The Market Monitor Minding the Nation's Business
There had never been more emerging popular protest songs in the history of Philippine music than the anti-corruption hymns coming out profusely during and after the expose on the flood control anomalous projects within the last four months.
Because of the inspiration and urgency of the situations, composers, musical scorers, lyricists, record producers etc. and their cohorts have the creative juices flow from their artistic blood diverse contents in the presentation of materials in any genre to remind the audience about the moral and social responsibilities of public officials and private contractors to the whole citizenry whose being robbed of their taxes.
Aside from the chants, “mga kurakot, ikulong na ‘yan (jail the corrupt officials)” or “Marcos-Duterte, walang pinag-iba (Marcos and Duterte are no different from each other),” there are novelty songs and socially fermented music about corruption being released and performed by pop artists in major multimedia events.
Times have indeed changed to make music more utilitarian and eye-opener if not a catalyst of social change during contemporary times.
True, there were nationalist, militant, satiric, angry, socio-politically oriented music etc. in the past originally composed or adapted by progressive or conscientious artists to mirror and motivate the listeners to reflect, think, decide, and act for the common good but they were mostly confined to liberation movements.
Andres Bonifacio’s “Pag-ibig sa Tinubuang Lupa”
Andres Bonifacio’s “Pag-ibig sa Tinubuang Lupa” was originally a poem written and published in Katipunan’s official organ Kalayaan in 1896 to represent his patriotism and revolutionary fervor to change the nation’s rotten system but was adapted to music by political detainees of the Martial Law era in Bicutan to ventilate their opposition to the dictatorship that stripped off and mangled freedoms of the Motherland in pursuit of truth, justice, equality, prosperity etc.
Activists of various persuasions and street parliamentarians usually sing the tune in rallies or student mass actions or simply in fellowship gatherings of idealists and revolutionaries in the lowlands and the boondocks.
“Bayan Ko” was set to music by Constancio de Guzman from the Tagalog poetry of Jose Corazon de Jesus of the same title in 1929 but originally written in Spanish by General Jose Alejandrino during the Philippine-American war and became the anthem of Filipino nationalists against colonialism and dubious benevolence of the new masters during the American period.
“Bayan Ko” is always a staple in group or collective singing in protest marches or get-together of like-minded individuals who speak of emancipation from oppression, exploitation, misogyny etc. but more adventurous and daring groups added an epilogue-like lyrics, “kay sarap mabuhay sa sariling bayan, kung walang alipin at may kalayaan, ang bayang sinisiil bukas ay babangon din, ang silanga’y pupula sa timyas ng pag-asa (it’s nice to dwell in one’s own nation, if it has no slaves but freedom reigns, the land which is suppressed and fallen will rise up tomorrow, the east will turn red to the rays of hope).”
The rendition of this part, however, is associated with the more radical beliefs.
First Quarter Storm
Meanwhile, during the height of student activism in the tumultuous late sixties and early seventies, particularly the prelude and influence of the First Quarter Storm, there were adaptations of street songs from world renowned selections like “Internationale,” a French music that was the theme song of workers during the Paris Commune seeking universal equality among workers and capitalists in France which was crushed by the French government.
From the American patriotic song “The Battle of the Republic” of soldiers against British rule in the 18th century comes the ditties “Marcos, Marcos, Magnanakaw, Magnanakaw si Marcos” to refer to the pilferage of the Marcos Sr. chanted by anti-dictatorship campaign in the 60s and 70s and revived during the assumption of Gloria Macapagal-Arroyo as successor of Joseph Estrada adapting the melody to “Gloria, Gloria Labandera”
“Tamad na burgis ba ayaw gumawa, sa pawis ng iba’y nagpapasasa…(Lazy bourgeois who thrives in the sweat of others…).”
From the protest song “Bandilang Pula,” a direct translation of the German communist song “The Red Flag” from the American labor song “Solidarity Forever” by Ralph Chaplin who popularized the ditty during the industrial chaos antedating World War I.
During the strongman regime of Marcos, Sr., these songs were banned on the airwaves but rendered rivetingly on street demonstrations.
It’s easy to brand them leftist tunes but it is hard to dismiss them as just hardcore agit-prop messages grounded on analytical bases.
Inang Laya
In the 80s, the local Tin Pan Alley had transformed into commercial recording of socially committed music of Inang Laya (a duo composed of the late Karina Constantino-David and Becky Demetillo-Abrahan) in LP (long playing album) or 45 rpm like “Babae Ka,” “Pag-ibig sa Tinubuang Lupa,” among other feminist and ti-bak songs.
Cinema has discovered as well the employ of protest melodies to effectively bring home liberating messages.
In the 1984 film “Sister Stella L.,” a Vilma Santos-starrer directed by the maverick Maike de Leon, several original compositions were introduced like “Sangandaan” performed in the soundtrack by Pat Castiilo or “Manggagawa” acted on the screen at the same time by Rody Vera.
In National Artist for Film Lino Brocka’s “Ora Pro Nobis (Pray for Us),” “Wala Nang Tao sa Santa Filomena” was an ode to the exodus of the residents of Barangay Filomena who have deserted their village because of militarization and ham letting. “Walang Hanggang Paalam” was also scored in the music of the film as its theme song. Both cuts were waxed by Joey Ayala.
48th Gawad Urian
These days, variety shows are battlegrounds for militant cries like Vice Ganda and her ilk chanting “jail the corrupt” in “It’s Showtime” and awards nights are also venues for resistance songs.
“Ang sining po ng Gawad Urian ay hindi lang nang-aaliw, ito po ay nagmumulat din. Handog po namin ito sa inyong lahat,” said balladeer Arman Ferrer in his opening spiels as an intermission number during the 48th Gawad Urian of the Manunuri ng Pelikulang Pilipino (MPP) as he belted out a piercing rendition of Paulo Zarate’s “Mahiya Naman Kayo” that referred to the collaboration.
At the awards night of the 21st Cinemalaya Philippine Independent Film Festival, three rappers delighted the audience with their techno savvy joust-like music about the enormous corruption in the flood control projects.
Publicist Ricky Rivera composed a reverent song, “Oh, Panginoon Pangunahan Mo Ang Pagbabago” interpreted by a twenty- two-year-old who looks like a eighteen-year-old in her Gen Z countenance, Janah Z.
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The 9th Samahang Plaridel Golf 2025 held recently at the Villamor Air Base and Golf Course was a success as it gathered not only professional golfers and golf hobbyists as well.
The tourney was an exercise in sportsmanship and camaraderie among the members of the Fourth Estate and sportsmen.
Former PBA player Kenneth Duremdes was only one of the sports personalities who lent glamour and expertise in the teeing ground who won individual prizes in the One-in-Hole game.
SP President Evelyn Quiroz was the point woman during the tournament with the able assistance of The Market Monitor’s Nelly Lumbaca, Ed Andaya and the rest of the org’s officers and members.
TV host and reporter Twinkle Valdez and motoring writer Andy Sevilla emceed the proceedings.
According to newsman Jonathan Gesumundo, the SP Golf match started with only him, Nelly and Allen Cid as core group and prime movers nine years ago. “Nagtiyaga kami. Umpisa namin, sa (We persevered. We started at the Camp Aguinaldo Golf Course,” recalled Jonathan, a TMM honcho as well.