UNIVERSITY OF THE

Bachelor of Arts in Journalism Mark Louie A. Bonayon

INTERPRETING ENSEMBLES: A COMPARATIVE STUDY OF THE PROMOTIONAL COVERAGE OF LOCAL AND INTERNATIONAL MUSIC EVENTS BY THE PHILIPPINE DAILY INQUIRER, SUMMIT MEDIA, AND WHEN IN FROM JANUARY TO DECEMBER 2012

Thesis Adviser: Professor Marichu C. Lambino College of Mass Communication University of the Philippines

Date of Submission March 2012

Permission is given for the following people to access this thesis:

Available for general public Yes Available only after consultation with author’s thesis adviser No Available only to those bound by confidentiality agreement No

Student’s signature: Signature of thesis adviser: ii

UNIVERSITY PERMISSION PAGE

I hereby grant the University of the Philippines non-exclusive worldwide, royalty- free license to reproduce, publish and publicly distribute copies of this thesis or dissertation in whatever form subject to the provisions of applicable laws, the provisions of the UP IPR policy and any contractual obligations, as well as more specific permission marking on the Title Page.

Specifically I grant the following rights to the University:

a. To upload a copy of the work in the theses database of the college/school/institute/department and in any other databases available on the public market;

b. to publish the work in the college/school/institute/department journal, both in print and electronic format and online; and

c. to give open access to above-mentioned work, thus allowing “fair use” of the work in accordance with the provisions of the Intellectual Property Code of the Philippines (Republic Act No. 8293), specially for teaching, scholarly and research purposes.

______

Mark Louie A. Bonayon

April 2013

iii

INTERPRETING ENSEMBLES: A COMPARATIVE STUDY OF THE PROMOTIONAL COVERAGE OF LOCAL AND INTERNATIONAL MUSIC EVENTS BY THE PHILIPPINE DAILY INQUIRER, SUMMIT MEDIA AND WHEN IN MANILA IN THE PHILIPPINES FROM JANUARY TO DECEMBER 2012

by

MARK LOUIE A. BONAYON

has been approved for the degree of BACHELOR OF ARTS IN JOURNALISM by

Professor Marichu C. Lambino

and approved for the University of the Philippines College of Mass Communication by

Dr. Rolando B. Tolentino Dean, College of Mass Communication

iv

BIOGRAPHICAL DATA

PERSONAL DATA

Name Mark Louie A. Bonayon

Permanent Address 40 Longhorn St. Rancho Estate IV – East

Concepcion Dos, Marikina City

Telephone Number (+63-2) 933-4564

Email Address [email protected]

EDUCATION

Secondary Level Marist School, Marikina City

Primary Level San Beda College, Manila

ORGANIZATIONS Assistant Vice President and Finance & Corporate Affairs

Manager, UP Advertising Core

Publicity Committee Member, UP Journalism Club

WORK EXPERIENCE Intern, Nickelodeon, May 2012

Intern, Vgrafiks Branding & Advertising Co., April 2012

English Tutor, RareJob Philippines, Inc., August 2011 to

present

v

ACKNOWLEDGEMENTS

To my thesis adviser, Professor Marichu Lambino, who imparted her knowledge, helped me in the continuous improvement of my thesis to the very last detail, and unwaveringly guided her advisees all throughout, thank you.

To the journalism department: all my professors who educated us during our stay in the university and trained us for our future careers, and Ate Raquel who never grew tired of updating us and granting our requests for the completion of our thesis, thank you.

To my resource persons, Mr. John Hudson Go and Ms. Emmie Velarde, who accommodated me for interviews which contributed a lot to my thesis, thank you.

To my survey respondents, friends from Facebook, who did not mind my pestering and took time to seriously answer the questions on my survey, thank you.

To my dear colleagues who were always there for consultation during times of confusion, gave relief when I’m worried and stressed, and helped me enjoy life despite the burdens of schoolwork, thank you.

To all my relatives who gave me a pat in the back when I’m almost out of morale and energy, especially my aunt, Ampy Valera and my cousins, thank you.

To my beloved parents, Edilberto and Aurie, and my dearest siblings, Patricia and

John Patrick, who were always there at all means, ever supporting me through each and every way they can, thank you so much.

To God Almighty whom I depend on through all these hardships, and to whom I offer all that I do, thank you.

This research would not be completed without the help of the abovementioned.

THANK YOU. vi

DEDICATION

God Almighty, the Creator of all music.

Parents, relatives, friends who support my jam.

For people who continue to dedicate their lives for music.

My inspirations in music:

Katy Perry,

Glee, One Direction, Taylor Swift, Keane, JoJo, Owl City, Ke$ha, Lawson,

David Archuleta, Colbie Caillat, , ,

Daughtry, Westlife, Corrinne May, Rihanna, Beyoncé, Ed Sheeran, The Script,

Jon McLaughlin, Demi Lovato, John Mayer, Rob Thomas,

And to all my classical legends from the jukebox times,

My childhood favorites of the 90s and 2000s,

OPM,

And to the emerging artists of today and tomorrow who make music alive.

For all music makers who continue to give emotion and harmony to each moment of

every day in a person’s life.

For the love of music.

vii

ABSTRACT

Bonayon, M. A. (2013). Interpreting Ensembles: A comparative study of the promotional coverage of local and international music events by the Philippine Daily Inquirer,

Summit Media and When In Manila in the Philippines from January to December 2012.

Unpublished Undergraduate Thesis, University of the Philippines College of Mass

Communication.

This thesis analyzes the role that media plays in covering music events and how the perception of is affected by the coverage. 2012 has been a busy year for

Filipino music enthusiasts as a lot of music events were staged in the country. With the surge of foreign music events in the Philippines, the researcher looks at how much attention the Philippine Daily Inquirer, Summit Media and When In Manila gives to these foreign acts in comparison with their coverage on local music events. The researcher examines the treatment of media on local and international music events through archiving, interviews and a survey and utilizes the subculturalism framework to analyze the data. With the domination of foreign music events, the researcher finds an imbalance on the coverage of local and international music events. Journalism through the various platforms of media plays a vital role in giving exposure to these music events and influencing music consumers on which music events to patronize.

viii

TABLE OF CONTENTS

Page

Title Page i

University Permission Page ii

Approval Sheet iii

Biographical Data iv

Acknowledgements v

Dedication vi

Abstract vii

Table of Contents viii

List of Tables xi

List of Charts xii

List of Figures xiii

I. INTRODUCTION 1

A. Background of the Study 1

B. Statement of the Problem and Objectives 5

C. Significance of the Study 6

II. REVIEW OF RELATED LITERATURE 7

A. The International Music Scene 7

B. The Local Music Scene 9

C. Music and the Media 12

D. Music in the Global State 13

III. STUDY FRAMEWORK 15

ix

A. Theoretical Level 15

B. Conceptual Level 18

C. Operational Level 19

D. Operational Definition of Terms 19

IV. METHODOLOGY 24

A. Research Design and Methods 24

B. Variables and Measures 25

C. Research Instruments 26

D. Units of Analysis and Sampling 26

E. Data Gathering/Generation and Construction 27

F. Data Analysis 31

G. Scope and Limitations 32

V. RESULTS AND DISCUSSION 33

VI. SUMMARY AND CONCLUSION 55

A. Summary 55

B. Conclusion 56

VII. IMPLICATIONS AND RECOMMENDATIONS 58

A. Theoretical Issues 58

B. Methodological Issues 58

C. Practical Issues 59

Bibliography 60

Appendix A 64

Appendix B 134

x

Appendix C 144

Appendix D 150

Appendix E 154

xi

LIST OF TABLES

Number Title Page 1 Timetable of the Study 27 2 Budget Report 27 3 Tally of PDI's Foreign Music Articles for January 2012 30 4 Tally of PDI's Foreign Music Articles for January 2012 33

xii

LIST OF CHARTS

Number Title Page 1 Type of Music Event Attended by Survey Respondents 42 2 Media Source Patronized by Survey Respondents 42 3 Consideration of Survey Respondents of Music Articles 43 in Decision-making 4 Awareness of Respondents on Foreign Music Events 44 Based on Media Sources 5 Awareness of Respondents on Local Music Events Based 44 on Media Sources 6 Influence of Music Articles on Filipinos on Music Events 45 to Attend

xiii

LIST OF FIGURES

Number Title Page 1 Theoretical Framework 18 2 Conceptual Framework 19 3 Operational Framework 20

1

CHAPTER I. INTRODUCTION

A. Background of the Study

“America‟s Sweetheart” J Lo (), who had her “Dance Again World

Tour ” in November 2012, has sold out the SM despite ticket prices ranging from an already pricey Php 2,590 for the farthest seat available

(General Admission) to a luxurious Php 25,840 for VIP seats. While “Asia‟s Songbird”

Regine Velasquez-Alcasid filled the same humongous venue with a mere Php 370 for

Gen Ad and Php 5,280 for the seat nearest the stage. The difference could also be seen as many K-Pop fans go after Girls Generation having their “Dream K-Pop Fantasy Concert” with Php 1,040 on their cheapest ticket available while “Rock Loqal,” a gathering of more than two dozens of local bands, are priced with Php 1,060 for the best seats present, only with a Php 20 difference for the minimum and maximum, respectively.

A poll on the website of Philippine Concerts (philippineconcerts.com) shows how much support artists, both international and local, get from their perceived audiences.

Respondents were asked on which concerts they would attend this October 2012;

“Tanduay Rhum Rockfest MOA,” a local music event, ranked only fourth with 62 votes or 10% of the total votes (as of 9:50 pm of October 29, 2012). Three other foreign acts,

Foster the People, Jonas Brothers, and Big Bang (ranking first with 166 votes or 26% of the total votes) reigned the poll.

Concert tour promoters for foreign artists cannot be blamed for asking this big an amount for these shows as they are charged steep taxes as well. However, it is still evident that a large fraction of the Filipino audience do not support local artists and favor foreign artists. This correlates with the media attention the Filipino music acts receive. 2

Back in the 1970s, a genre of OPM (Original Philippine/ Music) called the

Manila Sound emerged and became a hit among Filipino audiences. According to It’s In

The News (colin143.blogspot.com), it is described as “a smooth, easy-flowing pop/, added [with] a twist of , and disco” (“1970's - 1980'S: The Years Of

Manila Sound,” 2009, ¶ 1). Some artists who popularized these groovy hits are The

Hotdog Band, VST & Company, Hagibis, and . With the “Manila Sound” fading from the limelight, artists like Rico J. Puno, Claire dela Fuente, and continued to produce timeless music. Nearing the end of the millenium, relatively younger artists such as , , , Gary

Valenciano and kept OPM alive, still making music for Filipino audiences.

However, music acts today are evidently not as vibrant as it used to be back in the

1970s to the 1990s. An article in ABS-CBNnews.com stated: “At a time when foreign acts have been dominating the concert scene for the past couple of years, „Icons at the Arena‟ was a reminder of the excellence of both Filipino singers and their music.” (Bunoan,

2012, ¶ 2). The title of the article, “Review: 'Icons at Arena' relives OPM glory days,” is suggestive of how OPM used to be dominant among Filipino audiences.

In the 1790s to 1980s, at the time of Martial Law, OPM was the avenue for

Filipino artists to voice out their repressed thoughts on the government without being put to jail. OPM was later used as propaganda music during the EDSA Revolution. Freddie

Aguilar was known for his original composition “Anak” during the 70s and “Bayan Ko” during the 1986 EDSA Revolution.

In the 1990s, new OPM emerged with , bringing hit songs to Filipino audiences. However, it is at this point when OPM production declined. 3

In an editorial by The Manila Times (2012), it was stated that after its glory days,

The first wave of OPM kings and queens eventually faded, and for a while

it seemed that original songs were little more than a fad whose time had

come and gone.

But as the saying goes, you can’t keep a good man down. In the case of

OPM, you can’t keep good musicians down. Another wave of singers and

bands arose in the ‘80s and ‘90s, and they were every bit as creative and

original as the musicians who came ahead of them.

In recent years, however, there appeared to be another dimming in the

prospects of OPM. There appeared to be a smaller and smaller number of

Filipino musicians writing and playing their own material.

The success of music is also attributed to its record sales. With the rise of new technology in the 90s and 2000s, cassette tapes and vinyl records went obsolete.

Television and other forms of media, including the internet, gave Filipino consumers more exposure to foreign music. Cheaper and free sources of music became available with the rise of digital media.

In a study by Cruz, Pauso, & Sison (2011), results showed that OPM physical sales dropped from Php 2.7 billion in 1999 to Php 699 million in 2010. In terms of digital music sales, data showed an increase by 400% from 2005 to 2010. However, the sales in digital format cannot make up for the loss of the physical record sales. The study conducted by Cruz et al. (2011) also highlights music piracy as a major cause of the decline in OPM album sales. 4

Having faced with these challenges, OPM artists strive to survive the music industry through staging music events. However, foreign acts steal the attention of

Filipino audiences from local artists‟ shows. In an article by the , Jose

Mari Chan expressed the struggle of Filipino artists: “We will only be OPM songs in the show. I hope that the audience out there will show their support because our musicians and our local artists are suffering from the massive influx of foreign artists.”

Jaya on a separate article said “Andun pa rin „yung colonial mentality. Mas malaki pa ang sales ng album ng mga foreign artist kesa sa OPM artist. Sa mga concerts pa nga lang dito sa atin, mas tinatao ang foreign acts kesa sa local acts. [Colonial mentality is still present. Album sales of foreign artists are greater than OPM artists. Here in our country, foreign concerts are more patronized than local acts.]”

OPM artists , Jim Paredes and Isay Alvarez suggested that there should be a regulation limiting the number of foreign acts in the country to support local music. However, the General Agreement on Tariffs & Trade (GATT), to which the

Philippines is a signatory, promotes “free trade” but at the same time, prohibits the

Philippines from totally protecting local artists from foreign music. Foreign music can compete with local music in the country while OPM cannot fully export itself to other countries, making GATT provisions disadvantageous to Filipino artists.

Music events peaked in 2012 and continue to rise with the pervasiveness of social media. Through technology and the internet, Filipinos are easily reached by promotional blitzes of these music events. Newspapers also help in the dissemination of information to music consumers. However, there seems to be an imbalance in the promotional 5 coverage of music events in favor of foreign acts, to the detriment of the local music industry.

This study was conducted as the researcher saw the need to examine the apparent imbalance in the promotional coverage of music events, a current trend hyped by media and other means of publicity. The field of journalism plays a vital role in the promotion of these music events through the articles that are published on print and online media.

The researcher looked into how these stories are collected, processed and published to determine if media outlets make any effort at all to maintain balance in their news stories of music events.

To determine if the success of foreign music acts in the Philippines is affected by the exposure that the media gives, the researcher will look into and compare how the chosen media platforms, print and online, encourage attention to concerts and music events. Also, the researcher will partly touch on the concept of “globalization” and how it affects the Filipino consumers in patronizing music acts.

B. Statement of the Problem and Objectives

Media plays a great role in shaping the Filipinos‟ perception and reception of music. The coverage and exposure that media provides for both local and foreign music events could be gauged by the space and attention that they give to the industry. Media influence on Filipinos‟ liking and awareness of music events can be observed through a study of media coverage and audience perception. With the surge of international music acts entering the Philippines, from concerts to album promotions, how balanced or 6 unbalanced are print and online media, specifically the Philippine Daily Inquirer, Summit

Media, and When In Manila, in covering local and international music events?

In this study, the researcher‟s objectives are:

(1) To discover how much coverage foreign and local music acts receive by looking into the selected print and online media;

(2) To determine if the success of foreign music acts in the Philippines is affected by the exposure that the media gives;

(3) To evaluate the coverage of music events in the field of journalism

(4) To explore on the concept of globalization and its relation to the foreign music domination in the Philippines.

C. Significance of the Study

Since the success of most Philippine music events relies on Filipino audiences, these events need multimedia support to keep OPM, the music industry, and Filipino pop culture, alive. With the continuous surge of music acts staged by foreign artists in the country, the media plays a role in influencing Filipino music consumers through its coverage of significant music activities in the country.

There is a need for editors and music journalists to examine the role that promotional coverage plays in the rise and fall or resurrection of OPM and Philippine music events. Failure to do so may eventually lead to the death of the Philippine music industry and Filipino pop culture, while a timely re-examination may help in infusing it with renewed vigor. 7

CHAPTER II. REVIEW OF RELATED LITERATURE

A. The International Music Scene

To understand completely the relation of music to media, communication and journalism, one has to examine the various approaches in studying music. Chris Rojek’s

Pop Music, Pop Culture (2011) delves on musicology and provides a view of where is situated in the field of culture, media and communication, and production.

A deeper understanding is given by Rojek as he discusses the main theoretical approaches used in studying music, particularly pop music. This part will surely help understand deeper the meaning of music and society. Examples from various music writers and producers are given to help interpret further. Rojek states: “The aim here is to draw on a much wider range of resources in the social sciences and cultural and communication studies that is normal in the analysis of pop music.” (Rojek, 2011)

Further discussed is the role of technology and mass communications in the pop music industry. Along with the other sectors of the music industry, the role of communication and media in the reception and feedback of the audience, especially music fans, is discussed. The field of communication and media truly plays an important role in the music scene.

Anna Tomasino’s Music and Culture (2005) brings its readers the total music experience as it touches on the essentials of music introduction and branches out to other issues in music and society.

The first chapter discusses the appeal of music and how music is used as a form of communication and expression. Music is also viewed from the business perspective and is examined with the trend of globalization and living the “American Dream.” 8

The diversity of the literature will provide different views of the music industry, having various sources, from documents to internet articles. It also provides a larger perspective of issues in music related to culture and society and looks deeper into other fields related to the matter, including communication and media. The essentials to studying music and its relation to a different field and its issues are all packaged in this book, providing researchers a complete background and a good kick-off on their study.

Many countries have given their own share of music to the world. Some of these are Jamaica with reggae, Trinidad with calypso, and from other small countries in South

America, the music of the Andes. These are some of the small countries mentioned in

Wallis and Malm’s Big Sounds From Small Peoples (1984), a book that focuses on smaller countries that produce valuable music for the rest of the world to hear.

Malm and Wallis explain how small countries, like the ones mentioned, contribute to the international music scene:

The reason is twofold. Small countries fulfill a dual role for the music

industry. They provide marginal markets for international products. They

also, by virtue of their unique cultures, can provide the sort of talent that

comprises invaluable raw material for international exploitation. (Malm

& Wallis, 1984)

The Music Industry in Small Countries (MISC) Project is a three-year research project which studied 12 sample countries from Europe, Africa, South America and Asia to discover what these small countries’ issues are in the music industry and how they manage to survive in the international scene. 9

Big Sounds From Small Peoples also discusses the overall view of the local and international music scene, significant accounts from the sample countries, government policies affecting the industry, the structure of media in relation to music and patterns that explain music and media relations, and the role of media and communications in the music industry

B. The Local Music Scene

Indian Malaysian music also struggles to emerge from the challenge of globalization. Production of music in Tamil language, the most common language used in

India, and other Malaysian languages, especially by the youth sector, is a great endeavor with the mainstream Bollywood dominating indigenous local music.

“The richer people use English more commonly while the poorer people tend to speak Tamil more.” (Sathiabalan, 2001). Sasidharan Naidu quoted Indra

Sathiabalan explaining the importance of bilingualism and how his music could unite the youth from different social and economic classes. “My music is universal … it appeals not just to fans of Tamil pop [and] many feel that it’s got a world music concept [with]

Malay, Chinese, Indian, Western and Latin musical styles in [it].” (Vengadesan, 2002)

Sumit K. Mandal’s Indianness in : Between Racialized Representations and the Cultural Politics of depicts how Indian Malaysian music has tried to create its own music identity despite the trend of globalization that threatens their local music industry.

This becomes especially clear when we turn to the cultural politics of

popular music in Peninsular Malaysia. Young musicians produce work in 10

the genres of rock, hip-hop, reggae, and so forth in Tamil—the most

commonly spoken language of Indian origin—as well as in other

Malaysian languages. An admixture of rebellion and commercial drive

colors their efforts as they capitalize on the enabling aspects of

globalization while trying to curb its damaging consequences. As a result

of their exposure to—if not familiarity with—different cultures and

languages, and through contact, exchange and partnership with musicians

of other ethnic backgrounds, Indian Malaysians have forged a distinct

musical identity. (Mandal, 2007)

The colonials already had their way of using the power of music to impose power on their would-be colonies. The Americans and the Spaniards both utilized music as part of their colonial plan to take over the Philippines.

The abstract of Raul C. Navarro’s paper, “Ang Musika sa Pilipinas:

Pagbuo ng Kolonyal na Polisi, 1898-1935” briefly discusses American colonialism through music.

This paper argues that music, particularly vocal music, was a prime tool

in the dissemination of the American colonial worldview. Utilized in

public schools, music introduced a culture forged in the context of

American life, thus bringing a whole world of beliefs and a process of

cultural homogenization that pervaded American colonial schools. Given

the structured public educational system the Americans created in the

Islands, the colonial project of “a true general Philippine culture” in

musical terms have almost resulted in homophony with the Americans 11

whistling away the melody and the Filipinos doing the accompaniment.

(Navarro, 2008)

The author tries to show the Filipino artists’ resistance to the hegemonic cultural imposition of the new colonial masters.

Ang Bagong Lipunan, 1972-1986: Isang Panimulang Pag-aaral sa Musika at

Lipunan (2008) discusses how Marcos’ regime used music as a powerful tool to capture the interest of Filipinos and impose on them the new law.

According to Navarro (2008), even the Spaniards introduced the Catholic faith through music while Americans used it to educate Filipino students in using the English language.

Cultural transformation in the Marcos regime, through music, has been institutionalized through various programs like the Philippine Society for Music

Education (PSME) in 1971, the National Music Competitions for Young Artists

(NAMCYA) in 1973, the Philippine Youth Orchestra (PYO) in 1974, the CCP

Philharmonic Orchestra, the Popular Music Foundation of the Philippines in 1977, and other programs related to the enrichment of culture. Through the formation of these organizations, music played an important role in supporting the Marcos regime in its implementation of the “New Society.”

Ang karaniwang proyekto ni Imelda sa panahong ito ay may

layong itaas ang edukasyong pangkultura ng mga Filipino upang

marating nila ang antas na tanggap sa kanluraning pamantayan. At

ang edukasyon ding ito ay inaasahang maghahatid sa sambayanang 12

Filipino sa isang maunlad na buhay. [The usual project of Imelda in this

time aims to uplift the cultural education of Filipinos to attain the Western

standard. And this education is expected to bring the Filipino community a

better life.] (Navarro, 2008)

Even from the time of the Marcoses, the Western way has always been the standard of high state of living. Culture has been used to enforce what is believed to be the standard of a convenient life.

C. Music and the Media

Music has always played an important role in each nation’s history. Countries from different regions of the world have already experienced the change that music can bring and how it can greatly affect a nation.

Malm and Wallis’ Media Policy and Music Activity (1992) presents the music industry and how it affects media policies. It is composed of case studies of various countries, namely Jamaica, Trinidad, Kenya, Tanzania, Sweden and Wales, and how musical activity shapes the media in each of these nations.

It is notable for the study to mention that this literature explores an international comparative study that explains how they arrive with media policies. It also touches on trends on globalization and integration in the music industry, as seen in Wallis’ separate dissertation.

Both Kenya and Sweden were able to use music as a revolutionary tool to bring about change in media policies. Despite being totally unsuccessful, they were able to make the United States and the conglomerates aware of their concerns. 13

The case studies on the six countries are good to look into as they are faced with the same challenge of globalization in the music industry. Kenya, Tanzania, Jamaica and

Trinidad have been British colonies and both Jamaica and Trinidad have great contributions to the international music scene. Like the Philippines, they are developing

Third World countries. It is good to look at the differences and similarities with the

Philippines having been colonized by Spain and being of almost the same economic status.

Media Policy and Music Activity introduces the music industry of selected smaller nations while comparing it to the international music scene. The book also focuses on globalization and its effects on the music industry. Lastly, the focus on media policies can provide insights on how the music industry affects the media and vice-versa.

This book is complete with parts that could help researchers analyze various issues in music and media that each case study touches on. It even provides theories and frameworks that could support the study. All information discuss issues that the local and international music scenes are facing and bring life to media’s role on the music industry.

D. Music in the Global State

Previously published literatures have shown that music has been an integral part of peoples’ lives in all parts of the world.

Along with the struggle of Philippine music, other smaller countries continue to survive with the rise of globalization. However, only a limited number of countries were tackled in these books regarding their efforts in sustaining their position in the global music scene. 14

With the limitations of previously and more recently published literatures on

Philippine music relating to its struggle in its own land due to the presence of global music, the researcher finds the need to conduct further studies on the said matter. Also, there were limited data found that discuss media coverage of both local and international music scenes in the country.

Music is an integral part of the Philippines’ culture, being one of the most valuable heritages that the Filipino race could be proud of, having numerous talented

Filipino musicians.

To find ways on how media can help support the well-deserving Filipino musicians, the researcher will look into the way people integrate music in their activities and how media coverage affects the patronization of music in the Philippines. 15

CHAPTER III. STUDY FRAMEWORK

A. Theoretical Level

The study will be utilizing the theory of subculturalism to help readers have a grasp of the music scene, the Philippine media and the Filipino music consumers to provide a deeper understanding of how the subject matter is analyzed. The theory is inspired by the realizations from the book Pop Music, Pop Culture by Chris Rojek

(2011).

In Pop Music, Pop Culture subculturalism is defined as “an approach to explore social and cultural relations as the articulation of common rules of group practice, and values that depart from, are in outright antagonism with, the dominant order.” (Rojek,

2011)

To understand how subculturalism is relevant to the study, the researcher looked deeper into the various elements that make up the global and local music scenes.

Western music has been considered as the mainstream music for the longest time, making it the universal music known across the globe. This makes Western music the dominant order—the most influential kind, and what other nations look up to and try to imitate.

Zooming into the smaller countries, each local music industry has its own subcultures. On individuals and later on to groups of people, psychological and social factors affect the choice of music, as well as other attitudes towards economic, political and cultural dynamics. Music is greatly influenced by the local community, its activities and how people interact with music. Hence, a subculture emerges. 16

In other countries, jazz, punk, rap, rock, , soul, bossa, a capella and many other music genres have become the subculture through their localization. The

Philippines has its very own Original Pilipino (or Pinoy) Music or what is popularly known as “OPM.” More recently, P-Pop or even came out, patterned after other Asian countries which had their very own K-Pop (Korean Pop) and J-Pop

(Japanese Pop).

To further explore subculturalism, Rojek also laid down Raymond Williams’ concept of dominant culture, alongside emergent and residual subcultures. Dominant culture is described as:

The values, institutions and practices characteristic of the class or other

social group who occupy a position of advantage and privilege over other

social and cultural strata. That is these values, institutions and practices

are hegemonic [or impose domination over others through influence or

authority] in the sense of constituting the social, cultural and political

context of association, positioning and practice. (Rojek, 2005)

Residual subculture is defined as culture from the past carried over to the present

(Rojek, 2005). Subculture brought about by dominant culture from years ago is continually being experienced and still has a great impact at present.

Lastly, emergent subculture is defined as “new meanings and values, new practices [and] new relationships” (Rojek, 2005). Emergent subcultures pertain simply to those catering to alternative music.

Western or American music has emerged as the dominant culture. Residual subcultures have been formed through time and are still omnipresent. The Philippine 17 music industry has been molded and transformed through the dominant culture, resulting in residual subculture. Still, a lot of emergent subcultures continue to surface and try to veer away from the dominant.

Another significant material to discuss in this study is the subculturalist approach on the trend of “globalization” in the music scene.

Rojek discussed how local music was incorporated with not only foreign music but also global music. “The trend in subculturalism, then, has been to move away from regional or national studies of recruitment, integration and transformation to the level of global diffusion and synthesis.” Rojek (2005)

Subcultures have transformed from local music being mixed with foreign music and now, global music, which is not only attributed to certain foreign subcultures but is widespread across nations.

With the “globalization” of music, media is influenced by the same trend, thus affecting coverage. Like music, media is experiencing the impacts of “globalization.” The capitalist motivation on “globalization” explains how media conglomerates use their power to drive people into their own interests.

In conclusion, the researcher looks deep into the relation of each subculture of music to the global scene. The political, social, cultural and economic values of

“globalization” in music boils down to the commodification brought about by the capitalists. In effect, media coverage is influenced by “globalization,” including the coverage of the music scene. The theory of subculturalism helps the researcher discover how the invasion of foreign music and the standardization of music events can affect the local music industry and its events and in effect, the way media covers music events. 18

B. Conceptual Level

In the conceptual level, the theory explains how the media is affected by and in turn, affects the presence of all surrounding entities, from the music scene to the activity of the people surrounding it.

The study focuses on the promotional coverage of media on music events. It would be helpful for the researcher to see how the media relates to music and the people buying it through the exposure media provides to these music events. Local and foreign music is considered to be of opposing forces due to the evident imbalance of its emergence and sustenance in the Philippines. This disparate poles are also visible on how alternative and global music is presented everywhere in the world, with alternative music being the underdog on the scene. With the promotion of music events and the delivery of music news to homes through the various platforms of media, including print and online, media has an effect on how people patronize music.

With the continuous flourishing of “globalization” in the Philippines, along with the rest of the world, Philippine music continues to emerge and this is where subculturalism finds its place. Despite the invasion of foreign acts and music items in the country, OPM tries to regain its share of Filipino music consumers. The outright antagonism of the Philippine music industry, which should not be taken in bad light, with the dominant order, which is the global music, is how subculturalism works in the concept of the study.

19

C. Operational Framework

In comparing the media coverage of local and international music acts, it would be helpful for the researcher to look into how subculturalism explains how local music events strive to emerge with “globalization.”

The comparison of media coverage in print and online, through archiving, uses the theory to substantiate the findings and explain how music events are affected by media coverage. The theory also explains the behavior of Filipino audiences in patronizing music events.

Aside from these, interviews with resource persons from the media outlets will be analyzed by the researcher based on the theory of subculturalism. The theory’s view of subcultures emerging from different social and cultural environments can enlighten readers on how concert promoters, music artists and the media are subjected to the audiences’ perception.

The theory helps the researcher in utilizing context analysis, interpreting how the data gathered is affected by the engagements of people to and from both the media and the music scene.

The figures in the last pages of this chapter represent the frameworks discussed and shall give the readers a clearer view of the frameworks.

D. Operational Definition of Terms

Globalization, as defined by the Merriam-Webster Online Dictionary (2004), is the “process by which the experience of everyday life, marked by the diffusion of commodities and ideas, is becoming standardized around the world.” Simply, the term 20 globalization by dictionary definition refers to internationalization or the availability of products from all over the world to the local market, and, supposedly, vice-versa.

In this study, however, the term “globalization” is given economic and cultural context due to the nature of the research topic. “Globalization” here pertains to the domination of popular American and European music in the Philippines.

Popular American and European music continues to be the dominant group in the

Philippine music scene due to social, cultural and economic influences by the West.

21

Figure 1. Theoretical Framework

DOMINANT ORDER

Opposing forces from dominant and subcultures

SUBCULTURES

RESIDUAL EMERGENT SUBCULTURE SUBCULTURE

Subcultural Behavior

VARIOUS CULTURES FROM DIFFERENT PARTS Reception to Contribution to OF THE WORLD Dominance the Dominant 22

Figure 2. Conceptual Framework

23

Figure 3. Operational Framework

LOCAL FOREIGN MUSIC MUSIC INDUSTR INDUSTR

MEDIA COVERAGE

Effects of Media on Effects of Music Music Events Events on Media

MEDIA Filipino Music Music Culture Patronization Audience Media Perception Reception

FILIPINO MUSIC CONSUMERS 24

CHAPTER IV. METHODOLOGY

A. Research Design and Methods

The study utilized quantitative approach in determining the weight of media coverage given to the international and local music-related events. The results were based on the section or location and the amount of space provided for these events on the chosen newspaper, website, and magazine. The researcher then compared which of the two music scenes were given more exposure by these media outlets.

In looking on how media covers these music events, the researcher covered one of the leading newspapers in the Philippines, the Philippine Daily Inquirer. This newspaper was chosen based on its known popularity, readership and credibility. The said broadsheet also presents news coverage on both local and international music scenes.

Aside from the abovementioned newspaper, the researcher also looked into a magazine publishing company, particularly Summit Media, conducting the same kind of research. Summit Media was chosen as it publishes a total of 26 major magazines, two of which focus on entertainment alone, and the rest touching on some articles related to the music industry. It has also published one-offs, which cater to music fans, which were also focused on by the researcher.

For print media, the research covered issues which include music news and articles published from January to December 2012.

Other than print media, the research also explored the online media. The researcher looked at one of the country’s top blogs/music-related news sources, When In

Manila, which comprehensively covers music events. 25

Interviews on representatives of the selected media were done by the researcher to hear directly what these media organizations have to say regarding their coverage on music events, as well as the researcher’s preliminary findings.

The researcher also conducted a survey which helps gain insights from people who have experienced music events. The survey satisfies the need to understand the perception of people on their awareness of music events based on the media platforms used in the study and the influence of media coverage on their behavior towards the music scene.

B. Variables and Measures

The utilization of content analysis by the researcher helped arrive at a conclusion on how much media covers the local and international music scenes. The variables considered by the researcher were (1) the space given to the news or article (number of pages, dimensions), (2) the location of the article (for newspaper, the section where the article is found), and (3) the frequency of news or article given to each music scene (local and international). The quantitative approach was a good determinant to conclude on the exposure given by the media to local and international music events.

The researcher also analyzed the results of the interview through the arguments and points raised by each of the parties involved. The interpretation of the researcher were based on the facts and reasoning of the interviewees.

26

C. Research Instruments

The researcher made use of archives from the various media establishments mentioned above to conduct the content analysis. The needed data were recovered with the cooperation of the aforementioned publication companies, available online resources and with the help of the University of the Philippines’s libraries. Through these published archives of music news and articles, the researcher was able to determine the exposure given to both local and international music events.

The researcher also conducted interviews which aim to provide information on the media coverage of these publications and tackle the issues related to media coverage in the local and international music scenes. Through interviews with credible sources from key persons in the field, the researcher was able to gather views from these media representatives and provide a more in-depth discussion of the issues at hand.

D. Units of Analysis and Sampling

The selected newspaper, magazine, and website were chosen with regard to their known popularity to Filipino audiences, the wide reach in terms of audiences, and their known credibility to the masses. The chosen units of analysis are the major broadsheet

Philippine Daily Inquirer, the selected magazines of Summit Media, and the website

When In Manila which can contribute well to the study and make it as credible and accurate as possible.

The persons interviewed are also those that can give insightful thoughts to the issues being discussed and are the most credible as well. They are representatives of the 27 company who can echo the opinions of the establishment but can voice out their own personal opinion as well.

E. Data Gathering/Generation and Construction

The research was initiated through the researcher’s personal efforts in having a general view of the music scene in the Philippines. The researcher tallied all music events in the Philippines during the given time frame, which is from January to December 2012.

The references of the researcher were credible websites that release regular announcements on concerts and other music-related events such as Manila Concert Scene

(manilaconcertscene.blogspot.com) and Philippine Concerts (philippineconcerts.com).

The purpose of listing down these events was to equate the number of local music events and international ones. This part of the study was a good start for the researcher as it proved that there is minimal difference in the number of local and international music- related events covered by the Philippine media.

After proving that both the local and music scenes offer almost equal amount of events for the music consumers, the researcher proceeded to searching for information on the newspaper. As advised by the Philippine Daily Inquirer, the researcher browsed through each and every newspaper copy of the Philippine Daily Inquirer from January to

December 2012. This was the only way for the researcher to figure out how much music coverage is allotted in the said newspaper.

The researcher accessed the newspaper archives through the UP Diliman College of Mass Communication library and the UP Diliman Main Library. 28

The researcher noted down the different sections of the newspaper where the music articles are found. The name of the artist, artists or music event featured in the article is then listed together with the section where it is found. The sections were given codes as origin to whatever section the music article belongs to (E for Entertainment, LS for Lifestyle, N for News, etc.).

Also, the researcher divided each page of the newspaper to a fraction of eight imaginary segments. A single page of the Philippine Daily Inquirer measures 9 x 53 ccm

(cubic centimeter) or 29.75 inches in length and 23.5 inches in width. This was the basis of the researcher on measuring the music-related articles ranging from less than one- eighth (tallied as <1/8) of the page to a whole page (tallied as 8/8). Each article is classified according to its measurement for the researcher to determine the amount of space provided to the music-related event, translating to its importance as set by the standards of the newspaper.

The survey forms were formulated and prepared by the researcher based on the necessities of the study on the consumers’ perception on music and to determine the readership of the selected media sources. The survey also figured out if these chosen media sources, and media in general, have an impact to its readers and how it influences the respondents on their choice of music to consume or patronize. In sending out the survey forms, the researchers utilized the social media, particularly Facebook, to ask for respondents to answer the questionnaire. People of both sexes, varying ages, ranging from 14 to 33, and location, both urban and rural, were randomly selected to respond to the survey. The researcher was able to gather a total of 162 responses, which details’ are to be discussed further in the following chapter. 29

Summit Media refused to disclose further information aside from the “Media Kit” that was sent to the researcher. Through this Media Kit, the researcher was lead to looking at the one-offs that the publishing company has produced in the covered time frame of research, since their one-offs are dedicated to the music scene and feature artists on the front cover backed with an inside scoop. Also, Summit Media did not respond to the researcher’s request for an interview despite the researcher’s efforts in contacting the media firm, inviting a resource person for the interview.

The online media outlet, When In Manila, was accessed by the researcher through its website, wheninmanila.com. The website was easy to navigate with tags and news articles of the same nature under one tab. In search for the articles needed for the study, the researcher selected the “concerts” tab where all the music events covered by When In

Manila are located. The articles are written by various contributors and writers from the said website. The very reason that the researcher chose the website among many others was its approach in reporting music events. The articles found in the website are usually first-hand experiences, and contain the essentials of the news story, including critiques and notable happenings, apart from just promoting the event with a digital poster and limited details.

After contacting resource persons from the selected media sources, the researcher was able to successfully schedule interviews with representatives from these media firms.

Scheduled on February 17, Monday, at Promenade Greenhills, the researcher interviewed

John Hudson Go, the top contributor and writer from When In Manila. He is also currently a professor at the Enderun Colleges and formerly taught at UP Diliman. He 30 covers mostly music events making him a credible resource person. He was referred by the owner of the website, Vince Golangco.

On February 18, the researcher interviewed Emmie Velarde, the entertainment editor of the Philippine Daily Inquirer at their office in . Both interviews lasted for around 20 to 30 minutes.

The interviews were transcribed by the researcher and used in the study to back up the preliminary information gathered from these media sources.

Table 1. Timetable of the Study

Duration Action November 19 – 30, 2012 Gathering of Preliminary Data (online) November 22, 2012 – February 17, 2013 Archiving Contact Sources for Information Request January 7 – February 17, 2013 and Interview Request February 7 – 27, 2013 Surveys February 17 – 21, 2013 Interviews and Transcription February 21 – 28, 2013 Collation of Data February 28 – April 5, 2013 Data Analysis and Thesis Writing

Table 2. Budget Report

Activity Amount Transportation Php 384.00 Miscellaneous Php 2, 500.00 Printing Php 917.00 Binding Php 375.00 CDs Php 16.00 Total Cost Php 4, 192. 00

31

F. Data Analysis

The data above were organized in a way that would be easiest for the researcher to compare the coverage of local and international music events.

After tallying the music events published by the Philippine Daily Inquirer from

January to December 2012, the researcher highlighted each of the sections of the broadsheet in corresponding colors. This paved way for an easier distinction of the sections of the newspaper which were later on tallied according to the number of music articles that were printed on a certain month. Aside from this, the dimensions of the articles (divided in portions of eights per page, based on a certain measurement), were also tallied and added to arrive at a total sum of the space provided for the music events.

Each portion was accounted for as a single count, depending on the size. For example, a

4/8 article was tallied as 4 summed up with the rest of the articles. Articles less than 1/8 in space were considered as 0.5 in the final count. This made it simpler for the researcher to determine the space given to these music events and compare the local and international coverage more conveniently. Furthermore, after the monthly tally was done, the researcher added up all 12 months to determine the overall space provided for music events in the broadsheet for the whole year and compare the space allotment for local and international music scenes.

The survey results were recorded digitally in Google documents form. The researcher could access the survey results through an online database of all the respondents’ answers. To organize the data, graphs and pie charts were created to clearly see the proportion of the responses. Available online is a summary of all the responses for quick reference while all answers could be found on a more detailed database. 32

For the interviews, the researcher transcribed the audio clips from the interview and used the transcriptions to quote the resource persons in the study. They served as back up to the initial findings of the researcher and an avenue for the media sources to voice out their views and insights on the issues covered by the study.

G. Scope and Limitations

The researcher conducted a study on the media coverage of both local and international music events in print and online media only. The researcher gathered data from the Philippine Daily Inquirer, Summit Media and When In Manila, some of the top media outlets dedicated to print and online journalism. Broadcast media is not included in the scope of the study.

The study will cover only music events (concerts, musicals, album launches, promo tours, etc.) and not the music industry as a whole.

The researcher also looked at globalization and its relation to the behavior of

Filipinos and the media towards music events.

The research included data from January to December 2012, considered to be one of the busiest years in terms of music events in the Philippines and the rise of social media; but still included data from other time frames which are deemed to be necessary in the study. 33

CHAPTER V. RESULTS AND DISCUSSION

The Philippine Daily Inquirer yielded a total of 1,012 articles with music content from all its published broadsheets from January to December 2012. Five hundred seventy-nine of these articles are international while 433 involve local artists and events.

The results show the evident difference between the covered local and foreign music news.

The articles were also classified based on the section they are located in the daily broadsheet, as well as the amount of space allotted for each article. Below is a sample table that the researcher did to tally and compare the foreign and local music events covered by the Philippine Daily Inquirer (PDI):

Table 3. Tally of PDI's Foreign Music Articles for January 2012 (N=35)

Legends: S - Super Lifestyle, SS - Saturday Special, E - Entertainment, LS - Lifestyle, L - Learning, W - World, F - Front Page, N - News, M - Motoring, GP - Global Pinoy, Met - Metro, SB - Sunday Biz, B - Business, O - Opinion FOREIGN JANUARY Date Artist Section Size 1 Size 2 2 E <1/8

U2, , John Legend, Lana 3 E 4/8 del Rey, Van Halen Taylor Swift, , E 3/8

Korn Booked sold: A hectic concert calendar: LMFAO, AJ E 3/8 Rafael, James Ingram, Cyndi Lauper, The Ventures 34

4 E 1/8

Michael 7 SS 1/8 <1/8 Jackson Michelle Wiliams in My SS 2/8 Week With Marilyn Joe Jonas SS 2/8

Mamma Mia!, 8 LS 4/8 My Fair Lady Symphony of 9 LS 3/8 My Dreams 10 Mamma Mia! E 3/8 1/8 David 11 E <1/8 Archuleta Boys Like Girls, The Click Five, All Time Low, Secondhand Serenade, Simple Plan, The Summer 13 LS 3/8 Set, A Rocket to the Moon, The Ready Set, A+ Dropouts, Forever the Sickest Kids, The Cab, Cobra Starship The Ventures E 2/8 2/8

Ryan Across the 14 2/8 Villanueva Nation Katy Perry, Demi Lovato, 15 E 3/8 Lea Michele, Adame Levine , Michelle E <1/8 Williams, Marie J. Blige David 16 E 1/8 Archuleta AJ Rafael E 2/8 3/8

35

Frank Sinatra, Will Smith, Bette Miller, E 5/8 Justin Timberlake, Cher 21 Mamma Mia! F/N <1/8 2/8 American Idol SS <1/8

22 Mamma Mia! LS 3/8 6/8 Rafael el Cabeza, Dani de 23 Moron (Spanish LS 2/8

flamenco guitarist) Mamma Mia! E 4/8

Evancescence, 24 OMD, A1, Jeff E 2/8

Timmons, Blue David 25 E 3/8 Archuleta Second Front 26 Mamma Mia! 3/8 Page (F) 28 Katy Perry S 3/8 2/8 Katy Perry S 4/8

Katy Perry S 2/8

29 Katy Perry LS 2/8 1/8 James Ingram E 1/8

31 The Beatles E <1/8

sections size E = 18 45 SS = 4 6 S = 3 9 LS = 6 24 F = 2 3.5 N = 1 2 AcrosstheNation 2 = 1 TOTAL 35 91.5

36

Table 4. Tally of PDI's Local Music Articles for January 2012 (N=24)

LOCAL JANUARY Date Artist Section Size 1 Size 2 French cafe 2 LS 1/8 1/8 concert Booked Solid: Martin Nievera, Sharon Cuneta, Ogie Alcasid, Regine 3 Velasquez, E 1/8

Rachelle Ann Go, The CompanY, Basil Valdez, Rico J. Puno Gloc-9, SKarlet, Bituin E 3/8 Escalante, Jett Pangan 6 Dio Saraza LS <1/8

Ariel Rivera E 4/8

Barbie Almalbis- E 4/8

Honasan Cebu Arts 8 LS 4/8 Council, etc. Fides Cuyugan- E 6/8 1/8 Asensio Billy Crawford, 9 E <1/8 Nikki Gil 10 True Faith E 2/8

Ogie Alcasid, 13 Regine E 1/8

Velasquez 14 Basil Valdez SS 2/8

Session on 25th SS <1/8 Street You're A Good Man, Charlie 16 LS 2/8 Brown (Musical) 37

Kyla E <1/8

The 17 E 1/8 2/8 Bloomfields 21 SS <1/8

Rivalry Musical, Joseph Legaspi (Classical), The CompanY w/ Jon Santos, Red 24 E 6/8 Horse Muziklaban, AFP-PNP Singing Stars Battle of the Champions Jacqui Magno, Rico J. Puno, 28 SS <1/8 Vernie Varga, etc. Jacqui Magno, Lonie Reyes, Pat Castillo, 29 Ding Mercado, E 2/8 2/8 Eugene Villaluz, Ray an Fuentes UST Symphony 30 LS 6/8 Orchestra Dystocia Curve 31 E 1/8 <1/8 (Indie Band) Trina Bascon, E 2/8 Chris Cantada Memphis Fest: The Bleu E 2/8 Rascals, The Jerks, etc.

sections size E = 15 41.5 SS = 4 3.5 LS = 5 14.5 TOTAL 24 59.5

38

Based from the data collected, only two out of the 12 months had a greater share of media coverage on local events. March and December were the only months where news articles on local events were greater in number than the foreign ones. March 2012 had a total of 39 local articles and only 33 foreign articles. In terms of size, the local music events garnered a total of 99 counts on the space provided for while the foreign ones summed a total of 90.5. December 2012 had a total of 29 local music articles and 27 international ones, running short of only two articles. The space provided for had a great difference, though, with local music articles totaling to 108 while international music articles got only 62 counts.

While other months had minimal differences in the frequency of articles on local and international music events, with at least a 3-point difference on the month of

November – local having 36 and international having 39 articles – some months exhibited quite a huge difference in frequency. Other months had differences between the two music scenes at an average of 10-15 articles. Among the most notable months in terms of difference in frequency and size are the months of October, with 48 articles and

131.5 counts in space dedicated to foreign music news while having only 27 articles and

62 counts in space for local music news. June 2012 could also be noticed for the great gap, with 45 articles and 100 counts in space for international music events versus 29 local music articles with 77 counts in space. The largest gap, however, goes to the month of May with 85 articles dedicated to international music news while allotting only 37 music articles for the local scene. This month yielded a total of 214 counts on spacing for foreign music articles, the largest in the whole year of the research's coverage. The local music scene had a total of only 70 counts for the month of May. 39

The great difference in the frequency and space allocated for local and international music articles on the Philippine Daily Inquirer shows the imbalance in terms of coverage on music events in the said newspaper. With these results, the researcher relates the current situation of music events in the Philippines with subculturalism in Rojek’s Pop Music, Pop Culture (2011). Based on the data where foreign music events are covered more than Filipino music events, foreign music may be referred to as the dominant order. Foreign music is dominant in the Philippines because it is supported more by the media through their massive coverage of these events. Filipino music, specifically OPM, is the subculture that the Filipino musicians have made to emerge from the dominance of foreign music. The struggle of this subculture in the

Philippines continues as media fails to give enough and equal exposure to OPM.

The researcher consulted the Entertainment section editor of the Philippine Daily

Inquirer, Emmie Velarde, regarding her insights on the great gap on the coverage of local and foreign music events and she disagreed with the findings of the researcher. Velarde said:

Oh, I doubt that very much. Siguro may nakita ka lang one month na

heavy ang influx ng foreign acts but on a regular basis, take the whole

year, mas maraming OPM. Mas maraming OPM kaysa sa foreign stories

kami, oo. [Oh, I doubt that very much. Maybe you just saw a month where

there was a heavy influx of foreign acts but on a regular basis, take the

whole year, we have a greater coverage on OPM. We have more OPM

than foreign stories, yes.] 40

Velarde insisted that in her section, as editor, she ensures that there is balance and makes it a point to make room for OPM in the newspaper.

Asked how they weigh stories and its importance in being covered and included in the broadsheet, Velarde said:

I look at every story as a story. I don’t say, oh this is foreign, this is local

— a story. Marami namang foreign artists na hindi namin pinlay up.

Siguro dumating 'yung story, they’re not so big. Or dumating 'yung story,

maraming magagandang local news. At least dito sa'min, a story is a

story. They’re weighed as stories. Yes, I am proud to say that na wala

kaming biases. [I look at every story as a story. I don’t say, oh this is

foreign, this is local — a story. There are a lot of foreign artists that we

didn't play up. Maybe the story came but wasn't that big. Or it came at a

time when there are a lot of newsworthy local news. At least with us, a

story is a story. They’re weighed as stories. Yes, I am proud to say that we

don't have biases.]

Velarde reiterates that the Inquirer is very balanced when it comes to covering local and international news and they try to be balanced as much as possible. They try to be fair and weigh stories, covering as much as possible all newsworthy events. She cited covering a music workshop in Dumaguete, a music festival on February 27, and Ryan

Cayabyab mentoring new composers selected from all over the country, among others.

She also bragged about being the first to cover Zendee Tenerefe, known as “Random

Girl” singing on a karaoke. Velarde explained that they also cover international music 41

events depending on the weight of the event. She mentioned covering Psy, the Korean artist who popularized the YouTube hit “Gangnam Style,” visiting the Philippines:

Psy is an event. One billion hits. He’s in the Philippines. Performed with

Madonna, performing with Ai-ai. It’s news. As far as the section is

concerned, the music news gets weighed, kasi meron kaming weighing

system [we have a weighing system] along with the rest of the stories.

Velarde also mentioned , who has received a large bulk of coverage during her competition. She even had numerous front page features and articles under the news section. Velarde discussed that Jessica Sanchez was covered heavily because she was big news due to her being a Filipino. Leaning on the

Filipino side, she also mentioned that the Inquirer, during Jessica Sanchez’s concert, first tweeted on .com that Jessica Sanchez sang an OPM song.

Velarde said that she also supports OPM. In the entertainment section of Inquirer, a reporter is designated to cover Filipino music alone. Event organizers contact Inquirer regularly to update them on music events and invite them for coverage. At the same time, the OPM (Original Pilipino Music) beat reporter contacts the OPM (Organisasyon ng

Pilipinong Mang-aawit) to ask them regarding upcoming events as well. She even mentioned that a certain day is dedicated to OPM in the entertainment section of the newspaper:

‘Yung Tuesdays namin, as much as possible, OPM ‘yun, Kaya lang if

there’s not much going on, mahahalo siya sa ibang news. If there’s

enough stories, then that whole day, puro OPM ‘yan. [Tuesdays, as much

as possible, are dedicated to OPM. However, if there’s not much going on, 42

OPM will be mixed with the other news. If there’s enough stories, then,

that whole day would be dedicated to OPM.]

Velarde said that the newspaper was objective. However, the findings of the researcher are contrary to what the editor stated. It could be possible that Velarde only considered the coverage of what was under her, the entertainment section, neglecting other sections like the lifestyle section, which contained a huge amount of music articles as well. In another light, the editor supported Filipino music and tried to provide coverage of local music in the broadsheet as much as possible.

The music events covered by When In Manila sum up to a total of 154 articles published online by different contributors of the website. 85 of the 154 articles are foreign while only 69 are dedicated to local music news.

According to John Hudson Go, major contributor and writer of When In Manila, they receive invitations from event organizers which become their basis for events to cover, sending out the invitation to their more than a hundred writers and/or contributors, giving the coverage to whoever agrees to cover the event first.

In When In Manila, articles are written usually on a first-hand experience perspective, giving its readers a personal approach on the event covered. Writers of When

In Manila do not only write about their experiences going to the event but also lay down comments and critiques that would help readers appreciate or dislike the event.

Since media coverage of the local and international music scenes has a great gap on the said website, the researcher asked the writer’s insights on the massive influx of foreign artists in the country, overshadowing the local music scene. 43

According to Go, the number one factor for the success of international acts is the strong marketing of the promoters of international artists. He states that the problem of local events is that they do not want to market despite having a relatively large fan base.

Aside from the lack of marketing efforts of press relations officers of local artists, it has been instilled in most Filipinos that local artists are easier to reach, having regular shows in the country, compared to international artists who visit the country only once in a long period of time. On their end, Go said that they exerted extra effort in the coverage of international music events, especially if they happen once in a blue moon:

Ngayon in terms of, ‘yun nga, pagdating ‘dun sa willful na kami pa ‘yung

magsusulat to those people to invite us in, you wouldn’t give as much

effort to something that you would see every year as opposed to giving

effort to something that you might see just once in your lifetime. [Now, in

terms of being willful enough that we would be the ones to send to those

people to invite us in, you wouldn’t give as much effort to something that

you would see every year as opposed to giving effort to something that you

might see just once in your lifetime.]

An example of a regular local music event would be “Foursome,” a concert staged by local artists Martin Nievera, Pops Fernandez, Ogie Alcasid and Regine Velasquez.

The show was first seen on Valentine’s Day of 2012 and staged its repeat about just more than a year later on March 16, 2013.

Go pointed out that the size of the event is something to be considered when covering music events. Local artists who stage their shows in smaller venues have a limited capacity of inviting the media since they have limited space to offer as well. He 44

compares international artists staging their tour shows – an all-out production with an average of 20 songs, at the Smart-Araneta Coliseum or the Mall of Asia Arena – to local shows and gigs with a limited number of performances at smaller venues like the Music

Museum, which cannot accommodate as much media.

With the lack in effort of local concert promoters in making the Filipino music events successful through promotional and marketing strategies, local music has less support than foreign music. As mentioned in earlier chapters, dominant culture “occupy a position of advantage and privilege over other social and cultural strata” and this is happening through the strong marketing and promotion of international music events, making local music less patronized by Filipino music fans.

The survey the researcher conducted gathered a total of 162 responses from random respondents, consisting of 81 males and 81 females. Most respondents come from cities while a few reside in nearby provinces like Bulacan, Laguna and Rizal. Since most of the music events are staged in Manila, the data shows that most respondents have access to these events.

Of the 162 respondents, 91 or 56% have seen both local and foreign music events.

52 or 32% of them have experienced solely local events and 19 or 12% have gone to foreign music acts exclusively. This shows the diversity of the survey’s respondents in terms of exposure to local and international music events.

45

Chart 1. Type of Music Event Attended by Survey Respondents

To make sure that most of the respondents have read music articles from the media sources covered by the study, the researcher included this in the survey. 83 or 36% of the respondents said that they have read music articles from Summit Media publications. 70 or 31% said that they have seen music articles from the Philippine Daily

Inquirer while 26 or 11% answered When In Manila. Only 49 or 21% said that they do not patronize any of the three news sources. Most of the 49 respondents mentioned social networking sites such as Facebook and Twitter for knowing the latest music events while some others said music channels, other websites, and even word of mouth or friends.

Take note that in this part of the survey, respondents may choose more than one option.

Chart 2. Media Source Patronized by Survey Respondents

46

To know if these articles are significant to a person’s choice in attending music events, the researcher asked if the articles are being considered. 105 or 65% of the respondents said that they consider the articles that they have read on which events to attend to while only 57 or 35% of the respondents remain unaffected by these articles.

Chart 3. Consideration of Survey Respondents of Music Articles in Decision-making

To further gauge how much these articles have made its readers aware of music events, the researcher asked the respondents to rate their awareness of events through these media sources on a scale of 1 to 5, 1 being the lowest and 5 being the highest awareness provided.

Based from the responses, these media sources have made its readers more aware of foreign music events in the year 2012.

For international music events, a total of 47 or 29 % of the respondents said that the media sources given “made me really aware of the events” at a maximum scale

(rating of 5). The top gainer was “4” with 57 hits or 35% of the total respondents. 30 voted in the middle (rating of 3) while only 12 or 7% of the 162 voted “2” and 16 or 10% said that they have “never seen any at all” from these media sources when it comes to 47

foreign music articles. The graph below illustrates the ratings given by the respondents based on the awareness of foreign music events through these media sources.

Chart 4. Awareness of Respondents on Foreign Music Events Based on Media Sources

For local music events, only 16 or 10% of the total respondents said that these media sources made them totally aware of these local events (rating of 5). A total of 40 or

25% of the respondents voted for “4.” Most of the respondents voted a rating of 3, accounting for 38% or 62 out of the total 162. 30 or 19% voted for “2” while 14 or 9% of the respondents voted for the least rating for awareness given for local music events.

The graph below illustrates the ratings given by the respondents based on the awareness of local music events through these media sources.

Chart 5. Awareness of Respondents on Local Music Events Based on Media Sources 48

To have a concrete grasp of the perception of the respondents on the effect of these music articles to Filipinos’ choice of events to patronize, the researcher asked, “Do you think that these music articles in various forms of media influence the decisions of

Filipinos on which music-related events to attend?”

The results show that most respondents think that these sources of information really affect the decision-making of Filipinos when it comes to patronizing music events.

131 of the total 162 respondents or 81% agreed while only 31 or 19% contested that these articles influence the attendance on these events.

Chart 6. Influence of Music Articles on Filipinos on Music Events to Attend

Most of the respondents who answered “No” to the previous question believed that music articles are just to provide information, and not necessarily influence the way people decide on which music acts to patronize. One pointed out that advertisements influence music consumers more than the articles. Some also said that personal preference when it comes to taste in music is the major decision-making point.

“The decision of what music-related events to attend is not base[d] on the article; it’s still based on the music itself and to the person's taste in music,” said one respondent.

According to Patrick Javier: 49

Nasa taste mo pa din iyan kung anong kanta ang papakinggan mo. Siguro

dagdag puntos na lang ang social media sa kung anong genre ng music

ang papakinggan natin. May sarili tayong desisyon. Kahit anong

impluwensya sa atin, kung hindi nating gusto, hindi natin gugustuhin. [It

still depends on your taste on what songs to listen to. Social media may

have some influence on what genre of music to listen to. But we still have

our own decision. No matter what kind of influence is served upon us, if

we don’t like it, we wouldn’t like it.]

“They generate event awareness for the most part, but they don't really persuade people to attend the event,” said another respondent.

Some of these respondents who answered “No” explained that no matter how the events are promoted or are written by these media sources, it does not affect audiences since they attend events if they like the music or the artist who will stage the act. Also, not all people are exposed to these media sources and still a lot of them attend music events. They have other sources of information that would make them aware of the events that are according to their preferences. They believe that even without the publication of these articles on media, people will still patronize the music they support.

On the other hand, many others believe that articles from various forms of media promote these music events effectively, which in turn hypes the interest of concert goers and music enthusiasts thus, making them attend and patronize these music acts.

Nesii Genilza emphasizes the vital role that media plays in communicating effectively with its audiences and influencing them and their decisions. She said: 50

They use the power of persuasion, where they use "enchanting"

words to describe musical acts, list their accomplishments and

significance why people should go out and check them out. Like for

example, the heightened media attention given to the 2012 movie

version of the musical 'Les Miserables'. Generally, media

described it as such a phenomenon and gave it good reviews, that

is why people went to see the movie. And also as a Communication

student, I believe that media platforms have the power to make or

break or to predict the success of a certain musical act.

One respondent said that the credibility of the media source makes the music event of prominent importance. The respondent said:

Well-written articles on an upcoming musical event provide context about

it and more information about the artist. The appearance of such an

article in a reputable publication gives the event more exposure and

makes it appear important (in the sense that it matters enough for the

mag/paper to devote space to it). Such an impression can encourage

readers to attend a certain event or patronize the artist.

Another respondent believes that despite the final decision still lying on the consumer’s preference, music news still promote the events and target the prospective audiences:

The promotions/reviews/accounts kind of persuade the audience through

the sharing of opinions and insights. They basically provide reasons why

people should not dare miss the event. Also, the types of medium involved 51

cater to the same people who would likely be attending these concerts. The

final decision of the viewer though still depends largely on his or her taste

in music. Nevertheless, online and print media are good channels to

endorse and encourage attendance.

One respondent even expressed perceiving articles both ways, positive and negative influence, saying, “Of course, it gives them a hint or even persuade the audience. Sometimes, when the author does not want the singer or performer, he or she discourages the readers to attend the music-related event.” The way the article is written also matters, according to a number of respondents.

Some respondents focused on the Filipinos themselves and their culture and behavior as individuals and as consumers. “Filipinos can be easily persuaded by famous people and sweet words,” said one respondent. She said:

Filipinos really love music. The way people advertise these events made

people, like me, connected. They reach out to every individual using the

most famous single of the artists. Also, they give out promos and conduct

contests that encourage us more to attend the said events.

Another respondent believes that recommendations influence a person on their decisions. “A person's nature of trying something based from another person's experience or recommendation largely plays a part,” she said.

Beata Carolino said that “these articles are the avenue for people to view the music-related events which may shape the way they view music.” Music articles do not only persuade Filipinos in going to the events but also influences them in their perception 52

of music. This, in turn, goes back to music fans patronizing events based on how they view music and what their preferences are.

Patrick Espiritu pointed out the colonial mentality of Filipinos affect the way people choose which music events to patronize. People who have colonial mentality tend to accept the culture or what the colonizer offers in thought that these colonizers are more superior to them.

Another respondent said that it’s just a bandwagon effect. The bandwagon effect simply explains how an individual is persuaded to follow what others around him/her have done. The more people who conform to the trend, the higher possibility for an individual to do the same.

Filipinos like to be in the scene. That's why I think that those who read

these music-related articles get that excitement and willingness to attend

such events. They may have this lingering urge to actually go and attend

such events, they just need a little extra in order to actually make a

decision.

Jayvee Fulgencio said that the success of an event can sometimes rely on the way it is publicized through these articles. “It's not only a form of information dissemination, but also a form of marketing. Package the events right, and people will surely be enticed to go. Even the best events can become a failure because of bad publicity,” he said.

Others think that these write-ups on music-related events are actually advertisements. “How media package a musical event is crucial because it serves as an advertisement. If they write it in a way that is enticing, then it will be able to get people to attend to these events,” Alfred Panes said. 53

One respondent highlights the significance of the bulk of articles published on these media sources as an important consideration of music audiences in selecting which music events to patronize, affecting the way they behave and decide. She said:

To a certain extent, yes. Dahil mas maraming nakikitang articles on

foreign music-related events across different media platforms, Filipinos

become more aware of these over local music-related events. Posible

kasing isipin nila na wala naman silang ibang option kasi nga yun lang

yung mga nakikita nila. Then again, there are still other factors to

consider such as ticket prices, location of the event, or whether die-hard

fans sila ng isang artist or group. [To a certain extent, yes. Because the

readers see more articles on foreign music-related events across different

media platforms, Filipinos become more aware of those over local music-

related events. There is a possibility that these readers would think that

there are no other options [aside from these foreign events] since they are

the only ones they see. Then again, there are still other factors to consider

such as ticket prices, location of the event, or whether die-hard fans sila

ng isang artist or group.]

For most respondents who agreed to music articles influencing its readers in patronizing musical acts, they believe that the awareness of the event that the article provides is sufficient to persuade Filipinos to attend these events. These articles published on various media sources reinforce the willingness of the audiences and this results to a higher rate of attendance of these music events. These articles also inform potential audiences on the essential details of the event like the artist’s background, date, 54

venue and ticket prices, not to mention bonuses like promos or contests that could let them score invites to the event which really attract most music fans and is a current trend.

The “globalization” of music events have affected the decision-making of Filipino music event-goers, considering foreign music’s dominance and its perceived better quality in terms of production and the artist’s value. The way people view Western music has been elevated to its global dominance and the subculture that OPM offers is defeated with the perception of Filipinos and their decision in patronizing foreign music events over local ones. The way people viewed the dominance of foreign culture over local culture could be attributed to how media presents music events and how much emphasis they provide foreign music events. The preferences of Filipinos, based on the survey responses, show the supremacy of foreign music events through the influence of media and other factors that they consider in patronizing these events. 55

CHAPTER VI. SUMMARY AND CONCLUSION

A. Summary

As seen in the previous chapter, the media sources covered by the study, namely

Philippine Daily Inquirer, When In Manila and Summit Media, exhibited a more favorable promotional coverage of foreign music events compared to local ones, based on the standards of frequency, space provided and section where article is located.

As discussed, a significantly greater percentage of the broadsheet Inquirer promoted foreign music events, based on the frequency and dimensions of the articles published by the local newspaper. Aside from this, almost all music events that made it to the “News” section are international ones, giving them more exposure and importance.

The imbalance in promotional coverage, however, cannot be attributed to media alone as there are many other factors that affect media coverage, as mentioned earlier in the study.

The success of music events is not solely credited to the way media publicizes these events. However, with the discussion presented in this study, it was shown that media truly plays a vital role in the promotion of a music act.

Based on the survey conducted, most of the respondents believe that media really does affect the way its audiences think, decide and behave. The various responses to the most significant question in the survey regarding the influence of media to music consumers have shown how much promotion contributes to the success of music events.

Journalists should not only consider the commercial aspect of the news but also the duty of providing information on as much as possible all significant events happening in the media scene. The findings of this study indicate that there is a notable difference in 56 the promotional coverage of local and foreign music events. To help attain the goal of providing fair and balanced promotion, the media should provide equal exposure to both international and local music to influence audiences to patronize both music scenes.

The domination of Western music, has affected the way Filipinos think and behave. The culture of Filipinos has been incorporated with ways of the West. Due to

“globalization,” people have been consuming products which they think are the best according to world standards. With this, music as well is viewed and consumed the same way Filipino consumers perceive other products.

The way media presents these music events – its frequency and emphasis on the various media platforms – is a great factor in contributing to the globalized culture of the

Filipino people. Aside from the media included in the study, international music has already captivated the Filipino consumers through wide-scale promotions and all other avenues in almost all corners of the country.

B. Conclusion

The imbalance in the promotional coverage of the selected media sources on music events are seen through the data presented in the previous chapters. Despite the media outlets’ efforts to cover both international and local scenes equally, the data presented clearly showed the advantage of foreign acts over the local ones due to the publicity that these articles provide them. The resource persons from these media outlets have expressed that as much as possible, they tried to support both music scenes and share with their audiences the latest in international and local music; however, there are still a lot of factors to consider, including marketing, press relations, and event size and 57 venue, to mention a few, which produce the visible difference between the promotional coverage of international and local music events in media.

58

CHAPTER VII. IMPLICATIONS AND RECOMMENDATIONS

A. Theoretical Issues

The findings of the researcher showed how the theory on subculturalism showed the dominance of foreign music events over local music events. Media plays a vital role in the promotion of music events and in shaping the view of Filipinos towards local and international music.

The researcher was able to effectively utilize the theory of subculturalism in OPM and the dominance of foreign music, and how “globalization” affects the music scene.

For further studies regarding music events in the Philippines and how media affects

Filipinos’ preference in music, the Cultivation/Culmination Theory could be used. Future researchers could explore on the desensitization of Filipino music consumers on the dominance of foreign music over local music in due time.

Potential researchers may also consider the Uses and Gratification Theory to see how consumers choose music to patronize through their free will of selecting which media they would utilize and determine how they would intend media to influence them.

This would offer a different approach on the issue as Filipino music consumers are viewed as media users who do not fully recognize media’s influence and power on them.

B. Methodological Issues

The researcher was not able to extensively research on the topic due to time constraints and limited resources.

In future studies regarding the topic, it is recommended that the time frame covered by the study be broadened to further compare data. It is also recommended that 59 more media sources be included in the scope of the study to comprehensively analyze the situation of media and music in the Philippines. If resources permit, it is highly recommended that artists from both local and foreign music scenes be interviewed regarding the issues touched by the study. This will help the researcher gain input from a more diverse resource base in the field of music. Representatives from music organizations pushing for the promotion of OPM can also be interviewed to air their sentiments regarding the matter.

Aside from print and online media, future researchers could also tap the field of broadcast journalism if a wider scope of study will be conducted.

The relationship of journalism and music has very limited research available so there is room for further studies in the future. These can open opportunities for the improvement of media coverage on music in the Philippines.

C. Practical Issues

For future researchers, it is highly recommended that they know how music events are planned and staged. It will be helpful if the researcher is knowledgeable about local and foreign music and its different aspects. It is also recommended that the researcher discovers how media relations are towards music events. If the researcher is passionate about the study, he/she should have also experienced music events to relate to the consumers of music and media. For future studies, a researcher with connections on both the media and the music industry (promotions, events) can effectively work on a good output. 60

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APPENDIX A

Tally of Music Articles from the Philippine Daily Inquirer (January – December 2012)

Legends: S - Super Lifestyle, SS - Saturday Special, E - Entertainment, LS - Lifestyle, L - Learning, W - World, F - Front Page, N - News, M - Motoring, GP - Global Pinoy, Met - Metro, SB - Sunday Biz, B - Business, O - Opinion FOREIGN JANUARY Date Artist Section Size 1 Size 2 2 Lady Gaga E <1/8

U2, Adele, John Legend, Lana 3 E 4/8 del Rey, Van Halen

Taylor Swift, Bruno Mars, E 3/8 Korn Booked sold: A hectic concert calendar: LMFAO, AJ E 3/8 Rafael, James Ingram, Cyndi Lauper, The Ventures 4 Elton John E 1/8 Michael 7 SS 1/8 <1/8 Jackson Michelle Wiliams in My SS 2/8 Week With Marilyn Joe Jonas SS 2/8 Mamma Mia!, 8 LS 4/8 My Fair Lady Symphony of 9 LS 3/8 My Dreams 10 Mamma Mia! E 3/8 1/8 65

David 11 E <1/8 Archuleta Boys Like Girls, The Click Five, All Time Low, Secondhand Serenade, Simple Plan, The Summer 13 LS 3/8 Set, A Rocket to the Moon, The Ready Set, A+ Dropouts, Forever the Sickest Kids, The Cab, Cobra Starship

The Ventures E 2/8 2/8

Ryan Across the 14 2/8 Villanueva Nation Katy Perry, Demi Lovato, 15 E 3/8 Lea Michele, Adame Levine Madonna, Michelle E <1/8 Williams, Marie J. Blige

David 16 E 1/8 Archuleta

AJ Rafael E 2/8 3/8 66

Frank Sinatra, Will Smith, Bette Miller, E 5/8 Justin Timberlake, Cher 21 Mamma Mia! F/N <1/8 2/8

American Idol SS <1/8

22 Mamma Mia! LS 3/8 6/8 Rafael el Cabeza, Dani de 23 Moron (Spanish LS 2/8 flamenco guitarist) Mamma Mia! E 4/8 Evancescence, 24 OMD, A1, Jeff E 2/8 Timmons, Blue David 25 E 3/8 Archuleta Second Front 26 Mamma Mia! 3/8 Page (F) 28 Katy Perry S 3/8 2/8 Katy Perry S 4/8 Katy Perry S 2/8 29 Katy Perry LS 2/8 1/8 James Ingram E 1/8 31 The Beatles E <1/8

sections size E = 18 45 SS = 4 6 S = 3 9 LS = 6 24 F = 2 3.5 N = 1 2 AcrosstheNation 2 = 1 35 91.5

67

LOCAL JANUARY Date Artist Section Size 1 Size 2 French cafe 2 LS 1/8 1/8 concert Booked Solid: Martin Nievera, Sharon Cuneta, Ogie Alcasid, Regine 3 Velasquez, E 1/8 , The CompanY, Basil Valdez, Rico J. Puno Gloc-9, SKarlet, Bituin E 3/8 Escalante, Jett Pangan

6 Dio Saraza LS <1/8

Ariel Rivera E 4/8 - E 4/8 Honasan Cebu Arts 8 LS 4/8 Council, etc. Fides Cuyugan- E 6/8 1/8 Asensio Billy Crawford, 9 E <1/8 Nikki Gil 10 True Faith E 2/8 Ogie Alcasid, 13 Regine E 1/8 Velasquez 14 Basil Valdez SS 2/8 68

Session on 25th SS <1/8 Street

You're A Good Man, Charlie 16 LS 2/8 Brown (Musical) E <1/8

The 17 E 1/8 2/8 Bloomfields

21 Ryan Cayabyab SS <1/8

Rivalry Musical, Joseph Legaspi (Classical), The CompanY w/ Jon Santos, Red 24 E 6/8 Horse Muziklaban, AFP-PNP Singing Stars Battle of the Champions Jacqui Magno, Rico J. Puno, 28 SS <1/8 Vernie Varga, etc. Jacqui Magno, Lonie Reyes, Pat Castillo, 29 Ding Mercado, E 2/8 2/8 Eugene Villaluz, Ray an Fuentes 69

UST Symphony 30 LS 6/8 Orchestra Dystocia Curve 31 E 1/8 <1/8 (Indie Band) Trina Bascon, E 2/8 Chris Cantada Memphis Fest: The Bleu E 2/8 Rascals, The Jerks, etc.

sections size

E = 15 41.5 SS = 4 3.5 LS = 5 14.5

24 59.5

FOREIGN FEBRUARY Date Artist Section Size 1 Size 2 Lady Gaga, 3 LS <1/8 Justin Bieber Mamma Mia!, E 2/8 Abba Adele E <1/8 Javier Colon 4 S 4/8 (The Voice) Death Cab For S 4/8 Cutie 5 Mamma Mia! LS 2/8 <1/8 La Traviata: 6 Taziana LS 2/8 Fabriccini, etc. Madonna E <1/8 Smash E <1/8

Engelbert 7 E 2/8 1/8 Humperdinck

8 Madonna E 1/8 70

Engelbert 9 E 2/8 1/8 Humperdinck

MIA, Madonna E <1/8 (Super Bowl) 11 Hanson S 2/8 1/8 One Direction, The Fray, Gavin DeGraw, Lana del Rey, The Black Keys, Katy Perry, Piss Copperman, S 3/8 Adele, Jason Mraz, Snow Patrol, David Guetta, Usher, Calvin Harris, Rihanna, The Cab Glee: Naya Rivera,, Chris Colfer, Lea Michele, S 1/8 American Idol: Steven Tyler, Jennifer Lopez, Evanescence SS 1/8

Japanese Jazz LS 3/8 Concert

Madonna, Demi SS 2/8 Lovato 71

David Archuleta, E 1/8 Smitten

Avril Lavigne, American Idol, Blue, Jeff 12 E 2/8 Timmons, A1, Taylor Dayne, Edwin McCain

James Ingram E <1/8

Paul McCartney E 2/8 Grammys: Rihanna, Adele, Foo Fighters, E 5/8 Coldplay, Katy Perry, Chris Brown Madonna E 3/8 American Idol: Katharine E 2/8 McPhee,

Whitney 13 F/N 1/8 3/8

Whitney F/N <1/8 2/8 Houston

MIA, Madonna E 1/8 Kelly Price E 2/8 72

David E 2/8 Archuleta Grammys: Lady Gaga, Skrillex, E 3/8 etc.

14 Adele F/N <1/8 2/8

Whitney F/N <1/8 2/8 Houston

ABBA E 2/8 1/8

Blue, A1 Jeff E 4/8 Timmons

Whitney 15 Houston, David E 2/8 Archuleta

Whitney E <1/8 1/8 Houston

Sasha Gradiva, Carrie Underwood, E 5/8 Nicki Minaj, Fergie, Katy Perry Whitney 16 W 1/8 Houston Grammys E <1/8 Whitney E <1/8 73

Houston Whitney 17 W 1/8 Houston Madonna LS 3/8 James Ingram E 2/8 Live 5, Forever the Sickest E 3/8 Kids, A+ Dropouts Whitney 18 SS 2/8 <1/8 Houston Whitney S 2/8 Houston Whitney 19 N 3/8 Houston Evanescence, Taylor Dayne, E 2/8 Edwin McCain An Alton, Christine 20 LS 2/8 Coyiuto, Michael Emery Mamma Mia!, Annie Brazil, Engelbert 21 E 3/8 Humperdinck, Avril Lavigne, James Ingram Foo Fighters, E 1/8 1/8 Dave Guhl Kevyn Lettau, E 3/8 Dave Eggar 23 Apl.de.Ap E 2/8 2/8 Acoustic Alchemy, A1, E 1/8 Blue, Jeff Timmons Lady Gaga, Cher, Mery J. 24 Blige, Pat LS <1/8 Benatar, Mariah Carey Whitney E <1/8 Houston David 25 S 3/8 1/8 Archuleta 74

Laneway Music S 3/8 Festival Adele SS 3/8 Korean soprano 27 LS 1/8 Yun-Kyoung Yi Michael Young LS 2/8

sections size E = 35 71.5 SS = 4 8.5 S = 8 24 LS = 9 16.5 F = 4 2.5 N = 5 12 W = 2 2

67 137

LOCAL FEBRUARY Date Artist Section Size 1 Size 2 2 APO E 1/8

Sarah Geronimo E 1/8 <1/8 Sharon Cuneta, 3 E 2/8 Martin Nievera 5 Nove Deypalan GP 2/8 The Yuzon Brothers E 2/8 4/8 (Yanny & Yael) The CompanY E 2/8 3/8 La Traviata: 6 Rachelle LS 2/8 Gerodias, etc. Angel Peña LS 1/8 Pijazzfest E 1/8 of the Bayanihan 7 National Folk LS <1/8 Dance Company Sponge Cola E 2/8 1/8 75

Loving in the 70s, , Gong and Bamboo Music Festival, E <1/8 1/8 Rico J. Puno, Sharon Cuneta, Martin Nievera, etc. Battle of the 8 E 3/8 Champions Rachelle Ann 10 E 1/8 2/8 Go, etc.

11 Somedaydream S <1/8

Basil Valdez SS <1/8

Katy dela Cruz SS 1/8 Aiza Seguerra, Jon Santos, Bo Cerrudo, Rachelle SS 1/8 Gerodias & The Filipino Tenors, Pinky Marquez, Jacqui Magno Martin Nievera SS 1/8 76

Smitten by Love, Sharon Cuneta, Regine Velasquez & Ogie Alcasid, Engelbert SS 5/8 Humperdinck, The Sound of Music: Joanna Ampil, Mamma Mia!

Dave Eggar, SS 2/8 Smitten

Basil Valdez, Rachelle Anne Go, The SS 4/8 CompanY, Smitten Nikki Gil & 12 E <1/8 Billy Crawford

Lea Salonga E 2/8

Philippine Chamber E 5/8 2/8 Singers 13 LS 5/8 Festival Janine Santos, Raymond Roldan (UP Singing LS 1/8 Sweethearts), The Executive Band 77

Nyoy Volante, Juris, RJ and Tiongco Brothers, Nikki E 1/8 1/8 Gil and Billy Crawford, Isay Alvarez, Robert Seña 14 Muziklaban E 4/8 , E 3/8 Gloc-9 16 X Factor Ph E 1/8 17 Lea Salonga E 3/8 Helen Bartolome, Noel Cabangon, Willie Nepomuceno, Cookie Chua, 19 Bayang Barrios, E 2/8 Jinky Oda and Renz Verano, Christian & , Rex Smith, Sound of Music Rachelle Ann Go, The E 2/8 CompanY, Basil Valdez Opera House, 20 LS 3/8 Sound of Music Cellist Wilfredo Pasamba, Opera House, Sound of Music, LS 3/8 Vionilist Gina Medina, Pianist Mary Anne Espino A musical tribute to 16 L 4/8 martyrs 78

Lea Salonga, Ogie Alcasid, Regine Velasquez, Rico 21 E 2/8 J. Puno, Emey Corteza, Pat Castillo, Ferdie Topacio

Brass Munkeys E 1/8

22 Basil Valdez E <1/8 Lea Salonga, E 4/8 etc. 25 Sarah Geronimo SS 1/8 27 La Traviata LS <1/8 2/8

sections size

E = 24 61

SS = 8 15.5 S = 1 0.5 LS = 8 18

L = 1 4

GP = 1 2

43 101

FOREIGN MARCH Date Artist Section Size 1 Size 2 Cobra Starship, Dashboard Confessional, The Cab, The 2 E 2/8 Used, Morrissey, Orchestral Maneuvres in 79

the Dark (OMD)

3 Cranberries S 1/8 OMD SS <1/8 4 Jessica Sanchez E 2/8 Katharine E 2/8 McPhee An Alton, Michael Emery, 5 LS <1/8 Christine Coyiuto 6 OMD E 3/8 Charlie Green E <1/8 Kinna Grannis, Smash Project, Dashboard Confessional, E 1/8 Cobra Starship, The Cab, The Used 8 Lady Gaga E 1/8 10 Smash Project S 4/8 Cyndi Lauper S 2/8 11 Jessica Sanchez E 2/8 La Traviata, 12 Kun-Kyoung- LS <1/8 4/8 Yi 13 Kina Grannis E <1/8 David 14 E 1/8 Archuleta

Whitney E 4/8 Houston

Malasimbo Arts 17 and Music S 2/8 1/8 Festival 80

DJ Trouble S 4/8 Trevor Andrew Smash S 3/8

Smash S 4/8

Michael Jackson, Frank 18 E 3/8 Sinatra, Lady Gaga, etc. 19 Lady Gaga E <1/8 David 21 E 2/8 Archuleta Olivia-Newton- E 2/8 John 24 Blake S 4/8 1/8 Brian McKnight S 4/8

25 E <1/8

Barney, Hanson E 1/8

Platters, Taking Back Sunday, 26 Phantom of the E 2/8 Opera, The King and I The Cranberries E 2/8 Ricky Martin, E 2/8 Glee Terrence Manu, Stephanie J. Block, Peter 29 Lockyen, Marie E 2/8 <1/8 Zamora, Brian Stokes Mitchell, etc. Lindsay Lohan, 30 E 2/8 Glee Susan Boyle E 3/8 81

Super, Avenged Sevenfold, The Cranberries, LMFAO, Taking Back Sunday, Israel Houghtonw with New Breed and the Plantshakers, 31 S 4/8 2/8 Greyson Chance, Ed Kowalczyk and Vertical Horizon, Secondhand Serenade, Lady Gaga, Lifehouse, Morrissey The Cranberries S 2/8 90s: Christina Aguilera, Spice Girls, Moffatts, Alanis S 5/8 Morissette, Celine Dion, Ricky Martin, etc.

LMFAO SS <1/8

David SS 2/8 Archuleta

sections size

E = 22 39.5 SS = 3 3

S = 6 43

82

LS = 2 5

33 90.5

LOCAL MARCH Date Artist Section Size 1 Size 2

1 Charice E <1/8

Jose and Wally E 2/8 Show 2 Charice E <1/8 Carina Afable E 8/8 3 Outerhope S 3/8

Basil Valdez SS 3/8

Metro Manila 5 Concert LS 4/8 Orchestra UST LS 1/8 1/8 Conservatory

Jose and Wally E 2/8

6 Basil Valdez E 1/8 Kine Kalibre, E 1/8 Slapshock 8 Jett Pangan E 2/8 Flippin' Soul 10 S 4/8 Stompers Akafellas, Live SS <1/8 AIDS 11 Arnel Pineda E 5/8 83

Cecile Licad, 12 Lea Salonga, LS <1/8 4/8 Lisa Macuja Rogelio "Jun" Peñaverde, LS 2/8 Repertory Philippines Jekyll and Hyde LS 2/8 1/8 Mandaluyong L 2/8 Children's Choir 14 Basil Valdez E 4/8 Cecile Licad, 15 Lea Salonga, E 1/8 1/8 Lisa Macuja

Ogie Alcasid E 2/8

Karl Roy 17 S 1/8 5/8 Concert Karl Roy, S 1/8/2013 Razorback Artiste Connect S 4/8 Charice SS 1/8 Karl Roy, 18 E 5/8 Razorback Quartetto Expressivo, UST Symphony 19 Orchestra, E 2/8/2013 Philippine Madrigal Singers Ryan Cayabyab, The 20 CompanY, E 2/8 2/8 Basil Valdez, etc. Charrito, Charice, E 1/8 1/8 , etc. Awards E 1/8 Bodjie Dasig E 2/8 84

Ogie Acasid, 21 E <1/8 2/8 Jett Pangan, etc.

22 Jekyll and Hyde E 1/8 1/8 24 Martin Nievera SS 2/8/2013

Sarah Geronimo SS 2/8

25 Charice E <1/8 "Mad For Music" Basil Valdez, Pops E <1/8 Fernandez, Billy Crawford, Nikki Gil, etc. Lea Salonga, 26 Lisa Macuja, LS 2/8 4/8 Cecile Licad The Kolisko Waldorf School LS 1/8 Ensemble Mad For Music, Spirit of 67, E 2/8 Draybers Cesar Montano, Noli Aurillo, E 5/8 etc. The Perfect Jam, Music E 6/8 Hearts Trio 85

27 Ogie Alcasid E 1/8 1/8 Kid Punk Band, Cathy Go, E 1/8 1/8 Robin Nievera, Tria Bascon Pagcor - OPM 28 E 2/8 @ Pagcor 2

sections size E = 28 70.5 SS = 5 8.5 S = 5 18 L = 1 2

39 99

FOREIGN APRIL Date Artist Section Size 1 Size 2 American Idol: Jessica Sanchez, Mariah Carey, Steven Tyler, 1 Samuel E 3/8 Jackson, Katharine McPhee, Adam Lambert, Jennifer Hudson American Idol: E 1/8 Heejun Han Myanmar pop- rockers: Phyu Phyu Kyaw E 4/8 Thein, Me N Ma Girls, etc. 2 Taylor Swift E 2/8 3/8 Lady Gaga E <1/8 The Voice: Christina Aguilera, Blake E <1/8 Shelton, Cee Lo Green, Adam 86

Levine Paul 3 McCartney, E 2/8 <1/8 David Garnett Bob Lappin and the Palm Beach 5 E 1/8 Pops Orchestra, Davd Burnham Olivia Newton- 8 E 2/8 1/8 John 9 Sofya Gulyak LS 2/8 The Phantom of LS 2/8 the Opera Greyson Chance, E 2/8 LMFAO Sergio Mendes, The Cranberries, LMFAO, The 10 Stylistics, E 1/8 Taking Back Sunday, Avenged Sevenfold Pearl Jam + All Original Artists: "The Hottest Hits...Ever!" E 1/8 LMFAO, , One Republic, etc. 13 Cranberries E 3/8 American Idol: Jessica Sanchez, Mariah Carey, 14 F/N 1/8 2/8 Steven Tyler, Samuel Jackson, Ryan Seacrest Jessica Sanchez N 1/8 The Voice: N 1/8 Cheesa Laureta Zac Efron S 4/8 4/8 Hanson S 3/8 87

Hanson S 1/8 Bon Iver, Rihanna, S 2/8 Beyonce, etc. Madonna SS 2/8 Jessica Sanchez SS 1/8 <1/8 Lady Gaga, 15 SB 2/8 4/8 NKOTBSB Avenged Sevenfold, E 1/8 Taylor Dayne & Edwin Mccain 17 Rihanna E <1/8

Ed Sheeran E <1/8

Greyson 19 E 2/8 1/8 Chance

Daniel , E 1/8 2/8 etc.

Camryn & Greyson Chance, Ed Kowalczyk & 20 Vertical E 2/8 Horizon, Avenged Sevenfold, Lifehouse Taking Back 21 S 3/8 Sunday

Jessica Sanchez SS 2/8

22 Katy Perry B 2/8 Greyson Chance, Sergio Mendes and Brasil, Avenged E 1/8 1/8 Sevenfold, Vertical Horizon and Ed 88

Kowalczyk

Greyson 24 N 3/8 Chance

Lady Gaga E 2/8

Thia Megia E <1/8 Robin Gibb E <1/8

Levon Helm E 1/8

25 Craig David LS <1/8

Barney Space LS 2/8 Adventure Sergio Mendes 26 F/N <1/8 2/8 and Brasil Mamma Mia E 2/8 Jessica 28 Sanchez, Elise F/N 1/8 1/8 Teston SHINee S 3/8 One Direction, SS 3/8 The Wanted Jason Mraz SS 1/8 29 Adele E 1/8 Barney E 1/8

sections size E = 27 47.5 SS = 5 9.5 S = 6 20 LS = 4 6.5 F = 3 2.5 N = 6 10 SB = 1 6 B = 1 2 89

53 104

LOCAL APRIL Date Artist Section Size 1 Size 2 ABS-CBN 5 Philharmonic E 1/8 Orchestra Charice, Anna Maria de Tagle, Charmaine Clamor, 8 E 2/8 2/8 Filipino- American Symphony Orchestra 9 Cecile Licad LS 2/8 3/8 Philippine Philharmonic LS 1/8 Orchestra Care Divas LS 3/8 Forbidden LS 2/8 Broadway Forbidden LS 2/8 Broadway The Dream L <1/8 Musicale Jett Pangan, Ogie Alcasid, Jaya, Camyl Besinga, DJ 10 Dondi Virrey of E 2/8 3/8 Techy Romantics, Rannie Raymundo Tanya Markova E 1/8 <1/8 Kuh Ledesma, E 4/8 <1/8 Aiza Seguerra Christian 11 E 2/8 Bautista, etc. OPM @ E 2/8 PAGCOR 2 12 Lea Salonga E 2/8 <1/8 90

Eat Bulaga 13 E 2/8 1/8 Concert The Mabuhay 14 Singers, Cely S 2/8 Bautista, etc. 15 E 4/8 16 Jekyll and Hyde LS 2/8 5/8 Tanduay's First 17 E 1/8 1/8 Five Robin Nievera E 1/8 <1/8 Cathy Go E <1/8 Sitti E <1/8 Kuh Ledesma E <1/8 20 Earth Day Jam E 1/8 Angeline Quinto, Ryan 21 SS 2/8 Cayabyab Singers Ingrid Sala 22 LS 2/8 Santamaria KBP Pop Music E <1/8 Festival Fidel Calalang 23 LS 1/8 (UST Singers) Michael Jacinto, UST LS 2/8 2/8 Wind Orchestra, etc. Ryan Cayabyab, Gary Granada, Noel Cabangon, 24 E 3/8 2/8 Dulce, , Aiza Seguerra, etc.

Sarah Geronimo, Gab 25 LS <1/8 and Gary Valenciano

Forbidden LS 1/8 Broadway 91

Sitti (Front act of Sergio 26 N <1/8 Mendes & Brasil) Earth Day Jam E 1/8 1/8

28 June Marieezy S 3/8

Arnel Pineda SS 2/8 2/8 V Fort, Carectivas, UP College of Music, Jose SS 1/8 Mari Chan, Janet Basco and Shela Vaderrama Monks' Hood SS <1/8 Forbidden 30 LS 2/8 1/8 Broadway Lea Salonga, LS 2/8 Cecile Licad Philippine Philharmonic LS 4/8 Orchestra UP College of Music, LS 2/8 Regalado S. L. Jose Young JV E <1/8

sections size

E = 20 43.5 SS = 4 7.5 S = 2 5 LS = 15 6 N = 1 0.5 L = 1 0.5

43 63 92

FOREIGN MAY Date Artist Section Size 1 Size 2 2 LMFAO LS 1/8 4 Jessica Sanchez N 2/8 5 Jessica Sanchez F/N <1/8 3/8

The Cranberries S 3/8

LMFAO S 5/8 Secondhand S 4/8 Serenade Vertical S 3/8 Horizon Norah Jones, SS 2/8 Carrie SS 1/8 Underwood 7 Sofya Gulyak LS 2/8 Michael Consteau, LS 2/8 Florence Guignolet, etc. Madama LS 3/8 Butterfly 8 Beastie Boys E <1/8 Morrissey, 9 Lady Gaga, E 1/8 Lifehouse 10 Ricky Martin E 3/8 1/8 Madonna E <1/8 11 Morrissey E 3/8 12 Jessica Sanchez N 3/8 Jay Park S 4/8 1/8 Lifehouse S 4/8 Avenged Sevenfold, S 4/8 Strings of Fury 93

The Apostles, etc. (Pulp S 3/8 Summerslam)

Every Avenue, S 1/8 1/8 The Fray

Burt Bacharach, E 1/8 2/8 Hal David 17 Jessica Sanchez E <1/8 American Idol: Mariah Carey, Steven Tyler, 18 N 2/8 Samuel Jackson, Jessica Sanchez, etc. Lady Gaga E <1/8 <1/8 19 Jessica Sanchez F/N 3/8 4/8 Lady Gaga F/N 1/8 2/8

Lady Gaga N 2/8

Blush S 1/8

Morrissey S <1/8 4/8 Zac Efron SS 1/8 Jessica Sanchez SS 2/8

Carrie SS <1/8 <1/8 Underwood

20 Lady Gaga F/N 2/8 4/8

Jessica Sanchez E <1/8 2/8 94

21 Sofya Gulyak LS 3/8 Pianist Raff: LS 3/8 Kasparian , Whitney E <1/8 Houston Justin Bieber, E 1/8 etc. Jessica Sanchez, Donna E 2/8 2/8 Summer Phantom of the E 3/8 Opera Jennifer Lopez E 2/8 22 Lady Gaga N 3/8 W 3/8 Morrissey E 1/8 23 Jessica Sanchez F/N <1/8 3/8 Lady Gaga Met 1/8 1/8 Lady Gaga Met <1/8 24 Jessica Sanchez F/N 3/8 5/8 Michelle Branch, JoJo, E 2/8 NKOTBSB, Chris Botti 25 Jessica Sanchez F/N 2/8 5/8 Lady Gaga LS 1/8 6/8 Super Junior Choi Siwon, LS 4/8 Donghae Joe Jonas LS 2/8 2/8 Joe Jonas E 2/8 Michael E 1/8 Jackson Jessica Sanchez E 2/8 1/8 26 American Idol S 2/8 4/8 Lady Gaga S 7/8 Joe Jonas S 1/8 4/8 Lady Gaga SS 1/8 1/8 Jessica Sanchez SS 2/8 27 Jessica Sanchez N 3/8 Jessica Sanchez F/N <1/8 1/8 Joe Jonas LS 3/8 Justin Bieber LS <1/8 95

American Idol, Jennifer E 2/8 4/8 Holiday, Jessica Sanchez,etc. Elton John E <1/8 28 Lady Gaga E 2/8 Jennifer Lopez, E <1/8 Jessica Sanchez Jessica Sanchez E 2/8 29 Lady Gaga, etc. E 2/8 John 30 E 1/8 Abercrombie 31 Lady Gaga O 2/8 Lady Gaga E 2/8 <1/8

sections size E = 27 52 SS = 7 11 S = 14 56.5 LS = 11 32.5 N = 14 42 F = 8 12.5 O = 1 2 W = 1 3 Met = 2 2.5 85 214

LOCAL MAY Date Artist Section Size 1 Size 2 1 Arnel Pineda E 2/8 Skabeche, E 2/8 Troubadors 2 Jim Paredes M 2/8 Myramae Meneses, Jade 7 LS 2/8 Riccio, Elainne Vibal, etc. Forbidden LS 1/8 Broadway 8 Billy Crawford E 2/8 The Rockin 60s Band, K.O. E 3/8 2/8 Jones 96

Bamboo E 1/8 1/8 9 Kjwan E <1/8 10 Arnel Pineda E <1/8 Pulp Summer 12 S 1/8 Slam General Luna, S 4/8 etc. Outerhope S 3/8 SS 1/8 & Mitch Valdes SS 1/8 15 E 2/8 16 Charice E 2/8 17 Sarah Geronimo E <1/8 19 Army Of One S 2/8 Basil Valdez SS <1/8 Ryan Cayabyab SS 2/8 <1/8 Singers Celeste Legaspi, Sharon Cuneta, Ogie Alcasid, Lea Salonga, Leah 20 Navarro, Moy E <1/8 2/8 Ortiz, Ryan Cayabyab, Madonna Decena, Gary Valenciano Luke Mejares, Martin Nievera, Joey Generoso 21 E 2/8 1/8 (), Robert Seña, Duncan Ramos 22 Boy Katindig E 2/8 3/8 Gary E 1/8 Valenciano

26 The CompanY S 3/8 97

Xian Lim SS 1/8 27 True Faith E 1/8 Ang Bagong 28 LS 3/8 Harana National Heritage Month LS <1/8 Romblon Local Singers Ogie Alcasid, Gary Valenciano, True Faith, Jed E 2/8 Madela, Bo Cerrudo, Leah Navarro, Sitti, Kyla 29 Ryan Cayabyab E 2/8 1/8 Chad Borja E 1/8 30 The CompanY E 1/8 1/8 First Philippine International 31 E 1/8 Jazz & Blues Festival Mig Ayesa, Vina Morales, E 2/8 Nyoy Volante, Jett Pangan Ryan E <1/8 Cayabyab, etc.

sections size

E = 22 42.5 SS = 5 6 S = 5 13

LS = 4 6.5 M = 1 2 37 70

98

FOREIGN JUNE Date Artist Section Size 1 Size 2 2 Rock of Ages SS 2/8 Adam Lambert, SS 2/8

3 American Idol E 1/8

Donna Summer E 2/8 Jessica Sanchez E <1/8 Bobby Brown, Whitney E 1/8 Houston 4 Smash E 2/8 First Philippine 5 Jazz and Blues E 3/8 Guitar Festival London 6 Diamond F 2/8 Jubilee Concert

Paul McCartney F 1/8

The Fray, Drum LS 2/8 Tao Whitney 7 E 1/8 Houston 8 Taylor Swift E <1/8 Nicki Minaj, Snow Patrol, Tears For Fears, Fra Lippo E 3/8 Lippi, Roberta Flack, David Cook New Kids on the Block, 9 S 4/8 8/8 Backstreet Boys (NKOTBSB) NKOTBSB S 4/8 99

Nicki Minaj S 2/8 1/8

Rock of Ages S 5/8

Lifehouse S 4/8

Marie Presley SS 2/8

American Idol SS 2/8

10 E <1/8

Madama 11 LS 2/8 1/8 Butterfly

Jessica Sanchez E 2/8 2/8

Nicki Minaj E 3/8 13 Madonna E 1/8 Jessica Sanchez E 1/8 15 Rock of Ages E 2/8 4/8 Silverstein, Tears For Fears, Megadeth, The 16 Smashing S 3/8 Pumpkins, David Cook, Snow Patrol Rock of Ages SS 2/8 1/8 Mary J. Blige, Whitney E 2/8 Houston 100

Jessica Sanchez 17 N <1/8 & Apl.de.Ap Chris Botti, E 1/8 Lisa Fischer , Donna 22 E 2/8 Summer, Robin Gibb 23 Maroon 5 S 3/8 The Temper S 1/8 Trap Rock of Ages S 2/8 24 Jessica Sanchez LS 1/8 Whitney 26 E 2/8 Houston 30 Spice Girls S 2/8 Justin Bieber S <1/8 Jessica Sanchez SS 1/8 Justin Bieber S <1/8 Jessica Sanchez SS 1/8 Carly Rae SS 1/8 Jepsen

sections size E = 19 36.5 SS = 8 14 S = 12 40 LS = 3 6 N = 1 0.5 F= 2 3 45 100

LOCAL JUNE Date Artist Section Size 1 Size 2 5 Lea Salonga E 3/8 First Philippine Jazz and Blues E 3/8 Guitar Festival Julie Ann San 6 Jose, Elmo E <1/8 Magalona Nora Aunor E 3/8 Icons at the E 1/8 101

Arena, Bloomfields OJ Mariano, 7 E 3/7 Lea Salonga Gary 8 E <1/8 Valenciano Independence 9 S 2/8 Day Concert

Junji Lerma E 1/8 Rock of Ages: Nyoy Volante, 12 Aiza Seguerra, E 2/8 2/8 Vina Morales, Mig Ayesa, etc. Noel Cabangon, 14 E 4/8 etc. 16 S 2/8 17 Becca Godinez E 3/8

Bryson Andres E 1/8 (front act)

The Amp Band, The Glass 19 E 2/8 3/8 Onion Band, etc. Cynthia 23 S 2/8 1/8 Alexander Lea Salonga, Basil Valdez, Ryan Cayabyab, , , Verni Varga, E 6/8 5/8 Dulce, Ogie Alcasid & Regine Velasquez, Freddue Aguilar, Bamboo, etc. Angeline E 2/8 102

Quinto The Manila 25 Chamber LS 3/8 Orchestra Carmen Camacho, etc. LS 3/8 (Catanduanes musicians) Jekyll & Hyde LS 2/8 Philippine Coast Guard Symphonic Band with the LS 2/8 Japanese Maritime Self- Defense Force Band Philippine LS 1/8 Opera Company , Raimund Marasigan, 26 Nyoy Volante, E 5/8 Rene Garcia, , Sitti, etc. 28 Rock of Ages E 3/8 Angeline E <1/8 Quinto 30 Ryan Cayabyab SS 2/8 <1/8 X Factor Ph SS 2/8

6cyclemind, Philippine SS 1/8 Popular Music Festival

sections size

E = 18 53.5

SS = 3 5.5

S = 3 7 103

LS = 5 11 29 77

FOREIGN JULY Date Artist Section Size 1 Size 2

AI: Jessica 1 E 5/8 Sanchez

Nicki Minaj, David Cook, Snow Patrol, E 2/8 Maroon 5, American Idol Madama 2 LS 4/8 Butterfly

The Smashing 3 E 2/8 Pumpkins

4 Aki & Kuniko LS 1/8 The Phantom of 7 LS 2/8 4/8 the Opera The Phantom of LS 4/8 the Opera Carly Rae Jepsen: Call Me S 3/8 Maybe David Cook S 2/8

Justin Bieber SS 2/8

David Cook SS 2/8 Madama Butterfly: 9 LS 2/8 1/8 Soprano Mako Nishimoto Glenn Miller LS 3/8 Orchestra International LS <1/8 Choral 104

Kathaumixw

Jessica Sanchez E 2/8 10 Rolling Stones E 2/8 Jason Mraz E 1/8 Black Eyed 11 E <1/8 Peas 12 Dan Hill E 1/8 1/8

Marié Digby E 1/8

Nicki Minaj S 3/8 Nicki Minaj S 3/8

15 Justin Bieber SS 1/8 <1/8

Justin Bieber, E 1/8 Taylor Swift Elvis Presley E 2/8 (Tribute)

Nicki Minaj E 2/8

Katy Perry E 6/8 Spanish 16 Guitarist Javier LS <1/8 Alvarez 17 Helen Reddy E 2/8 Drum Tao E 3/8 18 David Cook E 3/8 The Phantom of 20 E 1/8 the Opera 21 David Cook S 2/8 2/8 Chris Carrabba, The Smash S 4/8 Project David Cook SS 1/8 Anne Hathaway as Fantine (Les SS 2/8 Misérables) The Phantom of 23 LS 3/8 2/8 the Opera 105

Barber of LS 3/8 Seville : Justin Bieber, Taylor 25 E 1/8 Swift, Gwen Stefani, Lea Michele 26 Mariah Carey E 1/8 DJ Femme 27 (Melbourne) - LS 1/8 Beldevere Beat 28 Nicki Minaj W 1/8 The Smashing S 2/8 Pumpkins Snow Patrol S 2/8 Paul McCartney, etc. 29 N 1/8 (London Olympics) 31 Tears for Fears E 4/8 2/8 The Smashing Pumpkins, E 1/8 Snow Patrol

sections size E = 21 46.5 SS = 5 8.5 S = 8 23 LS = 11 31 N = 1 1 W = 1 1 47 111

LOCAL JULY Date Artist Section Size 1 Size 2 Fil-Am Stephanie Reese with , Luke 1 E 2/8 Mejares, The Madrigal Singers & AMP Band, John 106

Florencio

2 Arthur Espiritu LS 2/8

I Do Bidoo E 2/8 Bidoo "William" Musical, Noel Cabangon, 4 LS 1/8 Ryan Cayabyab Singers, Christian 6 E 2/8 Bautista 7 Myrus SS <1/8 Apl.de.ap 8 (Pinoy E 1/8 approach) Mandaluyong 9 LS <1/8 Children's Choir 10 6cyclemind E 3/8 1/8 Ryan Cayabyab, Philippine E 3/8 1/8 Popular Music Festival 11 Sarah Geronimo E 2/8 Ogie Alcasid, Martin Nievera, E <1/8 Apl.de.Ap, Nicole Sheri Ogie Alcasid, 13 E 4/8 etc. Cynthia 14 SS 2/8 Alexander Gina Medina 16 LS 3/8 (Violinist) 20 Dondi Ong E 1/8 Aiza Seguerra E 1/8 1/8 107

21 PhilPop SS 1/8 The Dubai 22 GP 4/8 Vocal Ensemble Filipino American Symphony E 4/8 3/8 Orchestra (FASO) Barber of 23 LS 3/8 Seville Filipino Tenor LS 3/8 Rodell Rosel Florante Aguilar 26 E 1/8 1/8 (guitarist) with Harana Kings Isay Alvarez, 28 SS 3/8 etc. in "Katy!" , 31 Marvin Ong, E 3/8 Dong Abay Nina, Rico J. Puno, , E 1/8 in "Greatest Hits"

sections size E = 15 37.5 SS = 4 6.5 S = 11 34 LS = 6 12.5 GP = 1 4 37 94.5

FOREIGN AUGUST Date Artist Section Size 1 Size 2 1 Jessica Sanchez E 1/8 3 J-Pop LS 2/8 4 Fra Lippo Lippi S 2/8 5 Justin Bieber E <1/8 108

Smashing 7 E 3/8 Pumpkins Snow Patrol E 2/8 8 Psy E <1/8 10 Tears for Fears N 3/8 Smashing 11 S 4/8 Pumpkins Sparkle ft. Whitney, Jordin SS 2/8 Sparks Corrinne May SS 1/8 12 Madonna E <1/8 13 Tears for Fears N 2/8 Phantom of the E 6/8 3/8 Opera Olympics music: (British music) Queen, Take That to , Spice Girls, Madness, 14 N F 3/8 4/8 Beatles, Freddie Mercury, , Ray Davies, Fatboy Slim, , Russell Brand, Pink Floyd Snow Patrol E 4/8 3/8 17 Bryan Anders E <1/8 SiWon, 18 Donghae (Super S 2/8 1/8 Junior) SiWon, Donghae (Super S 2/8 Junior) Nelly Furtado S 3/8 Tears for Fears S 2/8 Snow Patrol S 1/8 1/8 Snow Patrol S 3/8 1/8 Jennifer Lopez SS 2/8

20 Elvis Presley E 3/8 109

Phantom of the LS 3/8 2/8 Opera Olivier LS 2/8 Ochanine Yeon-Cheng Ma & Michael LS 2/8 Dadap 21 Joe Bonamassa E 4/8 2/8 Phantom of the 23 E 4/8 2/8 Opera Madonna E <1/8 24 Jessica Sanchez E 2/8 The Zombies, James Morrison, E 1/8 American Idol, Maroon 5 25 Claire Lyon S 2/8 4/8 Gary Lightbody S 4/8 (Snow Patrol)

Jessica Sanchez S 2/8

Maroon 5 SS 1/8 Maroon 5, Per Sorensen, Fra 28 Lippo Lippi, E 3/8 Smashing Pumpkins 29 Katy Perry E <1/8 Maroon 5, American Idol, E 1/8 John Robinson

sections size E = 18 47 SS = 4 6 S = 11 34 LS = 4 11 N = 3 12 40 110

110

LOCAL AUGUST Date Artist Section Size 1 Size 2 4 Sarah Gaugler S 2/8 Sarah Geronimo SS 1/8 X Factor Ph SS 2/8 Sarah 5 Geronimo, Zsa E <1/8 Zsa Padilla Philippine Women's 6 University LS 1/8 Music School Concert Series 11 Rock Ed S 2/8 12 Charice E <1/8 Repertory Philippines: 13 LS 2/8 Wizard of Oz Musical Musical plays LS 3/8 Adrian Andres E 5/8 (Saltimbanco) "Random Girl" Zendee Rose E 2/8 Tenerefe 16 Joey G (Side A) E 2/8 Leo Valdez (The King and E 2/8 2/8 I) 17 Charice E 1/8 Female Trio E <1/8 Charice, Jerrianne 20 E 2/8 Templo, Mark Mabasa Susan Fuentes LS 4/8 21 Richard Poon E 1/8 I Do Bidoo 22 Bidoo: Heto E 2/8 nAPO Sila E 2/8 Protegé E 2/8 E 2/8 (Calla Lily) 111

24 Aiza Seguerra E <1/8 Diwa de Leon, E 3/8 3/8 Sinosikat, etc. Monique 25 Wilson, Ogie SS 2/8 Alcasid Sarah Geronimo SS 2/8 Dingdong E <1/8 Avanzado Isay Alvarez, SS 2/8 <1/8 Dulce, etc. Khalil Ramos SS 1/8 Ogie Alcasid, 27 E 1/8 2/8 Sarah Geronimo Gloc9, 28 E 2/8 6cyclemind I Do Bidoo 29 Bidoo: Heto E <1/8 nAPO Sila Mon David, 31 Louie Reyes, E 4/8 4/8 Becca Godinez Marc Abaya E 3/8 Jay Durias E <1/8 3rd Elements National Singing- E <1/8 Songwriting Camp, Sing @ Ning

sections size

E = 24 48

SS = 6 10.5

S = 2 4 LS = 4 10 36 72.5

112

FOREIGN SEPTEMBER 1 Zac Efron S 1/8 Phantom of the 3 LS 7/8 Opera 5 Rihanna E 1/8 7 Jessica Sanchez F 1/8 Keane E 1/8 Christina Aguilera, Adam Levine, Blake 8 S 5/8 Shelton, Cee Lo Green (X Factor) The Wanted, Keane, James S 3/8 Morrison

American Idol S 2/8 World Tour

Maroon 5 S 2/8 Zac Efron SS 1/8

9 Michael Paulo E 2/8 2/8

Simon Cowell E 2/8 Lady Gaga E 2/8 10 Beast LS 1/8 Beast, 2NE1, Jang Keun Suk, LS 4/8 Rain American Idol E 2/8 Erika Van Pelt American Idol 11 E 1/8 Heejun 113

Psy E <1/8

One Direction, Demi Lovato, A$AP Rocky, Rihanna, Taylor Swift, P!nk, E 2/8 , Chris Brown, Nicki Minaj (MTV VMAs) Deandre 12 E 2/8 Brackensick Britney Spears, Demi Lovato, 13 LA Reid, Simon E 2/8 Cowell (X Factor) American Idol E 2/8 Jerry Lawson and Talk of the E 3/8 Town with Whiffenpoofs Actc of 14 Congress, The E 1/8 Wanted

Quartet E 2/8

American Idole E 2/8 Adam Levine 15 S 2/8 (Maroon 5) Zac Efron S 3/8 Zac Efron S 3/8 Lee Min Ho S 2/8 5/8 American Idol 16 E 2/8 Jennifer Lopez, Phantom of the E 2/8 Opera 17 Sting E 2/8 114

American Idol: Hollie Cavanagh, E 3/8 1/8 , Phillip Phillips

American Idol 18 E 4/8 Jessica Sanchez

Jessica Sanchez 19 (American Idol F 3/8 World Tour) American Idol World Tour N 4/8 Top 10 Nicki Minaj, E 2/8 American Idol 21 Justin Bieber E 1/8 Adam Levine 22 S 2/8 6/8 (Maroon 5) American Idol Finalists Joshua Ledet, Skylar Laine, Phillip Phillips, Heejun Han, Colton S 8/8 Dixon, Elise Testone, Jessica Sanchez, Hollie Cavanagh, Erika Van Pelt

Phillip Phillips S 4/8

Jessica Sanchez SS 1/8 Adam Levine 23 LS 1/8 (Maroon 5) Phantom of the 24 LS 6/8 Opera 115

The Wanted, 25 E 3/8 Maroon 5

Led Zeppelin E 1/8 Saved Music Festival, Joe E 1/8 Bonamassa Katy Perry, Maroon 5, Bananarama, 26 The Pretenders, M 1/8 The Proclaimers, Jay Chou 27 Jessica Sanchez F/N <1/8 2/8 29 Jessica Sanchez S 3/8 6/8 David Guetta S 2/4 Jessica Sanchez S 3/8 Dean Geyer S 5/8 (Glee) James Valentine S 3/8 2/8 (Maroon 5) Foster The S 3/8 People Timomatic SS <1/8 Jessica Sanchez SS 2/8 America Idol: Colton Dixon, 30 E <1/8 Skylar Laine, Phillip Phillips

sections size E = 27 52 SS = 4 4.5 S = 18 69 LS = 5 19 F = 3 4.5 N = 2 6 M = 1 1 60 156 116

LOCAL SEPTEMBER I Do (Bidoo 1 S 2/8 6/8 Bidoo) Apo SS 2/8 KZ Tandingan SS 2/8 Zia Quizon SS 1/8 2 Jennifer Paz E 2/8

Assumption 3 LS 1/8 College Metta

X Factor Ph E 2/8

Ramon RJ Jacinto, Raimund 4 Marasigan, E 5/8 2/8 Nyoy Volante, Noel Cabangon, etc. Orchestra, Lea 6 E 2/8 Salonga Regine 7 E 2/8 Velasquez Musical Tribute: Jacqui Magno, Pat Castillo, Tillie Moreno, Nanette Inventor, Tessie E 2/8 Tomas, Mitch Valdes, Jon Santos, The Company, Bo Cerudo, RJ Jacinto, etc. Christian E 1/8 Bautista Sarah Geronimo SS 1/8 Comic Divas SS 1/8 117

Musical Trip Down Memory SS 1/8 Lane Mon David SS 2/8 Never The SS <1/8 Strangers Philippine 10 Philharmonic LS 4/8 4/8 Orchestra

Noel Cabangon E 3/8

Daniel Padilla E <1/8 <1/8

Jay Durias, 12 E 4/8 Gloc-9, Juris

13 Aiza Seguerra E 4/8

SMB 14 E <1/8 Oktoberfest

15 KZ Tandingan SS 2/8 , Bryan SS 2/8 Termulo, Joey G 17 Arnel Pineda E 2/8 Parokya Ni 18 E 1/8 Edgar Jett Pangan, etc. E 3/8 Allegiance, Lea E 3/8 1/8 Salonga, etc. 21 Martin Nievera E 2/8 22 X Factor Ph SS 2/8

"Unfair SS 2/8 Competition" 118

Julie Anne San SS 1/8 Jose Novem Cambios and GP 4/8 the Prime Note Ensemble YouTube Sensation Arianne Abela 23 LS 1/8 with the 3Penny Concert Chorus & Orchestra Tonyboy Cojuangco, LS 2/8 4/8 Glass Onion Alay Tawa: Dolphy E 6/8 1/8 Foundation Fundraiser Sarah Geronimo E <1/8 Ang Bagong 24 LS 2/8 Harana Nine Felliniesque LS 3/8 Musical

Manila Symphony Orchestra, LS 2/8 Victor Asuncion, Arturo Molina

Douglas Nievas, Powerdance LS 3/8 Homecoming Concert Noel Cabangon LS 3/8 Folies de Mwah, Midlife E 4/8 Crisis Band Parokya Ni 25 E 1/8 Edgar 119

Nanette Inventor, Tessie Tomas, Mitch Valdes (Care Divas), Sabado E 1/8 Boys, Aiza Seguerra, Noel Cabangon, The Circus Band Aiza Seguerra, 26 E 2/8 Ogie Alcasid Christian Bautista, Kris E 1/8 Lawrence

27 Liezl Garcia SS 1/8

X Factor Ph SS 2/8

sections size E = 24 57 SS = 15 22.5 S = 1 8 LS = 9 29 GP = 4 4 53 120.5

FOREIGN OCTOBER 4 David Guetta E 1/8 5 Glee E 4/8 Foster the People, James Morrison, The E 4/8 Zombies, America, Calapana 6 Zac Efron S 6/8 Zac Efron S 8/8 Keane S 6/8 Keane S 2/8 120

Foster the People, James Morrison, SS 1/8 Alanis Morissette

7 Nicki Minaj E 1/8

Glee E 8/8

Jonas Brothers, 8 Elton John, Jeff E 1/8 Lorber Fusion Keane E 2/8 OMD, Nicki 9 E 4/8 Minaj, Jay Park David Guetta, 10 E 2/8 Alesso 12 Big Bang LS 2/8 Psy LS <1/8

Lady Gaga E 1/8

Rihanna, Nicki E 1/8 Minaj The Zombies, Wilson Phillips, E 2/8 Big Bang 13 James Morrison S 4/8 America with Kalapana, MxPx All-Stars and Unearth, Big Bang, Saved Music Festival, Modern Music S 3/8 Masters (Mike Portnoy, Billy Sheehan, Derek Sherinian, Tony Macalpine), The Fray, Creed, Jennifer Lopez, Elton 121

John, Sting

14 Jeff Lorber E 2/8 15 Claire Primrose LS 5/8 Foster the 16 People, David E 4/8 Guetta

Britney Spears, Whitney E <1/8 Houston

Justin Bieber E 1/8 17 Psy M 3/8 18 Katy Perry E <1/8 19 Glee E 1/8 20 The Fray S 4/8 James Morrison S 3/8 David Guetta, Kaz James, S 6/8 Alesso Greyson S 1/8 Chance Darren Chris, Jane Lynch, SS 3/8 Glee Big Bang SS <1/8 22 The Zombies E 2/8 2/8 Wilson Phillips, E 1/8 Jonas Brothers Madonna E 1/8 122

Jeff Lorber, Philippine 23 E 2/8 International Jazzfest Antoine 26 Debarge, DJ E <1/8 Callum David 27 Jonas Brothers S 7/8 2/8 Barbra S 2/8 Streisand 28 Siedah Garrett E 4/8 29 Corrinne May E 2/8 Argentine 30 Pianist Emilio E 2/8 Peroni Dingdong E 1/8 Avanzado Creed, The Fray E 1/8 The Company, 31 Jon Santos, Bo E 4/8 Cerrudo

sections size E = 29 62.5 SS = 3 4.5 S = 12 54 LS = 3 7.5 M = 1 3 48 131.5

LOCAL OCTOBER 1 Stageshow E <1/8 2 Lea Salonga E 6/8

Mark Bautista, E <1/8 Bianca King

3 Eraserheads S 8/8 1/8 Eraserheads S 6/8 5 Pianists LS 4/8 UP Concert LS 4/8 Chorus 123

Joselle Feliciano, Garrett Bolden LS 4/8 Jr., Rafael Gutierrez Ryan Cayabyab, E 2/8 Dumaguete Music Fest Gloc-9, Jay Darias, Calla Lily, 6 E 2/8 6cyclemind, Noel Cabangon, etc. , Calla E 2/8 Lily Parokya ni E 1/8 Edgar 8 Miss Saigon E 4/8

9 Loonie (rapper) E 2/8 13 E 4/8 14 Noel Cabangon LS 4/8 , Zia Quizon. 15 E 1/8 Pepe's Secret Christmas X Factor's KZ E 2/8 Tandingan

16 Roger Herrera E 2/8

Jaya E 2/8 124

Allrock aka 17 S 4/8 Carlo Torres

Ryan Cayabyab E 2/8 Regine 20 E 1/8 Velasquez 22 Jose Mari Chan E 2/8 Wolfgang, 3rd Avenue, Brass Munkeys, Jun Lopito, E 1/8 Razorback, Skarlet and Silverfilter Next College 23 LS 2/8 Rockstar Miss Saigon E 2/8 Eddie Munji III E 2/8 24 Stageshow LS 1/8 Christmas SS 1/8 Carols Regine SS 1/8 Velasquez 27 Sarah Geronimo E 1/8 Dagsa Music E 4/8 Festival 28 Wolfgang E 1/8

sections size E = 23 47 SS = 2 2 125

S = 3 19

LS = 6 18 27 62

LOCAL NOVEMBER 1 Village People E 2/8 2 Big Bang LS 4/8 3 Taylor Swift SS 2/8 Pitch Perfect SS 1/8 5 George Bizet LS 4/8 K-Pop - Boyfriend, 6 Special Issue 2/8 Boys on Fire, etc. Green Day E 1/8

8 Don Moen E 1/8

Sting E 2/8

Psy E 1/8

9 Bruno Mars E 2/8 10 One Direction S 1/2 One Direction S 8/8 Amanda Brown S 4/8 (X Factor) Michael SS 4/8 Jackson 13 Elton John E 8/8

Mick Jagger E 1/8

15 Village People E 2/8

JLO E 1/8 16 Big Bang LS 4/8 126

17 JLO S 2/8

Madonna S 5/8

The Fray S 4/8 Sundown S 2/8 Festival

Greyson 20 E 2/8 Chance

21 Hi-5 LS 3/8 Justin Bieber, E 2/8 etc. Lee Ritenour & 22 E 1/8 Dave Grusin 24 Madonna W 1/8 Lee Min Ho S 8/8 Christmas SS 1/8 <1/8 (inset 25 JLO F photo) JLO E 1/2 27 Sting E 6/8 28 JLO E 4/8 Chris Botti E 1/8 29 JLO E 2/8 Elton John E 4/8

sections size E = 19 44 SS = 4 8 S = 8 38 LS = 4 15 B = 1 4 F = 1 0.5 W = 1 1 Special = 1 2 39 112.5

LOCAL NOVEMBER 1 Stageshow E <1/8 2 Lea Salonga E 6/8 127

Mark Bautista, E 1/8 Bianca King 3 Eraserheads S 8/8 Eraserheads S 6/8 5 Pianists LS 4/8 UP Concert LS 4/8 Chorus Joselle Feliciano, Garrett Bolden LS 4/8 Jr., Rafael Gutierrez Ryan Cayabyab E 2/8 Gloc-9, Jay Darias, Calla Lily, 6 E 6/8 6cyclemind, Noel Cabangon, etc. Parokya ni Edgar, Calla E 2/8 Lily Parokya ni E 1/8 Edgar 8 Lea Salonga E 4/8 Loonie (rapper), 9 E 2/8 Francis M 13 OPM E 1/8 Rico Blanco E 4/8 Disney's Camp Rock: The 14 LS 4/8 Musical, Noel Cabangon Piolo, Zia Quizon, Pepe's 15 E 1/8 Secret Christmas, KZ Tandingan E 2/8 (X Factor) 16 Roger Herrera E 2/8 Jaya E 2/8 Allrock aka 17 Carlo Torres, E 2/8 Ryan Cayabyab 20 Regine E 1/8 128

Velasquez 22 Jose Mari Chan E 2/8 Wolfgang, 3rd Avenue, Brass Munkeys, Jun Lopito, E 1/8 Razorback, Skarlet, Silverfilter 23 Marty's Search LS 2/8 Miss Saigon E 2/8 Eddie Munji III E 2/8 24 Stageshow LS 1/8 Christmas SS 1/8 carols Regine SS 1/8 Velasquez 27 Sarah G E 1/8 Dagsa Music E 4/8 Festival 28 Wolfgang E 1/8

sections size E = 24 52.5 SS = 2 2 S = 4 14 LS = 6 19 36 87.5

FOREIGN DECEMBER Date Artist Section Size 1 Size 2 1 JLO S 8/8 Christina S 3/8 Aguilera Scotty McCreery, SS 3/8 Philip Phillips 3 Psy E 4/8 4 The Script E 1/8 Adam Lambert E 1/8 Elto John, Nigel 6 E 3/8 Olsson 8 Beyonce, etc. SS 2/8 129

Rihanna , Susan SS 4/8 Boyle, etc. Sting SS <1/8 10 Psy E 1/8 13 Blake E 3/8 K-Pop coffee 14 LS 3/8 house Britney Spears, Taylor Swift, 15 Rihanna, Lady SS 1/8 Gaga, Katy Perry Bruno Mars, SS 2/8 Alicia Keys Celine Dion, SS 1/8 David Foster Taylor Swift, 16 E 4/8 Adele Adele E 1/8 17 Psy E 1/8 18 E 1/8 19 Psy E 2/8 20 Psy E 1/8 23 Psy E 1/8 Do Concerts Make Money? : Jennifer Lopez, 28 Madonna, Katy B 4/8 Perry, Maroon 5, Keane, David Guetta, etc. Iyaz E <1/8 Carly Rae Jepsen, Psy, Adam Levine, Bruno Mars, Lee Min Ho, Joe Jonas, One 29 S 3/8 Direction, Whitney Houston, Beyonce, Phantom of the Opera, etc. 130

Smash Project, Lady Gaga, NKOTBSB, Smashing Pumpkins, Snow Patrol, Nelly Furtado, S 3/8 Maroon 5, Foster the People, Big Bang, Katy Perry, Jennifer Lopez

sections size

E = 14 24.5

SS = 7 13.5

S = 4 17

LS = 1 3

B = 1 4 27 62

LOCAL DECEMBER Date Artist Section Size 1 Size 2 1 S 3/8 Camp Rock: LS 4/8 The Musical Aladdin: The LS 4/8 Musical Mitch Valdes SS 1/8 Regine SS 2/8 131

Velasquez Regine 3 E 3/8 Velasquez Pepe's Secret 5 LS 4/8 Christmas , LS 4/8 The Company UST Christmas 6 LS 2/8 Concert Yeng E 4/8 Constantino 7 Charice E 3/8 8 Sharon Cuneta SS 1/8 Noel Cabangon, SS <1/8 etc. Super Concert S 2/8 Guide for 2013 Lea Salonga, Cecile Licad, 10 Lisa Macuja- LS 3/8 Elizalde, Gerald Salonga Philippine Madrigal LS 4/8 Singers, etc. Noel Cabangon E 1/8 Calla Lily, Kitchie Nadal, Third Nature, 11 She's Only E 8/8 Sixteen, RunManila, Gracenote, etc. 13 Lea salonga E 3/8 George Yang's Klassikal 17 LS 2/8 Musical Foundation Noel Cabangon, Gab Valenciano, Acel Bisa-Van E 4/8 Ommen, Julianne Tarroja, Jericho Rosales 132

Zendie Rose 18 E 3/8 Tenerefe Up Dharma E 3/8 Down

Philippine Popular Music E 1/8 Fest 2012

Shamrock E 3/8 College Musical L 3/8 Gary Valenciano, Martin Nievera, 20 Zsa Zsa Padilla, E 2/8 Piolo Pascual, Sarah Geronimo, etc. UST Christmas 24 LS 3/8 3/8 Concert St. Luke's Hospital LS 2/8 Christmas Concert Mitch Valdes in 25 Bethlehem F/N 1/8 2/8 Manger Square Makati Inter- High School Christmas L 4/8 1/8 Caroling Competition Manila Broadcasting Corporation L 2/8 National Choral Competition General Luna, The 28 Bloomfields, RJ E 2/8 Jacinto, Anna Melissa Zendee Rose 29 S <1/8 Tenerefe Katy SS <1/8 133

Katy SS 2/8 <1/8 GMA New Year Countdown Party, One World, One Makati, Rockwell New Year Part, Eastwood City New Year Countdown Concert, Baguio N 7/8 New Year Countdown Concert, Pangasinan New Year Countdown Concert, Subic New Year Countdown Concert, 31 to 1 's New Year Party

sections size E = 13 40 SS = 6 7.5 S = 3 5.5 LS = 10 35 N = 2 9 F = 1 1 L = 3 10 29 108

134

APPENDIX B

Transcriptions of Interviews with Emmie Velarde and John Hudson Go

Interview with John Hudson Go, top writer and contributor of When In Manila

Promenade, Greenhills, San Juan City. Feb. 18, 2013, 1:53 pm.

Ano yung bases kung paano nacocover kung anong events yung pipiliin?

Sa When In Manila, usually by invitation. So either sila yung magsusulat to us or kami yung magsusulat to the artists—not really the artists but rather the promotions who are managing yung event. So in my case, usually, ang bias ko ay rock events kasi yun yung gusto kong music. Tapos recently, we’re into yung bands na house music, that’s personally on my part. But in terms of When In Manila as a whole, usually talaga, nauuna yung promotion, nauuna yung management entities to contact us. Tapos dun kami nagpapadala ng appropriate na writer.

Since ganun yung genre, na pinipili ng writer, not specifically kung local or foreign siya?

Wala, wala talaga. Depende kasi. Ang online kasi iba sa print media. For example, sa print media, halos lahat ng events meron silang invitations. Sa amin, minsan, hindi kami invited. Minsan nagsusulat kami [kahit] hindi pa kami tinatanggap. Even as big as When In Manila already is, hindi pa rin lahat ng times na magsusulat kami sa isang promotion ay tinatanggap kami for coverage. As much as we’d want to, we’d like to cover all—local and/or international. But, the truth is, compared to print media, online media, is, how shall we say it, second fiddle to print media pa rin talaga.

So lahat ng invitation, paano sinosort kung alin ang pupuntahan?

Yung process sa When In Manila is kung may nag-invite sa’min, ibablast namin yan sa lahat ng writers namin which is more than a hundred. So sino yung pinakauna, first come, first served basis kami, so kung sino yung pinakanaunang lumitaw doon na interested, siya yung pinapapunta namin. And the reason for that is we want, among the one hundred writers, we want the most, sabihin na nating, into that music to cover it. Kasi syempre iba yung, kunwari ako, mas mahilig ako sa rock. Kung ipapapakinig mo ako ng hiphop, hindi ko siya ganun ka maeenjoy. Yung write-up ko would be very different from when I write for rock music, for example. Kasi ako, I also play , for example, so I understand how guitar-playing goes, and so if I see that the act is really really good in the guitar, I would appreciate it. Whereas kung hiphop, hindi naman ako nagrarap, pare-pareho lang sila, for me. So we want the most discriminating writer to be there to cover the event for us. 135

So bale kung ganun, not more of a critique siya?

Ang blog is really a very personal first-hand experience written in an article for everyone to reflect on their own experience. Parang ganun kasi ang blog e, diba, you write about something based on your own experience. And for those people who went to the same concert, I agree with you or I don’t agree. And if they don’t agree, it’s fine. If they agree, that’s good. On the other hand, if you say hindi sila nakapunta, we want to give them that first-hand experience, sort of that perspective, which is very different from, for example, people who write in print media, lalo na yung mga veterans na ng print media. However, what we’re seeing is that sa online media ngayon, nagkakaroon ng shift towards being more objective although still maintaining that I-perspective, that phenomenological “I” approach to it. Pero at the same time, nakikita natin na sa print media, nagbabago rin sila, na nagiging mas “I” yung orientation, whereas dati, vert detached, very objective. Ngayon, nagbabago na rin. Mas nagigin personal na rin yung approach nila. I guess that means they’re seeing the good in blogs as much as we’re seeing the good in print media. And base dun, makikita natin na, and even with your topic, na halos pinapansin na ng mga tao, ng madla, na yung print media tsaka yung online media, hindi naman talaga siya one on top of the other kundi two means of, shall we say, delivery, pero almost the same yung content. Definitely pag titingnan mo ang blogs, iba’t ibang levels pa rin ng writing. Para sa mga mas personal talaga na blogs, definitely napakalakas pa rin ng “I” approach. Para sa amin na When In Manila na, more or less, parang online magazine, nandun na yung balance ng pagiging personal but at the same time being objective about what we see. If it sucks, we can’t say it’s great. If it’s great, we can’t say it sucks. But for us to get that, going back to the previous question, for us to get that, kailangan talaga, yung writer namin knows and appreciates the music that we are covering.

Going back to the first question, can we say na it’s a way na PR siya ng promoters?

Definitely. This is a secret na hindi sinasabi ng tao. Akala nila, diba, print media is such an objective thing. But really, print media and online media is very much a publicity stunt. Even, lalo na as I see now, print media lalo na. Kasi print media, yung way na hinahandle sila ng PR ng mga concerts, ibang klase, ng mga events, ibang klase. Sa online media, medyo ano pa nga e, parang “here’s the ticket, thank you.” Pero sa print media, lalo na pag titingnan mo pa yung TV, sobrang pampered sila. If you see Gretchen Fullido going to a concert, sobrang alaga yan. Why? E TV yan e, TV Patrol yan e. So alagang-alaga siya. So makikita mo dun na hindi lang siya talagang, you know, you go there and objective, objective. May narinig ka na bang pangit na concert? May narinig ka na bang sinabing nilangaw? Wala. Recently wala. Dati meron, ngayon wala na. Bakit? Kasi walang nagbabayad sa mga media outlets, walang magbabayad to go to a concert and feature them. Why? It’s advertisement. Yun yung X deal dun. 136

Personally, as a writer/contributor, ano po yung stand niyo na parang yung foreign events, naooverwhelm niya na yung local scene, as we can see?

Mas malakas lang yung marketing ng foreign. I mean if we were asked to cover Wolfgang, I’m sure maraming pupunta, Parokya Ni Edgar, I’m sure maraming pupunta, from a rock perspective ha. Maraming fans. Ang problema lang, yung marketing nila. Ayaw nilang magmarket e. Actually kung titingnan mo pa lang yung presyo, kahit hindi ka writer, if you look at it, mas mahal pa minsan yung local events kaysa dyan sa foreign acts. Bakit? Kasi ang lakas ng marketing nung isa, yung foreign.

Sa When In Manila, may 85 na foreign events and 69 na local (events in 2012). What is the reason behind the large gap?

So, nabanggit ko na nga, marketing talaga. Secondly siguro, sa psychology ng pagpunta ng foreign versus local, ay yung idea na pag foreign yan, once-in-a-lifetime, or twice, or thrice. Pag local, maaabutan at maaabutan mo sila. Yung fact na for example si Martin Nievera yan or si Gary Valenciano, several times sila magshoshow, halos every year may show sila e. Kung in terms of ififeature mo kunwari, si David Guetta for example, baka isang beses lang yun pumunta sa Pilipinas ever. So, posible yun. Pero iisipin ko, hindi rin kasi kung 100+ kaming writers, I’m sure may sampu dun to twenty to fifty, na who would be interested to go to for example yung Foursome, na very recent lang, ni Ogie tsaka ni Martin. Pero hindi kami sinulatan. What does that say? Yung ibang mga foreign acts, nagsusulat sila. Ngayon in terms of, yun nga, pagdating dun sa willful na kami pa yung magsusulat to those people to invite us in, you wouldn’t give as much effort to something that you would see every year as opposed to giving effort to something that you might see just once in your lifetime. And I guess yun yung bakit, personally, in my case, kung hindi kami imbitado, magsusulat ako to the foreign act.

So you make more effort sa pagcontact sa kanila?

Especially kung fan ka—kung fan ka. Kung hindi ka naman fan, hindi mo naman susulatan e. So for example, again, kung kunwari, Wolfgang nga, nung nalaman ko na may Wolfgang concert.

Isa pa, siguro, yung third would be kung gaano kalaki yung event. Can you imagine kung Music Museum lang yung event. Tapos kailangan pa nilang magpapasok ng sandamukal na media. Gaano karaming tao na lang yung nagbabayad talaga? Compare that to for example, concert na Smart-Araneta o kaya MOA Arena. Ang laki nun e. Kaya mas may capacity rin siguro yung promotions to invite a lot of media. And sabi ko nga, sa mata ng mga promoters, ang online, kahit na gaano na siya kablatant, kaimportante ngayon, ay second fiddle lang talaga, sa tingin ng promoters, compared to print media. One way that you could look at it, siguro rin kasi dati, pumapantay na yung dalawa. Kaya lang ngayon kasi, yung mga print media, meron na rin silang online entities. So meron na silang online 137 like Inquirer, may online nay an, Bulletin, Star, lahat sila may online na. At very active na rin sila sa social media. So in a way, parang ang nangyayari, ang competition namin hindi talaga yung print media kundi yung online version ng print media. Kasi again, palagi silang nakikita as reliable, objective, pero sa totoo lang, nagkokopyahan lang kami ng style.

So sa 2012, hindi malaki ang difference ng local at international acts?

Siguro yung kailangan nating tingnan dun ay mas maraming malalaking events na foreign acts. Kung ililimit mo ang bilangan sa MOA Arena tsaka sa Smart-Araneta, sama mo na yung SMX Convention Center, gaano karami dun yung foreign versus yung local. Kasi, yun nga, kung malaki yung event, mas marami rin siyang maiinvite na media. Kung maliit lang yung event, kung Music Museum, marami sa Music Museum e, puro local, problema ang liit ng space, paano ka pa mag-iinvite ng napakaraming media entities. Siguro ma-iinvite lang nila, onting-onti lang, piling-piling tao lang.

By invitation, kung gaano kalaki yung event, tsaka yung psychology ng once in a lifetime versus every year or maybe even twice a year.

So medyo global yung thinking ng tao?

I would think na lumalawak na. Maganda yung plug-in or yung ID ng MTV dati na sinasabi niya na pag sa airwaves dati, sobrang American pop yung gusto ng tao tapos ngayon nagshishift na towards Filipino rock. I guess napapanood mo rin yun sa MTV. And that I think is still true until now. But the means that we’re attacking, shall we say, international acts versus local acts is that the international acts are doing it bigtime, one time big time. The local acts are doing it per show. Iba rin kasi e. For example sa rock bands, makikita mo sila nakahilera sa UP Fair. Bakit? Kasi, 40,000 yata dati per night ang bayad sa banda. So sila, parang sige, game, gig type yung tingin nila. Gigs siya whereas yung foreign acts, tour yung dating. Pag gig din kasi, usually mas kaunti yung kanta. Pag tour siya, usually, full setlist siya, 20 songs, ganun. So sa isang consumer, kung kunwari magbabayad ka ng, magkano ba yung minimum sa Araneta, minsan 500 lang e, pero sabihin na nating 1,500. Para sa 20 songs, sulit ka. E pag local act, baka hindi pa umabot ng 20 songs. Mapapagastos ka pa sa pagkain, kasi may cover charge pag pumasok ka sa mga clubs. So yung ganung thinking. Pero, tingin ko, sa lahat ng yun, babalik at babalik sa publicity. Availability talaga. Lalo na for media, for us. Kung available para sa amin yung show, syempre pupunta kami. Sa amin kung mapapansin mo hindi naman kami masyadong nagfefeature ng Ovation e. Yung malalaking international promotions: Ovation, Dayly, Pulp tsaka MMI. Kung titingnan mo naman kasi yung mga yun, ang sinusulatan lang talaga namin na consistent, Dayly. Bakit? Kasi sila, willing sila na makipag-tie-up sa amin, partnership. Ovation, sinusubukan lang namin makapasok sa mga shows nila lalo na yung mga very maiinit na mga concerts. Pero hindi sila 138 pumapayag, edi hindi rin namin sinusulatan. So in the end, depende talaga sa collaboration nung promotion tsaka media entity.

Interview with Emmie Velarde, Entertainment Editor of the Philippine Daily Inquirer

Philippine Daily Inquirer, Inc. Editorial Office, Makati City

How are the events to be covered chosen?

Well, events organizers call us, inform us, by whichever media, that they have these events coming up and then we see if it’s worth covering. How do we decide that? If it’s a good story, generally. Not only if they are being headlined by big names, not only that, but also if halimbawa it’s a music workshop in Dumaguete. We are interested because we support the OPM. In fact, we have always, PDI ha, we always have one reporter covering OPM. Kami lang meron nyan, kami lang. So organizers inform all the newspapers pero I bet na kami lang ang merong reporter dedicated to OPM. Yung mga iba case to case basis lang yan.

So parang you make sure po na regular nacocover mostly lahat ng OPM events?

As much as we can, tulad nyan (pointing to her desktop flashing an unfinished article of an OPM event), see this is an OPM event. It’s a festival starting on February 27. Basta mga ganung OPM-related.

So by invitation po, bale, and pag nainform po kayo?

Hindi lang yun. Meron nga kaming reporter. So the reporter always calls OPM to ask what’s up.

So parang two-way po siya?

Yes. And on the other hand, OPM knows that we have a reporter covering OPM—OPM (Organisasyon ng Pilipinong Mang-aawit), the organization, and OPM (Original Pilipino/Pinoy Music), the beat.

Despite this, makikita po na sa 2012, mas marami pa rin yung foreign events covered. So what do you think is the reason behind this?

You are talking about where, which paper?

Inquirer, Ma’am.

Inquirer? 139

Yes, music-related events.

More foreign?

More foreign.

Oh, I doubt that very much. Siguro may nakita ka lang one month na heavy ang influx ng foreign acts but on a regular basis, take the whole year, mas maraming OPM na. Mas maraming OPM kaysa sa foreign stories kami, oo.

So you make sure that there is balance po talaga?

I make sure that in the same manner that if we come up with the movies that are opening today, weekly, inuuna namin yung Tagalog, kahit gaano kaganda yung English movies, inuuna namin yung local. So, in the same breath, given five events, OPM mayroong four, uunahin namin talaga. Makikita mo yun sa aming Valentine concerts listing, una talaga ang local, una talaga yun.

Ma’am, ano naman po yung stand niyo since ngayon po overwhelming yung influx of foreign events na music-related. Ano po yung stand niyo? Do you think it’s too much for the local artists?

Alam mo, that’s a very complicated subject. Because there was a year we suggested to some artists. Wag na nating sabihin kung sino kasi I’m frustrated. We suggested to them, why don’t you go for legislation that every February 14, the week of Valentine’s, since it’s only one of two seasons of the year na malaki ang kita ng local music artists. Why don’t you call for legislation na pag Valentine week, local performers lang ang dapat magshow. Yung mga foreign artists can go for before and after Valentine week. Tulad nung ginagawa ng Metro Manila Film Fest. Parang, binoblock nila yung week na yun only for local movies. So why don’t you do that? Wala e, walang nangyari. Do not think that we do not care for OPM. It’s also because some of the artists are involved in importing foreign acts. So parang may conflict of interest din dun sa ibang local artists. Yun, Inquirer, I don’t know about other media organizations, we here, Inquirer Entertainment, we really really try to help them. Pero meron silang mga conflicts.

Ma’am, what can you say about, diba po music-related events, parang ang nangyayari po more on PR more than media coverage ang nangyayari. Is it really PR? PR-driven?

Okay, sige, let me put it this way. PR is not the enemy because they are sources of information. Kung sa kanila manggaling yung information na mayroong concert na on- going, why not, why not? Pero if you’re asking kung meron din kaming enterprise stories, yes, we do. Except, tulad nga nung mga, we don’t have to cover these workshops 140 but we do. I cannot say that of all the other media organizations. Pero Inquirer does. We go out of our way. See, ayan o (pointing at the appointment of each reporter posted on the wall), I’m not making this up, I’m not making this up just now, see, OPM. Somebody is assigned to OPM. Wala kang makikitang ganyan sa ibang dyaryo. So kahit PR-driven yung information, it’s not the bad thing. PRs are not the enemy. Ikaw ang enemy. You, kasi ikaw ang magdedecide kung maganda ba to or hindi. Icocover ko ba to dahil lang sa PR? Ikaw na yun. It’s not the PRs. PRs are just sources of information. It’s your own decision. See, kita mo yung decision namin. We decide to. See, someone is assigned to foreign acts pero mayroong OPM. Meron kaming beat system. PDI is the only newspaper na mahahanap mo yan na Entertainment, meron kaming beat system. Reporters are assigned to beats, like the news.

So ganun po, pag nakikinig kayo ng newsworthy events, you send beat reporters, ganun yung process?

Yeah. The reporter, or kung magkasabay-sabay, then we have other writers who also cover events.

So parang ang nangyayari po, going back to PR, you become a bridge para magkaroon ng publicity yung event pero not necessarily na it’s against your principles?

No, you seem to have a prejudice against PR. I’m just saying, ito yung position ko about PRs: they are sources of information. Kung ayaw naming puntahan, we have the option. Yung decision whether to go or not because PR or not, nasa kanya-kanya, iba’t ibang publications have different approaches to that. I cover OPM, as a matter of course. I am clear about that. I want to help Filipino artists who want to help themselves. You know, some of them don’t e. Or some of them don’t know how. Sino ang…when there was a group who decided, no, they just formed a group na who will help sick musicians. Sino lang bang sumulat nun? Kami—kami lang. Because meron kaming ganun. We have enterprise stories about Filipino musicians. Because stories about Filipino musicians are not just up to shows. It’s also about…recording, meron pa bang nagrerecording? You know, tiny percentage lang. Um, what is your thesis about?

Ma’am, icocompare po if balance yung coverage on local and international music- related events.

Ah, you should also research about other publications. Kasi PDI, we are very balanced. And when I say balanced, I just mean fair. If it’s a really big foreign artist, we should cover kasi newsworthy, newsworthy yun. But did we cover… We covered what… What was the latest? Jessica Sanchez. Was she big? She’s big. Why is she big? Because she’s also part Filipino. Hindi nga lang OPM. Pero during the coverage of her concert, ano yung unang tinweet ng PDI Twitter, that she sang an OPM. So maraming degrees yun e, 141 marami lang degrees. Pero we do not… OPM artists are not second citizens for us. Sila yung priority namin.

Sa placement ng articles, paano niyo po nadedetermine kung saan, kung front page, and how big?

Yung first page, it’s out of my hands.

Pero may mga nakita rin po kasi akong music-related events.

Yes, because they’re events. Like, Psy is an event. One billion hits. He’s in the Philippines. Performed with Madonna, performing with Ai-ai. It’s news. As far as the section is concerned, the music news gets weighed, kasi meron kaming weighing system, along with the rest of the stories. Kasi Entertainment section is not just music. It’s movies. It’s television. It’s musicals. It’s not just OPM. So kung may malaking OPM, edi siya ang main story. Kung maliit, I’m sorry. Lalabas siya pero maybe not the main story. But if it’s really big… Merong, alam mo yung inorganize ni Ryan Cayabyab na big names in the business mentoring new composers na sinelect nila from all over the country, major coverage namin yun. Photographer, reporter, may pumunta roon. Big news sa’min yun.

So you mean to say by big po, malaki ang impact sa readers?

Oo, tsaka also, depende kung gusto naming ipush yung…hindi pa, wala pa siya sa level of advocacy, kasi yung level of advocacy namin right now is indie, indie films. Pero yun yung gusto kong next. I want to have something as big for OPM as our annual indie awards. And I want OPM to be next. Kaya lang, yung industry nila, there’s so many groups. It’s not easy to do as much for them as it was easy to do for indie films. Ang dami ng groups kasi nila e. We are really trying. We want to. Yun pa lang e, yun pa lang ang masasabi ko sa you. We are looking at OPM. We want to do something good for OPM. Kahit saan kang maghanap na dyaryo, kami lang ang may ganyan. I promise you. Mayroon kaming reporter na dedicated to OPM, dedicated to looking for new artists, old artists coming back, old artists doing better than ever, new artists being a surprise. Sino ba ang unang naglabas kay Zendee? Diba kami. Hinahanap ko naman, right now, as we speak, pinapahanap ko si . Tinitingnan ko yan, as section editor, tinitingnan ko yan. I really have a heart for our local musicians.

And this is your way to be objective, walang bias sa foreign, walang bias sa local?

I look at every story as a story. I don’t say, oh this is foreign, this is local—a story. Marami namang foreing artists na hindi namin pinlay up. Siguro dumating yung story, they’re not so big. Or dumating yung story, maraming magagandang local news. At least 142 dito samin, a story is a story. They’re weighed a stories. Yes, I am proud to say that na wala kaming biases.

I have a day dedicated to music. Yung Tuesdays namin, as much as possible, OPM yun. Hanapin mo yung mga Tuesdays namin. Dinedicate ko sa kanila yan. Nagkaroon kami ng Top 10 every week. Kami ang unang gumawa niyan ha. Kaya lang nagpartner kami kasi we have no way of knowing. Nagpartner kami with Odyssey so that meron kaming overall OPM listing. If a local artist is doing well, siya yung hineheadline namin. Emphasis lang naman yun e. I did, I dedicated a day to OPM. Kaya lang if there’s not much going on, mahahalo siya sa ibang news. If there’s enough stories, then that whole day, puro OPM yan. I don’t have to do that. I do not even know Ogie Alcasid. I mean, I know, but he doesn’t know me. Only the reporters get to talk to the sources, not me. I don’t know them. I know Ryan Cayabyab from way back pero. I’m saying, hindi ito personal. For me, it’s nothing that I should do. It’s not because they are my friends. But it’s nothing that I should do if I want to do something right. Because Filipinos tayo e, we’re musicians e. Noong nag-Cinemalaya, anong pinlay-up ko? Anong favorite ko sa lahat ng napanood ko? Harana. Why? It’s about these old haranistas. These threeharanistas, yung isa sa kanila, this musician, nung pumunta siya rito, guitarist, gusto niyang gumawa ng dokyu about the harana. Nakakita siya ng isang mangingisda, isang magsasaka, isang tricycle driver, who used to be haranistas. Syempre wala nang harana ngayon e. Very sad but they were asked to sing old songs that they used for harana. The documentary was trying to, he asked them, sinong sumulat nitong songs na to? They don’t know. Wala nang authorship, hindi na nila alam kung sino ang sumulat o nagcompose. And I find that really fascinating talaga. Tapos itong documentary na to, yung tatlong matandang manong na to, pinagconcert niya, pinagrecording niya, dinala pa sa LA, pero hindi na nakarating yung isa kasi he was very sick, matanda na e. And then he died, he died recently. And I’m just saying, naligaw na tayo, I’m just saying that I really, I do have a heart for the Filipino musician and I do not forget that. I think it’s just right to look at them as something that I should be reporting on. Lahat kami. The beat goes around so it’s not always Anna, every six months. Every six months para nakakapag-ugat ka naman sa isang… Well I promise you, kami lang ang gumagawa nito. Every Valentine’s day, instead of just saying, sabi mo PR-driven, instead of just saying so and so will have a concert here at blah blah…no, we go to the artist. We interview. Five questions, pare-pareho. So they can answer pare-parehong questions. Did I give the same treatment to foreign artists? No. Yung mga local lang, iniinterview namin yan. Basta, para mas maganda yung exposure nila. We really help in every way we can.

So usually pag local iniinterview, pag foreign…

PR na lang. And hindi naman pwedeng hindi ilagay, news yun e, public service din. The thing is, dun sa listing namin ng Valentine shows, makikita mo saan lang pumasok si Jessica, sa huli. Sinong nasa taas? Si Jon Santos. OPM, tinalo niya yung foreign artists. 143

We know who we should help. Now, hindi na namin macontrol kung sinong pupuntahan ng mga tao, kahit gaano kamahal ang tickets. As I said, hindi PR ang kaaway mo dyan e. Ang kalaban mo dyan our conditioning for things foreign or for performers who are, hindi mo naman masisi minsan, kasi pagdating nila dito full production. But still we cannot stop the people who have money to spend, we cannot tell them where to go. But we tried, we really tried. See, yan ha, proof yan ha (referring to the unfinished OPM article once again). Makakahanap ka ba ng ganyan sa ibang dyaryo? Hindi. Hindi, kami lang, kami lang gumagawa nyan.

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APPENDIX C

Photos of News Articles in PDI

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APPENDIX D

Survey Form

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APPENDIX E

Survey Responses

For complete survey responses, visit: https://docs.google.com/spreadsheet/ccc?key=0AmrfFeuZmiR7dE1jRVEyTk92S05maEl jRFVWcGtvdVE#gid=0