Brief History Of Philippine Radio 6q5g61

Brief History of Philippine Radio Early Radio under the American Colonial Rule Radio in the Philippines was started out as a commercial enterprise pioneered by American businessmen as a way to further introduce American goods to Filipino audiences. This, together with the American-style commentary and music that was broadcast by these foreign media men, also contributed to the prolific spread of American culture among the Filipinos. Most early radio announcers and talents were American, or Filipinos that have near indistinguishable accents and mannerisms. Henry Herman is credited as being the first to conduct a commercial radio broadcast in the Philippines using a 50-watt station based in Pasay, Manila and a mobile station in 1992. Two years later, the three experimental stations were replaced by a single 100-watt station with the call letters KZKZ in Pasay. Another notable station at the time was KZRM of the Radio Corporation of the Philippines (R), with the RM standing for Radio Manila. The R was the first to broadcast outside of Manila by putting up KZRC in Cebu in 1929. The R sold both stations to a broadcasting company owned by J. Amado Araneta, who already owned a significant newspaper conglomerate. These stations invested in shortwave transmitters that allowed Philippine radio to have an international audience. As radio sets became more accessible, rs began using radio to reach broad audiences that newspapers wouldn’t be able to reach, and would often sponsor radio programs. Stations would sell airtime to rs in 15-minute blocks, who filled the time with their own programs or resold their blocks to other rs. In 1931, the colonial government created the Radio Control Law, setting up the Radio Control Board which issued licenses, frequencies and conducted inspections. The national Radio Broadcasting fund was also set up, which financed government radio programs and provided sets for government offices and remote communities through the license fees collected from set owners. Wartime Radio With radio’s ability to deliver news much faster than the broadsheets to a wider audience, radio became a powerful propagandistic tool. KZND (for National Defense) was set up by the colonial government was used to update listeners on the war effort. The United States Armed Forces in the far East (USAFFE) set up a make-shift station in Corregidor called the Voice of

Freedom as they retreated from the Japanese forces marching towards Manila. As the Japanese took over Manila, they set up the station PIAM, which stood for Philippine Islands A Manila. Programing usually consisted of Filipino and Japanese music and language lessons, as well as a calisthenics program called Radio Tasio. Meanwhile, Voice of Freedom was used by the resistance to counter the Japanese-controlled broadcasts in Manila, delivering news of the war that was censored in Japanese broadcasts. The news was delivered in English by Reserve major Carlos P. Romulo, followed by the Tagalog translation delivered by Lieutenant Francisco Isidoro. Another station, the Voice of Juan dela Cruz, was a portable station operated within Manila by a group led by Carlos Malonzo and his wife, Violet Brown until they were captured by the Japanese in 1942. Postwar and Commonwealth Radio Upon the liberation of Manila, the Voice of Freedom was overturned to the Philippine commonwealth government, with the new call letters KZFM. In 1947, the newly-independent Philippine republic sent a delegation to the International Telecommunications Union (ITU) to request for new call letters for the country. The ITU assigned the call letter D, which until then was used by . Soon, commercial radio once again became a booming industry. The first station to open after the war was DZRH under the Manila Broadcasting Company (MBC) y the brothers J.M. and Manuel Elizalde. Radio expansion also spread to outside of Manila, with the MBC- Cebu Broadcasting Company opening DYRC and DYBU. Meanwhile, the Radio Mindanao Network (RMN) opened DXCC in Cagayan de Oro. Universities and church groups also found their place in radio. The University of Mindanao Broadcasting Network (UMBN) was the first Muslim station with DXMV in Cotabato city and the DZPI under the Far Eastern Broadcasting Company, a protestant missionary group that first introduced evangelical radio. The University of Santo Tomas opened DZST in 1950, but eventually turned it over to the Catholic church which renamed it DZRV (for Radio Veritas.). In 1958, the University of the Philippines opened DZUP. The government, meanwhile also went on to develop the Philippine Broadcasting Service (PBS), with DZFM as its first station. Programming during this time evolved from the pre-war practice of live performances to recorded music, and DJ’s replaced the old emcees and

engaged listeners in personality-platter shows. Radio dramas also replaced the short comic skits of before, pioneered by Lina Flor’s Gulong ng Palad. News coverage was also much more popularized in radio, with ABS-CBN’s DZAQ Radayo Patrol being the first 240hour radio news station, followed by their rival, the DZHP Vigilantes.

Under Martial Law In 1972, as part of the newly-declared Martial Law, control of all communications media was handed over to the Press Secretary and the Secretary of National Defense, under the guise curbing insurgent influences. The media was then effectively controlled by Marcos and his cronies, with stations owned by his political rivals being shut down. In 1973, the Kapisanan ng mga Brodkaster sa Pilipinas (KBP) was created as a selfregulatory body by broadcasters, but were actually under the thumb of the Broadcast Media Council (BMC). A positive effect, however, of this tight control over radio was the Filipinization of the industry. Foreigners were banned from owning and operating media, and stations were made to play Original Pilipino Music over the western musicthat dominated radio years before. The BMC also limited advertising blocks to 13-minute segments as a way to curb the rampant commercialization of the medium. The quality of radio dramas improved, as scriptwriters were forced to submit their scripts for government approval, instead of writing them last-minute. However, censorship was rampant and Marcos did not hesitate in using coercion and brute force in beating down those who express any dissent with his istration. One of Marcos’ most influential critic is the Catholic radio station, DZRV. They were the only radio station to provide a real-time report of Aquino’s assassination, and was instrumental in aiding and reporting the People Power Revolution that ousted Marcos. They kept listeners outside of Manila informed of the developments in Manila, reported the government troop movements for the benefit of the protesters, urged more people to take part in the rally, and persuaded military officials to turn their backs against Marcos. Post-Martial law and Contemporary Radio After Martial law, radio once again enjoyed the freedom and variety it once had. Radio is once again protected under the constitution as part of the citizen’s right to freedom of expression and the freedom of the press. The KBP remained, and became a truly self-regulatory organization guided by a code of ethics. Commercialism is still rampant among stations, as advertising is still the number one way of financing the station. New technologies allowed for greater access to radio, with streaming services and listeners

being able to engage with the stations more via landlines, mobile phones and the internet.