Original Pilipino Music (OPM)

Pres. Noynoy Aquino recently “directed the Department of Transportation and Communications and the National Telecommunications Commission to strictly implement Executive Order (EO) No. 255 requiring all radio stations to play at least four original Pilipino music (OPM) every hour.” The said EO issued in July 1987 by the president’s mother, Pres. Cory Aquino, “requires all radio stations with musical format programs to broadcast a minimum of four original Pilipino musical compositions in every clock hour and for other purposes.”

As a music lover although focused to classical, soft rock and oldies, the EO and the president’s move to invigorate OPM is much appreciated. As a radio anchor and disc jockey, executing the EO is easy but I believe in some instances, OPM spoils the quality of a musical program.

As observed by one reader, “What if the station’s format is classical or jazz?”

From 11:00 at night to 2:00 in the morning, for instance, while playing Chopin, Mozart, Beethoven and Bach in an hour slot, every quarter, OPM has to be played. Imagine that you are enjoying Beethoven’s Moonlight Sonata, Pachelbel’s Canon in D, then Grieg’s Morning from “Peer Gynt”. All of a sudden, Charice Pempengco’s or Regine Velasquez’ shouting song follows. In that case, there is an abrupt transition of everything from the genre, beat, tempo and quality. It sure follows that a listener bonding with his wife is irked for “oil and water do not mix” so they say.

I have nothing against OPM. Performed by talented Filipino artists, they are worth listening although I must confess that not all stimulate my listening pleasure. If the rationale of EO 255 is to showcase Filipino music and talents, is it not enough for radio stations to air OPMs weaved in the duration of their broadcast? I suggest that classical and jazz formatted stations should be exempted from the provisions of EO 255.

OPM to my understanding is not limited to the composition of local artists. It can also be interpreted as music performed by a Filipino artist. I consider Journey’s “Open Arms” sung by Arnel Pineda, the group’s Filipino lead singer as an OPM although the song was composed and popularized by an American band. The Lettermen’s “Dahil Sa Iyo” is an OPM --- a Filipino song performed by a foreign group.  In both cases, something Filipino is put to the fore: a talent and a composition.

Is OPM limited to the works of popular composers and artists we know or the compositions or performances of the unknown Juan de la Cruzes and Juana de la Cruzes are also called OPM. OPMs should include all Filipino compositions be they Kapangpangan, Cebuano, Ilonggo, Igorot, Tingguian, Ilocano and  other ethnic groups. I find it discriminatory if  indigenous music and  songs performed with their native musical instruments like gong, flute and gansa to say the least are not called OPM.  OPM  also engulfs traditional music like harana, kundiman and kulintang.

Sadly, we rarely hear if ever "O Ilaw". "Sampaguita" or "No Duduaem Pay" (An Ilocano love song categorized as harana.) as OPM.  It is my conviction that religious composition like "Sino Ako", "Pananagutan", "God Bless Our Land" and Fatima Soriano selections are also OPMs.  After all, whether these songs are composed by Jim Paredes, George Canseco or Rey Valera or not, they are composed by Filipinos.  I don't care if they are not sung by Jose Mari Chan, Ogie Alcasid, APO Hiking Society or Rico Puno.  They are sung by Filipinos.

If blessed to have these materials, I don't hesitate to play them in my musical programs with pride even if they are in different Philippine languages --- indigenous music and artists included.

Next time you listen to your favorite (rock) station playing Led Zeppelin, Queen, Aerosmith, Kiss and Black Sabbath; Mike Hanopol’s “Laki sa Layaw Jeproks” or Yoyoy Villame's "Mag-exercise Tayo" will make your day. -30-