The Role of Joseph William Feliciano Smith in the Evolution of Rock Music in the Philippines
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CHAPTER I
INTRODUCTION Rock Music in the Philippines is performance arts composed in various genre and styles. The rock music of the Philippines is a mixture of indigenous foreign countries. The United States occupied the Islands in 1898 until 1946, and introduced American blues folk music, Rock &Blues, and rock and roll became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock and roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of the 1960s was the hit song "Killer Joe," which propelled the group "Rocky Fellers" which reached number sixteen on the American radio charts. Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular bands to do so. Mixing tagalog, and English lyrics.
Background of the Study Joseph William Feliciano Smith born on December 25, 1947 is a Filipino singer-songwriter, drummer, and guitarist. More commonly known alternately as Joey Smith or Pepe Smith, he is an icon of original Filipino rock music or "Pinoy Rock". His father, Edgar William Smith, was a United States Airforce, and his mother, Conchita Feliciano, was from Angeles, Pampanga, where the huge Clark Air Force base was located. Joey spent his first years in Angeles, often visiting the airbase, where his father would take him to the flight line to watch the United States military aircraft take off and land. To this day, he has a fascination with, and collects model airplanes. When he was eight years old, his parents separated, and his mother died from hepatitis. Pepe Smith and his younger brother Raymond went to live with their grandmother, Concordia Go, in Kamuning, Quezon City. Pepe Smith continued to live with his grandmother on and off for the next fifty years, even during his heyday as a rock icon, and she was affectionately known to the Pinoy Rock community as "Lola Smith" (Granny Smith). Smith said he never had the opportunity to speak to his father again, although he briefly corresponded with an American half-sister from another family his father had started when he returned to the United States of America. Pepe Smith learned to play the drums by about age nine (9), and formed his first rock band at age eleven (11), in 1959. This group, composed of friends from the Kamuning district, was first called The Blue Jazzers, later The Villains, then The Surfers. As The Surfers, they got a six month gig in Vietnam in the early 1960s. A few years later, Smith became a rock sensation in Manila as the drummer and lead vocal of the "Eddie Reyes and the Downbeats" band, imitating Mick Jagger of the Rolling Stones. This earned him the title "Mick Jagger of the Philippines". The Downbeats, managed by the Reyes clan of Pasig, owners of RCR Productions, appeared in contemporary TV specials and movies. Eddie Reyes and the Downbeats opened for the Beatles at their July 4, 1966 concert at the Rizal Memorial Stadium in Manila. The Downbeats was the highest paid international band in Hong Kong during their time. Pepe Smith then played drums and sang for the Japanese rock trio, Speed, Glue & Shinki. An interest in amphetamines was the attribution for his "Speed" moniker in the name of the band. In December 1970, Smith joined the seminal Pinoy Rock group, Juan dela Cruz Band along with Wally Gonzales (guitar) and Mike Hanopol (bass). "Juan dela Cruz" is a Filipino term for "everyman" similar to "Joe Blow" in the U.S. The band had some earlier lineups, but this trio was the classic one. It became a quartet a few years later with the addition of Edmon "Bosyo" Fortuno, formerly of Anakbayan, on drums, when Pepe decided to play guitar instead. Among their first gigs was the 1970 Antipolo Rock Music Festival, an open-field concert similar to Woodstock, attended by thousands. Juan dela Cruz arguably invented the Pinoy Rock genre, focusing on original songwriting in Tagalog, instead of covers of foreign hit songs in English. It made superstars of all four members. Smith composed Juan dela Cruz's arguably most classic song "Himig Natin" backstage in a ladies' toilet (he said the door to the men's toilet was busted) in 1972, while waiting for his turn to play in a concert called "Himig Natin", at the Rizal Park grounds in Manila, Philippines. Although Himig Natin and many others of the Juan dela Cruz songs have become rock anthems in the Philippines, none of the group members profited from the recordings. The rights to the whole catalog had been sold in perpetuity to Vicor Records from the very beginning of the band, a practice that might today be regarded as exploitative, but was apparently commonplace during the era. The band members were paid monthly stipends and other fees for live appearances and recording dates. Pepe Smith and the late Fortuno were lifelong friends and frequent bandmates; in fact, Pepe's other nickname was "Kalabog" from "Kalabog en Bosyo", the long-running Larry Alcala comic strip (1947–1995) about two dimwitted detectives, one tall, the other short, like Smith and Fortuno. During a hiatus of Juan dela Cruz, Smith formed his own band, The Airwaves, circa 1976. The members were Smith (vocals/dobro/drums), Jun Lopito (guitar), Gary Perez, formerly of Sampaguita (guitar), Gil Cruz (bass) and Edmon Fortuno (drums). After the Juan dela Cruz era, Smith joined the Filipino hip hop underground group Death Threat (hip hop musician). Smith was jailed for nineteen months for alleged drug trafficking, starting in 1992. His constant jail visitor in the Quezon City Jail was Apa Ongpin, who, with Pepito Bosch and other friends, mounted a legal defense for him. He was eventually released for lack of evidence. In 1994, he survived a car accident that damaged his signature jaw and put him out of action for some months. Smith released his first solo album Idiosyncrasies, on Alpha Records in 2005. The 14-track album was three-years in the making; the recording project had started in 2002. The album was released simultaneously with the Juan Dela Cruz three-CD collection from rival Vicor Records. Smith played a comic role on an ABS-CBN sitcom in the late year 200. Multi-awarded journalist Howie Severino produced and directed perhaps the most complete documentary on Smith's life. Entitled "Pepe's Myth", it aired on GMA Network on April 24, 2006. The raw footage consisted of several days of interviews with Smith, his friends and family, and included a poignant concert at the Quezon City Jail, organized by Severino, twelve years after Smith's release from the facility.
Research Framework Research framework of Jarvinen makes a distinction between prescriptive and descriptive models. The former one is the product of build activity (an artifact) while the latter one is a theory. Thus, prescriptive model in the terminology of Järvinen has the same meaning as model in the terminology of March & Smith. They also make a difference between normative and positive method. The first one is an artifact an algorithm or guideline used to perform a task. A positive method defines the steps of a task that are actually used in reality. Järvinen propose that the build process should be described as "research": design alternatives should be described and decisions justified. In addition, they propose using comparison as a criterion for designing artifacts during the implementation process. We interpret this when proposing new artifacts, the building process should be described in a way that is credible to a reader. Just presenting an artifact cannot be regarded as "research". Järvinen identify the following characteristics of the implementation process: • Technological and theoretical advances utilized in building the artifact must be described in the study report. • An important topic to be included is "design alternatives". Firstly, consider the biggest or largest design task; develop some alternatives, select the best alternative. Or firstly evaluate the most difficult sub-problem and try to solve it by building a prototype. • Informational and organizational ideas utilized in building the artifact must also be described in the study report. Any technology or idea capable of supporting our artifact building process.
Conceptual Framework
Figure 1
The Conceptual Paradigm
Further to the identification and analysis of interrelations between population and development and of our own music. This framework applies communication techniques to these issues. This is in order to develop and implement communication strategies into music development and extension activities that take into any kind of genres specificity of the target populations.
In order to meet the requirements of our own music industry orientations.
Statement of the Problem
This Study needs to determine the role of Joseph William “Pepe” Feliciano Smith in the evolution of rock music in the Philippines. The researcher applies following questions to be able to know the specific idea of the respondents.
1. What is the Status of the respondents in terms of being a band member and are in to Original Pinoy Music 2. What is the perception of a being a band member in terms of the role of Joseph William “Pepe” Feliciano Smith in the evolution of rock music in the Philippines in the following aspects 3. Diffrence of music in times of Joseph Willian “Pepe” Feliciano Smith to present genre of music in terms of 3 key ares:
Objectives of the Study Listeners of music of any type of genres are in to Original Pinoy Music (OPM) specially Filipinos, But not all Filipino appreciate our own type of music some of them much more paying attention to other foreign music. The objective of this research is to prove by the proponent the significance of our own type of music and what the contribution of Pepe Smith is.
Hypothesis
This proposal would like to test the following null hypotheses: 1. There is no significant difference on the perception of the student respondents on the 3 key areas in terms of:
a. Age
b. Music Genre
c. Gender
Significance of the Study
1. This study can benefit to the people who are listening to music whether it is local or foreign. of underground rock music in the Philippines, whom will be the respondents of this study. The aforementioned respondents will be ranging from ages Eighteen to thirty five (18-35) years of age in particular.
2. This study can benefit the musicians and listeners of rock music in terms of the importance of our own music genres assessing musicians and listeners on their self-awareness on what is happening in the society making them knowledgeable in current trends and not only in history.
3. Researcher from other fields of music may be encouraged to conduct related studies. Thus, they may also conduct a study which involves other variables in rock music in informing and raising the music performance of their own genre.
4. Results of this study may reveal the possibility of providing the musicians and the listeners of OPM (Original PInoy Music).
Scope and Limitation
This study will be focusing on the role of Joseph William “pepe” Feliciano Smith on the fields of Philippine rock music industry as perceived by the selected musicians of OPM (Original Pinoy Music) for the first trimester of school year 2012-2013. The selected musicians will include their band names and music genres. The target respondents of this study will be a total of 100 musicians.
Definition of Terms
The following terms are defined:
Amphetamine. A drug that has a stimulant effect on the central nervous system that can be both physically and psychologically addictive when overused.
Genre. Is a conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.
Original Pinoy Music (OPM). Original Pilipino Music, now more commonly termed Original Pinoy Music or Original Philippine Music or OPM for short, originally referred only to Philippine pop songs.
CHAPTER II
REVIEW OF RELATED LITERATURES AND STUDIES
This chapter relates the literatures and studies about what is in the rock music and how do people in music industry relates themselves to the study. This will help the proponent to understand and answers the questions to the objective of the study.
Review of Related Literature
The study is about the existence and as a legend of Philippine rock icon of Joseph William “Pepe” Feliciano Smith. As of from the start of our own rock music pepe smith gave a big break to rock music that every musicians follows him.
A book entitled Colonial Counterpoint Music in early modern Manila by D.R.M Irving. Philippines to current musicological discourse on the early modern Hispanic world. Multiple styles and genres coexisted according to strict regulations enforced by state and ecclesiastical authorities, and Irving uses the metaphors of European counterpoint and enharmony to critique musical practices within the colonial milieu. He argues that the introduction and institutionalization of counterpoint acted as a powerful agent of colonialism throughout the Philippine Archipelago, and that contrapuntal structures were reflected in the social and cultural reorganization of Filipino communities under Spanish rule. He also contends that the active appropriation of music and dance by the indigenous population constituted a significant contribution to the process of hispanization. Sustained "enharmonic engagement" between Filipinos and Spaniards led to the synthesis of hybrid, syncretic genres and the emergence of performance styles that could contest and subvert hegemony. Throwing new light on a virtually unknown area of music history, this book contributes to current understanding of the globalization of music, and repositions the Philippines at the frontiers of research into early modern intercultural exchange.
A book by Christi Anne Castro entitled Musical Renderings of the Philippine Nation (The New Cultural History of Music Series). The first cultural history of the Philippines during the twentieth century, Musical Renderings of the Philippine Nation focuses on the relationships between music, performance, and ideologies of nation. Spanning the hundred years from the Filipino-American War to the 1998 Centennial celebration of the nation's independence from Spain, the book has added emphasis on the period after World War II. Author Christi-Anne Castro describes the narratives of nation embedded in several major musical genres, such as classical music and folkloric song and dance, and enacted by the most well-known performers of the country, including Bayanihan, The Philippine National Dance Company and the Philippine Madrigal Singers. Castro delves into the ideas and works of prominent native composers, from the popular art music of Francisco Santiago and Lucio San Pedro to the People Power anthem of 1986 by Jim Paredes of the group Apo Hiking Society. Through both archival research and ethnographic fieldwork, Castro reveals how individuals and groups negotiate with and contest the power of the state to define the nation as a modern and hybrid entity within a global community. Fifty Sides of the Beach Boys: The Songs that Tell Their Story by Mark Dilon. Reflecting on the Beach Boys' long, fascinating history, this book tells the story behind 50 of the band's greatest songs from the perspective of group members, collaborators, fellow musicians, and notable fans. It is filled with new interviews with music legends such as Brian Wilson, Mike Love, Alan Jardine, Bruce Johnston, David Marks, Blondie Chaplin, Randy Bachman, Roger McGuinn, John Sebastian, Lyle Lovett, Alice Cooper, and Al Kooper, and commentary from a younger generation such as Matthew Sweet, Carnie Wilson, Daniel Lanois, Cameron Crowe, and Zooey Deschanel. Even hardcore fans will be delighted by the breadth of this musical-history volume. Plans for celebrating the golden anniversary of "America's band" include the long-awaited release of 1967's Smile--the most famous aborted album in rock history--and concerts reuniting the group's five main surviving members. The band's music is as influential as it was 50 years ago, and this retelling of how the iconic rock group found itself in the annals of pop culture couldn't come at a better time.
1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them By Toby Creswell The fascinating stories behind more than a thousand best-loved songs from the last 50 years are explored in this entertaining collection. Intriguing background and biographical information on each song and its artist from Elvis and Fatboy Slim to Leonard Cohen and Pulp is included alongside more than 400 rare, full-color photographs of the musicians. Keeping in line with the way that music players have changed the way people listen to music with personalized playlists and mixes just a few clicks away this collection places more emphasis on specific songs than entire albums. The eclectic mix of profiled songs are randomly ordered, similar to a playlist, widening listeners' horizons while educating them on a variety of styles and artists. Songs and Gifts at the Frontier (Current Research in Ethnomusicology: Outstanding Dissertations) by Jose S. Buenconsejo. In the search of the social meaning of song, Songs and Gifts at the Frontier connects the performativity of ritual song to important cultural domains such as political economy and history. Song, it is argued, expresses notions of sociability, personhood, and subjectivity; it is more intelligible when understood as constitutive of material practices of everyday-life and local histories. Examining the case of the Agusan Manobo song, the author demonstrates the difference between the encoded subjectivity in song that is a result of a mode of exchange where resources are distributed or shared equally to that which is attendant to the desire of possessing and accumulating them. In the former, the notion of personhood articulates a moral economy that stipulates the obligation to recognize the affinity between persons who have mutual, reciprocal relationships. In the latter, this self-other intersubjectivity is eroded due to the dominant settler hegemony and its attendant material practices and asymmetrical social relations. Jose S. Buenconsejo argues that song in the egalitarian moral economy is sacrificial, that is, it articulates the act of sharing in which performativity is akin to movements or flows of binding and unbinding of presences, affinity and estrangement, life and death that so characterize interpersonal relationships, nature, and social life. Performing Ethnomusicology: Teaching and Representation in World Music Ensembles by Ted Solis. First book to deal exclusively with creating, teaching, and contextualizing academic world music performing ensembles. Considering the formidable theoretical, ethical, and practical issues that confront ethnomusicologists who direct such ensembles, the sixteen essays in this volume discuss problems of public performance and the pragmatics of pedagogy and learning processes. Their perspectives, drawing upon expertise in Caribbean steelband, Indian, Balinese, Javanese, Philippine, Mexican, Central and West African, Japanese, Chinese, Middle Eastern, and Jewish klezmer ensembles, provide a uniquely informed and many-faceted view of this complicated and rapidly changing landscape. The authors examine the creative and pedagogical negotiations involved in intergenerational and intercultural transmission and explore topics such as reflexivity, representation, hegemony, and aesthetically determined interaction. Performing Ethnomusicology affords sophisticated insights into the structuring of ethnomusicologists' careers and methodologies. GI Jive : An Army Bandsman in World War II by Frank F. Mathias. Frank Mathias was a teenager in a small town when the draft swept him into the army and then halfway around the world to the jungles of the South Pacific. He served in the huge invasion force in the Battle of Manila, the deadliest single battle of the Pacific War. As an army musician attached to the 37th Infantry Division, Mathias saw the war from the bottom of the heap, where young privates lived and died. In his best selling book The GI Generation, Mathias tells of growing up in small-town America between the wars. In GI Jive he recalls the gritty experience of combat as well as the music and the homefront pleasures the GIs fought to preserve. Ethnomusicological encounters with music and musicians by Timothy Rice. Designed as a tribute to ethnomusicologist Robert Garfias, who has conducted field work in more cultures than any other living ethnomusicologist, this volume explores the originating encounter in field work of ethnomusicologists with the musicians and musical traditions they study. The nineteen contributors provide case studies from nearly every corner of the world, including biographies of important musicians from the Philippines, Turkey, Lapland, and Korea; interviews with, and reports of learning from, musicians from Ireland, Bulgaria, Burma, and India; and, analyses of how traditional musicians adapt to the encounter with modernity in Japan, India, China, Turkey, Afghanistan, Morocco, and the United States. The book also provides a window into the history of ethnomusicology, since all the contributors have had a relationship with the University of Washington, home to one of the oldest programs in ethnomusicology in the United States. Inspired by the example of Robert Garfias, they are all indefatigable field researchers and among the leading authorities in the world on their particular musical cultures. The contributions illustrate the core in their approach to the discipline of ethnomusicology at the same time that they deal with a remarkably wide range of perspectives, themes, issues, and theoretical questions. Readers should find this collection of essays a fascinating, indeed surprising, glimpse into an important aspect of the history of ethnomusicology. Organ and Harpsichord Music by Women Composers by Adel Heinrich. This reference work catalogs music for organ and harpsichord written by more than 700 women composers from 40 countries. Compiler Adel Heinrich has expanded the organ and harpsichord repertoire to include choir and instruments accompanying organ and harpsichord. She provides more detailed information about each work than can be found in any other reference book on women composers. In addition to biographies for each woman, Heinrich supplies listings of individual compositions, and includes descriptions and sources whenever possible. Each composition is listed in both the Instrumentation Index and the Title Index. Publishers, library sources, and recording companies with their addresses are also provided. There is also a chronological listing of composers by country. Two appendices list a large number of women who have either written music for organ and harpsichord with no specific titles known, or have performed on one or both instruments. This reference book is a valuable resource for organists, harpsichordists, teachers, choral and instrumental conductors, and planners of festivals and recitals. Philippine Folk Songs by Carmelita V. Jose. Philippine Folk Songs--Piano Duets (Four Hands) was designed for intermediate piano students. Aside from learning the technicalities of playing duets, the students will be able to appreciate and familiarize themselves with the beautiful melodies of Philippine folk songs which are part of the nation's rich cultural heritage. 01. Atin Cu Pung Singsing 02. Carinosa 03. Chit-Chi-Rit-Chit 04. Lulay 05. O Ilaw 06. Lawiswis Kawayan 07. Magtanim Hindi Biro 08. Pobreng Alindahaw 09. Sarung-Banggi 10. Medley (Philippine Folk Songs) ABOUT THE AUTHOR Prof. Carmelita V. Jose, an alumna of the University of Santo Tomas, Conservatory of Music, has taught piano and organ in several private colleges in Manila. She was name the first most Outstanding Faculty Member of the Yamaha School of Music (YSM). She trained some of the teachers from YSM's branch school and conducted seminars for its scholars. Know for her effective style of teaching, Prof. Jose has been mentor to promising keyboard enthusiasts who were recipients of awards in electronic organ competitions. Her published works include piano and organ arrangements of immortal native songs and popular music, a method book (Learning Piano the Easy Way), and an instructional book (Beginner's Improvisation).
Review of Related Studies These studies provides a research theories that answers the following statement of the problem and research questioning reflecting and relating in he role of pepe smith in the evolution of rock music in the Philippines.
Various rock bands one thing that always amazed me was how proud rock musicians were about the fact that they 'knew nothing' about music. It was like knowing something about the theory of music was a bad thing. There was the feeling that real rock musicians didn't know anything about music theory and that was good. There are many reasons why some musicians feel that learning theory is a bad thing that I talked about in a past post. One of the reasons why rock musicians feel that theory isn't useful to them is because they think that it just doesn't apply to what they're playing. There is in fact lots to learn about rock music that is easily explained and easy to learn. Rock bands always ask the listeners what kind of music they listen to. If they're into rock they will take a different approach than if they were into jazz. The problem with music theory is that it's a huge subject. It's too big to tackle for most people. There are so many facets to theory that it's hard to even apply it to your music. That's why I find out what style of music they're into and apply the theory to that. There are things that are done over and over in rock music that can easily be taught and explained. There are other things in music theory that happen in other genres that are interesting but don't apply to rock music. Most of rock bands start off with learning some scales. Usually they try to learn a couple, see how fast you can play them, and it'll end at that. Learning scales is just the first step. You must learn how they apply. You must learn how they apply to rock. Although it doesn't sound like it, rock uses the same basic scales that all other popular music does. First of all, the melody that the singer is singing is a scale. Rock doesn't go too far with this. It's either major, minor or pentatonic. It doesn't sound like a scale to us because we're used to hearing scales played up and down literally. Most (not all) rock melodies are quite simple and don't jump around much. Most of the time a single note is repeated before going on to another. There is also tons of inflections, slides and bends that we naturally do when we sing. Scales really come into play when we study guitar solos. Most of the time the guitar player will use one scale to solo over the entire song. Chords follow the same general direction as scales. Rock music usually try to keep things simple. They will change chords on a regular basis throughout the song. Once they establish a rhythm pattern, they will usually stick quite close to it. Most rock music will rarely go beyond the major and minor chords. Rock likes to use added second, fourth and sixth along with a few dominant seventh chords. Most of the time they love to use power chords. They will also find that different styles will use the same chord progressions over and over. Rock loves using blues progressions and progressions based on the minor scale. Some metal goes into modes and other territory but rock and pop will usually stick to diatonic chord progressions. Getting to know some of these tools will help in the creative process and make learning songs a lot easier. The fact is that most rock musicians know theory. They just don't have the technical terms for what they're doing. They learn things by trail and error and then go about applying to their music. All of their theory comes in slowly from learning songs, solos, and some basic theory usually passed on from another musician or band member. Most rock musicians will attest not knowing what counterpoint and voice leading is let alone the fact that they may be incorporating it into their songs. Voice leading is simply moving the different voices in a chord in the smoothest manner possible. Most of the time rock music flies right in the face of this and will move all over the place. Counterpoint is just having two separate lines moving independent from one another. Rock music uses these in various ways. Voice leading is used a lot in playing arpeggios and creating interesting progressions under the lead vocal. It's also used a lot in leads were the guitarists will play ascending and descending lines and arpeggios connecting them seamlessly together (the solo to 'Hotel California is a great example of this). Other times rock musicians will play a melody or line with the vocal instead of strumming chords. Other techniques rock uses are: modulation, pedal tones, vamps, polyrhythms, polychords and modal harmony. Rock music itself is just a style or you can say a texture of sounds cape. But not at all rich in theory life western classical music or jazz or even blues. If one is master in playing jazz or blues he/she can easily manage to play some stuff in rock genre. So i would prefer to ask people to first learn and master music like jazz or classical or blues. because learning and mastering that will help you to come across so many theories and musical interpretations which rock really don’t have. Music theory it's a good idea to know what some of these tools are how and you can use them in your music. You may be using most of them already and not know it. Giving a name and explanation of these techniques allow you to isolate the various tools and use them in new and interesting ways. Most of all, your other band mates may be wondering where you've come up with all of these great new ideas. Rock and roll was originally a blend of styles like country, jazz, and blues other styles so experimentation is part of the game. Over the years, musicians have pushed the boundaries to expand the genre beyond what probably anyone thought possible. There are lots of great songs along the way through rock and roll history, but every so often you hear a track that is a little advent when compared to some of the others of it's time. Maybe avant grade is not the correct term, but more experimental, something beyond the reaches of what typically defines a musical composition. Something that might sound a little strange on the first listen. There have been plenty of these tracks throughout history from plenty of well known bands. They're quite a testament to a groups desire to continue to look for new directions to take their music and even new ways to make music. These explorations are sometimes more successful than others, but they're always interesting to hear. Music theory emerged after the actual production of music. There were people making music long before we had ideas of what a major third is, and there were groups singing tribal songs long before we got the idea of a "downbeat". Although these ideas were often practiced before they were understood, to have a knowledge of what they are and how they work reduces their difficulty and increases their potential and flexibility.
Review of Related Readings This study relates from readings and articles came from foreign and local writers which includes about rock music evolves.
An artcle came from John Morris, The 1950’s Bill Haley and Rock 'n' Roll
The first rock 'n' roll record to achieve national popularity was "Rock Around the Clock" made by Bill Haley and the Comets in 1955. Haley succeeded in creating a music that appealed to youth because of its exciting back beat, its urgent call to dance, and the action of its lyrics. The melody was clearly laid down by electric guitar; the lyrics were earthy and simple. Haley abruptly ended the ascendancy of the bland and sentimental ballads popular in the 1940s and early 50s. He also succeeded in translating black rhythm and blues into a form that adolescent white audiences could understand.
Blues, and rhythm and blues, were too adult, sexual, angry, and solely identified with black culture to be acceptable either emotionally or commercially without adaptation. Major record companies had for years been producing records for black audiences called "race records." The emergence of rock 'n' roll signified a slight weakening in resistance to black culture. The unadulterated black rock 'n' roll that Haley transformed can be heard in the sexually adult work of such artists as Hank Ballard and the Midnighters ( "Work with Me, Annie" ) or "Big" Joe Turner ( "Shake, Rattle, and Roll" ), the latter song adapted by Haley for white audiences and the former transformed into "Dance with Me, Henry." An article from Steve Holiday, The Late 1950s and Early 60s—Elvis, Motown, and the British invasion. The greatest exponent of rock 'n' roll from 1956 to 1963 was Elvis Presley, a truck driver and aspiring singer from Tupelo, Miss., whose plaintive, wailing, dynamic delivery and uninhibited sexuality appealed directly to young audiences while horrifying older people. As rock 'n' roll became a financial success, record companies that had considered it a fad began to search for new singers; they generally succeeded in commercializing the music, robbing it of much of its gutsy, rebellious quality. In the late 1950s, for example, there was a fad for sentimentally morbid songs such as "Laura" and "Teen Angel." At the turn of the decade Detroit became an important center for black singers, and a certain type of sound known as "Motown" [motor town], named for Motown Records, developed. The style is characterized by a lead singer singing an almost impressionistic melody story line to the accompaniment of elegant, tight, articulate harmonies of a backup group. Popular exponents of this style are the Temptations, Smokey Robinson and the Miracles, Diana Ross and the Supremes, and Gladys Knight and the Pips. An article from, Bryan Hills, Rock music again surged to popularity in 1962 with the emergence of the Beatles, a group of four long-haired lads from Liverpool, England. They were initially acclaimed for their energy and appealing individual personalities rather than for any innovations in their music, which was derived from Berry and Presley. Their popularity inevitably produced other groups with unusual names. One of the most important of these was the Rolling Stones, whose music derived from the black blues tradition. These British bands instigated a return to the blues orientation of rock 'n' roll, albeit in ever louder and more electric reincarnations. Article came from Jonas Davidson, An important transformation of rock occurred in 1965 at the Newport Folk Festival when Bob Dylan, noted as a composer and writer of poetic folk songs and songs of social protest like "Blowing in the Wind," appeared, playing electric guitar and backed by an electrified rock band. A synthesis of the folk revival and rock subsequently took place, with folk groups using rock arrangements and rock singers composing poetic lyrics for their songs (e.g., the Beatles' "Norwegian Wood," "Eleanor Rigby" ). The Byrds' arrangement of Dylan's "Mr. Tambourine Man" is a folk-rock classic. Performers like the Mamas and the Papas; Peter, Paul, and Mary; Donovan; and the Lovin Spoonful sang a kind of music designated "folk rock." Another foreign article from Christine Jackson, By the late 1960s rock was widely regarded as an important musical form. Musicians such as Miles Davis and John McLaughlin and groups like Traffic or Blood, Sweat, and Tears tried to fuse rock and jazz, while such disparate artists as Leonard Bernstein and Frank Zappa attempted to connect rock and classical music. Groups featuring virtuoso guitarists such as Jimi Hendrix, Eric Clapton, Duane Allman, and Jimmy Page continued to perform variations on classic blues themes using the traditional instruments of rock'n'roll from 1967 onward, the rock festival was regarded as the ideal context in which to hear rock music, and thousands of fans attended. The most successful and peaceful rock festival, Woodstock, was held near Bethel, New York, in August 1969. Later, however, a similar event, featuring the Rolling Stones, was held at Altamont, Calif., and was marked by several violent incidents caught on film, including a murder. By 1970 several of rock's top performers Janis Joplin, Jim Morrison, and Jimi Hendrix were dead from substance abuse. The dangerous, androgynous quality projected by the Rolling Stones was taken to extremes by performers such as Alice Cooper and David Bowie, who were perhaps as famous for their sexual ambiguity and outrageous behavior as for their music. An local article came from Kathleen Doria, Considered by some as the sound of the devil, music of the disturbed and has negative messages when back masked, rock music is definitely the music of young generations and young at hearts want to be. Rock music is considered as the loudest, heart pounding and ear bleeding sound in the universe. Rock music has its own classifications; it evolved from the melodic and love-inspired sound of the Beatles to the raw and distorted tune of the Jet. It has a very wide distinction depending on the sound and the roots of a particular rock tune. The development of the rock aesthetic happened gradually over a number of years, and included trends of other musical genres, the end result was a radically new art form. Pepe Smith showed how meaningful songs with surrealist imagery could be wedded to popular music. Though he was one of the few artists who did not jump on the psychedelic (style that emerged with the brilliant, swirling colors and hallucinogenic imagery) bandwagon, his then revolutionary efforts inspired countless bands who did.
Article came from Manila bulletin, Sally Santos, Singer Basti Artadi disagrees with the assumption that local rock music has gone to the dogs. He points out that a wide diversity of rock acts have sprouted in recent years. "If anything, it's more varied," said he of the music scene during the recent press conference for the Tanduay First Five 2012 concert series, which, he says, in itself also disproves the notion about the demise of local rock. "Why would a corporation like Tanduay support something that is supposedly not worth anything anymore?" was the rhetorical question. Indeed. The Tanduay First Five, started in 2008, celebrates the very essence of Pinoy rock.
An Article from, Eric C. Caruncho, Philippine Daily Inquirer, Pepe Smith was the band’s vocalist and main songwriter, and his song titles left little to the imagination as to what they were about Mr. Walking, Drugstore Man and Stoned Out of My Mind and Someday We All Fall Down. Were paeans to substance abuse and its consequences, couched in heavy psychedelicized blues rock. Genre played by bands like Fu Manchu and Monster Magnet, except they were doing it more than 40 years ago.Featuring red three angelic-looking schoolgirls on the cover. It was supposed to have been the three band members faces, but Orita was worried that the authorities would catch on to Smith’s gaijin (foreign) features.They were afraid immigration would bear down on me, recalls Smith. Sometimes they would show up in the clubs, and Shinki told me that if that happened, I should just get off the stage and sit with the audience, because I only had a tourist visa at the time. It was now 1971. By the time the band was set to record their second album, Glue had been sidelined by medical problems, so Smith brought in his old friend Mike Hanopol, who had shown up one day unannounced, to take over the bass and organ duties for the deluxe, double-vinyl, Tiger album. I don’t really remember all the details because I was just enjoying the whole thing, recalls Smith. We used a lot of instruments during the recording. The last part we played with Moog and ARP synthesizers on the last song, Song For An Angel. It was the first time Mike and I used electronic instruments. Although still playing their signature blues-rock, the band showed a more experimental vein in their second album with slow songs, a harpsichord number, and the aforementioned electronics. New audiences are just now rediscovering the Speed, Glue and Shinki albums, thanks to a renaissance of interest in obscure world psychedelia. Both have recently been reissued on compact disc in Europe. The band has also been championed by the likes of Julian Cope, maven of all things obscure and psychedelic, who called the Tiger album even more of a wrecked and loose masterpiece as their first album Cope would also devote a chapter of his work to the story of Speed, Glue and Shinki. More to the point, substitute Wally Gonzalez for Shinki Chen and it takes just a little leap of the imagination to go from Speed, Glue and Shinki to the classic power trio line up of the Juan de la Cruz band. An article from Noel Copiaco, It was around 1956-57 when I first saw a bunch of guys banging away at their instruments which comprised of acoustic guitars (some with 5 strings instead of 6), ukeleles, and a one string bass which used an army surplus gasoline canister as a sounding board. This was in north Tondo where I grew up and I was just in 2nd grade. I would stop and watch every time I walked by this house after school whenever this group practiced. The house was fenced-in by steel matting with round holes so you can view them from outside the yard. I don’t recall the name of the band but I can tell they were having fun and I knew that someday I would like to do that too. As I recall, this combo had one older guy who played the electric guitar once in a while. I couldn’t remember what make or model but to me it was the most beautiful thing I ever beheld in my young life. It looked like an instrument from outer space and I was mesmerized by the sound it emitted. It was simply out of this world. Unknowingly, I was hooked for life. This was probably the earliest growth from the seeds of American rock and roll which were sown by the Platters, Bill Haley, Elvis and their contemporaries. Songs like “Only You” and “Teddy Bear” jammed the radios and juke boxes around Manila in those days. Even then, Pinoy combos where most prolific and it would be a difficult task to name them all. Was this the first time ever that Pinoys mimicked American pop music? The answer is definitely not! Filipinos have been emulating American pop culture (and therefore music) since 1898. We had our own version of vaudeville, silent movies and big bands as soon as the concepts were introduced by the Americans. Big bands like Kiko Gatchalian and his Coconut Grove Orchestra and singers like Katie de la Cruz will attest to this fact. But since we are in the subject of 1950’s Pinoy classic rockers, let me attempt to list a few of the pioneers. Of course this list will never be complete as it is impossible to remember them all. Here are some: The Skylarks, Rey Sanchez, The G-Rockers, Five Brown Boys, Cora Adajar, Eddie Salamera, Blue Jean Boys, The Blue Belt Guys, Bobby Gonzales, The Carolers, The Parola Boys, The Trailers, Audie Daquis, Calypso Boys, Starlights, Jolly Blue Boys, Gay Toppers, Tiongco Brothers, Rene Ibanez, Diomedes Maturan, Fred Panopio, Hi-Chords, Don Soriano, Penguins, Ike Lozada, Norrie Jacinto and even the Jitterbugs I think started out as a “gas bass” band and probably the first to add a drummer. These were just some that made a name in those days and there were many more that we probably have never heard of. Many local radio shows and the TV pioneer Darigold Jamboree also featured talents regularly. Fiestas around Manila always had an array of these combos entertaining the crowds. These musicians and combos were definitely pioneers in the arena of Pinoy rock and roll. For us who started to rock out in the early sixties, we owe them a great deal. More on the gasoline gas tank bass: This was the supreme staple instrument of the early Pinoy rockers in the 50’s. Most of them were custom made and had fancy headstocks sometimes in the shape of an animal or object, the most popular of which was the horse head and the carabao head. A skillful bassist would fill in the need for a percussionist by adeptly slapping the gut string on the pole making a rhythmic cadence. And even this ingenious Pinoy contraption had its roots in American music. “Jug Bands” from the American south used the wash tub bass with a single string that you stretched with a pole to come up with the right pitch. The early British rockers also had their own version with their “skiffle” bands which John Lennon started out in. But leave it to the Pinoys to take it up one step further and improve on the design. We don’t have huge wash tubs in the Philippines and the “batya” won’t do. So what is the logical alternative? In a place like the Philippines where US army surplus material was abundant, the gasoline canister was the answer. It provided a great sounding board with a deep booming hollow sound way better than any wash tub. The rest is Pinoy rock history.
Synthesis Performs research on a selected topic and writes an essay that weaves the research sources together to form a coherent unit of thought. The primary goal is to show the proponent’s ability to read many different research sources and to fit them together to present the reader with a unique body of information. Review of related literature is all about the reference book and published material that relates to the study also the related studies and readings that tackles about the theorie and articles which can be relate and to answer the following statement of the problem of the study. This study can help the proponent to prove the study.
CHAPTER III
RESEARCH METHODOLOGY This chapter presents the different types of methodology used in conducting research. It also presents the tools that will help and support the investigation.
Research Design The research design encompass the study that suites the proponent’s topic. It will show the methods and strategies to be used in order to complete this particular form of research. It includes all the concerned in this study. The process in data gathering, evaluating the proposed study, the proponent will use descriptive research, qualitative research, and creative research.
Descriptive Research Descriptive research is used to obtain information concerning the current status of the phenomena to describe "what exists" with respect to variables or conditions in a situation. The methods involved range from the survey which describes the status quo, the correlation study which investigates the relationship between variables, to developmental studies which seek to determine changes over time.
Qualitative Research Qualitative research is a generic term for investigative methodologies described as ethnographic, naturalistic, anthropological, field, or participant observer research. It emphasizes the importance of looking at variables in the natural setting in which they are found. Interaction between variables is important. Detailed data is gathered through open ended questions that provide direct quotations. The proponent is an integral part of the investigation. This differs from quantitative research which attempts to gather data by objective methods to provide information about relations, comparisons, and predictions and attempts to remove the proponent from the study.
Creative Research This kind of research provides the main imaginative ideas and strategies of a proponent that will form truthful information to be read by the respondents. The proponent will apply this research method because it may help in understanding the study. It is base on reactions and ideas that are gathered by the proponent.
Research Instruments A survey and collecting the information of respondents will to this study. For the proponent to know what are the opinions of the respondents that will prove and answer the problems.
Sampling Techniques The proponent will construct a examples and demos of rock music, events that proves the study with the applied use of the single technique and select a community and concert gigs where to show the rock music and conduct the survey. The proponent will choose 50 original pinoy music enthusiast from selected rock bands in Metro manila and conduct the survey within the circle of respondents chosen. The proponent will use this method because the respondents are limited to rock music with ages 18 years old and above.
Interview Interviews are among the most challenging and rewarding forms of measurement. The proponent requires a personal sensitivity and adaptability as well as the ability to stay within the bounds of the designed study. The proponent will describe the preparation that the respondents need to do for an interview study and the process of conducting the interview itself.
Survey Survey is a method that the proponent will perform to know the information, ideas and opinion of the respondents regarding the original pinoy rock music.
Validation of the Instruments Validation purposes, The proponent will perform and give some original pinoy rock music samples and answers from the surveys and questionnaire from interview upon approval..
Data Gathering Procedure The capacity of the researcher to compose a well done developed and accurate study. However, in order for the proponent to significantly increase the reliability of the study, the proponent needs to understand the importance of effective data gathering procedures. The proponent were able to use end execute the correct data gathering task, and then results will be reliable. The mains task is for the proponent find related files and documents that already have the data need.
Subjects and Participants The respondents that are into original pinoy rock music in the Philippines and the members of the PMO (Philippine Music Organization) will the participants. The respondents will compose of 50 rock bands that are 18 years old and above.
Data Processing Method The proponent will use the descriptive statistical method for the study. These concepts discuss the proper method on the gathered information from sampling technique and the analysis in the characteristic of population by inherence from sampling. It is also referred to as the analysis of data of an entire population. Descriptive statistics uses numbers to describe a known data set.
The formula to be used is:
CHAPTER IV
PRESENTATION, ANALYSIS, AND INTERPRETATION OF DATA
1. Question 1: Do you know who Pepe Smith is?
|Yes |No |
|100 |0 |
|100% |0% |
Practically every respondent asked, regardless of age, was familiar with Pepe Smith, thereby reinforcing the fact that he is very well-known regardless of age, social strata, location in the country, or preference.
2. Question 2: Would you say that you are well informed about the current events in the Philippine Music industry?
|Yes |No |
|80 |20 |
|80% |20% |
As seen in the table above, a majority of the respondents, at 80%, say they are well-versed with what is happening in the Original Pinoy Music industry. As Rock Filipino Bands with the age range of 18 to 40, it can be expected that most of them. From observation and through the supplemental questions asked for their opinions, these rock bands listens a lot of music genres.
3. Do you consider Pepe Smith to be a Philippine music icon?
|Yes |No |
|100 |0 |
|100% |0% |
Based on the table that is seen above, 100% of the respondents consider Pepe Smith a Philippine music icon. The margin is very high on the yes side because many people or Philippine rock band could have a same opinion on what can be considered a Philippine music icon. The gender is the male and female respondents, but the fact that they are listeners to the Original Pinoy Music and are in to the Filipino rock bands they may contribute to this fact. A majority still consider Pepe an icon, or at least a very recognizable artist who stands out from the rest.
4. Do you consider Pepe Smith to be helpful to the Original Pinoy Music?
|Yes |No |
|90 |10 |
|90% |10% |
90% of the respondents consider Pepe Smith to be helpful to the Philippine music industry. It can be seen that they consider him helpful to the music because the main highlights of his meaningful music show him giving importance and support to the OPM and to the people who participate and many of his music, events and concerts center around the Philipines.
5. Do you think Pepe Smith influences how you act in music?
|Yes |No |
|72 |28 |
|72% |28% |
As seen in the table above, 72% agree that Pepe Smith influences how they act musically with other people. This may come as a surprise considering the surveyed group, but this shows how prevalent the influence is of the people in the Philippine music industry. Most of the people in today’s music industry are different genres. Who more often than not are also musicians to society figures. Their audiences and listeners look to them as examples, and this does not only include the “masa”. Seeing these figures on television and around the metro gives a clear view of their lifestyles and the attitudes that go with it, and most people feel that if they are influenced by this they will eventually reach the same status.
6. Do you think you see Pepe Smith on television and print media more than you see other Filipino Misicians?
|Yes |No |
|76 |24 |
|76% |24% |
A majority of the respondents, at 76%, say that they see Pepe Smith on television or in print media not more than they see any other artists or Filipino musicians. From observation, it cannot be deduced that though he is popular.
7. Do you know that Pepe Smith is a rockstar since he was a young?
|Yes |No |
|60 |40 |
|60% |40% |
Only 60% of the respondents were aware of the fact that Pepe Smith is are in a rock band since he was young. When Pepe is 11 years old he have his first band. But not all the people know this because they are one of the underground bands.
8. Do you think that with more exposure than he has now, Pepe Smith could have more influence over the Philippine music industry?
|Yes |No |
|20 |80 |
|20% |80% |
20% of the respondents feel that Pepe Smith could have more exposure. As a rockster and a Philippine music icon, Pepe is obviously not as well-exposed as an musician. Most people are familiar with Pepe because of his songs. Where he gives away a meaningful songs and giving importance to our own music. It is clear he could have more influence and reach over people.
9. Do you think Pepe Smith has a passion to the music?
|Yes |No |
|93 |7 |
|93% |7% |
This was clearly divided, a large number or percentage of respondents more saying that Pepe Smith has the “Passion”. This is one thing that will determine his popularity, although there will be many differentiating factors and differing opinions on what could be considered as the “Passion” to music. This is opinion-based, with some respondents realizing that Pepe Smith has passion.
10. Do you think Pepe Smith has a big influence on other musicians?
|Yes |No |
|95 |5 |
|95% |5% |
95% of the respondents agreed with the statement that Pepe Smith has an influence on other musicians and rock bands going into the field of music industry. Considering the respondents and the fact that they are into music the opinion and answer may vary as compared to musicians and those who are more education and career-oriented, but it is important to note that people have an opinion on Pepe Smith and his influence on musicians.
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CHAPTER V
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS
This chapter deals with the summary, conclusions, as well as the recommendations of the study as well as of the results taken from research from various sources and the survey. The recommendation is for the sake of those future researchers and other individuals that may use this study as a reference point. This chapter also explains how the study was undertaken and can be used as the answer to the problems presented as well as the objectives of the study.
SUMMARY
The problem presented in the study is simple. It aims to view Joseph William “Pepe” Feliciano Smith in a scholastic light, and to see what makes him who he is and why he is viewed as a Philippine rock music icon.
According to the research done and the answers gathered from the surveys, Pepe Smith is an extremely visible Filipino rock music, with a wide reach to his Philippine music listeners and audience, which contributes to his large scale impact on his existence and contribution to Original Pinoy Music and consideration among his followers and in general. The results from the surveys that gather information on the impact of Pepe Smith on Philippine rock music and how he is viewed allowed the researcher to come up with the necessary conclusion to close the study.
The results from the survey in underground OPM rock bands and people around who reflect the key points of the demographic clearly point out one thing: Pepe Smith is a ubiquitous figure not only in the Philippine music entertainment industry, but in Philippine society as well. There were 4 to 5 respondents from each band group consisting of the ages 18 and above. The framework around which the study has been made by researcher his own communication, which, as one of the foremost legendary rock icon that describes interpersonal communication, perfectly describes the relationship between Pepe Smith and the information that can be perceived from him. Many of the factors that influence the model can be viewed in the Conceptual Framework portion of Chapter 1 page 8. The basic flow of the model shows you the connection between the views of the respondents and the factors that contribute to the model.
A number of research methods were used in gathering the data required and in determining the answers that would address the problems that the study would see answered. Some of the methods include library and print resource research (such as books, magazines, and other studies), observation, interviews, and surveys and questionnaires. Local and foreign articles were also taken from various websites, periodicals, and print media to ensure that a broad view of the study was being considered. Tables have been used to show the results taken from the surveys and questionnaires, with statistical tools to determine results used accordingly.
Based on the data gathered, these are the researcher’s findings:
Almost 100% of the respondents were familiar with the subject of the study. From observation and supplemental questions asked informally, it was shown that everyone knew who Pepe Smith was, though they were not always familiar with other aspects of him as a person or as a Philippine legendary rock music icon. A large percentage of the respondents believe that Pepe is an icon because what he does goes beyond what the usual Filipino music artist. They see what he does and they know that most people would choose to emulate him more than others because he has a vibrant rock music personality.
The overall results of the study show that Pepe Smith is indeed very prevalent to rock music since OPM starts on Philippine music industry, including those that span all demographics. It is clear that he has a wide influence on those who appreciate pinoy rock music, but he also reaches those rock bands who perform, share their music and supports the original pinoy music. Everyone can safely say that while they may not be well-versed in the Philippine’s music industry current events, it can clearly be seen that they know who Pepe is, they know what shows he is part of, what other activities he engages in, and if you asked them one by one, the respondents will probably be able to tell you at least one thing that they may consider an influence that he has had on them.
CONCLUSION
1. Do you know who Pepe Smith is?
This question is very straightforward, as well as the answer received. 100% of the respondents are familiar with who Pepe is. This clearly shows how legend he is. All underground rock bands interviewed and surveyed are familiar with Pepe Smith.
2. Would you say that you are well-informed about the current events in the Philippine music industry?
This question, in relation to question 1, shows that though not necessarily everyone, or at least a full percentage of the respondents is familiar with the current events in the country’s music industry, they are familiar with who the subject of the study is. 80% of the respondents feel that they know what is going on in the Philippine music industry. This will again explain the wide-reaching familiarity Filipinos have with the most viewed and most popular music artists and rock icons in the Philippines, especially in the music industry. This question was included in the survey because it provides a basis for whether Pepe Smith is known simply in connection with the goings-on in the Philippine music industry, or whether he is an individual and has claimed his notoriety all through his own endeavours.
3. Do you consider Pepe Smith to be a Philippine music icon?
Many people have varying definitions of the word “icon.” 100% of the surveyed respondents feel that Pepe Smith can be considered an icon, though there can be numerous factors that affect the answer to this question. That is not necessarily a concern because though the field of question may be wide, it directly relates to the study because it is the framework for the answers for the questions the study poses. The whole idea of Pepe Smith being a Philippine muic icon will explain how his influence reaches people of all demographics.
4. Do you consider Pepe Smith to be helpful to the Original Pinoy Music?
This question has been asked because it clearly addresses the people that Pepe Smith has the most reach over. 90% of the respondents feel that Pepe is helpful to the Original Pinoy Music. Pepe may be well-known in any circle in the country, but it is this group of people that probably most benefits from Pepe’s influence. In fact, they not only benefit, but they take all his fashion to rock music seriously and to heart. The question is designed to differentiate between the respondents of the question and the people that the study addresses. Though the respondents are underground music artist and pinoy rock bands, the answers show that they realize the impact on the reach of Pepe Smith on the other fields and genres of music in the country.
5. Do you think Pepe Smith influences how you act in rock music?
It is easy to see how Pepe Smith influences people in lower social strata merely by observation. A good example would be the moves, performs of Pepe and how you see the crowd his fans and other rock bands all over the Philippines and television doing it. This question is designed to reach all people that Pepe reaches, and 72% of the respondents feel that he is an influence. The question of whether Pepe and his music or his actions and work influence people of the Philippines and how they deal with each other because of it. Pepe may serve as an inspiration to many because he started out when he was a child..
6. Do you think you see Pepe Smith on television and print media more than you see other Filipino musicians?
This question is designed to see the effects of visual marketing on Pepe’s influence over anyone who has access to the television and print media. Pepe has numerous billboards and newspaper ads, as well as many more television appearances on his own shows, and commercials and guest star roles. Television and print media marketing is an effective way of reaching out to everybody in the country. With someone as wealthy as Pepe Smith he has a greater ability of reaching out through marketing and since he is so ubiquitous, people cannot help viewing his visibility as a reason for why he is influential in rock music
.
7. Do you know that Pepe Smith is a rock star since he was a young?
This question is designed to see whether people know Pepe Smith is a rock star since he was young or if they know he has other activities as well. This question will show Pepe as an all-around outstanding musician individual and shows that he not only can get his icon status from being a star but from being a multi-faceted rock star as well. People who know this can use this bit of information as inspiration because many artists nowadays are branching out to many other endeavours besides music industry.
8. Do you think with more exposure than he has now, Pepe Smith could have more influence over the Philippine music industry?
This question is in connection with the previous one as it also concerns exposure, communication, and it all leads to exposure. As with many things nowadays like small businesses, products, and events, an artist’s best bet for popularity is exposure. Once an artist learns how to expose himself to the right market and demographic, this helps greatly in the rise of his or her popularity, which in turn allows him to have a greater hold and influence over his target audience. The respondents were asked whether they thought that Pepe had a great influence now and whether even greater exposure would allow him to have a greater reach. As underground rock bands, they recognize that he has a large influence now over the music industry, or the social strata that can most relate to him. But they also recognize that with even greater efforts, his influence could reach even more people and have an even deeper effect on society.
9. Do you think Pepe Smith has the passion in music?
This question was designed to address many points of the study, and can even lead to an answer for why Pepe Smith is so popular. There are many music artists who try to make it in the music industry world, but only some have that “IT” factor that allows them to become famous. It is with this fame that they can make an impact on their audiences and the OPM.
10. Do you think Pepe Smith has a big influence on other musicians?
This question will allow the researcher to find out how the show business industry and artists such as Pepe affect musicians and other people who are planning on entering in rock music industry field. As this study will serve as a reference to any who might need it in the future, especially music industry.
RECOMMENDATION
Based on the final results of the study the researcher concluded upon a number of items:
• Filipinos, whether young or old or from varying social strata, are familiar with the Role of Joseph William “Pepe” Feliciano Smith in music industry.
• An artist with stronger star quality, “X” or “IT” factor will become more popular than just those with a more generic appeal.
• Lower- to middle class are very familiar with Pepe Smith and feel that he plays a large part in the way people act in music, as well as playing a part in the country’s society by his numerous endeavors.
• Artists with greater reach in terms of audience and influence, mainly Pepe Smith, are more popular, and are believed to have more impact on people not just socially but behaviorally; especially in the way they think and act as common Filipinos.
• Being famous plays a large part in artist popularity
• Every Filipino is familiar with who Pepe Smith is, and with the more well-known aspects of his work.
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Bibliography
Books
Colonial Counterpoint Music in early modern Manila by D.R.M Irving.
Christi Anne Castro entitled Musical Renderings of the Philippine Nation (The New Cultural History of Music Series).
Internets www.wikipedia.org Unpublished journal
An article from Steve Holiday, The Late 1950s and Early 60s—Elvis, Motown, and the British invasion.
Article came from Manila bulletin, Sally Santos, Singer Basti Artadi disagrees with the assumption that local rock music has gone to the dogs.
An Article from, Eric C. Caruncho, Philippine Daily Inquirer, Pepe Smith was the band’s vocalist and main songwriter.
Published Journal
Manila Bulletin
People’s Journal
Pulp Magazine (2009 to 20112 issue)
APPENDICES
APPENDIX A
Survey letter
APPENDIX B
Sample questionnaires
APPENDIX C
Statistical analysis
APPENDIX D
Acknowledgement
APPENDIX E
Researcher’s resume
APPENDIX A
SURVEY LETTER
Mr Ross Reynald Cabanganan
President for Philippine Music Org.
125 Westlife BLDG. West Ave., Quezon City
Good Day!
I, Mr. Ruben S. Enal Jr. a 4th year student of AMA Computer College East, Rizal taking up Bachelor of Arts in Mass Communication would like to ask for your approval to allow the undersigned to conduct a survey for a Research Study entitled "The Role of Joseph William “Pepe” Feliciano Smith in the Evolution of Rock Music in the Philippines" and also for the completion of the requirements as a graduating student.
An approved questionnaire checklist will be given to bands and band members in underground OPM music. A total of one hundred (100) copies of the questionnaires will be filled out by the band members. After all the questionnaires are successfully retrieved such data will be subjected on a statistical treatment. Results will be validated and analyzed afterwards, the participation is crucial to the success of this study. The questionnaire involves fairness in broadcasting, accuracy of information, opinion or views of the respondents, and their judgment.
The potential benefits from participating in the study may contribute to the OPM supporters and listeners,
Thank you and hoping for your kind consideration.
Sincerely yours,
_____________________
Mr. Ruben S. Enal Jr.
AMAER / AB Masscomm
____________________
Mr. Leo B. Francisco Research Adviser
___________________ Ms. Karren de Lara College Dean
APPENDIX B
SAMPLE QUESTIONNAIRES
Name: __________________________ Age: _________________
Address:_________________________ Gender: Male Female
General Instruction: Please answer the following questions as honestly and as objectively as possible. The information you will be providing will be kept with utmost confidentiality. Please put a YES or NO
1. Do you know who Pepe Smith is? ___________
2. Would you say that you are well-informed about the current events in the Philippine music industry? ___________
3. Do you consider Pepe Smith to be a Philippine music icon? ___________
4. Do you consider Pepe Smith to be helpful to the Original Pinoy Music?
_____________
5. Do you think Pepe Smith influences how you act in rock music?________
6. Do you think you see Pepe Smith on television and print media more than you see other Filipino musicians?____________
7. Do you know that Pepe Smith is a rock star since he was a young?
______________
8. Do you think with more exposure than he has now, Pepe Smith could have more influence over the Philippine music industry? _____________
9. Do you think Pepe Smith has the passion in music? ____________
10. Do you think Pepe Smith has a big influence on other musicians?
The proponent will use the descriptive statistical method for the study. These concepts discuss the proper method on the gathered information from sampling technique and the analysis in the characteristic of population by inherence from sampling. It is also referred to as the analysis of data of an entire population. Descriptive statistics uses numbers to describe a known data set.
APPENDIX D
ACKNOWLEDGEMENT
The researcher would like to thank first God for having strength and courage to conduct this research and for giving him physical, emotional and mental aspects to finish this study. To his family especially his mother whose name is Magdalena S. Enal for giving him a financial support and words of wisdom that encourage the researcher to keep continuing the study.
The researcher would also like to give his thanks to his classmates co-mass communication students of AMA Computer College East Rizal and to his friends, to his band “KaUdin” , brother bands in the underground music industry to the advices and helpful efforts to make this research.
And last but not the least, I Ruben Sy Enal Jr. A mass communication student of AMA Computer College East Rizal, the researcher of this study would like to give my full thanks to my girlfriend whose name is Luzlie Villaran for always being there for me as always. She is the reason why I had finished this research and also she is my inspiration.
APPENDIX E
RESEARCHER’S RESUME
The Researcher
Ruben Sy Enal Jr.
Blk. 10 lot 23 Madrigal Village Brgy. Palangoy, Binangonan, Rizal
Email: rue.enal@yahoo.com
PERSONAL DETAILS
• Born on March 18, 1990 • 22 years of age • 5’5” height • 64 kgs • Nickname is rue • Lives on Binangonan, Rizal • Likes to read, write and sing • A band member and a vocalist, the band’s name is kaudin a Philippines underground music band
EDUCATIONAL BACKGROUND
COLLEGE: AMA Computer College East, Rizal May 2006 – 2012 Graduating
AMA Computer College East, Rizal AB Mass Communication
HIGH SCHOOL: St. Martin Montessori School Angono, Rizal 2002 – 2006 Graduate
ELEMENTARY: La Mar Academay Angono, Rizal 1996 – 2002
