Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, free jazz, disco. Communities that produced independent record labels, visual art, multimedia performances and fanzines developed around these pioneering musical scenes, which coalesced in cities such as London, New York, Melbourne and San Francisco; the early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Public Image Ltd, the Pop Group, Cabaret Voltaire, Pere Ubu, Gang of Four, Joy Division, Talking Heads, Throbbing Gristle, the Slits, the Cure, the Fall, Au Pairs. The movement was related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, industrial music.
By the mid-1980s, post-punk had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music. Post-punk is a diverse genre. Called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas. Sounds writer Jon Savage used "post-punk" in early 1978. NME writer Paul Morley stated that he had "possibly" invented the term himself. At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick. Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma. Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave".
Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use... is possible". Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in years. Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd. Simon Reynolds' 2005 book Rip It Up and Start Again is referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward. Wilkinson characterized Reynolds' readings as "apparent revisionism and'rebranding'". Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up... but, that too much was left in".
Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, disputed the accuracy of the term's chronological prefix "post", as various groups labeled "post-punk" predate the punk rock movement. Reynolds defined the post-punk era as occurring between 1978 and 1984, he advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation. AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk". Many post-punk artists were inspired by punk's DIY ethic and energy, but became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, self-parody, they repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a white, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.
These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". Though the music varied between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, noise, free jazz, world music, the avant-garde; some previous musical styles served as touchstones for the movement, including particular brands of krautrock, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as'sterile' studio perfectionism... by adopting an avant-garde aesth
Angelica Locsin Colmenares is a Filipina television and film actress, commercial model, film producer and fashion designer. She came to prominence for her television roles as Alwina in the 2004 fantasy-themed television series Mulawin and as the superheroine Darna in the TV adaptation of the Mars Ravelo eponymous comic. Locsin was a contract artist of GMA Network up to early 2007 until she transferred to its rival network, ABS-CBN, she starred as Lyka in the television series Lobo, which earned her an International Emmy Award nomination for best performance. She on starred in blockbuster films In The Name Of Love and One More Try for which she garnered critical acclaim for both performances; the two films earned Locsin the Star Award for Movies for Movie Actress of the Year and the Box-Office Entertainment Award for Film Actress of the Year, winning both awards two consecutive years. In 2013, she won the FAMAS Award and the Film Academy of the Philippines Award for best actress for her performance in One More Try.
Locsin was born on April 1985 in Santa Maria, Bulacan. Since the age of 14, she has lived with her father, Angelo Colmenares, has had no contact with her mother, she studied at St James College in Quezon City for her primary education and finished high school at the University of Santo Tomas High School in Manila. In August 2007, she attended a short-course for fashion design at Central Saint Martins College of Art and Design in London. Despite being of Christian faith, she is a part of a Muslim Royal Family in Marawi City in the province of Lanao del Sur through her mother. Locsin was discovered at a shopping center by a talent scout, she auditioned for several commercials and was supposed to be a part of ABS-CBN's Star Circle Batch 9, but failed to sign a contract because her father opposed the idea. She became a contract star of GMA Artist Center, first appearing on the second season of the teen-oriented series and was included in the cast of Ang Iibigin Ay Ikaw. In August 2004, Locsin starred in the fantasy-themed TV series Mulawin, alongside Richard Gutierrez, wherein she portrayed, "Alwina", one of the two main protagonists.
The show was a huge success and received high ratings until its finale on March 2005. Following the success of Mulawin, Locsin was cast in the title role as Darna in the 2005 fantasy-themed TV series of the same name; the show was highly regarded by the public, gaining immensely high ratings and surpassing the records set by her previous TV show. Darna's pilot week average is 50.08% and its highest rating was 52.1% while the lowest was 33.3%. Locsin starred in another fantasy-themed TV series, together with Dennis Trillo, aired from March to September 2006, she played the role of Sabina, a ordinary girl who lived in the world of mortals but is unknowingly the one destined to become the most powerful female magician. Afterwards, she was cast opposite Robin Padilla, it was the first Philippine TV series, shot in multiple countries such as Mongolia and China. The show was aired from January to June 2007. Both shows were well received. In August 2007, Locsin signed a two-year exclusive contract with ABS-CBN.
Her first acting appearance with the network was via Maalaala Mo Kaya in the episode "Pilat". Her performance gained her the Star Award for TV for Best Single Performance by an Actress. By January 2008, she launched her first drama series with the network entitled Lobo, together with Piolo Pascual in the lead role, she earned an International Emmy Award for Best Performance by an Actress nomination for her performance in the series. She received an Ani ng Dangal Award for her iEmmy nomination and another Ani ng Dangal Award for Lobo's international recognition in BANFF Canada. In 2009, Locsin starred in the top-rated TV series, Only You, a Philippine remake of the Korean drama of the same title aired by SBS Korea in 2005, she starred alongside Diether Ocampo. The show was directed by Rory Quintos and was the 3rd Most Watched TV Series of 2009 based on TNS survey. In 2010, she starred in the TV series Imortal, the sequel to her earlier work, together with John Lloyd Cruz, it was directed by Chito Roño.
The shows website had 15 million hits in just 3 months. It had webisodes downloaded in a weekly basis, it won an Quill Award. In 2011, she became a guest star in Toda Max. However, her guesting turned into a regular stint. In 2014, Locsin returns to primetime TV after three years through the hit series, The Legal Wife, together with Jericho Rosales, Maja Salvador and JC de Vera; the series was directed by Dado C. Lumibao and Rory Quintos. Due to high ratings, the show helped in dropping the crime rate as reported by PNP. Locsin became a Pilipinas Got Talent judge, she happened to have two Maalaala Mo Kaya two-part episodes, one SAF tribute and one Mother's Day Special. In 2017, she guested in La Luna Sangre as Lia. Locsin's first film appearance was in 2000 via Ping Lacson Supercop, wherein she played the role of a young Robina Gokongwei, she on made a cameo appearance in Mano Po 2 in 2003 and starred in the teen-oriented movie Kuya in 2004 as well as in the comedy film Singles. She starred in the drama film Mano Po III: My Love and in the horror film Sigaw which were both entries to the 2004 Metro Manila Film Festival.
In 2005, Locsin with Richard Gutierrez starred in the romantic film Let the Love Begin, released under GMA Films. She and Gutierrez reprised their roles as Alwina and Aguiluz in the movie adaptation of the TV series Mulawin, an entry to the 2005 Metro Manila Film Festival. Early in 2006, Locsin starred in the romantic movie I Will Always Love You, she starred in the h
Metropolitan Manila is the seat of government and one of the three defined metropolitan areas of the Philippines. It is known as the National Capital Region, is known as Metro Manila or Manila, it is made up of 16 cities namely: the City of Manila, Quezon City, Las Piñas, Malabon, Marikina, Navotas, Parañaque, Pasig, San Juan and Valenzuela, as well as the municipality of Pateros. The region encompasses an area of 619.57 km2 and has a population of 12,877,253 as of 2015. It is the most densely populated region of the Philippines, it is the 9th most populous metropolitan area in Asia and the 5th most populous urban area in the world. The region is the center of culture, economy and government of the Philippines. Designated as a global power city, NCR exerts a significant impact on commerce, media, fashion, technology and entertainment, both locally and internationally, it is the home to all the consulates and embassies in the Philippines, thereby making it an important center for international diplomacy in the country.
Its economic power makes the region the country's premier center for commerce. The region accounts for 37.2% of the gross domestic product of the Philippines. The region was established in 1975 through Presidential Decree No. 824 in response to the needs to sustain the growing population and for the creation for the center of political power and the seat of the Government of the Philippines. The Province of Manila, the predecessor entity of the region, is one of the first eight provinces that revolted against the Spanish colonial rule in the Philippines at the end of the 19th century. Manila's role in the Revolution is honored in the Flag of the Philippines, where the sun's eight rays symbolize the eight revolutionary provinces. A historical province known as Manila encompassed territories once held by various pre-Hispanic polities; this included the well-known Pasig River delta settlements of Maynila and Tondo, but smaller settlements such as those at Tambobong, Taguig and the fortified polity of Cainta.
It became the capital of the colonial Philippines, with Manila serving as the center of colonial power. In 1898, it included the City of 23 other municipalities. Mariquina served as the capital from 1898–1899, just as when the sovereignty of the Philippines was transferred to the United States; the province was dissolved and most of it was incorporated to the newly created province of Rizal in 1901. Since the Spanish colonial period, Manila was considered as one of the original global cities; the Manila galleon was the first known commercially traveled trade route that sailed the Pacific for 250 years, bringing to Spain their cargoes of luxury goods, economic benefits, cultural exchange. During the American period, at the time of the Philippine Commonwealth, American architect and urban designer Daniel Burnham was commissioned to create the grand Plan of Manila to be approved by the Philippine Government; the creation of Manila in 1901 is composed of the places and parishes of Binondo, Intramuros, Manila, Quiapo, San Andrés Bukid, San Fernando de Dilao, San Miguel, San Nicolas, Santa Ana de Sapa, Santa Cruz, Santa Mesa and Tondo.
Meanwhile, the towns and parishes of Caloocan, Las Piñas, Pasig, Parañaque, Navotas, San Juan del Monte, San Pedro de Macati, San Felipe Neri and the Taguig-Pateros area were incorporated into the province of Rizal. Pasig serves as its provincial capital. In 1939, President Quezon established Quezon City with a goal to replace Manila as the capital city of the country. A masterplan for Quezon City was completed; the establishment of Quezon City meant the demise of the grand Burnham Plan of Manila, with funds being diverted for the establishment of the new capital. World War II further resulted in the loss most of the developments in the Burnham Plan, but more the loss of more than 100,000 lives at the Battle of Manila in 1945. On, Quezon City was declared as the national capital in 1948; the title was re-designated back to Manila in 1976 through Presidential Decree No. 940 owing to its historical significance as the uninterrupted seat of government of the Philippines since the Spanish colonial period.
Presidential Decree No. 940 states that Manila has always been to the Filipino people and in the eyes of the world, the premier city of the Philippines being the center of trade, commerce and culture. During the war, President Manuel L. Quezon created the City of Greater Manila as an emergency measure, merging the cities of Manila and Quezon City, along with the municipalities of Caloocan, Las Piñas, Pasig, Parañaque, Navotas, San Juan del Monte, San Pedro de Macati, San Felipe Neri and the Taguig-Pateros area. Jorge Vargas was appointed as its mayor. Mayors in the cities and municipalities included in the City of Greater Manila served as vice mayors in their town; this was in order to ensure Vargas, Quezon's principal lieutenant for administrative matters, would have a position of authority recognized under international military law. The City of Greater Manila was abolished by the Japanese with the formation of the Philippine Executive Commission to govern the occupied regions of the country.
The City of Greater Manila served as a model for the present-day Metro Manila and the administrative functions of the Governor of Metro Manila, established during the Marcos administration. On November 7, 1975, Metro Manila was formally established th
Parokya ni Edgar
Parokya ni Edgar is a Filipino band formed in 1993. The band is known for its original rock novelty songs and satirical covers of popular songs both foreign and local; the band is adept at playing in various musical genres. Parokya ni Edgar has been referred to by local media outlets and numerous award-giving bodies as "Pambansang Banda ng Pilipinas". Despite having "Edgar" in the band's name, none of the members are named Edgar. Named Comic Relief, the band's initial members were a group of high school students composed of vocalists Chito Miranda, Jeric Estaco, Vinci Montaner, along with guitarists Mikko Yap and Gab Chee Kee, all hailing from Ateneo de Manila University, they were regulars in after-school jam sessions, before performing an opening number for an Eraserheads concert. This served as their break in the music industry and prompted them to add a drummer and bassist – schoolmate Dindin Moreno and Buwi Meneses, respectively. Around the same time they changed the band's name to Parokya ni Edgar.
After high school and Jeric withdrew from the band to pursue other interests. Soon after, the remaining band members invited their friend Darius Semaña to take the role of lead guitar; the band name's origin had been a subject of debate among fans as the band members had never given full confirmation. It was not until 2013 that Chito Miranda addressed it through a post on their Facebook page; the title "Parokya Ni Edgar" came from a joke a classmate named Bambi Cuna made during one of their high school classes. Sources state; when the teacher asked Cuna where Jose Rizal's fictional hero, Crisostomo Ibarra was educated, it was said that Cuna made up a daft answer, "sa Parokya ni Edgar". Vocalist Jeric Estaco decided on impromptu to introduce the band as "Parokya ni Edgar" in their first live performance. From there, the band name just stuck. By the late 1990s, PNE became regular performers in Club Dredd, a popular club in Manila at the time; the band gained popularity during the height of the Filipino rock explosion, with the local rock community welcoming the influence of foreign grunge acts such as Nirvana, Pearl Jam and Soundgarden.
The late managing director of Universal Records, Bella Dy Tan, signed them as contract artists after witnessing one of their Club Dredd performances. Soon, their initial recordings "Buloy", "Trip" and "Lutong Bahay" gained radio airplay, their first album, Khangkhungkherrnitz became a triple platinum hit in the Philippines, having sold 120,000 units. The next albums were equal successes - Buruguduystunstugudunstuy was awarded triple platinum, Jingle Balls Silent Night Holy Cow with gold, Gulong Itlog Gulong with triple platinum; this included one of the most popular songs in their career. "Halaga" was such a hit in the country that it further boosted PNE's career, cementing their name into OPM history. After a five-year hiatus, they released their junior studio album Edgar Edgar Musikahan in 2002. On July 14, 2003, they released the studio album Bigotilyo, with the main single "Mr. Suave". "Mr. Suave" proved to be just as popular as its predecessors and stayed on the music charts for more than a year.
The song became so popular in the Philippines that a few commercials and political campaigns borrowed stanzas from it. Same Year in 2003, Parokya celebrated their 10th Year Anniversary with new gigs and concerts in various shows in the Philippines and around the world like Hong Kong, Canada such as Alberta, British Columbia, Ontario & more canadian provinces tour were performed for PNE, the United States such as New York, New Jersey, Arizona and among other U. S. States. Were performed by PNE. 2004 was the year of release of Inuman Sessions Vol. 1, PNE's first compilation DVD album celebrating their 11th anniversary. The DVD showcased the band's prerecorded live studio performance of their hit songs to a selected audience; the DVD album met success in sales nationwide. They released their 9th studio album, Middle-Aged Juvenile Novelty Pop Rockers in 2010 with the single "Paki-usap Lang"; the album was met with moderate success in both sales. In 2011, PNE joined the roster of Tanduay's First Five and RockFest replacing long running Tanduay endorser 6cyclemind.
The following year, PNE released their 2nd compilation DVD album Inuman Sessions Vol. 2 - a follow up to their Inuman Sessions Vol. 1. That same year, Montaner left the band on good terms with both the members and crew. 2013 marked PNE's 20th anniversary in the OPM industry. The band launched their 13th album Bente as commemoration, as this was a milestone, Vinci Montaner temporarily reunited with the band for the album's cover art and signings. In 2014, PNE was awarded with the MYX Magna Award for their artistic contribution to OPM Rock History & celebrating their 20th anniversary of their opm rock band of the mid 90's, they are the 2nd OPM Rock Band to receive this award after Eraserheads in 2009. All throughout 2015, the band toured selected cities in the United States; that same year, the band began recording for their next album and contained the tracks "Sing" and "Lagi Mong Tatandaan", the former featuring Rico Blanco. The album is entitled Pogi Years Old; the cover album was revealed on September 2, 2016 through their Facebook page and expected to be released by 2016.
Former member Vinci Montaner will appear on the album as a featured artist. On September 9, 2016, the band held a free surprise show at the Bonifacio Shrine in Manila; the album wa
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
San Pedro, Laguna
San Pedro the City of San Pedro, or San Pedro City, is a 1st class city in the province of Laguna, Philippines. According to the 2015 census, it has a population of 325,809 people, it is named after Peter the Apostle. Despite being the third smallest in the entire province, with a total land surface area of only 24.05 km2, San Pedro is the fourth largest city in terms of population after the cities of Calamba, Biñan, Santa Rosa. The city has the highest population density in the province of Laguna and in the whole Calabarzon region, having 14,000 people/km2. San Pedro City eyed as 18th member of Metro Manila. Former Metro Manila Development Authority Chairman Francis Tolentino is pushing for the inclusion of San Pedro City in the National Capital Region, become its 18th member city. Tolentino said that in the first meeting of the MMDA Council of mayors in January 2015, he will push for the inclusion of the city to the MMDA. Senator Aquilino "Koko" Pimentel III is seeking the separation of the City of San Pedro from the first legislative district of Laguna province to constitute a lone congressional district.
In 2015, Pimentel filed Senate Bill No. 3029 for the creation of the San Pedro City as a separate district to commence in the next national and local elections. San Pedro de Tunasán became a town on January 18, 1725, when King Charles II of Spain decreed that the town known as "Tabuko" be a separate town from "Kabullaw". By virtue of the last will of Philip V of Spain, Rodriguez de Figueroa or "Don Esteban", a group of Augustinian Fathers gained the ownership of the Tunasán Estate. On, San Pedro became an hacienda of Colegio de San José, a group of Jesuits friars who took over the property which now is known as "San Pedro Tunasán". Tunasán means "a place where there is Tunás", a medicinal plant abundant on shoreline area. During that period, fishing, duck raising, fruit trees, sampaguita were the main source of income of its residents; this period was highlighted by the growing tenant/landlord dispute. The tenants of Hacienda San Pedro Tunasán fought for their birthrights over their ancestral lands.
This struggle took 423 years of unsuccessful resistance to Colegio de San José, in 1938, the government bought the home sites of the San Pedro Tunasán Hacienda from the Colegio for re-sale to its tenants. This event laid to rest the tenants/landlord problem in the town. In the year 1902, the name San Pedro de Tunasán was simplified to San Pedro. From the Spanish time until after the Japanese occupation of the Philippines, the scenario did change a bit, when on August 30, 1954, beginning to the Philippine Commonwealth forces against the Japanese, President Ramón Magsaysay signed at the historic town plaza the Land Tenancy Act. By virtue of this law, farm lots of the hacienda were bought by the Philippine government to be sold at cost to the tenants or occupants of the farm lots in Bayan-Bayanan under the Narra Settlement Project of the Magsaysay Administration. On March 27, 2013, President Benigno Aquino signed the 64-page Republic Act No. 10420 converting the municipality into a new component city of the province of Laguna.
The cityhood of San Pedro was ratified through a plebiscite scheduled by the Commission on Elections. The date for the ratification is December 2013 after the National Barangay Elections, it became the sixth city of Laguna after the cities of Biñan, Calamba, San Pablo and Santa Rosa, the third to be a city in the 1st congressional district of Laguna - making it the first city district in the province. COMELEC proclaimed the first-class municipality of San Pedro as a component city of Laguna on December 29, 2013. Juanito Icarro, regional director of Calabarzon and Mimaropa, Marianne Marfori, provincial election supervisor, made the proclamation at the municipal hall after San Pedro residents voted for the cityhood in a plebiscite held on December 28, 2013. "Yes" votes for cityhood totaled 16,996, "no" votes, only 869, in 501 clustered precincts in San Pedro. Only 11% of 165,777 registered voters in San Pedro's 20 barangays took part in the plebiscite. Support groups from the local government and non-government organizations are striving to incorporate San Pedro into Metro Manila.
San Pedro is located in Calabarzon. San Pedro is the boundary between Laguna and Metro Manila, so San Pedro is known as "Laguna's Gateway to Metro Manila". San Pedro shares boundaries with Metro Manila's southernmost city, Muntinlupa bounded with Tunasan River, Biñan, Carmona and Gen. Mariano Alvarez bound with San Isidro River, its position makes San Pedro a popular suburban residential community, where many residents commute daily to Metro Manila for work. San Pedro is politically subdivided into 27 barangays. Brgy. San Antonio is the largest barangay. San Vicente is the most populous with a total population of 92,092. 1 2 3 4 5 6 7 ^ Seven new barangays created as distinct from its mother Brgy. San Vicente after it was ratified and approved through a plebiscite held on July 11, 2015 under COMELEC Resolution No. 9969. The City of San Pedro is youngest city in the Philippines; as of 2015, the population is 325,809, up from 294,310 in 2010, or an increase of 11%. Its area is 24.05 square kilometres with a density of 13,547/km2.
San Pedro is home for the Famous Krus ng San Pedro Tunasán. Majority of the people are Roman Catholics. Other religious groups include are the Mem
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B