entitled Destiny from ADC Entertainment & Music Publishing and distributed
by VIVA Records. The record includes "You Are My Destiny" (a duet with Juan Rodrigo), "Gaan"
(composed by George Canseco), the remake of "Making Love Out of Nothing at All", "Ikaw pa Rin ang
Mamahalin" and "I Didn't Mean to Hurt You".

She released her second EP entitled The Crystal Voice of Asia on Sony BMG Records. It contains
a version of "Imagine" by John Lennon, and a cover of the Paul Anka song, "You Are My Destiny", a duet
number with Juan Rodrigo.

Nallos released her third EP entitled Dahil Mahal Kita under Sony BMG. Nallos plays the piano
and has her own compositions on this record.

She gained popularity after her rendition of "Mahal Naman Kita" was used as a theme song for
the successful Koreanovela, A Rosy Life aired on GMA Network. After a year, her rendition of "Making
Love Out of Nothing at All" was used also on a Koreanovela aired on the same network, My Husband's
Woman.

Ferdinand Pascual Aguilar (born February 5, 1953)

Better known as Freddie Aguilar or Ka Freddie Aguilar, is a folk musician from the Philippines.
He is best known for his rendition of "Bayan Ko", which became the anthem for the opposition to
the Marcos regime during the 1986 People Power Revolution, and for his song "Anak", the best-selling
Philippine music record of all time. He is heavily associated with Pinoy rock.

He is well known internationally, and within the Philippines and Asia-Pacific region, claiming
fame as one of the best musician-songwriters of the Philippines.
 Freddie Aguilar's musical beginnings started when he was young. At the age of 14, he wrote
songs about his family who are now knows as the Peralta Family from Bukidnon. It was said that these
people were exceedingly handsome and beautiful people that stole the hearts of many. When he was
17-years-old, Aguilar played his first guitar. By the time he was 20-years-old, Freddie Aguilar performed
on stage for the first time.

Freddie Aguilar studied Electrical Engineering at De Guzman Institute of Technology but did not
finish the degree program. Instead he pursued music, became a street musician, and then a folk club
and bar musician.

At the age of 18, Aguilar parted ways with his family and quit college. After realizing and
regretting his mistakes five years later, he composed the song "Anak".

Francis Michael Durango Magalona (October 4, 1964 – March 6, 2009)

Also known as FrancisM, Master Rapper, The Mouth and The Man From Manila, was
a Filipino rapper, entrepreneur, songwriter, producer, actor, director, and photographer. Born
in Mandaluyong City, he was the first Filipino rapper in the Philippines to cross over into the
mainstream. He was credited for having pioneered the merging of rap with Pinoy rock, becoming a
significant influence to artists in that genre as well. He was also a television host on MTV
Asia and Channel V Philippines and on noontime variety television show Eat Bulaga!Magalona died
seven months after being diagnosed with acute myelogenous leukemia. Magalona was later awarded a
posthumous Presidential Medal of Merit. The award's citation noted that it had been given "for his
musical and artistic brilliance, his deep faith in the Filipino and his sense of national pride that continue
to inspire us."

Magalona was the eighth of the nine children of actors Pancho Magalona and Tita Duran,
popular film stars of the 1940s and 1950s. His grandfather, Enrique B. Magalona, was a politician and
served as a Senator of the Philippines from 1946 to 1949 and from 1949 to 1955. He graduated from
High School at the Don Bosco Technical College in Mandaluyong City from 1978 to 1981 and studied at
the San Beda College in Manila from 1981–1984.

Magalona started out as a breakdancer in the 1980s. He was cast in several Filipino movies
including Bagets 2. He was the resident DJ/rapper in the IBC-13variety show Loveli'Ness.

Magalona was introduced by co-actor Richard Gomez to Pia Arroyo at a party in a disco owned
by film director Ishmael Bernal, and the couple got married in 1985. The couple had eight children, two
of whom were Magalona's stepchildren: Unna, Nicolo, and television personalities Maxene
(Max)(1986), Francis Jr. (Frank) (1987), Saab (1988), Elmo (1994), Arkin and Clara Magalona, who
entered showbiz to follow their father's footsteps.

In 1990, he released the album Yo!, the first commercially released Filipino rap album.
Yo! included several popular singles such as "Mga Kababayan" (Fellow Countrymen), "Gotta Let 'Cha
Know", "Cold Summer Nights", and a duet with Pia Arroyo "Loving You" as the only song that Pia
recorded. With tracks that featured politically conscious and thought-provoking rhymes in both English
and Tagalog, Yo! was a big success and helped catapult Filipino hip hop from underground to
mainstream status. It also marked the birth of Makabayang (nationalistic) rap in Filipino hip hop.

In 1992, Francis Magalona released Rap Is FrancisM (1992). With tracks addressing the various
cultural and social problems that plagued his country such as drug addiction in "Mga Praning"
(Paranoids), political instability in "Halalan" (Elections) as well as the detrimental effects of a colonial
mentality in "Tayo'y Mga Pinoy" (We Are Filipinos), the record's complexity and conscious message
quickly earned it its classic status and became the standard by which future albums of the genre were to
be compared. This album helped tag Magalona as one of the most politically conscious voices of his
generation.

Eraserheads (sometimes stylized as ERASƎRHEADS)

Filipino rockband formed in 1989. Consisting of Ely Buendia, Buddy Zabala, Marcus Adoro,
and Raimund Marasigan, the band became one of the most successful, most influential, critically
acclaimed, and significant bands in the history of Philippine music, leaving a legacy that made them the
most commercially successful Filipino music artists of all time. Often dubbed as "The Beatles of the
Philippines", they are credited for spearheading a second wave of Manila band invasions, paving the way
for a host of Philippine alternative rock bands.

The band released several singles, albums, and EPs that reached number one and achieved
commercial success with their third album Cutterpillow, which achieved platinum status several times.
They received the Viewer's Choice Award for Asia from the 1997 MTV Video Music Awards.

In 1989, two college bands from the University of the Philippines, Diliman were both in search of
new members for a new group. Curfew, which consisted of Buddy Zabala on bass, Raimund Marasigan
on drums and Marcus Adoro on guitars met up with Sunday School, which consisted of Ely Buendia on
vocals and Raimund Marasigan as session drummer in December of the same year. Ely's first two college
bands, Bluidie Tryste and Sunday School, were too unstable, so he posted an audition notice on a
university message board. Only Raimund, Buddy, and Marcus showed up at the audition. According to
an interview with myx, Raimund said he first auditioned as bassist while Buddy as drummer. But they
noticed that it did not sound right, the two switched places.

The four formed a new group and called themselves Eraserheads, taking inspiration from the
film Eraserhead by surrealist director David Lynch. They played mostly covers, doing gigs in schools, and
playing at Manila's rock club circuit, achieving little success.

The band found that they were not good at playing covers, so they concentrated on writing their
own material. Their new, original songs, played live, soon earned them a cult following in the university,
which gradually spread outside the campus. One of the songs, a pop song entitled, "Pare Ko", became
popular, partly because of lyrics that included a few obscenities.
 The band recorded a nine-song demo tape in the garage of Marasigan's provincial home
(in Candelaria, Quezon) on January 26, 1991. They then shopped the demo cassette around record
labels, clubs and radio stations, hoping to have their songs reach the public. However, they were
rejected at every turn, with one recording label deeming that their demo was "not pop enough". In May
1991, a professor-friend teaching Humanities, Robin Rivera, helped them re-record and mix better
versions of the demo songs on a four-track DAT recorder. The new demo was named Pop-U!, titled as an
irreverent response to those who turned them down.

Meanwhile, Buendia became employed as a student copywriter by BMG Records (Pilipinas)

Inc. (now part of Sony BMG Music Entertainment). He worked with BMG during the day and wrote songs
with the band during the night. Eventually, the songs of Buendia and the band caught the attention of
BMG A&R director Vic Valenciano. Valenciano listened to the songs and then commented that they were
very raw technically, but that there was something promising in them. Subsequently, BMG gave
Eraserheads' songs a try. In 1992, BMG signed up the band for a three-year record deal.

María Luisa Ramsey Kagahastian-Gotidoc (born March 21, 1970)

Known professionally as Jaya, is a Filipino soul singer, rapper, record producer, actress, dancer
and presenter of mixed Jamaican and Visayan descent. She was a talent of GMA Network but later
transferred to ABS-CBN, where she serves as one of the head jury of the Tawag ng Tanghalan segment
of the Philippine noontime variety show It's Showtime. Jaya is the first Filipino recording artist to chart in
the United States, as her debut single "If You Leave Me Now" peaked at 44 at the Billboard Hot
100 chart.

María Luisa Ramsey was born on March 21, 1970 in Manila, Philippines. Her mother is Elizabeth
Ramsey, a Filipino comedian and singer of Jamaican descent.[3] Ramsey's father is Reynaldo Kagahastian,
a Filipino. Her parents separated when she was young, while her father migrated to the United States.
He now resides in Alberta, Canada.

She started show business at the age of ten as a backup dancer of her mother and at the age of
12 she started to be a backup singer and frontacts in some minor and major shows. She began
performing solo in 1982, using the name Louise Ramsey.

The young Louise did not finish high school in the Philippines because of her busy lifestyle as a
child performer. She nonetheless managed to receive high marks and was once elected class president.

Pupil

Filipino rock band composed of Ely Buendia on lead vocals and guitars and Jerome Velasco on
lead guitar. Dok Sergio and Wendell Garcia still plays bass and drums, respectively, for Pupil.

Pupil was formed when Dok Sergio from the bands The Teeth and Daydream Cycle joined The
Mongols' line-up during the fourth quarter of 2004, making it a five-man band. The Mongols' bassist Yan
"Yanni" Yuzon moved to third guitar duties while Dok Sergio handled bass. The transitional five-man
line-up was witnessed in The Mongols’ last single and music video entitled “Heroine”. In May
2005, guitarist Jerome Velasco, a.k.a. J. Astro, left to pursue a career in producing, recording and studio
engineering. The group's last gig under the name "The Mongols" was on July 7, 2005.

Velasco’s departure shook things up for the group as they were trapped into the decision of
whether to stay as a band or not. As they decided to continue and as they progressed, the band noticed
that they were producing a different sound without Velasco on the lead guitar and decided to form a
"new" band. “We got a better bass player and dumber guitarist,” jokes guitarist Yan Yuzon, who left bass
playing duties to Dok Sergio to take Velasco’s place. Upon the determination of forming a “new” band,
the group’s first move was to change their name.[1]

Frontman Ely Buendia chanced upon the name "Pupil" while browsing a medical book. The band
wanted a classic name for a rock band. Before using Pupil, they tried several other names, such as
Villain, Lords of Nasdaq, The Gets, Trochlean, Traitors, and Tyrel Corp. They chose the name Pupil
because Buendia liked the fact that it is the part of the eye where light enters. Guitarist Yan Yuzon likes
its double meaning, as well as the “eternal learning” connotations of the name. Pupil's launch gig was on
July 13, 2005 at the UP Bahay ng Alumni.[2] Pupil also joined Livestock Productions. It was an event group
with members such as Sponge Cola, Kiko Machine, Menaya, Tawo, Sleepyheads, and Elytistas.

Lani Bayot Misalucha (born Lani Dimalanta Bayot; August 3, 1972)

Filipino singer who performs pop, rock, jazz, soul, rhythm and blues, and operatic arias. Her
ability to sing across several genres gave her the title "Asia's Nightingale" by MTV Southeast Asia.

Since arriving in Las Vegas in 2002, Misalucha has been called "New Siren of the Strip." During
her stint in Las Vegas, Misalucha performed with the Society of Seven at Bally's Las Vegas and
the Flamingo Las Vegas, making her the first Asian to headline in a main showroom at the Las Vegas
Strip. She also performed alongside Earl Turner at the Westgate Las Vegas Resort & Casino. In March
2008, she was voted the "Best Singer" (staff pick) in the "27th Annual Best of Las Vegas" poll by the Las
Vegas Review-Journal. In 2009, Las Vegas Mayor Oscar Goodman proclaimed December 4 as "Lani
Misalucha Day" in the city. In 2014, Misalucha returned to the Philippines and signed a recording
contract with Star Records, releasing an album entitled The Nightingale Returns.

Maria Cielito "Pops" Lukban Fernandez (born December 12, 1966)

Filipina singer, entertainer, entrepreneur, TV host and actress.

Maria Cielito "Pops" Lukban Fernandez was born on December 12, 1966 in Lucban, Quezon, to
the late action star Eddie Fernandez and Dulce Lukban.

Fernandez began her music career at age 16 when she signed a contract with OctoArts
Records in 1981. In 1982, Fernandez released her first album and co-hosted the Philippine television
series Penthouse Live! with Martin Nievera. She became a popular celebrity in the Philippines. She has
appeared on the covers of several Philippine magazines.
 In 1995, Fernandez joined the cast of another television program, ASAPtogether with her former
husband Martin Nievera, along with Dayanara TorresAriel Rivera.

Fernandez was awarded the Best Female Musical Variety Show Host at the Philippine KBP
Golden Dove Awards in 1999. She has also toured the United States, Japan, Hong Kong, Guam and Italy
promoting her music to Philippine audiences. She also released her album Shindig Live in 2001.

In 1998 Fernandez did the hit tv drama Nagmamahal Pa Rin Sayo with Albert Martinez and Gary
Estrada a mini tv series and the title of her hit album

From 1999-2006 Fernandez went back to acting this time without her husband Martin Nievera in
1999 she did the film Linlang with Richard Gomez and Joyce Jimenez which earned her much respected
praise in 2001 she started in another Maryo J Delos Reyes Reyes Thriller and political Film “Gusto Ko
Nang Lumigaya” in which the singer actress shed some skin for the role starring Albert Martinez Diether
Ocampo and Bojo Molina and also Anton Bernardo under Viva Films in 2002 she did her first Star Cinema
Movie Videoke King with Robin Padilla and in 2006 started in the superhero movie Zsa Zsa Zaturnah
under Regal Entertainment

In June 2007, Fernandez co-hosted a Philippine show with Kuh Ledesma in Las Vegas. She was
preparing for her December concert at the Araneta Coliseum marking her 25th anniversary in the
Philippine entertainment industry. In 2008, she performed with other Philippine singers such as Regine
Velasquez, Kuh Ledesma and Zsa Zsa Padilla at the Araneta Coliseum called Divas 4 Divas.

During her divorce in 1999, she ventured into doing movies such as Linlang starring Richard
Gomez and Joyce Jimenez about a wronged wife out for revenge after learning of her husband's
infidelity. The movie was directed by multi-awarded director, Maryo J. Delos Reyes, which won her the
Box Office Queen Award. In 2000, she did another movie under Reyes' direction in the
suspense/thriller, Gusto Ko Nang Lumigaya. These two movies showed her acting prowess and boosted
her acting career.

The Dawn

Filipino rock band which first achieved commercial success during the late 1980s in
the Philippines. The band broke up in 1995 with lead vocalist Jett Pangan forming another band, the Jett
Pangan Group. The Dawn reunited in late 1999. The Dawn is considered the "longest-lived and most
prolific rock band in the Philippines".

The Dawn was formed in 1985 by Teddy Diaz (vocals and guitars), JB Leonor(drums), and Clay
Luna (bass). The band's name was derived from a portrait of the Holy Spirit that symbolized the dawn of
a new day (probably found in a book given by the Sisters of the Holy Spirit to Teddy Diaz, as well as a
crucifix which Teddy also received from the same sisterhood), called The Dawning of the Holy
Spirit. Diaz, Leonor and Luna initially wanted a female vocalist; but in the course of their search, Jett
Pangan auditioned and got the trio's unanimous nod. The quartet began performing in clubs and
eventually recorded a demo of a song entitled "Enveloped Ideas", a copy of which they submitted
to DWXB 102.7, a now-defunct Metro Manila–based FM radio station that played alternative
rock and new wave music. It topped the radio station's charts in 1986, helping the group gain a cult
following. While The Dawn was in search of a major record label, Luna left the band to immigrate to
the US. Carlos "Caloy" Balcells, bass player of another Filipino group, the Cicada Band, soon replaced
him. In 1986, The Dawn signed with OctoArts International (now PolyEast Records Philippines) and, the
next summer, released their eponymous debut album, which gained commercial success. Many critics
felt that The Dawn would fill the void left behind by the Juan de la Cruz Band when their music slowly
faded in the 1980s. Heavily influenced by the new wave genre of the 1980s, "Enveloped Ideas" is distinct
for its introductory operatic vocals a la Klaus Nomi.

Social Impact of Pinoy Rock Music

The popularity and worldwide scope of rock music resulted in a powerful impact on society.
Rock and roll influenced daily life, fashion, attitudes and language in a way few other social
developments have equalled. As the original generations of rock and roll fans matured, the music
became an accepted and deeply interwoven thread in popular culture. Beginning in the early 1950s,
rock songs and acts began to be used in a few television commercials; within a decade this practice
became widespread, and rock music also featured in film and television program soundtracks.

Gender

There's a lot of conflict regarding how women are viewed by rock musicians as well as the
perception outsiders have on their involvement with rock music. There's a Led Zeppelin movie titled,
"The Song Remains the Same" which follows the band during a live show and there's one woman in the
crown who really stood out. Susan Fast decided to use this inspiration to research gender and sexuality
in these environments. "She is not only gazing at what she considers to be a pleasurable spectacle, but
she is sitting still and listening; she is composed, analytical, engaged playfully with what she is watching"
(Fast 255). Her experience and research showed that women enjoy, and participate in rock concerts the
same way men do. The woman in the video portrayed herself as a person who genuinely enjoyed the
music. She wasn't hysterical or screaming. She wasn't removing her shirt to make herself known. She
had no desire of attention from the men around her; just a person genuinely enjoying the performance
and feeling the music.

In the grunge scene, you will find evidence of the Riot Grrrl Movement. According to Todd
Kerstetter, this movement was launched by "radical feminists" and really encouraged audience
members to discuss sexual abuse instead of keeping it locked inside. They would even mandate that the
women in the audience always had a safe place near the stage where they could watch the show
without being put in danger from mosh pits and other aggressive behavior.

Race
 In the cross-over of African American "race music" to a growing white youth audience, the
popularization of rock and rollinvolved both black performers reaching a white audience and white
performers adapting African-American music.[3] Rock and roll appeared at a time when racial tensions in
the United States were entering a new phase, with the beginnings of the civil rights movement
for desegregation, leading to the Supreme Court ruling that abolished the policy of "separate but equal"
in 1954, but leaving a policy which would be extremely difficult to enforce in parts of the United
States.] The coming together of white youth audiences and black music in rock and roll, inevitably
provoked strong racially charged reactions within the US, with many whites condemning its breaking
down of barriers based on color. Many observers saw rock and roll as heralding the way for
desegregation, in creating a new form of music that encouraged racial cooperation and shared
experience. Many authors have argued that early rock and roll was instrumental in the way both white
and black teenagers identified themselves.

Although the rock scene did eventually bring black's and white's together, black's weren't always
welcomed with open arms. They had to push and fight through the segregation and racism in order to
finally belong. During her research, Maureen Mahon discovered that people had a very hard time
picturing a black person up on stage with a guitar or even in the crown headbanging. Maureen states,
"black rock stands outside conventional conceptions of black authenticity, for although it is easy to
accept blacks as musicians, the image of a rock musician is, for most Americans, a white man with a
guitar" (Mahon 288). So even today, a black musician is generally expected to be seen as a rapper or
even a country singer before someone expects to see them on stage with a drum set or bass guitar.

Sex and drugs

The rock and roll lifestyle was popularly associated with sex and drugs. Many of rock and roll's
early stars (as well as their jazzand blues counterparts) were known as hard-drinking, hard-living
characters. During the 1960s the lifestyles of many stars became more publicly known, aided by the
growth of the underground rock press. Musicians had always attracted attention of "groupies" (girls who
followed musicians) who spent time with and often performed sexual favors for band members.

Some of the women who followed the band were fans of the music more than the musicians.
Mimi Schippers spent a lot of time researching and experiencing sexuality and gender in the world of
alternative hard rock and she found that a lot of women would make sexual comments about the music
itself or the sound of the singer's voice. These women didn't have any interest in performing sexual
favors for band members but had their own euphoric experience from the live performance. Mimi states
that she witnessed women saying things like, "I need a cigarette" and "Just fuck me now" as a way to
convey the music had provided them with sexually.

As the stars' lifestyles became more public, the popularity and promotion of recreational drug
use by musicians may have influenced use of drugs and the perception of acceptability of drug use
among the youth of the period. For example, when in the late 1960s the Beatles, who had previously
been marketed as clean-cut youths, started publicly acknowledging using LSD, many fans followed.
Journalist Al Aronowitz wrote "...whatever the Beatles did was acceptable, especially for young
people." Jerry Garcia, of the rock band Grateful Dead said, "For some people, taking LSD and going
to Grateful Dead show functions like a rite of passage ... we don't have a product to sell; but we do have
a mechanism that works."

In the late 1960s and early 1970s, much of the rock and roll cachet associated with drug use
dissipated as rock music suffered a series of drug-related deaths, including the 27 Club-member deaths
of Jimi Hendrix, Janis Joplin and Jim Morrison. Although some amount of drug use remained common
among rock musicians, a greater respect for the dangers of drug consumption was observed, and many
anti-drug songs became part of the rock lexicon, notably "The Needle and the Damage Done" by Neil
Young (1972).

Many rock musicians, including John Lennon, Paul McCartney, Bob Dylan, Jerry Garcia, Stevie
Nicks, Jimmy Page, Keith Richards, Bon Scott, Eric Clapton, Pete Townshend, Brian Wilson, Carl
Wilson, Dennis Wilson, Steven Tyler, Scott Weiland, Sly Stone, Madonna, Ozzy Osbourne, Mötley
Crüe, Layne Staley, Kurt Cobain, Courtney Love, Lemmy, Whitney Houston, Bobby Brown, Buffy Sainte-
Marie, Dave Matthews, David Crosby, Anthony Kiedis, Dave Mustaine, David Bowie, Richard Wright, Phil
Rudd, Elton John, Phil Anselmo, James Hetfield, Alice Cooper, Kirk Hammett, Joe Walsh, and others,
have acknowledged battling addictions to many substances including alcohol, cocaine and heroin; many
of these have successfully undergone drug rehabilitation programs, but others have died.

In the early 1980s. along with the rise of the band Minor Threat, a straight edge lifestyle became
popular. The straight edge philosophy of abstinence from recreational drugs, alcohol, tobacco and sex
became associated with some hardcore punksthrough the years, and both remain popular with youth
today.

Fashion
 A Mohawked French punk

Rock music and fashion have been inextricably linked. In the mid-1960s of the UK, rivalry arose
between "Mods" (who favoured 'modern' Italian-led fashion) and "Rockers" (who wore motorcycle
leathers), each style had their own favored musical acts. (The controversy would form the backdrop
for The Who's rock opera Quadrophenia). In the 1960s, The Beatlesbrought mop-top haircuts,
collarless blazers, and Beatle Boots into fashion.

Rock musicians were also early adopters of hippie fashion and popularised such styles as long
hair and the Nehru jacket. As rock music genres became more segmented, what an artist wore became
as important as the music itself in defining the artist's intent and relationship to the audience. In the
early 1970s, glam rock became widely influential featuring glittery fashions, high heels and camp. In the
late 1970s, disco acts helped bring flashy urban styles to the mainstream, while punk groups began
wearing mock-conservative attire, (including suit jackets and skinny ties), in an attempt to be as unlike
mainstream rock musicians, who still favored blue jeans and hippie-influenced clothes.

Heavy Metal bands in the 1980s often favoured a strong visual image. For some bands, this
consisted of leather or denim jackets and pants, spike/studs and long hair. Visual image was a strong
component of the glam metal movement.

In the early 1990s, the popularity of grunge brought in a punk influenced fashion of its own,
including torn jeans, old shoes, flannel shirts, backwards baseball hats, and people grew their hair
against the clean-cut image that was popular at the time in heavily commercialized pop music culture.

Musicians continue to be fashion icons; pop-culture magazines such as Rolling Stone often
include fashion layouts featuring musicians as models.

In addition to magazines showcasing the classic rocker style, many local shops and restaurants
across the nation display the iconic fashion trend. As mentioned previously, ripped jeans and flannels
along with eclectic accessories complete the famous look. One example of a place that still continues to
carry-on this fashion trend is Thirty Three Star. This is a privately owned store located in Jacksonville
Beach, Florida. The shop is on 308 3rd St. S and is owned and operated by Thressa Anderson. The
Jacksonville Beach location is the only one. The boutique was created to connect people everywhere
with the cultural identity that stems from Rock and Roll music. The Rock and Roll genre has been around
for many, many decades, late forties early fifties, and places like these help keep the spirit and culture of
Rock and Roll alive. The inside of the small boutique blasts Hard Rock music and is decorated with red
and black paint giving people the feel of a true vintage Rock and Roll shop. According to a statistic done
on the sociology of Rock and Roll music, Rolling Stone magazine has seen a sharp decline in great Rock
albums since 1970. Many believe this is because the richness of the music that was once produced by
early artists of the genre, are no longer seen today. Thirty Three Star and other places like it, are
essential to those who are still heavily involved in Rock and Roll culture. Without places like Thirty Three
Star, Rock and Roll culture may continue to decline and the free-flowing spirit that comes with a roaring
guitar may be lost.
Authenticity

In the Goth subculture, individuals who are perceived as not truly sharing the values of the
subculture are deemed to be "inauthentic".

Rock musicians and fans have consistently struggled with the paradox of "selling out"—to be
considered "authentic", rock music must keep a certain distance from the commercialworld and its
constructs; however it is widely believed that certain compromises must be made in order to become
successful and to make music available to the public. This dilemma has created friction between
musicians and fans, with some bands going to great lengths to avoid the appearance of "selling out"
(while still finding ways to make a lucrative living). In some styles of rock, such as punk and heavy metal,
a performer who is believed to have "sold out" to commercial interests may be labelled with the
pejorative term "poseur".

If a performer first comes to public attention with one style, any further stylistic development
may be seen as selling out to long-time fans. On the other hand, managers and producers may
progressively take more control of the artist, as happened, for instance, in Elvis Presley's swift transition
in species from "The Hillbilly Cat" to "your teddy bear". It can be difficult to define the difference
between seeking a wider audience and selling out. Ray Charles left behind his classic formulation
of rhythm and blues to sing country music, pop songs and soft-drink commercials. In the process, he
went from a niche audience to worldwide fame. In the end, it is a moral judgement made by the artist,
the management, and the audience.

Rammstein is a German rock band who has become widely popular in the United States, some
were concerned that they would lose their authenticity during that transition. Robert Burns was
intrigued by the band and did research in order to better understand the authenticity of their music and
performances. He discovered that they "use formulaic rock arrangements and instrumentation to
present a familiar rock concept to their audience, while stating national identity, and thus difference,
with the use of cultural signifiers that establish notions of distinctiveness within national and
international contexts" (Burns 461).

Charitable and social causes

Love and peace were very common themes in rock music during the 1960s and 1970s. Rock
musicians have often attempted to address social issues directly as commentary or as calls to action.
During the Vietnam War the first rock protest songs were heard, inspired by the songs of folk musicians
such as Woody Guthrie and Bob Dylan, which ranged from abstract evocations of peace Peter, Paul and
Mary's "If I Had a Hammer" to blunt anti-establishment diatribes Crosby, Stills, Nash & Young's "Ohio".
Other musicians, notably John Lennon and Yoko Ono, were vocal in their anti-war sentiment both in
their music and in public statements with songs such as "Imagine", and "Give Peace a Chance".

Famous rock musicians have adopted causes ranging from the environment (Marvin Gaye's
"Mercy Mercy Me (The Ecology)") and the Anti-Apartheid Movement (Peter Gabriel's "Biko"), to
violence in Northern Ireland (U2's "Sunday Bloody Sunday") and worldwide economic policy (the Dead
Kennedys' "Kill the Poor"). Another notable protest song is Patti Smith's recording "People Have the
Power." On occasion this involvement would go beyond simple songwriting and take the form of
sometimes-spectacular concerts or televised events, often raising money for charity and awareness
of global issues.

Rock and roll as social activism reached a milestone in the Live Aid concerts, held July 13, 1985,
which were an outgrowth of the 1984 charity single "Do They Know It's Halloween?" and became the
largest musical concert in history with performers on two main stages, one in London, England and the
other in Philadelphia, USA (plus some other acts performing in other countries) and televised
worldwide. The concert lasted 16 hours and featured nearly everybody who was in the forefront of rock
and pop in 1985. The charity event raised millions of dollars for famine relief in Africa. Live Aid became a
model for many other fund-raising and consciousness-raising efforts, including the Farm Aid concerts for
family farmers in North America, and televised performances benefiting victims of the September 11
attacks. Live Aid itself was reprised in 2005 with the Live 8concert, to raise awareness of global
economic policy. Environmental issues have also been a common theme, one example being Live Earth.

Religion

Songwriters such as Pete Townshend have explored these spiritual aspects within their work.
The common usage of the term "rock god" acknowledges the religious quality of the adulation some
rock stars receive. John Lennon became infamous for a statement he made in 1966 that The Beatles
were "more popular than Jesus Christ". However, he later said that this statement was misunderstood
and not meant to be anti-Christian.

Iron Maiden, Ozzy Osbourne, King Diamond, Alice Cooper, Led Zeppelin, Marilyn
Manson, Slayer and numerous others have also been accused of being satanists, immoral or otherwise
having an "evil" influence on their listeners. Anti-religious sentiments also appear in punk and hardcore.
There's the example of the song "Filler" by Minor Threat, the name and famous logo of the band Bad
Religion and criticism of Christianity and all religions is an important theme in anarcho-punk and crust
punk.

Christianity

Christian rock, alternative rock, metal, punk, and hardcore are specific, identifiable genres of
rock music with strong Christian overtones and influence. Many groups and individuals who are not
considered to be Christian rock artists have religious beliefs themselves. For example; The
Edge and Bono of U2 are a Methodist and an Anglican, respectively; Bruce Springsteen is a Roman
Catholic; and Brandon Flowers of The Killers is a Latter Day Saint. Carlos Santana, Ted Nugent , and John
Mellencamp are all other examples of rock stars who profess some form of Christian faith.

However, some conservative Christians single out the music genres of hip hop and rock as well
as blues and jazz as containing jungle beats, or jungle music, and claim that it is a beat or musical style
that is inherently evil, immoral, or sensual. Thus, according to them, any song in the rap, hip hop and
rock genres is inherently evil because of the song's musical beat, regardless of the song's lyrics or
message. A few even extend this analysis even to Christian rock songs.

Christian conservative author David Noebel is one of the most notable opponents of the
existence of jungle beats. In his writings and speeches, Noebel held that the use of such beats in music
was a communist plot to subvert the morality of the youth of the United States.[23] Pope Benedict
XVI was quoted as saying, according to the British Broadcasting Corporation, that "Rock... is the
expression of the elemental passions, and at rock festivals it assumes a sometimes cultic character, a
form of worship, in fact, in opposition to Christian worship."

Satanism

See also: Hell's Bells: The Dangers of Rock 'N' Roll

Some metal bands use demonic imagery for artistic and/or entertainment purposes, though
they do not worship or believe in Satan. Ozzy Osbourne is reported to be Anglican[25][26] and Alice
Cooper is a known born-again Christian.[27] In some cases, though, metal performers have expressed
satanic views. Numerous others in the early Norwegian black metal scene were Satanists.The most
known example of this is Euronymous, who claimed that he worshiped Satan as a god. Varg
Vikernes (back then called "the Count" or Grishnak) has also been called a Satanist, even through he has
rejected that label. Even within this localized musical subgenre, however, the arson attacks against
Christian churches and other centers of worship were condemned by some prominent figures within the
Norwegian black metal scene, such as Kjetil Manheim.
HOW DOES THE PINOY ROCK BECAME FAMOUS

The beginnings........

Mid-50s saw the initiation and the popularization of Rock & Roll music in US being spearheaded
by Elvis Presley, Chuck Berry, Little Richard, Fats Domino, Buddy Holly, Everly Brothers and many more.
Many radio stations in the Philippines back then played many of the Rock & Roll tunes, particularly Elvis'
songs. Elvis Presley was "the" music icon of the 1950s decade and later, became the King of Rock & Roll.
Henceforth, the 50s was the period when the Rock and Roll music became widely accepted
internationally.

During the late 50s, Bobby Gonzales recorded his big hit song "Hahabol-Habol" and Eddie Mesa,
because of his looks and charisma, was named the Elvis Presley of the Philippines. These 2 were the
popular music icons in the Philippines at that time.

During that time also in the Philippines, the establishments of "combo" (with their instruments
like non-electric acoustic guitars, ukeleles, unique floor-bass made of gas tank, bongos and maracas)
groupings had proliferated in Pinoy music scenes. Many combos had imitated the Elvis' Rock & Roll pop
culture (such as the attire as well as the smoothly-combed, greasy hairdo). The "Battle of the Bands"
then got established amongst combos in metropolitan Manila, Pasay City and as far as in Cavite areas.

Then around the early stage of the new decade of 1960, the instrumental groups from US &
England such as the Ventures & the Shadows respectively became popular and hit it big in the Philippine
shore. Thus, the electric instruments (such as electric and bass guitars made by Fender, Gibson and local
Philippine-made electric guitars) as well as the 5-piece drum set had finally set in into the Pinoy combos
or bands as the standard musical equipment.

At that time in the early 60s, Pinoy instrumental bands had also evolved and came the bands like
the RJ & the Riots, the Electromaniacs, the Technicolors, the Hi-Jacks, the Deltas and the Celtics just to
name a few. Henceforth, it was also when some of the Pinoy bands started to make their own music
composition such tunes as RJ's Mashi-Mashi, The Electromaniacs' Lovers Guitar, the Celtics' 707 tunes
and many more raw Pinoy rock music.

The British are coming.....

Then came 1963, the Beatles music were getting into the Philippine radio airwaves. The Beatles
became popular first in the Philippines and in Asia before they were even made popular in US.
Remember hearing Eddie Mesa & the Hi-Jacks recording of the Beatles' "I Saw Her Standing There" song
being played at the radio stations in the Philippines back then?

February 1964, the Beatles finally conquered America and thus revolutionized the Rock & Roll
music pop culture scene into a new level worldwide into what we called now as the pop Rock music
phenomenon. Thus, the Beatles became the pop culture music icons throughout the remaining 60s
decade and Beatlemania had propelled worldwide.
 The "British Invasion" of the mid-60s era had catapulted many more aspiring Pinoy bands like
the Moonstrucks, the Dynasouls (formerly Dynasonics), Tilt Down Men, Bits & Pieces, Downbeats and
many others that followed. Those Pinoy bands then had imitated many popular British and US bands so
meticulously (plakang-plaka talaga!) such as the Beatles, Dave Clark 5, the Rollingstones, Cream, the
Beach Boys, the Doors, the Young Rascals, Jimi Hendrix and lots more. The addition of the portable
electronic organ instrument (such as the Farfisa & Vox organs) in the band's musical accompaniment
equipment had added new dimensions & sounds to the blooming Pinoy Rock music.

In the 1960’s, the Philippines was first introduced and influenced by international band (American and
British) such as The Beatles, The Jimi Hendrix Experience, The Who and other bands.This inspired
different Filipino instrumental bands to rise as well during the early 60’s. At that time in 1963, the so-
called “British Invasion” spread across the globe, including the Philippines as famous band like The
Beatles cam to be known with songs like Hey Jude, Here Comes The Sun, etc. Which this of course this
influenced and made some Filipino bands to adept similar styles of these other band.

Then came the 1970’s when Filipino rock was more nationalistic and political in a sense and
Tagalog was more used that English in songs. This was one of the many songs and genres that was part
of “Manila Sound”, the first original Philippine music (OPM) that became very popular in the Philippines.
Bands like Hotdog became popular during this time as they did demonstrate and have both English and
Tagalog in their songs, one example would be “Ang Miss Universe Ng BuhayKo”, which was a hit. Even in
the late 1970’s, some how the music industry made and combined both rock and traditional folk songs,
which used either the same or traditional instruments.

The Juan De La Cruz band was a garage blues band that had three members as guitarist, bassist
and drummer who were Wally Gonzalez, Mike Hanopol and Pepe Smith. This was the band that first
started a “rock and roll revolution” during the late 60’s till the late 70’s. They were considered to be the
“grandfathers” of rock in the Philippines because of them promoting nationalism or national pride with
their songs having Tagalog blues rock and at the same time having a English kind of mood to it that can
be recognizable to the local.

Today, the 1960’s and the 70’s were considered to be the pioneering years of Pinoy rock and
“the Golden Age of Pinoy rock” at that time. Even during the time of Manila Sound, it did help and
contribute to nationalism and Philippine Pride; it did originate and was inspired by international bands
from America and England. But still, Pinoy rock is considered to be OPM.

The influences that inspired local bands like The Juan Dela Cruz Band, Hotdog and others is for
one the instruments. They used guitars, basses,drums and microphones for bands. Another thing is
using English in their songs or at least taglish for most of their songs during the Manila Sound Period.
Another thing was the style of songs and minor genre styles of rock like blues or just rock and roll, which
an example would be guitar solos, melody (fast slow), rhythm, sound of instruments and other things
too.
Contributions of Pinoy Rock Music to the Philippines and to the World

The United States occupied the Islands in 1898 until 1946, and introduced American blues, folk
music, R&B, and rock and roll which became popular. In the late 1950s, native performers adapted
Tagalog lyrics for North American rock & roll music, resulting in the seminal origins of Philippine rock.
The most notable achievement in Philippine rock of the 1960s was the hit song “Killer Joe”, which
propelled the group Rocky Fellers, reaching number 16 on the American radio charts.

Up until the 1970s, popular rock musicians began writing and producing in English. In the early
1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz
Band being among the first popular bands to do so. Mixing Tagalog and English lyrics were also popularly
used within the same song, in songs like “Ang Miss Universe Ng Buhay Ko” (The Miss Universe of My
Life), by the band Hotdog which helped innovate the Manila Sound. The mixing of the two languages
(known as “Taglish”), while common in casual speech in the Philippines, was seen as a bold move, but
the success of Taglish in popular songs, including Sharon Cuneta‘s first hit, “Mr. DJ”, broke the barrier
forevermore.

Philippine rock musicians added folk music and other influences, helping to lead to the 1978
breakthrough success of Freddie Aguilar. Aguilar’s “Anak” (Child), his debut recording, is the most
commercially successful Filipino recording, and was popular throughout Asia and Europe, and has been
translated into numerous language by singers worldwide. Asin also broke into the music scene in the
same period, and were popular.

Folk rock became the Philippine protest music of the 1980s, and Aguilar’s “Bayan Ko” (My
Country) became popular as an anthem during the 1986 EDSA Revolution. At the same time, a
counterculture rejected the rise of politically focused lyrics. In Manila, a punk rock scene developed, led
by bands like Betrayed, The Jerks, Urban Bandits, and Contras. The influence of New Wave was also felt
during these years, spearheaded by The Dawn.

The 1990s saw the emergence of Eraserheads, considered by many Philippine nationals as the
number one group in the Philippine recording scene. In the wake of their success was the emergence of
a string of influential Filipino rock bands such as Yano, Siakol, Parokya ni Edgar, and Rivermaya, each of
which mixes the influence of a variety of rock subgenres into their style.

Filipino rock has also developed to include some hard rock, heavy metal, and alternative
rock such as Razorback, Wolfgang, Greyhoundz, Slapshock,Bloodshedd, and the progressive bands
Paradigm, Fuseboxx and Eternal Now.
 Rock festivals have emerged through the recent years and it has been an annual event for some
of the rock/metal enthusiasts. One big event is the Pulp Summer Slam wherein local rock/metal bands
and international bands such as Lamb of God, Anthrax, Death Angel, and Arch Enermy have
performed.[2]

The Neo-Traditional genre in Filipino music is also gaining popularity, with artists such as Joey
Ayala, Grace Nono, Bayang Barrios, Cocojam, and Pinikpikan reaping relative commercial success while
utilizing the traditional musical sounds of many indigenous tribes in the Philippines. assurman

Rock As A Reflection Of Social And Cultural Change

How, then, should rock’s contribution to music history be judged? One way to answer this is to
trace rock’s influences on other musics. Another is to attempt a kind of cultural audit. (What is the ratio
of rock masterworks to rock dross?) But such approaches come up against the problem of definition.
Rock does not so much influence other musics as colonize them, blurring musical boundaries. Any
attempt to establish an objective rock canon is equally doomed to failure; rock is not this sort
of autonomous, rule-bound aestheticform.

Its cultural value must be approached from a different perspective. The question is not How has
rock influenced society? but rather How has it reflected society? From the musician’s point of view, for
example, the most important change since the 1950s has been in the division of music-making labour.
When Elvis Presley became a star, there were clear distinctions between the work of the performer, the
writer, the arranger, the session musician, the record producer, and the sound engineer. By the
time Public Enemy was recording, such distinctions had broken down from both ends: performers
wrote, arranged, and produced their own material; engineers made as significant a musical contribution
as anyone else to the creation of a recorded sound. Technological developments—multitrack tape
recorders, amplifiers, synthesizers, and digital equipment—had changed the meaning of musical
instruments; there was no longer a clear distinction between producing a sound and reproducing it.

From a listener’s point of view too, the distinction between music and noise changed
dramatically in the second half of the 20th century. Music became ubiquitous, whether in public places
(an accompaniment to every sort of activity), in the home (with a radio, CD player, or cassette player in
every room), or in blurring the distinction between public and private use of music (a Walkman, boom
box, or karaoke machine). The development of the compact disc only accelerated the process that
makes music from any place and any time permanently available. Listening to music no longer refers to
a special place or occasion but, rather, a special attention—a decision to focus on a given sound at a
given moment.

Rock is the music that has directly addressed these new conditions and kept faith with the belief
that music is a form of human conversation, even as it is mediated by television and radio and by
filmmakers and advertisers. The rock commitment to access—to doing mass music for oneself—has
survived despite the centralization of production and the ever-increasing costs of manufacture,
promotion, and distribution. Rock remains the most democratic of mass media—the only one in which
voices from the margins of society can still be heard out loud. Yet, at the beginning of the 21st century,
rock and the music industry faced a new crisis. The development of digital technology meant that music
could now be stored on easy-to-use digital files, which could in turn be transferred from personal
computer to personal computer via the Internet. The resulting legal and corporate disputes about new
digital formats such as MP3 and services such as Napster reflected both new commercial opportunities
(musical rights holders had visions of making money every time a song was downloaded) and fears (that
their songs would be exchanged without any money changing hands at all).

Beginning in late 1999, the Recording Industry Association of America, Bertelsmann AG, and
some artists sued Napster, an Internet company whose “peer-to-peer” file-sharing program allowed
users to download music for free. Artists lined up on either side of the issue. In the end Bertelsmann
became the majority owner of Napster, anxious to provide a fee-based service. But this was only the
beginning of what became an ongoing process of both trying to prevent the free exchange of digital
music (by extending copyright protection and pursuing both “illegal” Internet services and their users
through the courts and by the use of different technologies of “digital rights management”) and
developing new paid downloading systems (such as Napster and iTunes). So far, and despite iTunes’
commercial success, the record industry’s attempt to halt the development of the Internet as the source
of free music has been unsuccessful, and more farsighted entrepreneurs focused instead on the
development of new ways to make money out of music rights.

While the issues here are new, the story line is not. Again, an emergent technology has meant
new commercial opportunities being explored and developed by fledgling entrepreneurs before being
absorbed and reordered by larger corporations, though these are now as likely to be
telecommunications or computer companies as they are music companies. Even more striking is how
much the new ways of using the Web have drawn on rock practices. The many file-sharing services that
followed Napster have similarly involved a global network of home “tapers” and have drawn on the
rock ideology of DIY, community, and anti-commerce. Networking sites such as MySpace and YouTube
were quickly adopted by rock groups and rock fans whose use of the new promotional possibilities
became a model for other entertainment sectors. However the various legal and economic issues are
resolved, rock music will certainly be central to 21st-century ways of doing things. Rock, in short, not
only reflects (and reflects on) social and cultural change; it is also a social force in its own right.
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