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THE FIRST INDONESIAN CYBERMUSEUM
MUSEUM DUNIA MAYA PERTAMA DI INDONESIA
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Dr IWAN SUWANDY, MHA
BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)
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SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA
(Driwan Music Record Cybermuseum)
The Phillipine Music record History(Sejarah rekaman Musik Filipina ),
Frame One :
The Phillipine Music Record Found In Indonesia
1. The philipine Musicord before WWII
This track, a steel guitar solo by Mr. Zafra accompanied by Mauro Baradi on a standard acoustic guitar, in the strange position of not exactly knowing how to react when listening to it. It sounds awkward enough to be the first time the musicians have played the number…or, that could be my own cultural ignorance and the piece is meant to slowly lumber along. Probably the latter, as the flip side is a more standard, uptempo folk melody. Either way, I’ve always liked this, and have never found anything quite like it. Being from the Philippines, you can definitely hear the influence of 300 years of Spanish colonial rule.
This was released on Columbia’s “X” (for “export”) series, and recorded in November of 1929, in New York City.
2.LP Phillipine Bayanihan Traditional Folk Dance Music record
|Bayanihan, the National Dance Company of the Philippines takes its name from an ancient Filipino tradition called bayanihan which means working together for a common good. In 1956 Dr. Helena Z. Benitez founded the Bayanihan Folk Dance Group of the Philippine Women’s University. The following year, 1957, it was formally organized as the Bayanihan Folk Arts Center with the Bayanihan Philippine Dance Company as its performing arm. Both the center and the dance company were tasked to research on and preserve indigenous Philippine art forms in music, dance, costumes and folklore; to restructure and enhance these research findings to evolve repertoires suited to the demands of contemporary theater; and to promote international goodwill through performances at home and abroad.Barely a year old but eminently backed up by painstaking research and innovative choreography, Bayanihan made its highly successful debut at the Brussels Universal Exposition on May 27, 1958, launching the company on an international career representing the Philippines.The popular TV host Ed Sullivan featured the Company in his coast-to-coast telecast of the “Highlights of the Brussels Fair” beamed to 40 million televiewers in the USA. Shortly after, Sol Hurok, “The king of impresarios,” signed up Bayanihan for the Sol Hurok International Festival. On October 13, 1959 Bayanihan opened on Broadway at the Winter Garden Theater and received the unanimous acclaim of New York City critics. It was a major break-through in Philippine dance history. And henceforth the world became a stage for Bayanihan.To Dr. Lucrecia Reyes Urtula, National Artist for Dance, largely belongs the credit for transforming Bayanihan’s ethnic research materials into dances of theatrical excitement and artistry. As Walter Terry of New York Herald Tribune observed, “Indeed the choreography is endlessly fascinating, for while preserving authenticity of step and regional color, Lucrecia Urtula has devised designs of incredible originality, visual beauty and excitement.”Since its formal organization the company has mounted fourteen (14) major world tours (of six months to a year in duration) to Asia, Australia, Africa, Europe, the Middle East and the Americas and over a hundred short tours to foreign countries. In half a century Bayanihan has performed in six continents, sixty-six countries and 700 cities world wide.
Through the years it has earned many distinctions: the first Filipino group to break into Broadway and the first non-American dance company to perform at the New York State Theater of the Lincoln Center for the Performing Arts; the first Filipino cultural group to perform in Russia and PROC; and first to make an in-depth tour of South America; the first Filipino dance company to perform at the World Showcase Millennium Village EPCOT, Disneyworld, Florida and the only Filipino dance company to receive the prestigious Ramon Magsaysay award for international understanding.
At the onset of the new millennium Bayanihan undertook its 12th tour of the USA, September 17 to December 3, 2001, playing to standing ovations in 56 cities in 20 states, chalking up a record total of 69 performances in 77 days.
In 2002 the company won the Gold Temple award for overall excellence in dance, music, costume and production at the 47th International Folklore Festival in Agrigento, Sicily.
2004 was a busy year internationally for Bayanihan. It participated in the Universal Forum in Barcelona in July; the 3rd CIOFF World Folkloriada August 12-22 in Hungary; and represented the Philippines at the Cultural Olympiad in Athens, Greece August 24-26.
A glowing achievement auspiciously started year 2005 for the Company. At the 50th International Folklore Festival in Sicily on February 5-11 Bayanihan bested all previous Gold Temple Awardees who vied for the Festival’s golden anniversary Gold Temple award- an 18 karat gold replica of an ancient temple.
On the home front Bayanihan was bestowed the “Diwa ng Lahi” award, the highest honor given by the City of Manila for outstanding achievement in culture and the arts. Also in 2005 the company embarked on an extensive Asian tour which covered China, Japan, Korea, Vietnam, Brunei, Taipei, India and Singapore under the auspices of the Philippine Embassies in the aforementioned countries and the Department of Tourism.
In 2006 Bayanihan was very much in demand with a heavily booked international touring schedule. This included a return engagement in mainland USA, September 18 to December 3 under the aegis of Columbia Artists Management, Inc. and a performance in Honolulu December 7 in celebration of the centennial of Filipino migration to the US sponsored by the Philippine Community Association headed by Mr. Geminiano Arre, Jr. There were number of short tours to Greece, July 17-24; Russia and Germany, September 11-19; Japan September 24 to October 3; China October 29 to November 4; and London November 5-15 sponsored by the Department of Tourism.
Promising to be an equally busy year, 2007 opened with a two-week engagement in Dubai followed by a week at the International Folklore Festival in Sicily, February 5-12; India, February 7-18 Bahrain, March 26-30; China, March 29 to April 1 and June 5 to 17; at the Xllth Feastival Mundial de Danses Folkloriques (World Folk Dances Festival) the company once again wrested the World Prize “Primer Premi Mundial” in a field of 55 dance companies in Palma de Mallorca Spain on April 10 to 14; Russia, June 24-29; the company adjudged first prize winner soon after another triumph at the 7th Gold Bridge Folk dance Competition during the Buyukcekmece Arts and Culture Festival in Istanbul Turkey June 30 to July 7 and Bayanihan’s choreographer Ferdinand Jose won the trophy for best choreography
A multi-awarded company, both nationally and internationally, Bayanihan has awakened a new pride among Filipinos in their cultural heritage; added a new dimension to the country’s dance tradition; and has built a rich reserve of international goodwill.
In appreciation and recognition of their pioneering efforts and international success, the people of the Philippines through the 10th Congress enacted R. A. 8626 declaring the Bayanihan Philippine Dance Company as The Philippines National Folk Dance Company.
Subsequently, the President of the Philippines issued Proclamation No. 138 declaring May 27 of every year as National Day to commemorate and propagate the Bayanihan spirit as the unique way of working together as a people.
3.The Phillipne Pop Music Record
1) Eddie Prigina
EDDIE PEREGRINA: THE ORIGINAL “JUKEBOX KING”
Eddie Peregrina, hailed as the original jukebox king, was only 32 when he died on April 30, 1977 at Polymedic Hospital. The popular singer sustained fatal concussions in his internal organs due to a car accident. He was on his way home from a two-day taping at ABS-CBN, when the car he was driving bumped into a doctor’s car along an underpass in Shaw Boulevard. “Daig pa raw sa sipa ng kabayo ang tumama sa sikmura n’ya,” said Lyn [Lyn Salazar-singer/actress].
Eddie died exactly a month and a week later after the accident. “Lumalaban s’ya pero hindi na kaya ng katawan,” she said. “He had a major operation almost every week. Our friends said that had he lived, Eddie would have been reduced to a vegetable. He couldn’t even talk because his trachea was perforated. So, even singing would be out of the picture.”
Peregrina’s ending was truly ironic for an idol, who practically sang his way to success, winning in amateur singing contests like the DZXL’s “Tita Betty’s Children Show” since he was six.
The next 26 years of his life saw Eddie conquered other national singing contests like the “Tawag ng Tanghalan,” worked as a singer in Japan for five years with The Blinkers band, and became the first Jukebox King of his homeland.
During the early 60’s, a singer’s popularity was practically determined by the jukebox, a coin-operated machine that can play specially selected songs from self-contained media. It was a period when fans dropped 20 centavos in a jukebox to listen to Timi Yuro’s “Crazy” or Matt Monro’s “Walk Away” and “Before You Go.” Of course, Eddie’s songs like “Together Again,” “Two Lovely Flowers,” “Mardy” and “I Do Love You” were such national anthems and outdid their foreign counterparts not only in the jukebox market but also on the airwaves, in restaurants and well….. the local cabarets.
Eddie was already famous before Nora Aunor became a superstar. In fact, there was this show on Channel 9 that billed him ahead of Nora, “The Eddie-Nora Show (1970).”
He also did a number of films, like “Mardy” with Vilma Santos, “Memories of our Dreams” with showbiz loveteam Esperanza Fabon and wife, Lyn, “Batul of Mactan” (1974), “Your Love” (1970) and “Dito sa Aking Puso” with Nora (Aunor).
2) Victor Wood
The Story of Victor Wood
Victor Wood is a popular Filipino singer and entertainer. He is known for his trademarks such as tousled hair, prominent cleft chin, brown eyes and 5-foot-10-inch lean frame. He had five wives and a dozen of children with 16 grandchildren under his sleeve. He is dubbed as ”Jukebox King” and ”Plaka King”.
Victor “Vic” Wood was born on February 1, 1946 in Camarines Sur, Philippines. He is a son of Sgt. Kocky Wood however, he did not knew anything about him since childhood. Rosario Nobleza was his mother. His childhood memories filled him with rejection: first, he was abandoned by his father and the constant changing of partners by his mother that irked the young actor. He studied and finished high school in Jose Abad Santos High School.
With his wonderful voice earned him various attributes including the titles as Jukebox King and Plaka King. Among the women, he is dubbed as Bukol or well-endowed. Seemed there was no ending of success as luck smiled upon Victor Wood on 1970’s. His career bloomed and being a person lack of attention, he extremely loved adulation and admiration by fans and media.
In spite of being famous, he felt the turmoil inside. Something was hiding behind a mask. Every time the curtains were closed, the loneliness came out resulting to drunkenness just to escape reality.
He turned to a tranquilizer to calm his nerves but it lasted for a while only. He battled for a nervous breakdown in searching for his father. He sought therapy in St. Luke’s Hospital and cut down alcohol upon the advice of his doctors.
He and his family migrated to US in 70’s to find peace there. His life was good in there. He rubbed elbows with Shirley Temple, former Hollywood star. He co-owned four gasoline stations and was into real estate and landscaping. In addition, he managed the $i.5-million Palm Plaza Restaurant. Lopezes were his friends and was an active member of Ninoy Aquino Movement.
From 1970-1975, Victor Wood was signed with a record label, Vicor Records.
However, his prosperity doe not last. He lost his investments and his family with severed ties to his children. Being a manic-depressive, he was diagnosed in Stanford University Hospital in California when he began thinking that suicide was the only way to solve his problems.
Victor Wood went home on 1998 with no clear plans in his mind. He thought that Philippines would be full of promise because Marcosses are no longer in power. Hints were there that the owners of ABS-CBN were interested ton hire him in some shows but nothing concrete came about.
Later, local politics summoned him and run for vice governor of Rizal. He although knew that he had pitied himself against moneyed stalwarts but this did not worry him.
Vicor Records released Victor Wood’s Greatest Hits Vol. 3. It is a compilation album of all the songs recorded by Victor Woods. It is dominated by the remakes of American songs like “Crying Time”, “Paper Roses” and “The Great Pretender”. The original version of the songs were excellent however, Victor Wood’s fine voice and signature style makes the song enjoyable and worthwhile.
Now, Victor Wood is a painter. He was grateful, at least he has paintings to run to. Thanks to his informal lessons in Germany that developed his impressionistic style. He estimates he made up only 92,000 a year.
Last 2007, Victor Wood ran as a senatorial candidate in the Philippine general election under Kilusang Bagong Lipunan but lost.
3) Maribeth ,song Denpasar Moon
According to Colin’s interview as Sabah Habas Mustapha published in the “Folk Roots” magazine, No. 182/3 (Aug./Sep. 1998), the story began when he was in Jakarta on holiday and made some contact with local record company people. A year later, back in Jakarta, an arranger Johnny Kake helped Colin to arrange two songs (‘Denpasar Moon’ and ‘Bali Girl’) into dangdut, a style of Indonesian pop song. However, it was still an experiment, and “nobody really knew what to do with it”.
Another year passed, and in 1992, Colin toured in Japan with Camel. By then, he had made a contact with Wave Records in Japan through his work with Rinken Band. So, he left his demo tape at the Wave Record and told them that he wanted to record a dangdut CD in Jakarta. This demo tape was passed to a man from Sony who thought ‘Denpasar Moon’ could be a big hit. As Colin got a message from the record company, he flew to Jakarta to record an album.
In the meantime, in Tokyo, Sony found a Philippine singer Maribeth, and recorded her version of ‘Denpasar Moon’. This version was used for an advert for Sony hi-fis on Indonesian television — and to everybody’s surprise, it became a big success, and more than 50 cover versions were made in different styles, arrangement, and even in different languages!
Maribeth’s version of ‘Denpasar Moon’ is in her album “Alone Against the World”.
Following the success of ‘Denpasar Moon’, Sony asked Colin to write a song for Maribeth. So ‘Borobudur’ was written, and recorded for her album “Born to Sing” (1994). The song sounds quite close to ‘Denpasar Moon’. For more details, see the booklet of “Denpasar Moon” (re-issued edition).
Frame Two :
The Phillipne Music Record Historic Collection
The datus and rich people sit together. The gong bands start to perform in front of them. Wooden percussions sound the whole room while a Tagalog jingle is sung.
Gong and folk music is present before Spaniards arrived. Tagalog and Visayan jingles were composed. Songs were short and instruments may include bamboo sticks and stones from the ground. Farmers may sing Tagalog jingles while planting rice to boost their energy at work. Fishermen whistle attractive sounds to call fishes in the sea. Tagalog and Visayan composed songs with gong bands may entertain datus and sultans or any royalty.
The moon is bright with stars twinkling like diamonds. A man in love starts to play his guitar. As he plays, the window he’s facing opens and a beautiful young maiden watches from above and smiles. The man starts to sing a kundiman classic and he serenades the young maiden. He finishes his song and asks the maiden for a walk tomorrow afternoon beside a creek.
The 1800s to the 1950s is the Kundiman era. The Spaniards introduced this kind of musical genre to the Philippine islands. Kundiman (literally came from ‘kung hindi man’ or ‘if not’) is a genre of melodramatic and sentimental songs which are fit for serenades. The tune is slow and its instruments include a guitar. The voice is mellow and the lyrics are dramatic and romantic.
Blue Moon is an undying classic which is also very romantic. It became popular in the Philippines in the Japanese occupation.
1950s were the days of very romantic types of music. The Four Aces‘ “Love is a Many Splendored Things” is a romantic hit in the 1950s.
Rock and Roll era
In concerts and bars, a fast type of music plays. It’s very exciting and the crowd starts to jump and join the dancing.
Rock and roll is an American musical genre of guitars, exciting vocals and fast drums. It was a world impact in the late 1950s to the 1970s and also until now. Elvis Presley became king of rock and roll with his songs “Jailhouse Rock” and “Heartbreak Hotel” in the late 1950s. He became famous in the 1960s after numerous films. The Beatles is a British band famous internationally. They’re the biggest rock and roll band in music history with songs “All you need is Love”, “Hey Jude” and “Fool on the Hill”.
The 1970s was the start of the Philippine music industry success and rock and roll is one of the first genres to rock the country. Filipino rock and roll bands Sampaguita and Juan dela Cruz Band are already icons. Sampaguita’s “Bonggahan” and Juan dela Cruz Band’s “Gusto kong Mag-swimming sa Balong Malalim” are favorites in the 1970s.
Disco and Manila Sound
The 1970s is the era of Manila Sound. The 1960s to the 1980s is the disco era. Beegees, Abba funky groovy musical style gave new ideas to Philippine music. Bands such as Hotdog, VST and Co, Hagibis became popular. Disco’s like Circuit, WhereElse, CocoBanana, Star Gazer and others introduced disco dancing.
Manila Sound had its modern ressurgence during 2004 with the introduction of bands such as KALA and modern OPM bands covering Manila Sound classics.
In 1978, DZRJ-AM jock Howlin’ Dave introduces the music of the Sex Pistols to stunned Manila listeners. On Disco a filipino disco club owned by Sonny Tanchanco was cited by Billboard Magazine, (an international music magazine based in the USA) as one of the first international clubs to successfully integrate new wave rock into the disco scene. Pinoy rock bands started playing new wave rock. Pinoy rock icon, Joey “Pepe” Smith, Sampaguita and the Jerks were their regular live performers at On Disco with crowds dressed up in “New Wave gears”. In 1984, Tommy Tanchanco formed Twisted Red Cross, an independent cassette label supporting independent punk music. TRC’s first official release which was a compilation entitled “RESCUE LADDERS AND HUMAN BARRICADES” that showcased the bands he signed up for the label like BETRAYED, Urban Bandits, Wuds, Private Stock and others were also included on the bandlist.
1980’s to 1990’s
In the early up to mid-1980s, Pinoy Rock became the music of Filipino protesters. Gary Granada and the band Buklod had socially relevant lyrics for their songs. Aguilar’s Bayan Ko (My Country) became an anthem during the 1986 EDSA Revolution. A subculture rejected this kind of socially-aware lyrics.
The most popular Pinoy Rock band in the Philippines in the ’80s was arguably The Dawn, whose early songs were largely influenced by New Wave and Post-punk, the dominant Alternative Music genres in the Philippines during that period. The Dawn came to prominence in 1986, when its independently-released single “Enveloped Ideas” became an instant favorite among listeners of DWXB-FM 102.7, a now-defunct FM radio station popular in the mid-’80s that heavily played New Wave, Post-Punk, and similar genres.
Many music journalists and enthusiasts, as well as musicians themselves, attribute the flourishing in the mid-’80s of New Wave- and Post-Punk-influenced bands to DWXB-FM, which began playing independently-released singles of unsigned local bands. This helped many of the struggling bands in this era to achieve cult status. These bands included Dean’s December, Ethnic Faces, Identity Crisis, and Violent Playground, all of which were able to record and release their respective albums in the years that followed.
Other Pinoy Rock groups took their cue from these pioneers and started recording their own songs; and this proved beneficial to the Pinoy Rock scene, which brought back creativity and originality to the awareness of fledgling musicians. Among the lot, The Dawn, Afterimage, and Introvoys proved to be the enduring and more successful groups. Each was able to sustain a relatively long career.
DWXB-FM went off the air on June 9, 1987. The new Cory Aquino-led government began sequestering properties owned by her predecessor Ferdinand Marcos and his cronies, including the home that DWXB-FM beamed from. DWXB-FM was revived as an online radio station on September 10, 2005, by Sutton Records, with the original DJs broadcasting from Manila.
1990’s to 2000
During the start of the decade, The Hayp, Introvoys and After Image were among the prominent bands enjoying mainstream recognition. But their collective popularity was later overshadowed by younger bands that eventually emerged. An underground music scene was already burgeoning in some unknown bars in Manila. Red Rocks (which later became Club Dredd), together with Mayric’s and Kampo (Yosh in the mid ’90s), were the only venues where unsigned bands were allowed to play their own songs. From Power Pop, shoegazer, alternative rock (Eraserheads, Color It Red, The Youth, Feet Like Fins, Advent Call, Athena’s Curse, etc.) to hard rock, heavy metal (Razorback, Askals, Wolfgang, Dahong Palay, etc.) to hardcore, punk, and death metal (Skychurch, Genital Grinder, Death After Birth, Kabaong ni Kamatayan, , Loads of Motherhood, The Wuds, Yano, Bad Omen, Rumblebelly, Deifago).
To add to the plight of the underground bands, radio stations would not play their music due to the payola system in the radio industry despite the fact that most of these bands, if not all, had self-produced ([[independent music|indie) albums. But DWLA 105.9 challenged the current system by providing a venue for the bands to broadcast their original songs. Pinoy Rock enthuthiasts were finally elated to hear their favorite underground bands ruling the airwaves.
Radio station LA 105.9 advocated Filipino rock music, playing original amateur (even if poorly recorded) singles and gave new avenues for emerging bands outside organized underground concerts. Rock n’ Rhythm, a local music magazine also supported this scene with news and updates, band interviews, album and concert reviews, carrying on the torch that the defunct Jingle Chordbook and Moptop (popular Philippine rock music magazines during the ’70s and ’80s, respectively) have entrailed. The band explosion opened avenues for non-traditional artists as well, like Intermidya, for example. Their musical instruments looked like materials from a junk shop glued together and which had names like Sandata#1, Sandata#2, Baby Sandata, etc.
The commercial success of Eraserheads paved the way for more Pinoy Rock acts (Rivermaya, Rizal Underground, The Youth) getting record deals. Some brave all-female bands got signed (Kelt’s Cross, Tribal Fish, Agaw Agimat) and a few solo artists as well (Maegan Aguilar, Bayang Barrios, DJ Alvaro). Rappers crossed over with great success (Francis M with Hardware Syndrome and Erectus), despite some earlier controversy with hiphop-bashing allegedly incited by some artists. These bands adopted a variety of influences both in image and music; many fell under a particular genre; however, the crossing over of styles was most often inevitable.
In the early 2000s, Hip hop-, reggae-, acoustic pop/jazz-, and R&B-influenced bands dominated the Philippine music scene, causing Pinoy Rock to take a backseat. Only a number of Pinoy Rock bands managed to stay in the mainstream during this period. In 2003 a not-so-well-known home-educated DJ named DJ RO started playing in a small bar and restaurant known as GWEILOS; DJ RO helped promote the club every Monday night while there was an emergence of Filipino Rock bands like Bamboo, Orange and Lemons and Kitchie Nadal that started performing in Gweilos and eventually became popular. In 2004, Pinoy Rock once again gained prominence, with the rise of yet another wave of Filipino Rock bands. During this time, the Pinoy Rock music scene in Cebu also gained exposure.
2001 saw indie band The Pin-Up Girls, made up of former Keltscross members and underground musicians, signing to Know-It-All Records in Tacoma, Washington, making them the first Manila-based band to sign with an American label. This development caused quite a negative reaction from the Manila rock scene as most musicians deemed the band unworthy of the break.
The Pin-Up Girls released an EP worldwide called “Taste Test” that sold out. Know-It-All then printed a new batch dubbed “Taste Test: The Expanded Menu”. The lead-off single “Caress” hit number one on the New Jersey– and Internet-based radio http://www.flashbackalternatives.com.
2004 also saw the emergence of the first Philippine virtual band, Mistula. With the internet as their stage, Mistula comes alive through their official website, a fusion of music, graphic art, literature, photography and other art forms.
The rest of the 2000s further ushered in the mainstream buzz on Pinoy Rock, and along with it bands that leaned more towards pop sensibilities. During this time, Pinoy Rock, more than ever, gained mainstream exposure. Pogi (“pretty-face”) rock was born (with such bands as Hale, Sponge Cola, Callalily and the new, post-Rico Blanco Rivermaya), although an obscure, provincial band that called itself Groupies’ Panciteria tried to assert a different political path, releasing in 2009 an mp3 album for free downloading on Soundclick.com after having been inspired by the politics of ultra-independent rock artist Dong Abay; the half-send-up-of- and half-tribute-to-commercial-TV 2005 album by the band Itchyworms called Noontime Show; and the downloadable protest-folk albums of Gary Granada.
2006 was when Filipino band, KALA, appeared in the commercial music scene with their full length album entitled “Manila High” distributed by SonyBMG Music Entertainment. Their first hit was Jeepney which was released summer of 2006. According to the Philippine Daily Inquirer, the band started the resurgence of the Manila Sound genre into the modern world through their own mix of funky jazzy electronic rock music. The tribute album Hopia Mani Popcorn was also launched. Popular bands frontlined the remake album. KALA made a funky remake of VST and Co.’s Rock Baby Rock which hit number 1 in the airwaves.
In recent years as well, bands like Urbandub, Chicosci, Slapshock, Pencil Toe and Typecast have also played in other countries such as Singapore and the US, amongst others. Some have even garnered nominations and recognition from internationally-based publications and award-giving bodies. This is mainly attributed to the effect of the internet and globalization on almost anything including music, as listeners from other countries can now see and hear songs and videos of bands overseas without leaving their country
Universal Records (Philippines)
|Universal Records (Philippines)|
|Founded||1977 (as WEA Records Philippines)|
|Founder||Warner Music Group
Bella Dy Tan
|Country of origin||Philippines|
|Location||9/F, Universal Tower, 1487 Quezon Avenue, West Triangle, Quezon City, Metro Manila, Philippines|
URPI was founded in 1977 as WEA Records Philippines Inc. The company had 15 years of partnership with WMG, but the latter still decided to put its own office, the precursor of what is now Warner Music Philippines.
In 1992, the company adopted a new name, Universal Records Philippines Inc., and since then it rose as one of the Philippines‘ best and biggest record labels.
As of 2011 :
- Bellhaus Entertainment (formed by Jeff Dy Tan, Bella Dy Tan’s brother)
- Dance Bug Records (sub-label for dance music)
- Homeworkz Records (formed by Jay R)
- IndiMusic (formed by Regine Velasquez and Ogie Alcasid)
- Jesuit Communications Foundation
- Jesuit Music Ministry
the end @ Copyright Dr Iwan Suwandy 2011