Lian Las Pinas

from “Playing for Pride” by Tinna S. Bonifacio, published in UAAP Magazine’s 1st issue in 2010.

“Unbelievable” is the reply of actor and former UAAP athlete Enchong Dee when asked how he was able to divide his time between his showbiz career, his training, and his studies at DLSU.

It was not easy. There were days that Dee would go without sleep, from taping to the pool just to train. From there, he would go straight to class. But all the hard work paid off in 2007, 2008, and 2009 when he picked up three consecutive MVP awards. In 2009, the 20-year-old actor was honored by the La Salle community for bagging his third MVP trophy and seven gold medals—in the 1,500-meter and 800-meter freestyle, 400-meter and 200-meter individual medley, 200-meter, 100-meter and 50-meter butterfly—thereby powering the DLSU men’s swimming team to it’s first tile since 2002.

It was unbelievable, maybe, but not impossible. Dee thinks the biggest factor in his success was his ability to manage his time. “I would ask permission from my professors, coaches and directors,” he says. “I always belive that to have a proper approach to something, it’s important to keep communication lines open. Be straight to the point, but make sure nothing is compromised.”

He misses being part of the UAAP, especially, now that he is no longer actively training. Dee is now exclusively devoted to his showbiz career. His latest movie, I Do, in which he starred opposite Erich Gonzales, made good at the box-office, and he has several projects line-up. “I miss it [UAAP], especially the preparation,” he says. “I would train with my teammates every morning before going to class. It’s fulfilling when I look back and realize how hard we worked, and how harmonious we moved as a group.”

The winning was also memorable because he would see kids look up to him and say they wanted to be like him one day. For Dee, being in a position to inspire other people was one of the best things about being part of the UAAP.

The values he learned in competition—”discipline towards work, perseverance toward a goal, teamwork among my co-workers, working hard and having passion for what I do”—are values that will serve him even now that he is, as they say, “out of the water”.

Post-script

Two years after he was appeared in UAAP Magazine’s 1st issue in 2010, “the idea of re-featuring actor and former UAAP athlete Enchong Dee in UAAP Magazine’s 3rd issue in 2012 for the 75th season of the UAAP, it is a proposed photobook featuring the photographs during the 70th, 71st and 72nd UAAP swimming championships at the Trace Aquatic Center in Los Banos, Laguna last September 20 to 23, 2007, September 25 to 28, 2008 and September 24 to 27, 2009. Five months later, due to several concerns (including time constraints and hectic schedules) it approved the project was put on hold on March 16, 2013, two months before the Multiply closed last May 6, 2013, and ceased all business operations on May 31, 2013 and 6 years, 11 months, 5 days, 2 hours and 52 minutes before ABS-CBN went off the air on May 5, 2020 at 7:52 p.m. and the franchise renewal of ABS-CBN was being denied by the 18th Congress under the government of former President Rodrigo Duterte on July 10, 2020. Two years later, on October 1, 2022, or the first 100 days of President Ferdinand Marcos Jr., the issue was finally resolved after years of wrangling.”

Fact: "First proposed on September 23, 2012, it has dragged on for 15 years (2013-2028) due to unfinished downloading of photos, concerns from key stakeholders, the COVID-19 pandemic, the broadcast shutdown, and the denial of the renewal and loss of the television and radio broadcasting franchise of ABS-CBN."

The seeds that gave life to Eat Bulaga! were sown half a decade before its birth – the very foundation that changed the landscape of lunchtime entertainment. This iconic Filipino variety show has captured the hearts of viewers for decades. It has also become a cultural phenomenon in the Philippines.

Eat Bulaga! started as a radio program on April 7, 1969. Joey de Leon coined the title. Romeo Jalosjos, Sr. and Antonio Tuviera co-created and produced the program. It soon gained popularity and transitioned into television on July 30, 1979. The show’s concept was simple yet groundbreaking. It joint different segments with game segments. This created a captivating and interactive experience for its audience.

“Eat Bulaga!” is indeed a significant part of Philippine entertainment history. As the longest-running noontime show in the country, it has evolved over the years while maintaining its core elements of fun, games, and audience participation. The show’s format includes various segments that often feature contests, comedy skits, and live performances, making it a staple for many Filipino families.

The transition from radio to television marked a pivotal moment in its history, allowing it to reach a wider audience and solidify its place in pop culture. The show’s ability to adapt to changing times and trends has contributed to its longevity, and it has introduced numerous memorable segments and characters that resonate with viewers.

The show’s hosts, Tito Sotto, Vic Sotto, and Joey de Leon, played a pivotal role in shaping the program’s success. Their chemistry and comedic timing created a unique atmosphere that resonated with viewers of all ages. The trio’s wit and charm brought laughter and joy to millions of households across the country.

Eat Bulaga! introduced innovative segments. One segment was “Pinoy Henyo,” where contestants had to guess a word by asking yes-or-no questions. Another segment was “Juan for All, All for Juan.” This segment aimed to help people in need. It provided a valuable public service. These segments not only entertained but also showcased the Filipino spirit of camaraderie and compassion.

Throughout its long run, Eat Bulaga! has given birth to many iconic characters. The show introduced a funny trio. Yaya Dub is played by Maine Mendoza. Tisoy is portrayed by Alden Richards. Lola Nidora is brought to life by Wally Bayola. Their love story, known as “AlDub,” captured the hearts of many. It became a nationwide sensation. The story broke social media records. This further solidified the show’s influence on popular culture.

Eat Bulaga! is known for its annual events and contests. These include the “Little Miss Philippines” pageant. They also feature the “Super Sireyna” beauty contest for transgender women. These events have not only provided entertainment but also served as platforms for aspiring talents to showcase their skills.

With its unique blend of comedy, games, and heartfelt moments, Eat Bulaga! has become more than just a TV show. It has become a symbol of joy, unity, and Filipino pride. The show’s longevity is impressive. It has made a significant impact on the entertainment industry. This success is a testament to its enduring appeal. The dedicated team drives this achievement.

As the seeds planted years ago continue to bear fruit, Eat Bulaga! remains a beloved institution in Philippine television, bringing happiness and laughter to generations of Filipinos.

In the 1920s, an American businessman named Isaac Beck played a pivotal role in introducing radio to the Philippines as a commercial enterprise. Beck, who was also a department store owner, recognized the immense potential of radio as a medium to promote consumer goods to the Filipino population. To achieve his vision, Beck established KZIB, a radio station that aimed to connect businesses with the growing radio audience.

However, Beck was not alone in his endeavor to revolutionize the broadcasting industry in the Philippines. The Radio Corporation of the Philippines (RCP) also played a significant role in shaping the radio landscape of the time. RCP launched two prominent radio stations, KZRM (Radio Manila) and KZRC (Radio Cebu), which were instrumental in the growth and stability of the radio business throughout the 1930s.

As the radio industry continued to evolve, the ownership of these radio networks changed hands. RCP eventually sold its network to department store owners Erlanger and Galinger, who recognized the power of radio as a marketing tool. They saw it as a way to reach a wider audience and promote their department stores’ offerings to potential customers. This change in ownership further fueled the growth and development of the radio business in the Philippines.

Meanwhile, another department store owner named Samuel Gaches made his mark in the radio industry by establishing KZRH, also known as Radio Heacock, in 1939. Gaches, the owner of the renowned H.E. Heacock Company, understood the potential of radio to connect with consumers on a personal level. With KZRH, he aimed to promote his department store and engage with the Filipino audience in a meaningful way.

The efforts of these visionary businessmen, such as Isaac Beck, the department store owners Erlanger, Galinger, and Samuel Gaches, contributed immensely to the advancement of the radio industry in the Philippines during the early decades of the 20th century. Their initiatives not only paved the way for the commercialization of radio but also laid the foundation for the vibrant broadcasting sector that exists in the country today.

The introduction of radio as a medium for promoting consumer goods in the Philippines brought about a new era of connectivity, entertainment, and commercial possibilities. It allowed businesses to reach a wider audience and establish stronger connections with consumers. The radio industry continued to flourish, evolving through various technological advancements to become an integral part of Filipino society and culture.

Filipinos then in an era of flapper modernism adapting more to an American way. Radio broadcasts centered in music, variety shows comedy skits and short newscasts.

Jazz and ballads became standard fare. With English language, western music, and American voices dominating the airwaves, radio supplemented the educational infrastructure established by the Thomasites and became an agent for the Americanization of Uncle Sam’s “little brown brother.”

Filipinos were in an era of “flapper” modernism, adapting more and more to American ways. Jazz music was in the air. Aggressive advertising promoted drinking, smoking and driving flashy automobiles.

Quezon City was established through Commonwealth Act No. 502, which was enacted by the National Assembly on October 12, 1939. The city was envisioned by President Manuel L. Quezon as a refuge for the underprivileged, including laborers and the homeless. The act was authored by Assemblyman Ramon P. Mitra Sr. from the second district of Mountain Province. Initially, the city was proposed to be named Balintawak City, but an amendment by Assemblymen Narciso Ramos and Eugenio Perez from Pangasinan changed the name to Quezon City. Interestingly, President Quezon did not formally sign the act; instead, it lapsed into law, likely due to the fact that it bore his name while he was still in office.

But, with Asia being to a drawn text of the World War, KZRH Station Manager Bertrand Silen was appointed Chief Coordinator of Information by the American High Commissioner.

“This is Bert Silen, speaking from Manila and this time I got a real scoop for you! Manila has just been bombed, in fact, right now it is being bombed and without warning!”

Instead of destroying KZRH equipment, the USAFFE had destroyed the other stations. They did this to prevent the Imperial forces from using them. Silen’s staff brought a shortwave transmitter to Corregidor and built a makeshift radio station, which General Douglas MacArthur christened as the Voice of Freedom.

“The President of the United States ordered me to break through the Japanese lines and proceed from Corregidor to Australia for the purpose, as I understand it, of organizing the American offensive against Japan, a primary objective of which is the relief of the Philippines. I came through and I shall return.”

However, Japanese forces eventually found equipment hidden in the basement of the Heacock building in Escolta, and use these to continue broadcasting as KZRH. It was here that General Jonathan Wainwright eventually announced the USAFFE surrender to the Japanese Imperial Army.

“This is Lieutenant General Wainwright, subject: Surrender! After leaving General Homma with no agreement between U.S. I decided to accept in the name of humanity his proposal, surrender all troops under your command.”

The call letters changed to PIAM. The station bombarded listeners with music. It offered language, literature, and even calisthenics – the Nippon way.

TO THE PEOPLE OF THE PHILIPPINES: I have returned. By the grace of Almighty God our forces stand again on Philippine soil — soil consecrated in the blood of our two peoples. We have come, dedicated and committed, to the task of destroying every vestige of enemy control over your daily lives, and of restoring, upon a foundation of indestructible, strength, the liberties of your people.

MacArthur’s return to the Philippines in 1944 marked a significant turning point in the country’s history. As he waded ashore in Leyte, he famously announced, “I have returned,” signifying the beginning of the American campaign to liberate the Philippines from Japanese occupation during World War II.

Next the country’s liberation and the end of the war, the Philippines embarked on a journey of reconstruction and rebuilding. Key aspects of this postwar reconstruction included the revitalization of various industries, including the radio broadcasting sector.

One notable development during this time was the return of KZRH, a prominent radio station in Manila. Originally owned by the H.E. Heacock Company. The Elizalde family purchased KZRH. They can acquire broadcasting equipment from the National Broadcasting Company (NBC) in New York. Silen can help them with this process.

Setting up operations at the Insular Life building on Plaza Cervantes, Binondo, Manila. KZRH made a triumphant return to the airwaves. This return was under the auspices of the Manila Broadcasting Company on July 4, 1946. This date held great significance. It coincided with the Philippine independence from the United States. It also marked the inauguration of the Third Republic of the Philippines. Manuel Roxas assumed the presidency.

The relaunch of KZRH marked a significant milestone in the postwar reconstruction of Philippine radio. It served as a powerful symbol of the country’s renewed sense of independence and resilience. Through its broadcasts, KZRH played a crucial role in disseminating information, entertainment, and promoting national unity during this critical period.

The revival of KZRH and the establishment of the Manila Broadcasting Company showed the resilience of the Philippine people. They demonstrated their determination. They worked hard to rebuild their country. They also aimed to strengthen its cultural fabric in the aftermath of the war. The radio station became an influential force in shaping public discourse and played a vital role in fostering a sense of national identity during a time of immense change and transition.

In conclusion, the return of MacArthur to the Philippines and the later declaration of independence for the country paved the way for the postwar reconstruction of Philippine radio. The revival of KZRH under the Manila Broadcasting Company played a pivotal role in shaping the cultural landscape and promoting national unity during this transformative period in Philippine history.

The listening audience became excited has new programming genre spearheaded the phenomenal growth of the radio industry after the war.

Even the Government develops its own network under the Philippine Broadcasting Service. The service aired educational programs. It also aired agricultural programs. These programs were developed in cooperation with the Bureau of Public Schools.

Big band music, Bonneville, language and literature flourish hand-in-hand with the broadcast sector.

The Golden Years

But it was the advent of soap operas, beginning with KZRH’s “Gulong ng Palad” that change the face of popular Filipino entertainment, written by society columnist Lina Flor.

Gulong ng Palad bantered long-running radio serials that where not just adapted for television felt, but for likewise translated into regional dialects and aired over provincial stations. Even the stars system so prevalent in motion pictures became heavenly reliant on the success of the radio drama.

On June 16, 1950, the Quezon City Charter underwent a revision through Republic Act No. 537. This revision adjusted the city’s boundaries, expanding its area to 153.59 square kilometers (59 square miles). This change was part of efforts to better define the city’s jurisdiction and accommodate its growing population and urban development.

Before the television station was formally launched, it faced several obstacles. The Central Bank, for instance, refused to grant Quirino dollar credit from the bank, saying that the said venture was too risky. For this reason, Quirino asked help from his friend Marvin Gray, whose family was a friend of David Sarnoff, then president of Radio Corporation of America (RCA). Through the intervention of Gray, Quirino was able to get assistance from RCA.

Prior to the first telecast, Quirino initiated the importation of 120 television sets through the 60,000 pesos loan that he received from the owner of Joe’s Electric, who was, in turn, became the first to be bestowed with the right to sell television sets in the country.

Finally, on October 23, 1953, Quirino marked the first official television broadcast in the Philippines with the launching of ABS’ DZAQ-TV Channel 3 (DZAQ-TV 3). With the help of RCA, four men underwent technical training in the United States. These were Arcadio Carandang, Romualdo Carballo, Harry Chaney and Jose Navarro.

The ABS studio was a makeshift barn along Florentino Torres Street in Manila. With the transmitter acquired from RCA, the telecasts were received clearly not only in Manila but also in the neighboring provinces. Except for the four engineers who was sent to the US for training, most of the personnel at ABS learned TV operations on the job. The first transmitter for the station was located in San Juan.

DZAQ-TV 3, initially launched with a modest four-hour-a-day broadcasting schedule, from six to ten in the evening, aimed to captivate the Filipino audience with the wonder of television. The premiere telecast of the channel managed to secure the support of 52 advertisers, who eagerly jumped at the opportunity to showcase their products and services to the early adopters of this exciting new medium.

However, as enthusiastic as the advertisers were for the first broadcast, they faced a challenge when it came to selling commercial spots during the regular programming. Radio advertising remained a more cost-effective option in the eyes of many advertisers, causing them to hesitate when it came to investing in television advertising. This reluctance was fueled by the high costs associated with TV production and limited airtime availability.

In those early days, owning a television set was considered a luxury, with prices often surpassing that of an automobile. Despite the allure of this new form of entertainment, many people can’t afford television sets. This includes the cost of installation. Sometimes, it requires more infrastructure modifications. Additionally, another obstacle in the widespread adoption of television was the unreliable availability of electrical power. The availability of electrical power was not always guaranteed.

These factors, compounded by the financial considerations and inconsistent power supply, posed challenges for DZAQ-TV 3 and the advertisers hoping to capitalize on the medium’s potential. The nascent television industry faced an uphill battle, navigating through a dynamic landscape where radio still held a dominant position. However, it was only a matter of time before television would become an integral part of Filipino households, transcending these early hurdles and ushering in a new era of entertainment and communication.

The programs aired at that time were usually borrowed films from the foreign embassies, imported old cowboy movies, and actual coverage of a variety of events. When the station ran out of presenting any new feature, stage plays were transported to television. In 1953, less than a month after the first telecast, Father James Reuter SJ, who had radio and television training, produced the first play on Philippine television entitled Cyrano de Bergerac. The three-hour-long play was aired live and all the talents were students.

In the beginning, Philippine TV networks would buy the rights of airing mediocre American TV programs and serials since it was cheaper than producing local shows. In order to entice advertisers, as well as to encourage increased viewership, simultaneous airing of programs on radio and television resorted to promotional gimmicks. Many popular radio shows, including, Tawag ng Tanghalan, Kuwentong Kutsero, and Student Canteen, started their life on TV this way.

By 1954, with its callsign now DZRH, the station took another significant step by launching a groundbreaking counseling program. This program featured the renowned and beloved broadcaster, Dely Magpayo. This innovative program carved a path for the radio station to connect intimately with its audience. It addressed their letter-enclosed domestic and marital woes. Dely Magpayo became a beacon of solace for her listeners. She offered her compassionate attention. Additionally, she provided the heartfelt commiseration of the entire listening public.

Over the course of the next 50 years, Tiya Dely maintained her esteemed position. She was a key figure in the radio industry. Her captivating and ever-soothing voice captivated listeners across generations, leaving an indelible mark on their hearts. Despite her unfortunate demise on September 1, 2008, Tiya Dely’s legacy endured, with countless fans continuing to yearn for the comforting presence of her voice.

Through her exceptional talent and unwavering dedication, Tiya Dely exemplified the power of broadcasting to touch lives and provide a sense of connection in times of distress. Her influence extended far beyond the airwaves, solidifying her as an icon of resilience, compassion, and unwavering support. Even after her passing, Tiya Dely’s impact continues to reverberate, reminding us of the profound influence a single voice can have on the collective consciousness of an entire nation.“`

In 1955, Radiowealth Inc., a radio manufacturer, began manufacturing television sets. Other local outfits like Carlsound and Rehco also started setting up assembly plants. In 1958, the high taxes before imposed on imported television shows were removed, which made American shows less expensive than locally produced live programming.

In April 1955, Chronicle Broadcasting Network (CBN) was established as a radio medium with the vision of bringing quality news and entertainment to the Filipino audience. Founded by prominent businessmen Eugenio and Fernando Lopez, the network quickly gained popularity for its innovative programming and commitment to serving the community.

In 1956, CBN made a significant move by acquiring ABS from Quirino, a strategic decision that would shape the future of both companies. With this acquisition, CBN was able to strengthen its position in the broadcasting industry and expand its reach across the nation.

Realizing the synergies and potential of combining ABS and CBN, the two companies merged under the umbrella of Bolinao Electronics Corporation. This union marked a new era in Philippine media, as the newly formed corporation brought together the diverse talents, resources, and expertise of both CBN and ABS.

The merger allowed CBN to tap into ABS’s extensive television network, paving the way for the launch of its first television station. This expansion into television programming further solidified CBN’s presence in the media landscape and enabled them to offer a wider range of content to their loyal audience.

Under the leadership of the Lopez brothers and the united Bolinao Electronics Corporation, ABS-CBN began a journey. This journey focused on innovation and growth. The network continued to evolve, embracing new technologies and adapting to changing audience preferences. They committed to delivering high-quality programming. As a result, ABS-CBN became a trusted source. It provided news, entertainment, and enrichment. This service reached Filipino households across the country.

Today, the legacy of the ABS-CBN merger lives on. The network continues to thrive. It adapts to the ever-evolving media landscape. Through its television and radio stations, ABS-CBN remains steadfast. It provides the Filipino audience with engaging, informative, and entertaining content. This content reflects the rich culture and diversity of the nation.

On 9 February 1956, following much skepticism ahead of the approval, the Minister for Education of the time, Chew Swee Kee, sought the approval of the commercial television bid, but was backfired in the session by the then-opposition leader Lee Kuan Yew and chief secretary William Goode. Goode reiterated that in the United States, productions were mostly “trashy entertainment”, “sob stuff” and “human crime serials”, and that the purpose of the television station wasn’t to provide exploitation “in the interest of big business” to viewers. Concerns were also raised about television potentially ruining the Singaporean economy as well as the youth, as roughly half of the local population at the time was under the age of 21. The following day, the government announced that it wouldn’t award a license to a commercial operator, aiming instead for a station owned by the government, under the grounds that the new service wouldn’t be costly. A committee to study the possibility of such a service was set up in June 1956.

The results published on 4 June 1957 implied that the operational budget of the new government service would be of about $750,000 in its first year, and the content at first would be in English and Chinese, with Indian and Malay content would later be added “depending on material”.

On April 19, 1958, DZXL-TV Channel 9 was established. The Lopez brothers, Eugenio and Fernando, solidified their control over the ABS and CBN television channels. This marked a significant milestone in the history of Philippine broadcasting as the Lopez family expanded their media empire.

The introduction of DZXL-TV Channel 9 allowed the Lopez brothers to reach a wider audience. This development further cemented their influence in the industry. They collaborated with the ABS and CBN radio stations. Together, they built a powerful media conglomerate. This conglomerate shaped the landscape of news and entertainment in the country.

Under their leadership, ABS-CBN became a prominent force in Philippine television. The network produced groundbreaking programs. These programs captivated millions of viewers. The network established itself as a trusted source of news, information, and entertainment. Shows like “Maalaala Mo Kaya” and “Pangako Sa ‘Yo” became household names, showcasing ABS-CBN’s commitment to quality programming.

Over the years, ABS-CBN continued to evolve and innovate, embracing new technologies and expanding its reach to a global audience. The network underwent many transformations, adapting to market demands and societal changes. Despite challenges and setbacks, ABS-CBN remained resilient, reflecting the Lopez brothers’ dedication to the industry they helped shape.

Today, ABS-CBN continues to be a dominant player in the Philippine media landscape, providing diverse content across various platforms. The network delivers news and current affairs. It also offers drama series and game shows. The network remains committed to providing high-quality programming to its viewers.

The Lopez brothers’ control over ABS and CBN television channels left an indelible mark on Philippine broadcasting. Their vision and perseverance have paved the way for generations of talented individuals who contribute to the success of ABS-CBN. Their legacy endures. They have had a significant impact on the media industry in the Philippines.

In 1958, the joint ABS (DZAQ-TV Channel 3) and CBN (DZXL-TV Channel 9) television stations moved to their new studios in Roxas Boulevard, Pasay and the ABS radio facilities moved to the Chronicle Building in the Intramuros District of Manila, the home building of the CBN Radio studios.

Popular DZRH programs drew support from corporate sponsors due to enthusiasm of Filipino housewives who were glues to the radio, venting their anger, joy, fear and anxiety while they did their daily chores.

Even the star system so prevalent in motion pictures, became heavily-reliant on the success of the radio drama. Gabi ng Shell featured the reel and real-life tandem of Lolita Rodriguez and Eddie Arenas.

On Reyna ng Vicks, a Reyna was chosen daily from among the many who braved being interviewed on the air and was named queen for the day.

Indeed, DZRH emerged the acknowledge leader during the golden days of radio, also airing adventure shows like Kapitan Kidlat, detective dramas like Johnny Davao, horror shows like Gabi ng Lagim, and other popular serials like Ginang Hukom and Dr. Ramon Selga.

And with the recording industry boom, making radio even more popular, network executives became more sensitive to what listeners wanted, programming eventually shifted to include Filipino singers, musicians and announcers along with expressions of traditional culture, such as the Kundiman.

Amateur singing contests, quiz shows, children’s programs and talk shows flourish as radio became even more lucrative.

Popular performers, who crossover two and from the vaudeville stage found and dish for this distinctly Pinoy flavored comedy on air, while it was customer to imitate the American vocal timber the Philipinization of local radio was well noted.

Serving The Filipino Public

The development of news and public affairs programming over DZRH is a distinct feature that marks its role in the history of Philippine Radio with politics consuming our national sacking. The commentaries over DZRH anchors and current events have kept the Filipino public, vigilant and concerned, despite serious threats to the lives of many broadcasters and their families. A number of them chose to save us while a lighter tack anchored in the Pinoy’s tension for humorous gossip has been just as effective.

On December 10, 1958, the delegates of the Conventus Episcopaum, Asiae-Autro-Orientalis, convened at the esteemed Central Seminary of the University of Santo Tomas with a momentous decision on their minds. They recognized the immense potential of modern technology to spread the message of the Catholic faith and provide valuable information to the far reaches of Eastern Asia and Oceania. In their wisdom, they resolved to establish and operate a Catholic radio station that would serve as a powerful instrument of evangelization and communication in the region.

The delegates felt a deep calling to share the teachings of the Catholic Church, knowing that radio had the ability to reach people beyond physical boundaries, cultures, and languages. They understood that through this medium, they could bring comfort, guidance, and knowledge to the lives of countless individuals searching for spiritual solace and answers.

With unwavering conviction and a firm belief in the power of technology to connect hearts and minds, the delegates embarked on a journey to establish a Catholic radio station of unparalleled influence. Their vision was to have a platform that would not only disseminate the tenets and rituals of the faith but also provide a means to engage with listeners, addressing their questions and concerns, and fostering a sense of unity within the Catholic community.

The birth of this radio station marked a new era in Catholic evangelization, as it extended beyond the confines of churches and spread its wings through the airwaves. From the very first broadcast, the voice of the Catholic Church reverberated across the vast expanse of Eastern Asia and Oceania, nurturing the devout and curious alike.

Since its inception, the Catholic radio station has embraced a multifaceted role. It serves as a beacon of hope and inspiration for those yearning to deepen their faith, providing uplifting sermons, religious music, and insightful programs that explore the core principles of Catholicism. Additionally, it offers a wealth of informative content, addressing current events, social issues, and matters of importance from a Catholic perspective.

Over the years, the radio station has evolved to adapt to changing times and technologies. The advent of digital platforms and the internet opened up new horizons, allowing the Catholic message to reach even wider audiences across the globe. Through podcasts, live streaming, and online archives, the radio station continues to connect with listeners, bridging distances and time zones in an effort to share the everlasting truths of the Catholic faith.

As we reflect upon the rich history of this Catholic radio station, we recognize the dedication, passion, and foresight of those visionary delegates who understood the transformative power of communication technology. Their legacy lives on, inspiring generations of Catholics to embrace the digital age and utilize its vast potential for the greater glory of God.

May the voice of this Catholic radio station continue to resonate with unwavering faith, empowering souls, and illuminating hearts with the timeless teachings and wisdom of the Catholic Church.

At the turn of the next decade, TV sets became the most sellable appliance in the urban areas.

Also, during this period, there were several other VHF TV stations that emerged and brought diversity to the broadcasting landscape. One notable example is DZTV-TV, which was established on March 1, 1960, by Inter-Island Broadcasting Corporation (IBC). This station was initially owned by Dick Baldwin and later Andrés Soriano Sr. of San Miguel Corporation.

Another significant addition was DZTM-TV, launched on June 19, 1960, by Associated Broadcasting Corporation (ABC). The owner of ABC was Chino Roces, who was also the publisher of The Manila Times. Republic Broadcasting System (RBS) established DZBB-TV on October 29, 1961. Robert Stewart owns the station. It was another prominent station that emerged during this time.

In addition to these stations, there was also DZFM-TV. The Philippine Broadcasting Service of the Philippine government established it in 1961. However, DZFM-TV is now defunct. On April 11, 1962, Manila Broadcasting Company (MBC) founded DZRH-TV, with Manuel “Manolo” Elizalde Sr. as the owner. Finally, on October 15, 1969, Kanlaon Broadcasting System (KBS), owned by Roberto Benedicto, established DZKB-TV.

Throughout the 1960s, these TV stations offered a plethora of captivating programs that captivated audiences. The Nida-Nestor Show, Buhay Artista, and Pancho Loves Tita were among the highly-rated shows during this era. Additionally, Tawag ng Tanghalan, an amateur singing contest hosted by Lopito and Patsy, became a local favorite and consistently dominated the ratings.

These stations and their popular programs played a significant role in shaping the television landscape in the 1960s, providing entertainment and cultural enrichment to audiences across the nation.

In 1960, the Singaporean government invited Japanese members of the Colombo Plan, who were well-trained television employees, to survey the situation regarding how television was to be implemented in Singapore. The move came after S. Rajanatnam had travelled to Tokyo in May for a seminar on human rights and talked with two television technicians of the NHK.

The NHK team had submitted a report to the government of Singapore in June 1960.

The establishment of television in Singapore in 1961 marked a significant step in the country’s media landscape. The ad hoc television committee’s decision to implement multiple channels from the outset aimed to cater to the diverse linguistic demographics of Singapore, ensuring that content was accessible in the main languages spoken in the region. The choice of the 625-line CCIR system was a technical standard that would support the quality of broadcasts.

The pilot service, which was to operate on a single channel initially, was a strategic move to test the waters before fully launching a multi-channel system. By planning for a four to six hour daily lineup in at least four languages, the government aimed to provide a variety of programming that would appeal to different segments of the population.

The collaboration with established companies like the British Marconi Company and Marubeni-Iida was crucial for acquiring the necessary technology and equipment to set up the television service. This partnership not only facilitated the procurement of transmitters and studio equipment but also ensured that the infrastructure for outside broadcasts was in place, which is essential for live coverage of events.

Integrating Television Singapura under the Ministry of Culture highlighted the government’s commitment to using media as a tool for cultural expression and national identity. This initiative laid the groundwork for the development of a robust broadcasting system in Singapore, which would evolve significantly in the following decades.

BEC’s DZAQ-TV Channel 3, following the success of the first ever locally produced television drama Hiwaga sa Bahay na Bato in 1961, staged in 1963 the first-ever test television broadcasts in color using the NTSC system of the Radio Corporation of America, and would begin to broadcast in color in 1966.

The launch of TV Singapura on 15 February 1963 was a historic moment for Singapore, marking the beginning of television broadcasting in the country. The presence of Chong Yan Ling and Lucy Leong, among the first female presenters, highlighted the inclusion of women in the media landscape, which was significant for representation at the time.

Minister for Culture S. Rajaratnam’s introduction of the inaugural programming underscored the government’s vision for television as a medium for social and cultural development. The lineup for the first night included a mix of content designed to engage and entertain the audience, such as the documentary “TV Looks at Singapore,” which likely aimed to inform viewers about their own country, as well as imported cartoons and comedy programs that would appeal to a wide demographic. The Malay variety show “Rampaian Malaysia” showcased regional culture and entertainment, fostering a sense of community and shared identity among viewers.

Rajaratnam’s statement about the potential for a “social and cultural revolution” reflects the transformative power that the government believed television could have on society. It was seen as a tool for education, cultural exchange, and national unity.

Despite the excitement surrounding the launch, the statistic that only one in 58 persons owned a television set at the time indicates the challenges ahead for the new medium. This low penetration rate suggested that the government would need to invest in promoting television ownership and accessibility to ensure that the benefits of this new form of media reached a broader audience. The pilot service’s initial broadcast of 100 minutes per night was a modest start, but it laid the foundation for the growth and expansion of television in Singapore in the years to come.

The launch of TV Singapura not only marked a new era of entertainment for viewers but also served a strategic purpose in the political landscape of Singapore during a tumultuous period. The government recognized television as a powerful medium to counteract the influence of communist supporters who opposed Singapore’s merger with Malaysia. By providing a platform for government messaging and promoting national unity, the television service aimed to strengthen public sentiment in favor of the merger and combat dissenting views.

On the inaugural night, Steven Lee’s role as the first newsreader and Harry Crabb’s presentation of the first newsreel, “Berita Singapura,” were significant milestones in establishing a professional news division. The involvement of Australian David Prior, who was brought in to train local journalists, underscored the importance of developing a skilled workforce capable of delivering credible news. His projected two-year tenure indicated a commitment to building a sustainable foundation for television journalism in Singapore.

Continuity announcers played a vital role in maintaining the flow of programming and keeping viewers informed about the schedule. The diversity among the initial set of announcers—Mildred Appaduray (English), Kamala Dorai (Tamil), Hsu Fong Lim (Mandarin), and Zaiton Haji Mohamed (Malay)—reflected Singapore’s multicultural society and the government’s intention to cater to various linguistic groups. This approach not only enhanced accessibility but also fostered a sense of inclusivity among the audience.

Overall, the establishment of TV Singapura was a multifaceted initiative that combined entertainment, education, and political strategy, laying the groundwork for the evolution of broadcasting in Singapore and its role in shaping national identity.

TVRI (Televisi Republik Indonesia) began broadcasting advertisements starting March 1963. Later on October 20, 1963, the Yayasan TVRI (TVRI Foundation) was formally created as the official governing authority for the station with President of Indonesia as chairman. The foundation experienced several changes over the years, reflecting the evolving landscape of Indonesian media and governance. Initially, the Yayasan TVRI was established to oversee the operations and development of the television station, ensuring that it aligned with the national interests and cultural values of Indonesia.

In the following decades, TVRI underwent significant transformations, particularly during the New Order era under President Suharto, when it became a tool for government propaganda and a means to promote national unity. The foundation’s role expanded to include not only broadcasting but also the production of educational and cultural programs aimed at fostering a sense of national identity.

With the fall of Suharto in 1998 and the subsequent democratization of Indonesia, TVRI faced new challenges and opportunities. The foundation was restructured to promote greater independence and diversity in programming, allowing for a wider range of voices and perspectives. This period also saw the emergence of private television stations, which increased competition and pushed TVRI to innovate and adapt to changing viewer preferences.

In the 2000s, the Indonesian government initiated reforms to enhance the quality and reach of public broadcasting. This included efforts to improve funding, technology, and content quality at TVRI. The foundation aimed to position itself as a public broadcaster that serves the interests of all Indonesians, providing informative, educational, and entertaining content.

Today, TVRI continues to play a vital role in Indonesia’s media landscape, focusing on public service broadcasting while navigating the challenges of a rapidly changing digital environment. The foundation remains committed to its mission of promoting cultural heritage, national unity, and public interest programming.

The formal inauguration of TV Singapura Channel 5 on 2 April 1963 by President Yusof Ishak marked a significant milestone in Singapore’s broadcasting history. This event not only solidified the channel’s identity but also represented the government’s commitment to expanding media access and promoting cultural diversity through television.

With the expansion of the broadcast day to four hours, from 7:15 p.m. to 11:15 p.m., the channel was able to offer a more varied lineup of programming in the four official languages—English, Malay, Mandarin, and Tamil. This multilingual approach was essential in catering to Singapore’s diverse population and ensuring that a wide range of viewers could engage with the content.

The Straits Times survey indicating that TV sets were now available in 7,000 households at the time of the regular service launch highlighted a growing interest in television among the public. This increase in television ownership was crucial for the channel’s success, as it meant that more viewers could access the programming being offered.

The introduction of a bespoke “second” channel on AM radio (1370 kHz) in June, which provided a second audio track for selected programming, was an innovative step that enhanced the viewing experience. This feature allowed for additional commentary or language options, further accommodating the diverse linguistic needs of the audience.

The test broadcasts of Channel 8 on August 31, 1963, represented the next phase in Singapore’s television development. The establishment of a second channel indicated the government’s recognition of the growing demand for television content and the need to provide more programming options to the public. This expansion laid the groundwork for a more comprehensive broadcasting system that would continue to evolve in the years to come, ultimately shaping the media landscape in Singapore.

In January 1964, Channel 5 and Channel 8 became regional affiliates of Television Malaysia (TV Malaysia). Television advertising started on January 15, 1964. Following Singapore’s separation from Malaysia, Channel 5 and Channel 8 became part of the new state broadcaster Radio Television Singapore (RTS), and was subsequently rebranded as RTS Channel 5. The first post-independence Grand Prix was held in Singapore was carried by the channel. Both channels moved to Television Centre on Caldecott Hill on August 26, 1966. As late as that period, the RTS channels were still known in some way as TV Singapura.

The establishment of a second television channel in Malaysia marked a significant development in the country’s media landscape. The idea, which emerged in early 1964, was influenced by Singapore’s earlier success in launching two channels. The Malaysian government planned to enhance its broadcasting capabilities by introducing a second channel from Kuala Lumpur, supported by new equipment arriving from the UK. This initiative aimed to diversify programming and improve access to television for the Malaysian population. The anticipated launch in June 1964 was a step towards modernizing the country’s media infrastructure and expanding entertainment and information options for viewers.

To expand its reach, since 1965 the development of Regional Broadcasting Stations was pioneered, starting with TVRI Yogyakarta Station, which was successively followed by Medan Station (1970), Ujung Pandan (1972), Surabaya (1978), Denpasar (1978), Manado (1978), Bandung (1987), and Samarinda (1993). Many of these stations were not initially established directly by TVRI, but by several other institutions (for example, in Yogyakarta by Deppen, and in Medan it was formed from cooperation between the North Sumatra Provincial Government and Pertamina). However, along with the centralization of the New Order government and the need for greater capital, these regional stations were slowly integrated with the Jakarta Central Station and regulated more centrally in their programming.

This integration was part of a broader strategy by the New Order government to maintain control over media content and ensure that regional broadcasts aligned with national policies and narratives. As a result, while regional stations like TVRI Yogyakarta and TVRI Medan initially operated with some degree of autonomy, they gradually became more closely tied to the central TVRI in Jakarta.

The centralization of programming meant that regional stations had to adhere to guidelines and content directives set by the Jakarta headquarters. This often led to a homogenization of content, where local cultures and issues were sometimes overshadowed by national programming priorities. Despite this, the establishment of regional broadcasting stations was significant in expanding TVRI’s reach across the archipelago, allowing for a more localized presence and the ability to address regional interests and concerns.

In the years following the fall of the New Order regime, there was a renewed emphasis on decentralization and local content. The push for regional autonomy in Indonesia led to calls for regional broadcasters to have more independence and to reflect local cultures, languages, and issues. This shift allowed regional stations to develop unique programming that resonated with their audiences, fostering a sense of local identity and community engagement.

Today, regional TVRI stations continue to play an important role in Indonesia’s media landscape, providing a platform for local voices and stories while also contributing to the national dialogue. The balance between local content and national programming remains a key focus as TVRI adapts to the changing media environment and the diverse needs of its viewers across the country.

The final screening of the 30 applicants was held on June 24, 1964. The 15 finalists were Marilou Alberto, Lilia Alvarez, Milagros Cataag, Edna Rosanna Keyes, Marita Dimayuga, Aida Gaerlan, Elvie Gonzalez, Elizabeth Gutierrez, Carmelita Larrabaster, Maria Sonia Orendain, Thelma Shaw, Chiqui Somes, Mila Sumayao (a.k.a. Mila Ocampo) and Nina Zaldua and Myrna Panlilio who won the crown.

The first Bb. Pilipinas Coronation Night was postponed from July 3 to July 5 due to Typhoon Dading that wrought havoc in Central Luzon including Manila and its suburbs. A generator was put on standby in case of a power failure. The proceeds from the gate receipts were channeled to the typhoon victims. Ticket prices: Special Ringside, P5; Upper Box, P3; and General Admission, 90 centavos.

Myrna was crowned by 1963 Miss Universe third runner-up Lalaine Bennett. Runners-up were Milagros as Bb. Waling-Waling and Elvie as Bb. Ilang-Ilang. Then 21 years old and an AB Foreign Service graduate of Maryknoll College, Myrna was a Merchants Bank teller. She won P2,000 cash, Regal sewing machine, a year’s supply of Helene Curtis beauty products, a complete wardrobe from Philippine Couturiers Association, a golden trophy from the Lions Club and a free trip to Miami, Florida, USA.

On Aug. 1, 1964, Myrna competed along with 59 other international beauties in the 1964 Miss Universe won by Greece’s Kyriaki “Corinna” Tsopei, held in Miami Beach, Florida, U.S.A. Myrna played host to Kyriaki when Kyriaki visited the country; they performed in the World Beauty Queens 1965 show held at the Big Dome.

Mila was the first national beauty titleholder to join the pageant. She was Miss Press Photography of the Philippines in 1959.

Aside from Mila, other pageant veterans who joined the inaugural Bb. Pilipinas were: Maria Sonia Orendain was Miss Visayas, second runner-up to 1963 Miss Philippines International Monina Yllana and 1963 Miss Press Photography of the Philippines first runner-up Sylvia Gumabao; Chiqui was Miss Visayas (second runner-up to Lalaine Bennett and a Fairest Ten of the Philippines 1964 candidate; Edna Keyes was Miss Luzon (first runner-up) to Gemma Cruz; Elvie was Queen of Dance-O-Rama for August 1963 and a Fairest Ten of the Philippines 1964 candidate; Nina was Miss Dance-O-Rama January 1964 and Miss Nite Owl February 1964; Marilou and Carmelita were also Fairest Ten of the Philippines 1964 candidates. Only Elvie made it as one of the Fairest Ten of the Philippines 1964. Sonia became a 1965 Miss Ever Girl finalist while Chiqui competed in the first Queen of the Pacific in 1967 won by Malaysia’s Betty Lim held in Melbourne, Australia.

Mila started as a child star in the early ’50s; she appeared in Romansa sa Nayon (shown on July 14, 1952) and Haring Solomon at Reyna Sheba (shown on Dec. 21, 1952). Both films were topbilled by Nida Blanca, Nestor de Villa and Rogelio de la Rosa, and produced by LVN Productions. Mila’s first grown-up movie was Walang Takot (starring Lou Salvador Jr., Marita Zobel and Bernard Bonnin, shown on Jan. 24, 1958). Chiqui and Nina were introduced in Larry Santiago Productions, Inc.’s Mga Kanang Kamay (topbilled by Bob Soler, shown on Feb. 28, 1964) and billed as 7 Coeds along with Dulce Lukban, Margie Tanquintic, Jojie Crespo, Suzette Speis and Merle Huggins.

Elvie was the first binibini repeater. She joined the pageant in two consecutive years. The next year (1965), she was fourth runner-up to Louise Vail Aurelio. In 1994, her daughter Charlene Gonzalez was crowned 1994 Binibining Pilipinas-Universe and finished among the Top 6 in that year’s Miss Universe pageant held in Manila for the second time.

Edna was the first binibini to become a movie actress. She was introduced in Lalaine Mahal Kita, starring Lalaine and Mario Montenegro, shown on Aug. 21, 1964. Elvie joined showbiz in 1967 and debuted in Together Again with Dolphy, Nida Blanca, Romano Castellvi and Jean Lopez (shown on April 28).

Myrna became an executive committee member of the Binibining Pilipinas Charities, Inc. (BPCI). She was appointed by President Joseph Estrada as the executive director of Nayong Pilipino Foundation. During her term, she put up the Dambana ng Kagandahan showcasing pageant memorabilia of former beauty queens.

Chiqui is the daughter of Dalisay Pictures character actor and former Manila cop Jose Vergara. Mila was the mother of Snooky Serna (by actor Von Serna). Elvie is the mother of another actor, Richard Bonnin (by actor Bernard Bonnin). Nina is the mother of actor Lance Raymundo and award-winning singer/recording artist Rannie (by Nilo Raymundo).

On August 9, 1965, the Malaysian Parliament votes to expel Singapore from the Federation. Singapore becomes independent after it separates from Malaysia. On the same day, the Ministry of Foreign Affairs was established, as well as the Ministry of Interior and Defence. TV Singapura merges with Radio Singapura to form Radio and Television Singapore (RTS).

TVRI Yogyakarta’s first broadcast on August 17, 1965 was a broadcast of a speech commemorating the 20th Anniversary of the Proclamation of Indonesian Independence by the Deputy Governor of the Special Region of Yogyakarta, Sri Paduka Paku Alam VIII.

On September 28, 1965, Taal Volcano erupts killing hundreds.

On October 19, 1965, The Philippine Benevolent Missionaries Association (PBMA) is established with its office in San Jose, Dinagat Islands.

On November 9, 1965, Ferdinand Marcos is elected president during the presidential elections.

On December 30, 1965, Ferdinand Marcos takes his oath of office as the 10th president of the Philippines.

Standing with his family, Ferdinand Marcos waves to the crowd after his inauguration as the President of the Philippines on December 30, 1965 On January 14, 1966, In the current clean-up week contest conducted by the National Clean-up Week Committee, De La Salle College is adjudged the cleanest private school in the country.

On January 24, 1966, President Ferdinand Marcos, in his emergency address to the country, says, “We are in crisis!”

On June 12, 1966, Crowds gather for a military parade celebrating Philippine Independence Day as President Ferdinand Marcos, recently inaugurated, salutes his troops.

On July 5, 1966, A moderate phreatomagmatic eruption at Mt. Tabaro results in tephra fallout and airborne projectiles, impacting the volcano island.

On December 31, 1966, the Philippines ranks 18th in the world with 33,704,749 population.

From January 30, 1967, Radio Television Singapore (RTS) Channel 8 also became home to the Educational Television Service, which showed TV programs produced by the Singaporean Ministry of Education on school subjects at different educational levels and in the four national languages. The blocktime slot would be transferred to Channel 12 in 1993 under the CDIS (Curriculum Development Institute of Singapore) brand.

On February 1, 1967, a significant milestone occurred in the history of the network. The corporate name of BEC officially changed to ABS-CBN Broadcasting Corporation. This decision marked a new era for the company, symbolizing its growth and evolution in the broadcasting industry.

Since that momentous day, ABS-CBN Corporation has shaped the media landscape in the Philippines. The company, as it is known today, has continued to influence the industry. ABS-CBN has a rich history that spans over half a century. It has become a household name. The network entertains and informs millions of Filipinos across the nation.

The rebranding to ABS-CBN Broadcasting Corporation was a strategic move, streamlining the company’s identity and establishing a stronger brand presence. It represented a commitment to excellence. It also demonstrated innovation in television and radio broadcasting. The company leveraged cutting-edge technology and focused on content creation. This effort aimed to bring captivating programs and news to its viewers.

Over the years, ABS-CBN Corporation has remained at the forefront of the industry. The company consistently provides quality entertainment. It offers compelling dramas, engaging reality shows, and insightful news coverage. The company uses various channels and platforms. It has become a trusted source of information. It is also a provider of world-class entertainment.

On May 27, 2010, ABS-CBN Corporation simplified its name to show its expanding reach and diverse portfolio of services. Although the ABS-CBN Broadcasting Corporation name is still used interchangeably today. The streamlined name demonstrates the company’s commitment to digital transformation. It embraces the modern era of media consumption.

As ABS-CBN Corporation continues to adapt and innovate. It serves as a cornerstone of Philippine television. It keeps audiences entertained, informed, and inspired. ABS-CBN Corporation boasts an extensive library of original productions. It has a talented pool of artists and a dedicated team of professionals. These strengths make sure ABS-CBN Corporation shapes the future of the broadcasting industry in the Philippines.

Also, during this year, Radiowealth Inc. pioneered in the production of 19-, 21- and 25-inch models of color TV sets. Moreover, it was favored by advertisers like Procter and Gamble, Philippine Refining Company, Colgate-Palmolive, Del Rosario Brothers, and Caltex.

On April 7, 1967, the Philippine Educational Theater Association (PETA) is established by Cecile Guidote-Alvarez.

On May 8, 1967, the province of Davao is dissolved after splitting into three provinces. The provinces of Davao del Norte, Davao del Sur, and Davao Oriental are established.

On June 17, 1967, the government created the provinces of Agusan del Norte and Agusan del Sur. This was done through the enacted Republic Act No. 4979. The province of Agusan is dissolved after the division.

On July 2, 1967, Canlaon became a city. This was in the province of Negros Occidental. It happened through Republic Act 3445 and by virtue of Proclamation No. 193.

On August 8, 1967, the country’s foreign minister, along with four other countries, signed the ASEAN Declaration. This event led to the formation of the Association of Southeast Asian Nations (ASEAN).

On August 16, 1967, Taal Volcano experiences another phreatomagmatic eruption, originating from Mount Tabaro, further indicating heightened volcanic activity during this period.

On November 14, 1967, An election is held for 8 seats in the Senate.

On March 18, 1968, Jabidah massacre takes place when Army soldiers murdered a number of Moro recruits through machine gunfire in Corregidor Island in retaliation to the planned invasion of Sabah.

On August 2, the 1968 Casiguran earthquake occurred with a moment magnitude of 7.6 and a maximum Mercalli intensity of IX (Violent). The earthquake’s epicenter was located in Casiguran, Aurora. This was deemed the most destructive earthquake in the Philippines prior to the 1990 Luzon earthquake.

On September 18, 1968, the Republic Act No. 5446 takes effect which regards Sabah as part of the Philippines.

On December 26, 1968, the CPP is founded under the guidance of Marxism-Leninism-Maoism by Joma Sison.

The experimental broadcast that took place in December 1968 was a significant step in expanding television services in Malaysia. The initiative aimed to test a “second channel” without disrupting the existing programming. During this period, the existing channel was temporarily blocked to facilitate a Quran reading competition, highlighting the importance of cultural and religious programming.

The trial run lasted for six days, from December 9 to 14, and involved relaying content that was typically aired on the existing service. This allowed viewers to experience the new channel while maintaining familiar programming. The broadcasts were conducted on multiple frequencies, including:

Channel 8: Kuala Lumpur and Penang Channel 9: Ipoh and Malacca Channel 10: Johor Bahru Channel 2: Taiping Channel 6: Kluang This experimental phase was crucial in assessing the feasibility of expanding television services and ultimately contributed to the development of Malaysia’s broadcasting landscape.

On April 11, 1969, an important milestone was reached in the broadcast history of the Philippines. It was a day filled with excitement and anticipation. The doors of the Radio Veritas studios in Fairview, Quezon City officially opened. Many people gathered to witness the event. The distinguished guests attending the inauguration included His Eminence Antonio Cardinal Samore, who represented the Vatican. His Eminence Manila Archbishop Rufino Cardinal Santos also attended.

The atmosphere was electric as the luminaries gathered to witness this momentous occasion. The presence of Cardinal Samore created an air of international significance. This occasion is important not only for the Philippines but also for the Catholic Church worldwide. As Cardinal Samore delivered his speech, he spoke words filled with hope and faith. His message reinforced the mission of Radio Veritas. They strive to spread the teachings of the Church far and wide.

Archbishop Rufino Cardinal Santos, a beloved figure in the Philippines, also graced the event with his presence. His involvement represented local support and endorsement of Radio Veritas. This instilled a sense of pride and unity among the attendees.

The newly inaugurated Radio Veritas studios were not just a physical space. They served as a gateway to a new era of communication. This new era provided guidance for the Filipino Catholic community. Broadcasting on the frequency of 860 kHz. Later, they moved to 846 kHz due to the implementation of 9 kHz spacing for medium-wave stations. This change was stipulated by the Geneva Frequency Plan of 1975. It superseded the 10 kHz NARBA spacing rule on November 23, 1978. Radio Veritas soon became a beacon of truth. It provided a voice to the faithful and shared the message of the Church with the nation.

For decades to come, Radio Veritas would continue to play a pivotal role in the lives of Filipinos, fostering spiritual growth, inspiring hope, and promoting unity among the Catholic community. Its influence would stretch beyond the airwaves, touching countless souls and leaving an indelible mark on Philippine society.

The inauguration of the Radio Veritas studios on that fateful day in 1969 remains a cherished memory, a testament to the power of faith and the importance of sharing the teachings of the Church. It marked the beginning of a journey that would shape the lives of generations to come, and it stands as a reminder of the enduring legacy of Radio Veritas in the Philippines.

On July 20, 1969, Filipinos were captivated by a momentous event that would forever change the course of history: the Apollo 11 moon landing. It was a day filled with anticipation and excitement as people gathered around their television sets, eagerly awaiting the live coverage of this historic event.

Channels 5, 7, and 13 forged a unique partnership, coming together to provide the nation with the first-ever live telecast of the moon landing via satellite. This groundbreaking collaboration allowed Filipinos from all walks of life to witness the monumental achievement of Neil Armstrong, Buzz Aldrin, and Michael Collins as they ventured towards the moon.

Also to the joint effort, ABS-CBN took the initiative to produce its own color coverage. This initiative further enhanced the viewing experience for its audience. The vibrant hues and detailed visuals added an extra layer of immersion, transporting viewers directly to the lunar surface.

The significance of this live television coverage cannot be overstated. For the first time in history, Filipinos had a front-row seat to an extraordinary feat of human exploration. It brought people together, fostering a sense of unity and pride as they watched their fellow human beings push the boundaries of what was thought to be possible.

The impact of this historic event resonated far beyond the realm of science and technology. It inspired generations of Filipinos to dream big, to strive for excellence, and to believe that anything is within their grasp. The Apollo 11 moon landing became a symbol of human achievement, transcending national boundaries and reminding us of the collective potential of humanity.

To this day, the memory of that live telecast remains etched in the hearts and minds of those who witnessed it. It serves as a reminder of our capacity to reach for the stars and achieve greatness, no matter where we come from.

So let us never forget the significance of that day, July 20, 1969, when Filipinos experienced a moment of awe and wonder as they witnessed the epic journey of Apollo 11. It was a milestone in our nation’s history, a testament to the power of collaboration, and a reminder of the boundless possibilities that await us in the vastness of space.

Hello! To access Radio Singapura’s FM Stereo Service schedule for Sunday, August 10, 1969, you can follow these steps:

Tune in to Radio Singapura’s FM Stereo Service on your radio at the specified times mentioned in the schedule. At 6:05 a.m., you can start listening to the Sunday Overture program. Stay tuned for the News in English at 6:30 a.m., followed by the Sunday Concert at 6:45 a.m. Throughout the day, you can enjoy programs like Sweetly and Softly, Living Sounds, and more as per the schedule. In the evening, there will be programs like Songs to Soothe, Sounds of Strings, Classical Choice, and more. Finally, wrap up your day with Night Opera at 9:30 p.m. and Newsweek before bedtime at 10:30 p.m. The day will conclude with station closing at 11 p.m. By following these steps, you can the programming offered by Radio Singapura’s FM Stereo Service on Sunday, August 10, 1969. Let me know if you need any more assistance!

On November 14, 1969, an important change took place in the TV landscape. DZAQ-TV made a significant shift from channel 3 to channel 2. This switch marked a new era for the station, bringing with it fresh opportunities to engage and entertain viewers. Concurrently, DZXL-TV, the sister station of DZAQ-TV, also underwent a notable transition, moving from channel 9 to channel 4. These adjustments reshaped the broadcast frequencies of these stations. They also had a broader impact on the television industry as a whole.

Prior to these channel changes, another milestone occurred on October 15, 1969. This milestone was the launch of Kanlaon Broadcasting System’s (KBS) television network. This network made its debut with DZKB-TV on Channel 9. It made waves in the industry. The network offered viewers a vibrant and immersive visual experience through full-color broadcasts. This significant development allowed audiences to enjoy their favorite shows. Audiences also enjoyed news programs and cultural events. These were presented in a more visually appealing and engaging manner.

The television landscape during this period was undergoing considerable growth and innovation, with networks and stations striving to offer a broad range of programming to captivate and entertain their viewers. The migration of DZAQ-TV and DZXL-TV to new channel frequencies, coupled with the introduction of KBS’ full-color broadcasts, demonstrated the industry’s willingness to adapt and evolve to meet the ever-changing demands and expectations of the audience.

These historical events serve as a testament to the continuous evolution of television broadcasting, demonstrating how technological advancements and strategic decisions have shaped the way we consume media. It is fascinating to look back and reflect on these milestones that have paved the way for the modern television landscape we enjoy today.

The establishment of the TVRI Medan Studio on September 17, 1970, marked a significant milestone in Indonesia’s broadcasting history. The installation of various broadcasting and studio equipment, along with essential systems like air conditioning and lighting, laid the foundation for a functional and modern television studio. The 30-meter tower at the studio facilitated local broadcasting, while the transmitter station in Bandar Baru, equipped with a 67-meter tower, enhanced the reach and quality of the broadcasts. The addition of two sets of diesel engines ensured a reliable power supply, crucial for uninterrupted transmission. This development not only improved media access in the region but also contributed to the growth of television as a medium for information and entertainment in Indonesia.

The completion of the TVRI Medan Installation on November 10, 1970, was a pivotal moment for Indonesian broadcasting. Following the installation, a program test was conducted to ensure that all systems were functioning correctly and to evaluate the quality of the broadcasts. This testing phase was crucial for identifying any technical issues before the station officially began operations.

The technical supervision provided by the installation team ensured that the transition to operational status was smooth and that the station met the necessary broadcasting standards. Once the testing was successfully completed, the operations of the station were officially handed over to Televisi Republik Indonesia (TVRI), marking the beginning of regular broadcasting in the Medan region. This development not only expanded the reach of TVRI but also played a significant role in enhancing media accessibility and diversity in Indonesia.

On November 11, 1970, TVRI Medan officially began its trial broadcast, marking a significant milestone in the region’s media landscape. The initial “ON AIR” phase featured a technical pattern and film screenings, which lasted for 45 days, concluding on December 27, 1970. This trial period allowed the station to test its equipment, refine its broadcasting capabilities, and engage with the audience.

The first live program broadcast during this trial was a welcoming speech from the coordinator and leader of the North Sumatra TVRI development project. This moment was symbolic, as it not only introduced the station to the public but also set the tone for future programming and community engagement. The launch of TVRI Medan represented an important step in expanding television access in Indonesia, providing viewers with local content and fostering a sense of connection within the community.

The year was 1970 when a truly momentous event took place. On a crisp November day, the notable figure of His Holiness Pope Paul VI graced the esteemed Radio Veritas with his presence. It was an occasion that would forever be etched in the annals of history.

Amidst an atmosphere of reverence and anticipation, His Holiness Pope Paul VI stepped onto the hallowed grounds of Radio Veritas. The station, synonymous with truth and enlightenment, stood as a beacon of hope in an ever-changing world.

As the crowd gathered, a palpable sense of excitement filled the air. Everyone was eager to catch a glimpse of the Supreme Pontiff, to listen to his words of wisdom, and to bask in his divine presence. And on that fateful day, their wishes were granted.

With grace and humility, Pope Paul VI approached the staff of Radio Veritas. His kind eyes twinkled as he bestowed upon them a gift symbolizing his profound appreciation and support – two exquisitely crafted gold chalices. These beautiful artifacts would forever serve as a testament to the bond between the Supreme Pontiff and the esteemed radio station.

But it was not just the physical gifts that left a lasting impression. The Pope’s blessing, bestowed upon the station and its dedicated staff, resonated deeply. It was a blessing that infused their work with renewed purpose, their voices with conviction, and their hearts with a profound sense of gratitude.

In the years to come, Radio Veritas would continue to be a beacon of light, disseminating information, fostering understanding, and bridging divides. The visit of His Holiness Pope Paul VI served as a catalyst, igniting a flame of inspiration that would burn brightly for years to come.

And so, as the echoes of that historic day faded into memory, the legacy of Pope Paul VI’s visit endured. The golden chalices remained cherished symbols, the blessing echoed in every broadcast, and the spirit of those present that day lived on in the hearts of all who shared the joyous occasion.

The visit of His Holiness Pope Paul VI to Radio Veritas was not just a gathering of words and ceremonies. It was a profound testament to the power of faith, the importance of truth, and the unbreakable bonds that connect us all.

On December 9, 1970, TVRI Medan began broadcasting its first program, including entertainment from the Keroncong Kenangan orchestra.

On December 28, 1970, TVRI Medan first officially aired with the first launch, first broadcast, first broadcast, and first edition by the President of the Republic of Indonesia, General Soeharto, marked by the cutting of the ribbon with Mrs. Tien Soeharto, and the signing of the stone inscription by the President of the Republic of Indonesia, General Soeharto as a sign of its broadcast. This first broadcast marked the birth of TVRI North Sumatra with the name TVRI Medan, commemorated yearly. This date was later determined as the birthday of TVRI North Sumatra until now. With the presence of TVRI Studio Medan on the air, the television world in Indonesia has the first television transmitter outside Java with an operating power of 10 kW and a reach of up to Kisaran, Tanjung Balai, Tebing Tinggi, Medan, Pangkalan Susu, Pangkalan Brandan, Rantau/Langsa, and a radius of 150 km. In mid-1971, TVRI Medan broadcasts could already be received in several places in Malaysia such as Kelantan, Kedah, Selangor, and Penang.

Development of Transmitter Stations: TVRI continued to develop the quality and reach of broadcasts by establishing more transmitter stations. All Level II Regions in North Sumatra could now receive central broadcasts from Jakarta. Several transmitter stations that were established included: Bandar Baru, Tebing Tinggi, Pematang Siantar, Rantau Prapat, Sibolga, Simarjarunjung, Parapat, Tarutung, Sibuhuan, Siborong-borong, Gunung Sitoli, Kotanopan, Sipirok, Padang Sidempuan, Teluk Dalam, Gunung Tua/Natal, Dairi/Sidikalang, Kisaran, Batang Toru, and Laweha.

By the late 1960s, the landscape of news and public affairs programs in the Philippines started to evolve with the pioneering efforts of ABS-CBN and ABC. This era marked a significant turning point in Philippine television, as these two networks introduced groundbreaking news programs that would shape the way information was delivered to the Filipino audience.

One of the notable shows during this time was “The Big News” on ABC’s DZTM-TV Channel 5. This program, presented in English, aimed to provide comprehensive coverage of local and international news. It served as a reliable source of information, keeping viewers informed about the latest developments both within the country and beyond.

Meanwhile, ABS-CBN’s DZAQ-TV Channel 2 also made its mark with “The World Tonight.” As the name suggests, this English-language news program brought the world’s headlines to the Filipino viewers. It featured in-depth analyses and insightful interviews, ensuring that the audience had a deeper understanding of global events.

Not to be outdone, KBS’s DZKB-TV Channel 9 launched “Newswatch” during the same period. This English-language news program aimed to provide a fresh perspective on the news, presenting stories that were informative and engaging. It became a go-to source for viewers seeking quality journalism.

ABS-CBN, recognizing the need to cater to a wider audience, took the lead in introducing Filipino language news programming during primetime. DZAQ-TV Channel 2 launched “Balita Ngayon,” a program that conveyed news in the Filipino language. This initiative aimed to bring news closer to the hearts of the Filipino people, making it more accessible and relatable.

At the same time, DZXL-TV Channel 4, another ABS-CBN affiliate, introduced “Apat na Sulok ng Daigdig”. Orly Mercado was its first presenter. This Filipino-language news program aimed to deliver a well-rounded overview of world events. It offered insights on politics, economics, and other crucial topics.

The emergence of these innovative news programs in the late 1960s not only revolutionized Philippine television but also played a crucial role in keeping the public well-informed. These pioneers set the foundation for the development of news broadcasting in the country, paving the way for the diverse and vibrant news landscape we have today.

With the advent of the ’70s, the Philippines, under then-President Ferdinand E. Marcos began experiencing increased civil disorder feisty radio commentators’ servility criticized the administration which a com to charges of violence and fraud, peaking with the Plaza Miranda Bombing in 1971.

Ang nangyari ang Plaza Miranda bombing. Talagang well-covered yung bank kasi when yong proclamation rally ng Liberal Party during those days. Kaya lahat ng leader Liberal Party, except yung si Ninoy Aquino ang wala doon. Halos lahat nandoon nung biglang magkaroon ng pag-sabog ng dalawang granada. Marami ang nasugatan. Marami rin ang namatay noong. Nadoong nagsimula ang yung usapan na madeclare ang Martial Law, kasi ang idineclare ang suspension at privilege of habeas corpus.

“NOW, so, I, FERDINAND E. MARCOS, President of the Philippines. I hold the powers vested upon me by Article VII, Section 10, Paragraph (2) of the Constitution. I hereby place the entire Philippines under martial law. The Philippines is defined in Article I, Section 1 of the Constitution. In my capacity as their Commander-in-Chief, I command the Armed Forces of the Philippines. They will keep law and order throughout the Philippines. I will prevent or suppress all forms of lawless violence as well as any act of insurrection or rebellion. I will also enforce obedience to all the laws and decrees, orders and regulations promulgated by me personally or upon my direction.

Maraming nagakala na yun na maging simula ng decleration of martial law, pero napakahirap para sa kagawad ng media na hindi niyo malaman kung sino hindi lalapitan, hindi malaman na sino hindi huhulihin, kung sino aarestuhin ganyan, nung mula noon, medyo maingat ang mga kagawad ng media sa pagcocover ng similar events ng tulad noon.

By 1971, the Philippines, through Radiowealth Inc., had become the third country in the world to manufacture color TV sets.

By January 1972, the growth of the Philippine television industry was unstoppable. The demand for entertainment and news programming paved the way for the establishment of numerous television stations across the country. ABS-CBN’s pioneer satellite broadcasts revolutionized the industry, and it didn’t take long for other stations to follow suit.

In 1961, DYCB-TV Channel 3, the first provincial television channel, opened its doors in Cebu City. This marked a significant milestone in the history of Philippine television as it brought locally produced programming to the region. People eagerly awaited the four hours of daily broadcasts, which included a mix of original shows and relays of popular programs from Manila.

The introduction of DYCB-TV Channel 3 not only catered to the growing demand for television content but also allowed local talent to showcase their skills and creativity. It provided a platform for regional artists, writers, and producers to contribute to the burgeoning Philippine television landscape.

As other parts of the country witnessed the success and impact of DYCB-TV Channel 3, similar stations began sprouting up in different provinces. This decentralization of the television industry ensured that various regions had access to relevant and engaging programming that resonated with the local audience.

The rapid expansion of the television industry during this period demonstrated the increasing popularity and influence of the medium. It became a vital source of entertainment, news, and information, capturing the hearts and minds of Filipinos nationwide.

In summary, by January 1972, the Philippine television industry had experienced explosive growth. Thanks to initiatives like ABS-CBN’s satellite broadcasts and the establishment of provincial channels like DYCB-TV Channel 3, television became more accessible, diverse, and reflective of the nation’s cultural richness. The industry continued to thrive, setting the stage for the television landscape we know today.

Safeguarding Democracy

President Marcos’ declaration of martial law in 1972 had far-reaching implications for media freedom in the Philippines. With the pretext of national security, Marcos effectively closed down several media outlets and suppressed dissent through a range of tactics.

Censorship became a pervasive tool, as the government sought to control the narrative and prevent the dissemination of information that could challenge its authority. Threats of legal sanctions, bribery, and detention were common strategies employed by the military to intimidate journalists and media organizations into self-censorship. The physical mediation of journalists, sometimes resulting in injuries or even death, created an atmosphere of fear and further curtailed their ability to report independently.

However, amidst this tight control, one radio station managed to continue its operations: DZRH. It operated under close monitoring by the military, the Broadcast Media Council, and eventually, the Kapisanan ng mga Broadkaster ng Pilipinas (KBP). This allowed the government to maintain a semblance of media presence, while tightly regulating its content.

Even with limited advertising opportunities, with restrictions of 13 minutes per clock hour, the government continued to exert control over commercial messages, ensuring that no subversive or dissenting ideas were propagated. Scripts for radio dramas were meticulously scrutinized to eliminate any content that was perceived as supporting opposition to the regime.

The severe restrictions imposed on media during the martial law era had a profound impact on the freedom of expression and the functioning of democracy in the Philippines. It stifled dissenting voices, suppressed critical reporting, and allowed the regime to shape the information landscape according to its own agenda. The effects of this period are still felt today, as generations have had to fight for media freedom and the right to express themselves without fear of reprisal.

Radio Television Singapore (RTS) made significant changes to its television channels on March 30, 1973, by establishing Channel 5 and Channel 8. Channel 5 was designated for English and Malay programming, while Channel 8 focused on Chinese and Tamil content. This bilingual arrangement was a strategic move to cater to Singapore’s multicultural population and would remain in place for two decades.

During this period, approximately half of the programming aired on these channels was imported from various countries. The United Kingdom and the United States were the primary sources of these imports, providing a wide range of entertainment and educational content. Additionally, RTS also sourced programming from West Germany, Hong Kong, and Australia, reflecting a diverse array of influences in its broadcasting lineup. This approach not only enriched the local television landscape but also helped to introduce international perspectives to Singaporean audiences.

On April 27, 1973, a significant milestone occurred in the Philippines. The Kapisanan ng mga Broadkaster sa Pilipinas (KBP) was established. Representatives from 29 member stations gathered during the first General Membership Meeting. They elected Emil Jurado of Kanlaon Broadcasting System as the president.

The birth of KBP was followed by another important development as then KBP president Teodoro Valencia, in a meeting at Malacanang, successfully convinced the President of the need for a self-regulatory board specifically dedicated to the broadcast media industry. This led to the creation of the Broadcast Media Council (BMC), with Valencia himself assuming leadership responsibilities.

The collaboration between the BMC and the KBP proved to be pivotal in addressing the challenges faced by the broadcasting industry and establishing effective self-regulation measures. Together, they worked tirelessly to provide guidelines and regulations that would govern the operations of broadcast media in the Philippines.

The efforts of the KBP and the BMC did not go unnoticed, as within a year of its inception, the organization garnered the full support and endorsement of not only the President but also the Ministers of Defense and Public Information. This recognition exemplified the significance and credibility of the KBP as a self-regulatory body, further solidifying its role in shaping the future of the broadcast media landscape in the Philippines.

Since then, the KBP has continued to play a crucial role in fostering responsible and ethical broadcasting practices in the country. Through its commitment to self-regulation, the KBP has helped establish standards and guidelines that safeguard the interests of both viewers and industry professionals alike.

The birth of the KBP and the subsequent collaboration with the BMC have undoubtedly been instrumental in the growth and development of the broadcasting industry in the Philippines. By embracing self-regulation and addressing the challenges faced by the industry, the KBP has effectively worked towards ensuring transparency, accountability, and high-quality content in broadcast media. It remains a vital organization that continues to adapt and evolve with the ever-changing landscape of the industry, upholding the principles of responsible broadcasting for the benefit of all.

ABS-CBN was seized by the Office of Press Secretary and the National Media Production Center and DZXL-TV Channel 4 was renamed DWGT-TV Channel 4 (GTV-4), the government-owned channel. KBS, IBC and RBS were later allowed to operate with limited three-month permits. ABS-CBN was seized from the Lopez family and Eugenio Lopez Jr., president of ABS-CBN, was imprisoned. By late 1973, RBS was under blocktimer Philippine Productions. Felipe Gozon bought it. He was also the lawyer of Robert Stewart. Foreigners were not allowed to own businesses in the Philippines. RBS later changed its name to GMA Radio-Television Arts (now GMA Network), popularly known as GMA-7.

The history of media in the Philippines, particularly during the martial law period under President Ferdinand Marcos, is marked by significant changes and challenges. The seizure of ABS-CBN from the Lopez family in 1972 was part of a broader effort by the Marcos administration to control the media landscape. The government takeover led to the imprisonment of key figures, including Eugenio Lopez Jr., and the rebranding of channels to reflect government ownership.

The establishment of government-owned channels like DWGT-TV Channel 4 (GTV-4) and the limited permits granted to other networks such as KBS (Kanlaon Broadcasting System), IBC (Intercontinental Broadcasting Corporation), and RBS (Republic Broadcasting System) reflected the restrictive media environment of the time. The eventual transformation of RBS into GMA Radio-Television Arts, which later became GMA Network, marked a significant shift in the broadcasting landscape. Felipe Gozon’s acquisition of RBS and his legal background played a crucial role in the network’s development.

The media landscape in the Philippines has continued to evolve, with GMA Network becoming one of the major players in the industry, competing with ABS-CBN and other networks. The restrictions on foreign ownership have also shaped the dynamics of media ownership and operations in the country.

The events surrounding the fire at the KBS television studios on June 6, 1973, and the subsequent developments in the Philippine media landscape are significant in understanding the impact of martial law on broadcasting in the country. The destruction of the KBS studios, which were originally ABS-CBN’s, marked a turning point for the network and the industry as a whole.

After the fire, the control of ABS-CBN’s facilities shifted to Roberto Benedicto, a close ally of President Ferdinand Marcos. This transition effectively sidelined the Lopez family and their ownership of ABS-CBN, which would remain off the air for 14 years. During this period, the facilities were repurposed for KBS and the government-owned GTV, which operated under strict government oversight.

The rebranding of ABS-CBN’s DZAQ-TV Channel 2 to DWWX-TV Channel 2 under Benedicto’s Banahaw Broadcasting Corporation (BBC) was part of the broader strategy to consolidate media control during the Marcos regime. The introduction of color broadcasts by GTV-4 in 1976 was a significant technological advancement, but it also highlighted the disparity in media freedom and innovation during this period, as ABS-CBN was unable to operate.

It wasn’t until 1986, following the People Power Revolution, that ABS-CBN was able to return to the airwaves, reclaiming its position as a leading network in the Philippines. The network’s comeback was a symbol of the restoration of press freedom and the end of an era of government control over media.

In the eventful and dynamic world of the 1970s and 1980s, several noteworthy moments captured the attention of global audiences. Let’s delve deeper into some of these historic occurrences:

The 1974 Miss Universe Pageant: Held in Manila, Philippines, the 1974 Miss Universe Pageant brought together beauty queens from around the world. This prestigious event showcased the grace, elegance, and talents of these remarkable women. As the globe tuned in, the pageant not only celebrated diversity but also fostered cultural exchange and promoted the empowerment of women.

The 1975 Muhammad Ali-Joe Frazier Heavyweight Fight: Known as the “Thrilla in Manila,” the 1975 match between boxing legends Muhammad Ali and Joe Frazier captivated the world. The legendary bout took place at the Araneta Coliseum in Quezon City, Philippines. The intense rivalry between the two fighters, combined with the electrifying atmosphere in the arena, made it an iconic moment in sports history.

The 1981 Visit of Pope John Paul II: Pope John Paul II’s visit to the Philippines in 1981 was an event of immense significance for millions of Catholics worldwide. The trip marked the first-ever papal visit to the country, and it was met with great anticipation and excitement. The Pope’s presence and his messages of faith, hope, and unity resonated deeply with the Filipino people, inspiring them and leaving a lasting impact on their lives.

The Assassination of Benigno Aquino, Jr.: On August 21, 1983, the shocking assassination of Benigno “Ninoy” Aquino, Jr., a prominent Philippine senator and opposition leader, sent shockwaves throughout the nation. The news of his untimely demise reverberated across the globe, sparking outrage and political unrest. Aquino’s tragic fate became an emblematic moment in the struggle for freedom and democracy, and it ultimately shaped the course of Philippine history.

The Funeral Procession and Limited Coverage: During the solemn funeral procession of Benigno Aquino, Jr., the media landscape played a significant role. But it was not without controversy. GMA, one of the premier broadcasting networks in the Philippines, faced restrictions and was allowed only ten seconds of airtime coverage. This restriction symbolized the challenging environment surrounding the events at that time, as information flow faced obstacles, and reporting was restricted.

These moments were not only significant within their respective contexts but also resonate as important historical milestones. They serve as reminders of the power of media, the impact of global events, and the lasting legacies left by individuals who shaped the course of history.

For most of the late 1970s to the early 1980s, RPN and IBC were the most-watched channels in terms of ratings. However, in the years leading up to the People Power Revolution, GMA – which was the only independent station – managed to beat the Benedicto-owned duopoly and stayed at the position for the next two years.

The transition to color television in Singapore during the 1970s marked a significant milestone in the country’s broadcasting history. The purchase of two color television transmitters by Radio Television Singapore (RTS) in January 1974 was a crucial step in modernizing the television infrastructure. The investment of $700,000 in technology from Marconi demonstrated the commitment to enhancing the viewing experience for audiences.

The test broadcasts that began on May 2, 1974, were an important phase in the rollout of color television, allowing RTS to experiment with the new technology and prepare for full-scale broadcasts. The inclusion of popular imported shows like “The Mary Tyler Moore Show” helped to familiarize viewers with color programming.

The live color broadcast of the 1974 FIFA World Cup Final on July 7, 1974, was a landmark event, showcasing the capabilities of the new technology and drawing significant viewer interest. Following this, the first locally-produced color broadcast—the ninth Singapore National Day Parade—on August 9, 1974, was a moment of national pride and a demonstration of local production capabilities in color.

The gradual increase in color programming hours, from two hours to four on weekdays and from four to six on weekends, reflected the growing confidence in color broadcasts and the demand from viewers. The conversion of newsreels to color and the planned opening of a purpose-built color studio in 1975 further underscored the commitment to enhancing the quality and variety of programming available to the audience.

Overall, this period marked a significant advancement in Singapore’s media landscape, setting the stage for future developments in broadcasting and media production.

On October 21, 1974, managers and operators from all over the country came together for KBP’s maiden project, The First National Broadcasters Conference. There was no turning back. A part from the self-regulatory measures particularly with regards the advertising, technically and programming standards in news and entertainment, the KBP through the Broadcast Code as also touched on other issues like women in children, gambling, religious programming, crisis coverage, sex in violence etc.

The KBP has also played its role a sense of national identity particularly through an airplay of Original Pilipino Music in various music projects.

It also establishes the Metro Manila Popular Music Festival which run from 1978 to 1985. Through the years, various network owners and station managers have been elected to the helm of the KBP while majority of them from the top stations in Metro Manila, provincial chapters were also marginally involved and manage to feel the presentation of the board of directors and the KBP standards authority.

More importantly, the KBP has saw Philippine history unfolding through the decades. Media handling of the Luneta hostage crisis that marred the presidency of Benigno Aquino III survived the catalyst. For more stringent measures in the broadcast code. The KBP being allowed to receive automated election results in 2007, signaled a better role for into play in molding an informed electorate that included the lifting of the ban on political advertisements and the holding of debates among for the highest office of the land.

In recent years, the KBP has encountered more challenges, Philippine elections have become more colorful with the competitive coverage, broadcast journalists continued to risks their lives, commercial overloading has been a constant thorn.

In the mid 1970’s, Student Canteen hit the perfect formula for a successful noontime show recipe that captured the hearts of viewers across demographics A, B, C, and D. As a runner-up to the legendary Eat Bulaga!, this lunchtime treat started its journey on the radio waves in the late 1950s before making its triumphant leap onto television through ABS-CBN in the early 1960s. From there, it embarked on a remarkable evolution that spanned several decades, captivating audiences and leaving an indelible mark on the entertainment landscape until the turn of the new millennium.

Student Canteen’s rise to popularity can be attributed to its unique mix of engaging segments, talented hosts, and an infectious energy that reverberated through the screen. It became a beloved noontime companion for viewers seeking entertainment, laughter, and a sense of camaraderie during their lunch breaks.

The show’s success can also be attributed to its ability to adapt and reinvent itself with the changing times. Over the years, Student Canteen embraced various transformations, incorporating new formats, introducing fresh faces, and incorporating innovative elements to keep the audience enthralled. It exemplified the art of continuous evolution in the dynamic world of television entertainment.

Whether it was the engaging games, rib-tickling comedy skits, or heartwarming interviews with special guests, Student Canteen had a way of connecting with the audience on a personal level. It became a platform for aspiring talents to showcase their skills, paving the way for future stars in the industry.

The impact of Student Canteen extended beyond the confines of the television screens. It became a cultural phenomenon, inspiring conversations and leaving a lasting impression on the collective memory of the Filipino people. Its success was a testament to the power of daytime television as a medium that brings people together and fosters a sense of community.

As time went on, the television landscape continued to evolve, giving rise to new genres and formats. While Student Canteen may have bid farewell to the airwaves, its legacy lives on, forever etched in the annals of Philippine television history. It will always be remembered as a trailblazer, a show that pushed the boundaries of noontime entertainment, and a cherished part of the nation’s cultural heritage.

Prior to Student Canteen’s revival in 1975, most of the programs on the noontime slot were either too classy (Ariel con Tina) or too mass-based (the pre-martial law Tayo’y Maghappy-happy). Even the glossy ABS-CBN productions of Magandang Tanghali, Bigay Hilig and Stop Look and Listen were unable to conquer all types of audiences the way Student Canteen did in the latter part of the 1970’s.

Student Canteen, with its unique blend of entertainment, comedy, and music, captured the hearts of viewers from all walks of life. It became a cultural phenomenon and a household name, attracting a wide range of viewers who eagerly awaited its daily episodes. The show excelled in creating a lively and jovial atmosphere, making it a favorite among both the working class and the elites.

What set Student Canteen apart from its competitors was its ability to strike a perfect balance between sophistication and relatability. The program featured talented hosts who effortlessly engaged with the audience, making them feel like they were part of the show. The witty banter, hilarious sketches, and outstanding musical performances created an irresistible magnetism that kept viewers glued to their screens.

The success of Student Canteen can also be attributed to its creative format. It provided a platform for aspiring talents to showcase their skills, giving birth to numerous stars who went on to become pillars of the entertainment industry. The show’s contests and segments allowed ordinary individuals to shine, making it an inclusive and empowering program that resonated with the Filipino audience.

Furthermore, Student Canteen had a magical ability to bring together people from different walks of life. It became a unifying force, transcending social boundaries and creating a shared experience for viewers across the nation. Families and friends would gather around the television, eagerly anticipating the hilarious antics, catchy songs, and heartwarming moments that Student Canteen delivered.

In hindsight, Student Canteen’s impact on Philippine television cannot be overstated. It rewrote the rules of the noontime slot, pioneering a new era of entertainment that struck a chord with the masses. Its legacy continues to influence modern programs, reminding us of the power of laughter and camaraderie in bringing people together.

The revival of Student Canteen in 1975 was a turning point in Philippine television history, marking the beginning of a golden era that would shape the landscape of noontime shows for decades to come. Through its unique blend of entertainment, relatability, and inclusivity, Student Canteen captured the hearts of millions and left an indelible mark on the industry.

By 1977, Student Canteen had firmly established itself as the king of noontime shows and was practically running unopposed in that slot. The show had gained immense popularity among viewers, making it a tough competition for other programs airing at the same time. It wasn’t that there were no other noontime shows being aired on rival channels BBC-2 and RPN-9. In fact, these channels had also introduced their own noontime programs to attract viewers.

Despite the efforts made by BBC-2 and RPN-9 to create compelling noontime shows, they were unable to surpass the incredible success of Student Canteen. The program’s winning formula was attributed to its production by Programs Philippines, Inc. (PPI), an independent TV company formed by Eddie Ilarde and Bobby Ledesma. PPI’s expertise and innovative approach in creating engaging content had undoubtedly played a significant role in the show’s success.

Student Canteen provided a unique combination of entertainment and meaningful discussions that resonated with its audience. The hosts captivated viewers with their wit, charisma, and engaging interactions, creating a sense of camaraderie and connection with the audience. The show became a daily habit for millions of viewers, who eagerly tuned in to watch their favorite segments and performances.

Apart from the lively and entertaining atmosphere, Student Canteen also gained a reputation for introducing emerging talents to the industry. Many aspiring artists got their first taste of fame and recognition by showcasing their skills on the show. Student Canteen became a launching pad for young talent, attracting not only viewers but also industry professionals who recognized the show’s ability to spot and nurture promising individuals.

Overall, the success of Student Canteen can be attributed to its unique blend of entertaining content, charismatic hosts, and the ability to resonate with its audience. The program’s impact extended beyond the noontime slot, creating a lasting legacy in the Philippine television industry. It remains a testament to the power of quality programming and the enduring appeal of a show that truly understands its viewers.

However, a brilliant television marketing man, Romy Jalosjos, still maintained that there was always room for competition. Jalosjos was an independent TV producer then whose company, Production Specialists, was into all sports of special events: the Philippine Basketball Association (PBA), a local version of Battle of the Network Stars (very much today’s Star Olympics and Star Magic Games) and even beauty pageants like Binibining Pilipinas and later, Miss Young International.

Jalosjos knew how to captivate audiences with his innovative approach to television marketing. He understood the importance of creating unique and engaging content that would resonate with viewers. The thrilling basketball action of the Philippine Basketball Association was exciting. The glamour and elegance of beauty pageants were captivating. Jalosjos had a knack for turning these events into must-watch television.

Under his leadership, Production Specialists became known for its exceptional production values and attention to detail. Jalosjos had a keen eye for talent and knew how to assemble a team of professionals who were passionate about their craft. From camera operators to directors, everyone at Production Specialists was committed to delivering high-quality content that would leave a lasting impression on viewers.

One of the highlights of Jalosjos’ career was his involvement in the local version of Battle of the Network Stars. This was a groundbreaking concept at the time, bringing together celebrities from different television networks to compete in various athletic challenges. Jalosjos’ production team worked tirelessly to create an immersive experience for both the participants and the audience at home. The show became a massive success, further solidifying Jalosjos’ reputation as a pioneer in the television industry.

Not content with just sports programming, Jalosjos also ventured into the world of beauty pageants. His company was responsible for producing prestigious events like Binibining Pilipinas and later, Miss Young International. Jalosjos understood that these pageants were not just about physical beauty, but also about grace, intelligence, and charisma. He aimed to showcase the true essence of these competitions and give a platform for aspiring beauty queens to shine.

Throughout his career, Romy Jalosjos was driven by a relentless passion for television marketing. He believed that there was always room for competition. He constantly pushed the boundaries of what was possible in the industry. His innovative approach and dedication to his craft left a lasting impact on the television landscape, inspiring future generations of TV producers and marketers to think outside the box.

Jalosjos’ legacy lives on in the Philippine entertainment industry, where his influence can still be felt to this day. His ability to create compelling content and connect with audiences serves as a reminder that great television marketing is not just about numbers and ratings, but about forging a meaningful connection with viewers. Romy Jalosjos truly was a visionary in his field, and his contributions to the industry will be celebrated for years to come.

But since special events were seasonal, the company needed a regular income-generating program. Having a daily noontime show would be the best solution to this problem.

Assigned to do this project was Jalosjos’ associate, Antonio P. Tuviera. He had always been known to be reliable and preserving. He excelled at overcoming obstacles related to the company’s major endeavors. Like Jalosjos, Tuviera also knew in his heart that in spite of Student Canteen’s supremacy, there was still room for one more in the noontime race. They just had to find the right talents to pit against Student Canteen’s formidable roster of emcees.

Tuviera understood that to compete effectively, they needed to identify unique selling points that would differentiate their offering from Student Canteen. He began by conducting market research to understand the preferences of their target audience—students. This involved surveys, focus groups, and analyzing social media trends to gauge what students were looking for in a noontime show.

With the data in hand, Tuviera set out to assemble a team of fresh and dynamic emcees who could bring a new energy to the program. He sought individuals who not only had charisma and stage presence but also a genuine connection with the student demographic. Tuviera believed that relatability was key; the emcees needed to resonate with the audience’s experiences and aspirations.

In addition to talent scouting, Tuviera also focused on creating engaging content that would captivate viewers. He brainstormed innovative segments that could include interactive games, student showcases, and live performances, ensuring that the show would be more than just entertainment—it would be a platform for student expression and involvement.

As the project progressed, Tuviera faced challenges, including budget constraints and tight deadlines. However, his perseverance and problem-solving skills shone through. He collaborated with local businesses for sponsorships and leveraged social media for promotion, creating buzz around the upcoming launch.

With a clear vision and a dedicated team, Tuviera was determined to carve out a niche in the competitive landscape of noontime shows. He knew that with the right approach, they could not only compete with Student Canteen but also create a beloved program that would resonate with students for years to come.

Ironically, Tuviera found them in the sister show of Student Canteen – the Saturday early evening variety program Discorama, which was also being produced by PPI and was under the direct supervision of main host Bobby Ledesma.

In the beginning, it was only Joey de Leon who was part of Discorama – initially as a secondary mainstay. The brothers Tito and Vic Sotto only joined him later – oddly enough – when the show was already up for cancellation.

During the program’s supposed last day on the air, Joey asked PPI if he would bring in his friends Tito and Vic. He wanted them to join him in their farewell presentation. Like a man for execution, his last wish was granted.

In one part of the show, Tito, Vic and Joey parodied 10 pop tunes by changing the sop of the song’s lyrics and made them sound funny. They called this segment Tough Hits.

In this finicky and unpredictable world called television, where shows come and go, surviving for a whole season is already considered an accomplishment. However, very few shows manage to reach the milestone of their first anniversary, let alone five or ten years. But imagine a show that has not only survived for a remarkable five or ten years, but has been running six times a week for an astonishing 44 years! That is truly phenomenal. Enter Eat Bulaga!, an iconic show that has become a legend in its own right.

Over the span of four decades and counting, Eat Bulaga! has captivated audiences with its unique blend of entertainment, talent showcases, and heartwarming segments. Its enduring success can be attributed to its ability to adapt and evolve with the times while staying true to its core values. From its humble beginnings in 1979, the show has grown into a cultural phenomenon, bringing joy and laughter to millions of viewers across generations.

Eat Bulaga! has become more than just a TV program; it has become a part of the Filipino culture. It has provided a platform for talented individuals to shine and has showcased the diversity and richness of the Filipino spirit. The show’s hosts have become household names, beloved by fans who eagerly tune in daily to watch their favorite segments such as “Juan for All, All for Juan” and “Bawal Judgmental.”

But what makes Eat Bulaga! truly special is its unparalleled connection with its audience. The show has embraced the power of social media, engaging with viewers in real-time and creating a sense of community. From viral challenges to heartwarming stories, Eat Bulaga! has become a catalyst for positive change and has touched the lives of countless individuals.

As the years go by, Eat Bulaga! continues to innovate and surprise its viewers, ensuring that each episode is filled with excitement and laughter. It has proven that longevity is not just about staying on the air; it’s about constantly reinventing oneself and staying relevant in a rapidly changing landscape.

So, here’s to Eat Bulaga! and its incredible journey of 45 years. It is a testament to the power of entertainment, the resilience of a dedicated team, and the unwavering support of its loyal fans. May Eat Bulaga! continue to entertain, inspire, and bring people together for many more years to come.

From Batanes to Jolo as well as in other parts of the globe, no other local show has captured the hearts, the minds, and the imagination of Filipinos the way Eat Bulaga! has been doing for the past three decades. Led by the triumvirate of Tito Sotto, Vic Sotto, and Joey de Leon (collectively called Tito, Vic & Joey or TVJ), Eat Bulaga! has managed to integrate itself into Pinoy pop culture, not only in redefining Philippine entertainment but also by becoming a trendsetter. Its iconic status as the longest-running noontime variety show in the country is a testament to its unwavering popularity.

Eat Bulaga! has become more than just a television program; it has become a cultural phenomenon. With its diverse range of segments and talented hosts, the show has something for everyone. From the hilarious comedy sketches of “Kalyeserye” to the heartwarming stories of “Juan for All, All for Juan,” Eat Bulaga! has continuously entertained and touched the lives of millions of Filipinos.

Throughout its history, Eat Bulaga! has played a significant role in shaping the lives of its viewers. It has given aspiring talents a platform to showcase their skills through its iconic contests like “Birit Baby” and “That’s My Boy.” Many successful careers in the entertainment industry have been launched because of Eat Bulaga!’s support and recognition.

But what truly sets Eat Bulaga! apart is its community impact. The show has always prioritized giving back to the people, particularly through its various charitable endeavors. From building classrooms to providing financial assistance to those in need, Eat Bulaga! has consistently demonstrated its commitment to making a positive difference in society.

It is no wonder that Eat Bulaga! has managed to endure the test of time. It has lasted so long that it was able to touch the lives of Filipinos here and abroad, from curious and precocious young kids who grew up watching the show to senior citizens who still find joy and laughter in its segments. The show has become a part of people’s lives, creating lasting memories and forging a deep connection with its audience.

As we celebrate Eat Bulaga!’s incredible legacy, we recognize the immense influence it has had on Philippine television and popular culture. It has not only entertained generations but also brought people together, fostering a sense of unity and camaraderie among Filipinos worldwide. Eat Bulaga! will always hold a special place in the hearts of its viewers, and its impact will continue to be felt for years to come.

In celebration of its four decades on television, Eat Bulaga! shares through this book its rich history, cherished memories and treasured photographs.

In 2012, just in time for the celebration of the clothing line's 25th anniversary, a denim and underwear fashion show entitled "Bench: Universe" was held at the Mall of Asia Arena last September 13 and 14 Celebrities are not attend the event:

Precious Adona

Asia Agcaoili Carlene Aguilar Marco Alcaraz Alvin Alfonso Gerald Anderson Nico Antonio Jon Avila Phoemela Baranda Hermes Bautista Kris Bernal James Blanco Albie Casiño Nancy Castiglione David Chua Bugz Daigo Janvier Daily Franco Daza Alessandra de Rossi JC de Vera Jenine Desiderio Wilma Doesent Robi Domingo Lalaine Edson-Forgham Ryan Eigenmann John Estrada Ejay Falcon Frencheska Farr Sarah Geronimo Rachelle Anne Go Katrina Halili Jon Hall Kristine Hermosa-Sotto Agot Isidro Brent Javier Luke Jickain Tibo Jumalon Bianca King Doug Kramer Maureen Larrazabal Mikee Lee Xian Lim Ehra Madrigal Michelle Madrigal Rissa Mananquil-Trillo Robby Mananquil Alicia Mayer Zanjoe Marudo Priscilla Merielles Don Mendoza Sam Milby Carlos Morales Ron Morales Iwa Moto Marc Nelson Kristine Nieto Angelica Panganiban Bubbles Paraiso Rica Peralejo-Bonifacio Sam Pinto Cassandra Ponti John Prats Francine Prieto Bruce Quebral Dex Quindoza Rufa Mae Quinto Wendell Ramos Tom Rodriguez Rafael Rosell Johan Santos Jiro Shirakawa Victor Silayan Jay-R Siliona John James Uy Iya Villania Valerie Weigmann AJ Winkler Jomari Yllana Kevin Zaldariagga Kerbie Zamora

To recall, Robi Domingo is no longer a endorser of this clothing line. This is the truth about him that he did not miss any BENCH and BENCH/Body campaign and denim and underwear shows. Sources to newspapers and tabloids when the former Pinoy Big Brother: Teen Edition Plus runner up and Ateneo de Manila University graduate is no longer renewing his contract with Bench.

Robi was also took part in "Uncut: A Bold Look at the Future" Denim and Underwear Show when he tore his sando in the Furne One's Far East segment.

A Twitter user who said "Nakakatawa yung ginawa ni Robi Domingo sa Bench Uncut."

The loveteam of Kim Chiu and Gerald Anderson, wearing elaborate costumes, closed the segment.

Other celebrities and models such as Precious Adona, Asia Agcaoili, Carlene Aguilar, Marco Alcaraz, Alvin Alfonso, Gerald Anderson, Nico Antonio, Antonio Aquitania, Lana Asanin, Jon Avila, Phoemela Baranda, Benj Basa, Hermes Bautista, James Blanco, Kris Bernal, Chad Burden, Gian Carlos, Albie Casiño, Nancy Castiglione, Rainier Castillo, David Chua, Carlos Concepcion, Geneva Cruz, John Lloyd Cruz, Rodjun Cruz, Bugz Daigo, Janvier Daily, Franco Daza, Alessandra de Rossi, JC de Vera, AJ Dee, Jenine Desiderio, Wilma Doesnt, Robi Domingo, Lalaine Edson-Forgham, Ryan Eigenmann, John Estrada, Ejay Falcon, Frencheska Farr, Eric Fructuoso, Tanya Garcia-Lapid, Sarah Geronimo, Rachelle Ann Go, Edgar Allan Guzman, Katrina Halili, Jon Hall, Kristine Hermosa-Sotto, Agot Isidro, Brent Javier, Luke Jickain, Tibo Jumalon, Kian Kazemi, Bianca King, Doug Kramer, Maureen Larrazabal, Mikee Lee, Xian Lim, Ehra Madrigal, Michelle Madrigal, Rissa Mananquil-Trillo, Robby Mananquil, Zanjoe Marudo, Alicia Mayer, Priscilla Meirelles-Estrada, Don Mendoza, Sam Milby, Carlos Morales, Ron Morales, Iwa Moto, Marc Nelson, Kristine Nieto, Juliana Palermo, Angelica Panganiban, Bubbles Paraiso, Rica Peralejo-Bonifacio, Tyrone Perez, Sam Pinto, Cassandra Ponti, Camille Prats, John Prats, Francine Prieto, Bruce Quebral, Dex Quindoza, Rufa Mae Quinto, Wendell Ramos, Iago Raterta, Keanna Reeves, Tom Rodriguez, Rafael Rosell, Johan Santos, Kenji Shirakawa, Victor Silayan, Jay-R Siliona, Prince Stefan, Benjamin Tang, Geoff Taylor, John James Uy, Nicole Uysiuseng, Alfred Vargas, Iya Villania, Corey Wills, Maggie Wilson, Valerie Weigmann, AJ Winkler, Jomari Yllana, Kevin Zaldarriaga and Kerbie Zamora are almost absent during the event.

The Philippines' biggest entertainment production is set to wow audiences in the country and throughout Southeast Asia when Bench Universe 2012 premieres on December 8 at 9:00 p.m. on StarWorld.

StarWorld is seen on Sky Cable channel 48 or channel 172 on HD, Cignal channel 50 or channel 100 on HD, Cable Link channel 28 or channel 310 on HD, Dream channel 16, and almost 400 cable operators nationwide.

Caught (up) in traffic As we welcome 2014, we also look forward to major projects that will help alleviate transport and traffic problems in our cities and elsewhere in the Philippines. With the approval of the MRT 7 and LRT 1 south extension projects late last year, there should be less impedance to these much-delayed projects starting construction within the current term. These lines should…

Robi Domingo was supposed to appear at bench/ UNIVERSE denim and underwear show in 2012.

To recall, when Robi Domingo is no longer a endorser of this clothing line. This is the truth that he did not miss any annual BENCH and BENCH/Body campaign such as summer, back-to-school and holiday and biennial denim and underwear shows. Sources to newspapers and tabloids when the Pinoy Big Brother: Teen Edition Plus runner up and Ateneo de Manila University graduate is no longer renewing his contract with Bench.

He was also took part in "Uncut: A Bold Look at the Future" Denim and Underwear Show at the Araneta Coliseum when he tore his sando in the Furne One's Far East segment.

A Twitter user who said "Nakakatawa yung ginawa ni Robi Domingo sa Bench Uncut."

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