RADIO

ABELLANOSA, Regine Alexis ALVARAN, Isabel Angelica ALVAREZ, Ariane AMADO, Lea Camille AMAWAN, Phoebe Megan ANDES, Nadine Khrystyne BAROGA, Charlotte BATOCABE, Mycka BUGANAN, Katrina Gabrielle BUTIONG, Jennica Ann CATAPUSAN, Maria Angelica ESCIO, Kyndler JOSE, Monica NEPOMUCENO, Rima PRECILLA, Christabelle Kyle PUNAY, Emmanoel PUNZAL, Jerome RESURRECCION, John Paul SANCIO, Mia SULIT, Jelene TORRES, Rowell VIOLA, Merce Nichole

RADIO ESCIO, Kyndler L. VIOLA, Merce Nichole k Radio the wireless transmission through space of electromagnetic waves in the approximate frequency range from 10 kilohertz to 300,00 megahertz -more expensive and it reaches people in the remote areas that do not have electricity EARLY PHILIPPINE RADIO k started during the colonization of the United States in the first half of the 20th century k in experimental stage k It started when Americans used radio as a medium for introduction of American consumer goods to Filipinos k Radio was an important factor for Americanization of the Filipino consciousness k Philippine Radio was an imitation of the American Model k Filipino started to invade the radio: the programming began to include the traditional cultures and Filipino languages such as Tagalog, Cebuano and Kundiman captivated the listener. k THE COLONIAL CONTEXT OF PHILIPPINE RADIOS BIRTH k Commercial Radio broadcasting began KDKA of the Industrial Westing House in Pittsburgh, Pennsylvania aired the first radio advertisement. k Philippine Radio was probably the first in Asia. (Ahead of Chinese radio by at least 6 months and as least as early as, if not earlier that, New Zealand Radio) k the commercial nature of broadcasting in the Philippines was influenced by the Americans which began experimenting with the radio in the Philippines EXPERIMENTAL YEARS k Mrs. Redgrave  Her test broadcast in early 1922 originated from Nichols Air Field with a 5-watt transmitter. It was a short experiment and there are no written documents about it. k Henry Hermann  So most credit goes to him. He began test broadcasts using 50-watt in June 1922. There are 3 stations (Manila, Pasay and a mobile)  He wanted to broadcast music to a number of radio receiving set owners and test the business potential of broadcasting.  He is the he owner of the Manila-based Electrical Supply Company  KZKZ was the call letters in the 100-watt station that he builds.  Originally, as a colony of the USA, four letter call signs beginning with KZwere in use.  KZ-was soon adapted by the Filipinos for its radio station  A few months after the KZKZ he sold it to the Radio Corporation of the Philippines (RCP) owned by a department store owner Isaac Beck who 1st introduced broadcasting outside Manila.
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COMMERCIAL RADIO TAKE OFF k The business radio attained the growth and stability in 1930s k Filipino businessmen began investing in radio as early as the mid-20s. k J. Amado Araneta  marked the beginning of newspaper broadcasting in the Philippines  owned DMHM (Debate Mabuhay Herald Monday Main) chain of newspapers k Radio technology has advanced to a point where home radio sets receive broadcast signals from distant countries. This is called SHORTWAVE RADIO PROGRAMMING AND CONSTRUCTION OF COLONIAL CULTURE k k k k k Again, Americans dominated the radio through managing firms they are the first announcers and musicians as well as engineers and technicians Americans dominated the radio. The 1st Filipino & announcers sounded so American. English language was spread with the American sense of Humor Entertainment  Music, variety shows that includes comedy skit and short newscasts patterned after US programming of the Time.  American Jazz and ballad gained cultural currency  Popular songs My Man, When You Wish Upon The Star, Ive Got You Under My Skin and the lively music of Glenn Miller

CATAPUSAN, Maria Angelica RADIO ADVERTISING k Radio- Became the new medium for advertising in the 1920s and 1930s k The first advertisers were the department store owners of the stations which invested in radio to support the primary business of retailing.
Radio sets they were selling RETAILING Merchandise they were carrying in the stores

k NEWSPAPERS & MAGAZINES o primary mediums of advertising before the radio gained popularity. k OTHER BUSINESSES o Began buying RADIO AIRTIME k SPONSORS- underwrote particular shows & lent their product names to program titles o e.g. KLIM MUSICAL QUIZ, KLIM DANCING PARTY, LUX THEATER OF THE AIR, PURICO TROUBADORS, QUAKER OATS SPELLING BEE, PALMOLIVE NEWSREEL OF THE HOUR, THE LISTERINE AMATE UR HOUR, CHEVROLET JAMBOREE.
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k RADIO STATIONS- MADE MONEY ON ADVERTISING BY SELLING AIRTIME TO CLIENTS. k ADVERTISING SPOTS o composed of mixed announcements & music o inserted in programs produced by the stations k AIRTIME o Also sold in 15 min. blocks to BLOCKTIMERS k BLOCKTIMERS o filled the time with their own programs and resold time to advertisers. k ADVERTISING o through it, radio became a profitable business within ten years of the experimental 1920s THE BEGINNING OF RADIOS LOCALIZATION k PHILIPPINE RADIO o sounded like an American clone in its first several years. o local culture soon began to insert itself into the medium & reshaped radio in subtle ways. k American station managers o sensed an appetite for Filipino elements in the programming o as businessmen, they had to be sensitive to audience preferences o (in spite of the given goal of Americanization) k Filipino talents were hired as singers and musicians performing American music live on air to complement recorded music imported from the United States. k Kundimans and Filipino folk songs began to be heard. k By the end of 1930s, KZIB, KZRF, AND KZRH- were producing several Filipino-language programs, particularly the block time programs, while only KZRM remained an Englishlanguage station. k In the mid-1930s Filipinos also began to take more important jobs in the stations. k Francisco Trinidad rose to the important position of program manager k On the business side, J. Amado Aranetas investment marked the entry of Filipinos into the business as major players k Newspaper journalist Carlos P. Romulo was put on top of the management team of KZRF and KZRM

SANCIO, Mia RADIO PERSONALITIES AMERICAN PERSONALITIES: k ANNOUNCERS: o Bert Silen o Ted Wallace k PIANIST AND SINGERS: o Lorine Nash o Betty Cotterman o Maurice Naftaly
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k NEWSCASTERS: o Tommy Worthen o George Vogel o Johnny Wightman o Don Bell o Dave Harvey k FILIPINO PERSONALITIES: o Filipino-American Mestizas o Ira Davis Ukelele-playing emcee o Cecil Lloyd so-called Mystery Singer o Johnny Harris pianist o Johnny Arville announcer o Conchita Garriz a Spaniard who reads Spanish news on radio k The Filipinos were among those who became hugely popular. Among them were: o Singers:  Lily Raquiza  Alma Corro o News Narrator:  Ignacio Javier y Who is really the famous journalist  Leon Ma. Guerrero o Classical Singers:  Enya Gonzales  Dalisay Aldaba  Conchita Gaston o Singers and Emcees:  Ely Ramos  Molina Boys y consists of Celso and Paquito  Ning Novales  Lina Flor y later became one of the most talented radio drama script writers and prolific writers on radio, print and screen. o Kundiman singers:  Carvajal sisters (Fe, Lulu, Pacita)  Milagros Sisters  Luz and Mat Castro together with their father Remegio Mat Castro who conducted the musicians o Other musicians:  Bimbo  Dando  the three Ramons (Escudero, Alberto, Estrella)  Russ Aranas singing trumphet player  Aniston Avelino  Rafael Artigas o So-and-So of the Philippines  Ding Yalong as Bing Crosby  Francisco Trinidad as Dick Powell
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o Commedians:  couple Dely Atay-Atayan and Andoy Balun-Balunan  duo of Pugo and Tugo and Tolindoy BUGANAN, Katrina Gabrielle COLONIAL RADIO REGULATION k 1931 o Radio Control Law Radio Control Board o issued licenses o allocated frequencies o conducted inspections for the office of the Secretary of Commerce and Industry k National Radio Broadcasting Fund o License fees from set owners  72, 000 sets by 1940  100, 000 unregistered sets o financed radio purchases for government offices o communities in far-flung barrios and municipalities o radio programs that aired government news and educational shows

AMADO, Lea JOSE, Monica PUNZAL Jerome ON THE EVE OF WAR -As the war became worst, radio became an important source of information on what is happening at that time. -Government officials where rarely heard over the radio except for Pres. Manuel Quezon. -At that time there were already radio stations established. - During that time, colonial government run their own station to keep the people aware of the war, and this is KZND(for national defense) - After the bombing of the Pearl Harbor in Hawaii, the Japanese bombed Manila and attacked the Philippines. - President Manuel Quezon, Vice President Sergio Osmea, and Lt Gen Douglas MacArthur left Manila and departed for Corregidor. - On December 28, 1941, three weeks after the attack of the Pearl Harbor, the United States provided a shortwave relay station in the Philippines. - During the time of the Japanese, people listened to US forces radio broadcasts in Corregidor, Bataan, Hawaii that was banned by the Japanese Military administration. - For less than three months, American radio was formed and it was called Freedom Radio, in which Gen. Douglas McArthur called Voice of Freedom. -It continued after January 5,1942 inside the Manila Tunnel in Corregidor as its studio. -When the World War II was over, KZFM was the first radio station to reopened on air, May 1945 and operated by the US army. RADIO CONTROL AND PROPAGANDA

The Japanese marched into Manila on January 2, 1942, and their propaganda corps found the facilities of the Manila radio stations unusable, except for an antenna at a transmitting station in a Manila suburb (present day Quezon City). However, they found some KZRH radio equipment hidden in the basement of the Heacokck Building on Escolta Avenue where the stations studios were located. They also found concealed at the Jai Alai Building on Taft Avenue some transmitting equipment, which until then have been used by the underground resistance to communicate with Corregidor. By January 14, 1942, the Japanese broadcasters were on the air, keeping the call letters KZRH. By October 14, 1943, the day the Japanese ceremonially declared independence for the Philippines, the Japanese-controlled government changed the call letters KZRH to PIAM, which stood Philippine Islands A Manila. Relay stations were established outside the capital, including stations in Cebu, Davao, and Iloilo. The Japanese-controlled radio had what would seem to the television generation to be a a curious program- 15 minutes of calisthenics called radio Tasio. Government employees and schoolchildren were required to tune in and follow the exercise commands. Japanese and Filipino music by Japanese and Filipino musicians were on air, as well as lessons in Japanese and Filipino languages and literature. The Japanese took measures to keep the people from listening to other radio stations. All types of radio equipment were banned, except those registered with the authorities. The registered sets were rigged to make them incapable of receiving signals from the United States and Australia. The measures were supposed to protect the Filipinos from harmful foreign influences. The Japanese called enemy broadcast deadlier than enemy bomb from which Filipinos had to be shielded. Evidently, the power of broadcasting over the consciousness of its audiences did not escape the Japanese . However, radio was one of the most important means used by the resistance to counter Japanese attempts at reshaping Filipino consciousness.

RESISTANCE RADIO For a time the combined Filipino-American resistance kept Filipino morale high by running underground radio stations. Among the most dramatic was the broadcast from Corregidor called the Voice of Freedom. For over three months, from early January to late April 1942, the Voice of Freedom fought a propaganda duel with the Japanese-controlled Manila station. The nightly broadcast, at 6 oclock, was tramsmitted on different frequencies to avoid detection and jamming by the Japanese. The Philippine Army Reserve Major Carlos P. Romulo delivered news updates about the invasion, followed byt the Tinig ng Kalayaan, the news in Tagalog delivered by Philippine Army Lieutenant Francisco Isidoro. Romulo, Leon Ma. Guerrero and Salvador P. Lopez wrote the news and commentary in English, while Isidoro translated their scripts to Tagalog. Just before Bataan fell, Romulo was evacuated to Australia and Norman Reyes took over the announcing job completely. Reyes is best remembered for his dramatic broadcast on April 9, 1942 when Bataan fell to the advancing Japanese, soon followed by the fall of Corregidor. It is common knowledge that Reyes read from a script written by SP Lopez. It is not commonly know, however, that Isidoro subsequently translated S.P. Lopezs script to Tagalog, and then read the translation on the air right after Reyes historic broadcast. Another little-known fact was that, unlike the Manila stations, which were forced to cease broadcast as the USAFFE blew up their equipment, the lone Cebu radio station, KZRC, continued broadcasting freely until the Japanese overran the province in May 1942. An equally dramatic resistance radio was the station called the Voice of Juan dela Cruz, which went on the air about a week after Corregidor fell, in early May 1942. Radio broadcasting equipment being
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relatively portable, the Voice of Juan dela Cruz was constantly on the move within Manila and its suburbs. A group of young men and women, led by Carlos Malonzo and his wife Violet Brown, ran the station until September 1942, when the Japanese eventually caught up with them and executed most of the members of the daring team. Other underground radio broadcasts were sporadically operated by different groups of guerillas, putting them and their sympathizers, as well as their listeners, in mortal danger. Many of those caught or suspected by the Japanese military police of listening to guerilla broadcasts were tortured or executed. In spite of this, many Filipinos managed to monitor signals from American stations KGEI in San Francisco, California, and VLC-6 in Australia. Both stations aired on shortwave frequency, and many listened even if mere possession of a shortwave radio was punishable by death. The defiance of the Filipinos against vain attempts of the JApanes to restrict listening to KGEI was heroic. Less than half of the estimated 80,000 sets at the time were registered. Many others who registered their sets subsequently rewired the receivers to restore their capacity to receive shortwave signals from KGEI, often with the help of the same Filipino technicians whom the Japanese authorities hired to rig the sets. Inside Malacanang Palace itself was a radio receiver secretly operated by a Captain Frago, who supplied Laurel with Allied radio dispatches, allowing Laurel to form a balanced picture of the war developments.

BATOCABE, Mycka POSTWAR RECONSTRUCTION OF RADIO k October 20, 1944 radio transmitters and other radio equipment were among the hardware MacArthur brought when he back to the Philippines. k March 26, 1945 the station went on the air for the first time from Manila. Two months later, the Office of War Information turned over the station to the restored Philippine Commonwealth government, with the call letters KZFM. The Golden Years The Golden Years of radio happened three decades that followed the war. Programming materials such as drama, recorded music, news, commentary and public affairs occurred during this time. New generation of radio personalities went on air and became cultural icons. Americans were soon replaced by Filipinos and Tagalog and regional languages intensified on air. There are two historical radio shifts during radios phenomenal postwar growth. First is the development of new technologies, primarily the transistor radio. Transistor radio is a small portable radio using transistorized circuitry. Secondly, is politics. The war experience proved irrevocably the undeniable power of radio to capture the imagination of audiences, a fact that was not lost on those who sought political and economical power. PRECILLA, Christabelle Kyle A. The Golden Years of Philippine Radio k KZKZ (KZRQ)-Radio broadcasting started in the west. The first radio station was KZKZ (KZRQ) which was set up by Henry Mann in Manila in 1922. After that, other radio stations were established such as KZRM and KZEG. Radio was introduced into the provinces in 1929.
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k DZ (Luzon), DY (Visayas), DX (Mindanao)- Early Philippine radio stations used the same system of terms as US stations, which confused the people. That was why they assigned new prefixes and replaced the American KZ. Radios milestone of the post war growth is normally considered to the two historical shifts. k Development of new technologies- the transistor radio. k Politics- Before the martial law, the government didnt possess the Philippine media. Yellow Journalism was present. And when martial law was declared, Philippine media was deprived and ushered into another form of media. k BMC and KBP- During the martial law, BMC and KBP were introduced by the government to serve the masses. k BMC (Broadcast Media Council) - to assist and support the government in developing the masses, through the massive dissemination of broadcast information and develop broadcasting. k KBP (Kapisanan ng mga Brodkaster sa Pilipinas) an assembly of media practitioners, which seeks to self regulate and standardize the broadcasting industry. Legacy of martial law on press control. k Programming Filipinos replaced Americans on the air. Tagalog and regional languages were used to connect every Filipino to the radio. Programming used different systems such as: o o o o Educational (formal) from primary grades through universities or colleges. Educational (non-formal) pertaining to technical/vocational work and good citizenship. Informational such as news, public affairs, commentaries, interviews, documentaries, etc. Entertainment such as variety shows, dramas, comedies, etc.

SULIT, Jelene POSTWAR GROWTH

k KZRH(later DZRH), KZPI(later DZPI), KZFM- are the first commercial stations to open after the war. o Radio: An effective instrument in spreading the Christian Gospel, says some Catholic Universities, and Colleges k UST- DZST(1950) k DYRC(1947)- Cebu was the first to establish radio stations. k DXCC(1952)- Radio Mindanao Network (RMN) k DZHP(1962)- Manila k 1963(NBC-Yabut family)- First station in Zamboanga City. k 1949- UMBN began its operations in Davao. k DXMV- First Muslim station in the country. k 1940s and 1950s- emergence of non commercial radio stations (religious groups, and educational institutions). k FEBC- A Protestant Missionary group. k 1968- DZST was renamed as DZRV(Radio Veritas)
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k DZUP(1958)- University of the Philippines k PBS- established 14 stations all over the country, pioneering the airing and production of educational programs. o PBS later became the Bureau of Broadcasts. o 1968- 213 stations were operating all over the country. o 1972- 280stations were operating the country. k 1990s- 600 is the estimated number of stations operating all over the country. BAROGA, Charlotte POSTWAR PROGRAMMING the GOLDEN YEARS (1946-1957)

k RECORDED MUSIC the most distinctive feature of postwar radio music k DISC JOCKEYS /DJs became the new emcee of music programs They played Gramophone records also known as Vinyl Record the new medium of recorded music engage listeners in small talk in what were called personality platter shows

k RADIO DRAMA Principal genre of postwar programming  Soap operas (1949) - The longest running soaps were later adopted by television and film. k PUBLIC AFFAIRS (1930) another feature of postwar radio; after war news programs expanded to include live interviews of newsmakers and live on-the-spot coverage of important events.  RADYO PATROL 1st 24hr news and public affair station.  DZHP Vigilantes - also aired news and public service round the clock.  DZXL Johnny de Leon Mr. Public service  1950s there were 20 commentary programs in manila stations all focusing on political issues.  Manila based radio stations spread the tagalong language through news programs that were aired nationwide.

ALVARAN, Isabel Angelica BUTIONG, Jennica Ann AMAWAN, Phoebe Megan POSTWAR RADIO PERSONALITIES k Filipino broadcasters have increased their ability over the Americans in areas of production, engineering and management. k The Philippine Radio was influenced by American popular music, speech, and formats.
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k After the war, radio stations increased in number and here are some radio personalities/celebrities: k Field of News and Commentary o Jose Mari Velez o Orly Mercado o Soc Rodrigo o Leon O. Ty o Teodoro Valencia PUBLIC SERVICE o Johnny Midnight k Sport Service o Joe Cantada o Joey Ladrizabal SOAP OPERA o o o o o o o o o Laura Hermosa Ester Chavez Luz Fernandez Er Ramos Augusto Victa Nida Blanca Ben David Rosa Rosal Maria Ohara

k DJS, Announcers and Hosts o Leila Benitez o Eddie Ilarde o Pepe Pimentel o Jo San Diego o Phil Delfino o Larry Ng o Eddie Mercado TECHNOLOGY AND GROWTH OF AUDIENCES k At first, spot coverage went through telephone lines, supplanted by the one way radio transmitters and eventually replaced by two way radios. k Advantage of Radio over Television Technology and Newspaper publications. o Faster o Most efficient during calamities and street rallies o Convenient POSTWAR Radio Troubles  From the mid 1940s to the early 1970s radio industry grew drastically.
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The increase of number of radio stations threatened the viability of many stations An intense competition between the stations gave the advertisers the advantage to control over many programs. The Radio Control Office transferred radio franchises to former President Marcos for four years Unethical practices by journalist and broadcasters were charged of lacking of professionalism Announcers and DJs accepted under-the-table payments by record companies in exchange of favouring a music record

 NEPOMUCENO, Rima RADIO UNDER MARTIAL LAW k September 21, 1972, President Ferdinand Endralin Marcos, Republic of the Philippines signed Proclamation No. 1081, placing the entire country under his firm grasp. k Marcos explained that Martial law was not a military takeover but was then the only option to resolve the countrys dilemma on rebellion that stages national chaos threatening the peace and order of the country. The emergency rule, according to Marcoss. k Marcos and his minions took over and tightly controlled the media in an effort to control public consciousness. k He accused the licentious press, including the vociferous radio commentators who were critical of his administration of supporting the insurgency and of destabilizing the government. k Marcos ordered all mass media closed except for the government radio and TV stations in Manila k A slew newspapers and magazines, emboldened by public indignation over Aquinos murder, began rolling off the presses. k When Ninoy Aquino was assassinated, it began a cue for them taking an oppositional stand. k In late 1985, reacting to foreign criticism brought about increasing international coverage of his regime, announced he would call a snap election for the presidency in February 1986. ABELLANOSA, Regine Alexis RADIO IN REVOLT k RADIO IN REVOLT o Four-day revolt o Media outlets began covering the turmoil o In the provinces, radio operators monitored the Manila stations. o Several patched onto DZRV and aired its coverage throughout the country o Radio was alone on presenting on real time a true picture of the outrage of the nation o Press conference (February 22). o The media was full in attendance, including foreign correspondents, and the news was out instantly o Filipino Catholic leader Cardinal Jaime Sin went on air over DZRV to rally the people to EDSA o Televisions June Keithley kept the military and civilian rebels together through radio. o Keithley became the voice that alerted the rebels about government troop movements
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o From DZRV Keithley moved to a rock music station DZRJ, she called the station bandit radio evolved into Radyo Bandido, acquiring for the station it was temporarily called DZRB o Provincial stations hooked onto Radyo Bandido. o (Feb 24) Marcos went on government television Channel 4. o (FEB 25) All radio stations carried the coverage of Aquinos inauguration while Marcos inauguration over Channel 9 was interrupted o Radios sustained effort at informing and mobilizing the citizenry galvanized the people to rise against an oppressive regime ANDES, Nadine MEDIUM OF COUNTER - CULTURE k Counterculture o opposed to dominant culture o sociological term used to describe the values and norms of behavior of a cultural group o came to prominence in the news media as it was used to refer to the social revolution that swept North America, Western Europe, Japan, Australia and New Zealand during the 1960s and early 1970s k Marcos Dictatorship o Drama programs were required to submit their script to military Resurreccion, John Paul PROTEST RADIO k Ninoy Aquino was assassinated in 1983 k It was the Catholic station DZRV was the only radio station that covered blow-by-blow the airport assassination. k ABS-CBN recovered their network, which was believed to have been largely taken over by Benedicto. k At that time ABS-CBN owned DZRR-FM and they were both shutdown when the Martial Law declared in 1972. k Business center of Makati in late 1989. o - radio played a crucial role, this time in helping secure the safety of civilians and foreign tourists caught in the crossfire. k DZRH o Rey Langit helped to negotiate with the rebels, who had stationed snipers on top of several high-rise buildings in Makati, for a ceasefire to allow Department of Tourism secretary Rafael Alunan to escort hostage local and foreign tourists out of the battle zone. k Radio remained the principal medium that immediately informed listeners of the fastdeveloping events of public interest and how they involved to the government. PUNAY, Emmanoel F. POST-MARCOS RADIO Proclamation No. 1081 (Proclaiming a State of Martial Law in the Philippines)
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y y

is a system of rules that take effect if the military takes control of the normal administration of justice. sometimes imposed in response to civic emergencies or episodes of unrest or riot.

Ferdinand Marcos y He imposed curfews, banned public assemblies, outlaws, protest movements and took control of the media. y He believed that Martial Law was the only solution to chaos and government corruption of the country. y Media was tightly controlled; the news that was broadcasted in both Television and Radio were completely pro-government. y He used the army to control the people. The army showcased merciless discipline to their countrymen. y Media people who tried to oppose the President mysteriously disappeared or were found dead. y Media people were silenced because of the boundless power of the Dictator. EDSA Peoples Power Revolution y The death of Ninoy Aquino sparked the Filipinos to revolt against the Marcos regime. y The activities of the rebels during the EDSA Revolution were not broadcasted in the media because Marcos still controlled the big media networks. y Radio Veritas o Owned and operated by the Roman Catholic Church, Archdiocese of Manila o The only radio station that bravely broadcasted the undertakings on the EDSA Revolution. o Agapito Aquino and Cardinal Sin called for the peoples support to rally and protect the rebel soldiers headed by Fidel Ramos and Juan Ponce Enrile. o Newscaster June Keithley and Fr. James Reuter, S.J.broadcasted the EDSA Revolution o Ferdinand Marcos ordered his remaining army to bomb the radio transistors of Radio Veritas. y Radyo Bandido o Owned by Ramon Jacinto and operated by the Rajah Broadcasting Network, Inc. o June Keithley and Fr. James Reuter continued their broadcast after the bombing President Corazon Aquino y After taking oath as the President of the Philippines, Cory Aquino brought back the freedom of media from the control of Marcos. y Radio stations returned to their free and spirited broadcasting. TORRES, Rowell RADIO AS A CULTURAL FORCE 1. Radio Veritas y April 11 1969 - inauguration of radio veritas y November 29, 1970 blessing of radio veritas by Pope Paul VI y February 21-25, 1986 announcent of his excellency Jaime Cardinal Sin to support Enrile and Ramos against the marcos regime
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y y

May 17, 1991 entrance of radio veritas to commercial operations January 16-20, 2002 played an important part in the 2nd EDSA revolution

2. Fields of Popular Music y RNB/Hip-Hop y Electric y OPM 3. Spread of a common language y TAGALOG y CEBUANO/ BISAYA

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