There’s an ongoing issue in the Philippine music scene which involves a debate on what OPM (Original Pilipino Music) should stand for and what music the term should include. From now on, I would no longer be using the term OPM to refer to any musical piece—lyrical or instrumental—written or composed or covered primarily by any person with Filipino descent. The term that I will be using is the more inclusive and more academic Filipino Music.
Whether originally written, a reinterpretation or a recording of a cover song, a song or an instrumental, as long as the chief maker is a Filipino, then that would be a part of Filipino music.
More so, any musical work written chiefly by a Filipino must be included—be they political, socially relevant, or environmentally oriented; be they about love, comedic, novelty, or about nothing at all.
The brand Filipino Music includes all Filipino musical works in all genres, from Classical to Metal, Pop, to Hip-hop, Folk to Rock—whether original or derived—as examples, works by Wuds, Third World Chaos, Kabaong ni Kamatayan, The Camerawalls, Strange Creatures, Eraserheads, MYMP, Parokya ni Edgar, Victor Wood, George Canseco, Eddie Katindig, Rivermaya, Betrayed, The Dawn, Identity Crisis, Dean’s December, Phil. Violators, Moscow Olympics, Aiza Seguerra, Lito Camo, April Boys, Jograd & the Thinkers, Six Cycle Mind, Afterimage, Introvoys, Dragonfly Collector, Yano, Andrew E, Mastaplann, Kulay, Francis M, Slapshock, Wolfgang, Razorback, Dominion, Animo, Violent Playground, Color It Red, Rizal Underground, Joey Ayala at Bagong Lumad, Asin, Heber Bartolome, Buklod, Freddie Aguilar, Martin Nievera, Gary Valenciano, Daniel Padilla, Mike Hanopol, Hagibis, Eddie Peregrina, Eva Eugenio, Regine Velasquez, Ogie Alcasid, Deceased, Leowai, Sandugo, True Faith, Side A, Tame the Tikbalang, RJ & the Riots, and Juan Dela Cruz Band.
No to music elitism. No to music discrimination. Yes to music appreciation.