The past decade has been a golden era for Filipino pop music, aka Pinoy-pop or P-pop. The past couple of years alone have marked some landmark moments for the genre, which is rapidly gaining an international presence to rival that of its J-pop and K-pop forebears that have so heavily influenced the music in its current form.
Last year, boy band SB19 picked up a nomination for an MTV Europe Music Award and became the first South-East Asian act to be nominated for a Billboard Top Social Artist Award. They kept this success going into 2022 by spending seven weeks at the top of Billboard’s Hot Trending Songs chart, breaking K-pop superstars BTS’s record for Butter in the process.
On Spotify’s annual streaming charts last year, Zack Tabudlo topped the Philippines’ most-streamed-song list with Binibini. It’s not entirely unusual for Filipino artists to make the list, but it’s more commonly dominated by international names such as Justin Bieber and Ariana Grande. With Olivia Rodrigues and Bruno Mars — both artists of Filipino descent — joining him in the top 5, and 84 million streams in a single year for Binibini, it was a particularly strong performance.
Meanwhile, girl band MNL48 are part of a pan-Asian pop franchise success story, originating in Japan, that is taking the continent, and world, by storm. The Filipina branch of the ‘reality pop’ 48 phenomenon have picked up awards at the MYX Awards, P-Pop Awards and TikTok Awards, and even have their very own theatre to hold performances at Manila’s Eton Centris Mall.
A recurring theme in these success stories has been the heavy influence of K-pop and J-pop, but it wasn’t always thus. While modern P-pop is marked by meticulous dance routines, polished production and squeaky-clean teen pin-ups, the early history of the genre is one of subversion.
The term “Pinoy” began to be widely used as a prefix to domestic pop music in the late 1970s and applied initially to a largely folk rock-inspired movement, sung not in English as had been the norm in the former US colony, but in Tagalog or “Taglish”, and with a frequent undercurrent of opposition to the authoritarian regime of then president Ferdinand Marcos. Heber Bartolome’s 1977 song Nena, for example, told the story of a young girl forced into prostitution owing to an uncaring government, while Florante De Leon’s Digoman (War) flatly states: “I am ready to do battle for the cause of our freedom.”
Craig Lockard’s Dance of Life, a 1998 study of South-East Asian pop music, explained: “The rise of politicised pop music is linked to the development in the early ‘70s of the musical style known as ‘Pinoy’. Sung not in English but in Tagalog [or] slang-filled Tagalog that appealed to urban youth, Pinoy music was a conscious attempt to create a Filipino national and popular culture.”
The term Pinoy-pop really hit the mainstream in 1978 when Freddie Aguilar’s single Anak (Child) sold 100,000 copies in the Philippines in its first two weeks of release — something that was unheard of at the time. The song was released in more than 50 countries and translated into nearly 30 languages, according to local media.
Anak wasn’t an overtly political song. It was a touching tale of a father-son relationship. Aguilar’s 1979 follow-up, Bayan Ko (My Country), pulled no such punches, with lyrics that translate as, “The Philippines, Nest of tears and poverty, My aspiration, See you perfectly free.” This song would go on to become the anthem of the 1986 uprising against Marcos, with Aguilar himself leading the crowds in singing on occasions.
As the 1970s became the 1980s, the growing influence of US hip-hop began to show. Musically, P-pop retained a strong folk influence, in part owing to the lack of easy access to hip-hop standards such as cheap samplers and record decks in the contemporary Philippines. The lyrical poetry of the genre began to emerge in P-pop, however. A trend even emerged among street theatre/musical collectives for adapting the poems of Amado Hernadez — a Marxist Filipino poet who died in 1970 — to music.
It was also around this time that Marcos became interested in the burgeoning Pinoy-pop scene. One might have expected him to want to shut down the growing subculture, but it seems he wasn’t paying too much attention to the lyrics. Instead, impressed by proudly nationalistic song titles such as My Country and I Am Filipino, performed in the native language, Marcos decided this was exactly the sort of movement he should co-opt for political purposes, mandating under a 1978 update to Order 75-31 of the Broadcast Media Council that all Filipino radio stations should play at least three Pinoy songs an hour as part of his campaign to boost the profile of Filipino culture and reduce outside influences.
It wasn’t the first, or last, time a populist leader had misappropriated pop music for their own ends. Earlier this month, British pop group M-People were furious when Liz Truss used their hit Movin’ on Up while she walked on stage for her Conservative Party Conference speech as UK Prime Minister, though they were also happy to note the irony of Truss using a song about breaking up with a deadbeat partner, including the line “pack your bags and get out” to highlight the bright future ahead under her leadership.
It’s a world away from the shiny P-pop product of 2022, but pop music and politics alike tend to move in circles. Filipino politics has already done so this year, with the Marcos family back in power following the election of Marcos’s son Ferdinand Marcos Jr, known as BongBong, as president in July.
Last week, meanwhile, Filipino Senator Jinggoy Estrada suggested banning K-drama and other foreign-made content from Filipino screens in a familiar-sounding call for the advancement of domestic culture.
In March, during the election campaign, Filipina songstress Nica Del Rosario, who has previously written songs for the likes of Sarah Geronimo and Barbie Almalbis, hit the No 1 and 2 spots on the Filipino iTunes download charts simultaneously, with Rosas and Kay Leni Tayo. Both were protest songs urging listeners to reject a return for the Marcos clan and vote for rival Leni Robredo.
Could P-pop be going full circle, too?
Scroll through the gallery below to see SB19 performing at Expo 2020 Dubai
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How much do leading UAE’s UK curriculum schools charge for Year 6?
- Nord Anglia International School (Dubai) – Dh85,032
- Kings School Al Barsha (Dubai) – Dh71,905
- Brighton College Abu Dhabi - Dh68,560
- Jumeirah English Speaking School (Dubai) – Dh59,728
- Gems Wellington International School – Dubai Branch – Dh58,488
- The British School Al Khubairat (Abu Dhabi) - Dh54,170
- Dubai English Speaking School – Dh51,269
*Annual tuition fees covering the 2024/2025 academic year
WOMAN AND CHILD
Director: Saeed Roustaee
Starring: Parinaz Izadyar, Payman Maadi
Rating: 4/5
Profile of RentSher
Started: October 2015 in India, November 2016 in UAE
Founders: Harsh Dhand; Vaibhav and Purvashi Doshi
Based: Bangalore, India and Dubai, UAE
Sector: Online rental marketplace
Size: 40 employees
Investment: $2 million
Explainer: Tanween Design Programme
Non-profit arts studio Tashkeel launched this annual initiative with the intention of supporting budding designers in the UAE. This year, three talents were chosen from hundreds of applicants to be a part of the sixth creative development programme. These are architect Abdulla Al Mulla, interior designer Lana El Samman and graphic designer Yara Habib.
The trio have been guided by experts from the industry over the course of nine months, as they developed their own products that merge their unique styles with traditional elements of Emirati design. This includes laboratory sessions, experimental and collaborative practice, investigation of new business models and evaluation.
It is led by British contemporary design project specialist Helen Voce and mentor Kevin Badni, and offers participants access to experts from across the world, including the likes of UK designer Gareth Neal and multidisciplinary designer and entrepreneur, Sheikh Salem Al Qassimi.
The final pieces are being revealed in a worldwide limited-edition release on the first day of Downtown Designs at Dubai Design Week 2019. Tashkeel will be at stand E31 at the exhibition.
Lisa Ball-Lechgar, deputy director of Tashkeel, said: “The diversity and calibre of the applicants this year … is reflective of the dynamic change that the UAE art and design industry is witnessing, with young creators resolute in making their bold design ideas a reality.”
Sole survivors
- Cecelia Crocker was on board Northwest Airlines Flight 255 in 1987 when it crashed in Detroit, killing 154 people, including her parents and brother. The plane had hit a light pole on take off
- George Lamson Jr, from Minnesota, was on a Galaxy Airlines flight that crashed in Reno in 1985, killing 68 people. His entire seat was launched out of the plane
- Bahia Bakari, then 12, survived when a Yemenia Airways flight crashed near the Comoros in 2009, killing 152. She was found clinging to wreckage after floating in the ocean for 13 hours.
- Jim Polehinke was the co-pilot and sole survivor of a 2006 Comair flight that crashed in Lexington, Kentucky, killing 49.
Company profile
Name: Steppi
Founders: Joe Franklin and Milos Savic
Launched: February 2020
Size: 10,000 users by the end of July and a goal of 200,000 users by the end of the year
Employees: Five
Based: Jumeirah Lakes Towers, Dubai
Financing stage: Two seed rounds – the first sourced from angel investors and the founders' personal savings
Second round raised Dh720,000 from silent investors in June this year
MATCH INFO
Inter Milan v Juventus
Saturday, 10.45pm (UAE)
Watch the match on BeIN Sports
Anna and the Apocalypse
Director: John McPhail
Starring: Ella Hunt, Malcolm Cumming, Mark Benton
Three stars
Conflict, drought, famine
Estimates of the number of deaths caused by the famine range from 400,000 to 1 million, according to a document prepared for the UK House of Lords in 2024.
It has been claimed that the policies of the Ethiopian government, which took control after deposing Emperor Haile Selassie in a military-led revolution in 1974, contributed to the scale of the famine.
Dr Miriam Bradley, senior lecturer in humanitarian studies at the University of Manchester, has argued that, by the early 1980s, “several government policies combined to cause, rather than prevent, a famine which lasted from 1983 to 1985. Mengistu’s government imposed Stalinist-model agricultural policies involving forced collectivisation and villagisation [relocation of communities into planned villages].
The West became aware of the catastrophe through a series of BBC News reports by journalist Michael Buerk in October 1984 describing a “biblical famine” and containing graphic images of thousands of people, including children, facing starvation.
Band Aid
Bob Geldof, singer with the Irish rock group The Boomtown Rats, formed Band Aid in response to the horrific images shown in the news broadcasts.
With Midge Ure of the band Ultravox, he wrote the hit charity single Do They Know it’s Christmas in December 1984, featuring a string of high-profile musicians.
Following the single’s success, the idea to stage a rock concert evolved.
Live Aid was a series of simultaneous concerts that took place at Wembley Stadium in London, John F Kennedy Stadium in Philadelphia, the US, and at various other venues across the world.
The combined event was broadcast to an estimated worldwide audience of 1.5 billion.
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The struggle is on for active managers
David Einhorn closed out 2018 with his biggest annual loss ever for the 22-year-old Greenlight Capital.
The firm’s main hedge fund fell 9 per cent in December, extending this year’s decline to 34 percent, according to an investor update viewed by Bloomberg.
Greenlight posted some of the industry’s best returns in its early years, but has stumbled since losing more than 20 per cent in 2015.
Other value-investing managers have also struggled, as a decade of historically low interest rates and the rise of passive investing and quant trading pushed growth stocks past their inexpensive brethren. Three Bays Capital and SPO Partners & Co., which sought to make wagers on undervalued stocks, closed in 2018. Mr Einhorn has repeatedly expressed his frustration with the poor performance this year, while remaining steadfast in his commitment to value investing.
Greenlight, which posted gains only in May and October, underperformed both the broader market and its peers in 2018. The S&P 500 Index dropped 4.4 per cent, including dividends, while the HFRX Global Hedge Fund Index, an early indicator of industry performance, fell 7 per cent through December. 28.
At the start of the year, Greenlight managed $6.3 billion in assets, according to a regulatory filing. By May, the firm was down to $5.5bn.
Who's who in Yemen conflict
Houthis: Iran-backed rebels who occupy Sanaa and run unrecognised government
Yemeni government: Exiled government in Aden led by eight-member Presidential Leadership Council
Southern Transitional Council: Faction in Yemeni government that seeks autonomy for the south
Habrish 'rebels': Tribal-backed forces feuding with STC over control of oil in government territory
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