DZRH
75 YEARS OF DEDICATED SERVICE TO THE FILIPINO
American businessmen introduced radio to the Philippines in the 1920s as a commercial enterprise that would promote their consumer goods to Filipinos. Department store owner Isaac Beck’s KZIB, along with the Radio Corporation of the Philippines’ KZRM ( Radio Manila) and KZRC (Radio Cebu), led other entities that contributed to the growth and stability of the radio business well into the 1930s. RCP eventually sold its network to department store owners Erlanger and Galinger, while Samuel Gaches, owner of the department store H.E. Heacock Company, put up KZRH, known as Radio Heacock in 1939.
Filipinos then were in an era of flapper modernism, adapting more and more to American ways. Radio broadcasts centered on music, variety shows, comedy skits, and short newscasts. Jazz and ballads became standard fare. With the 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.’
But with Asia being drawn into the vortex of the second world war, KZRH Station Manager Bertrand Silen was appointed Chief Coordinator of Information by the American High Commissioner. Instead of destroying KZRH equipment as the USAFFE had done to the other stations to prevent their use by the Imperial forces, 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.
However, Japanese forces eventually found equipment hidden in the basement of the Heacock building in Escolta, and used these to continue broadcasting as KZRH, and it was here that General Jonathan Wainwright eventually announced the USAFFE surrender to the Japanese Imperial Army. The call letters were changed to PIAM, and the station bombarded listeners with music, language, literature, and even calisthenics — the Nippon way.
MacArthur ’ s return and the American declaration of independence for the Philippines signalled the postwar reconstruction of Philippine radio. The Elizalde family bought KZRH from the Heacock Company, and with Silen’s help, acquired equipment from the National Broadcasting Company in New York to establish operations at the Insular Life Building on Plaza Cervantes. KZRH was back on the air under the auspices of Manila Broadcasting Company on July 1, 1946 — just in time to cover the inauguration of the second Philippine Republic, with
Manuel Roxas as President. The listening audience became excited as new programming genres spearheaded the phenomenal growth of the radio industry after the war. Even the government developed its own network under the Philippine Broadcasting Service, which aired educational and agricultural programs in cooperation with the Bureau of Public Schools. Big band music, vaudeville, language, and literature flourished hand in hand with the broadcast sector.
But it was the advent of soap operas, beginning with KZRH’s “Gulong ng Palad,” that changed the face of popular Filipino entertainment. Written by society columnist Lina Flor, “Gulong ng Palad” bannered long-running radio serials that were not just adapted for television and film, but were likewise translated into regional dialects and aired over provincial stations. Even the star system so prevalent in motion pictures became heavily reliant on the success of the radio drama.
By the mid-50’s, with its call sign now DZRH, the station took another step forward by launching a counselling program featuring Dely “Tiya Dely” Magpayo. Letters detailing domestic and marital woes received her compassionate attention, and along with it, the commiseration of the listening public. Through the next 50 years, Tiya Dely remained a constant on radio, with generations of fans pining for her ever-soothing voice even after her death in September 2008.
Popular DZRH programs drew support from corporate sponsors due to the enthusiasm of Filipino housewives who were glued to the radio while they did their daily chores. “Gabi ng Shell” featured the reeland 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.
DZRH emerged as the acknowledged leader during the golden days of radio, also airing comedy shows like “Tang-Ta- Rang- Tang”, 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 flourished as radio became even more lucrative. Popular performers who crossed over to and from the vaudeville stage found a niche for distinctly Pinoy-flavored comedy on air. While it was customary to imitate the American vocal timbre, the Filipinization of local radio was well underway.
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 psyche, the commentaries by DZRH anchors on current events have kept the Filipino public vigilant and concerned, despite serious threats on the lives of many broadcasters and their families. A number of them chose to be vociferous, while a lighter tack anchored on the Pinoy’s penchant for humorous gossip has been just as effective.
With the advent of the ‘ 70s, the Philippines under then President Ferdinand E. Marcos began experiencing increased civil disorder. Feisty radio commentators severely criticized the administration, which succumbed to charges of violence and fraud, peaking with the Plaza Miranda bombing in 1970.
President Marcos’ declaration of Martial Law in 1972 allowed him to close down the media and suppress dissent. Censorship, threats of legal sanctions, bribery, detention, physical intimidation and ultimately, death, were the weapons used by the military in controlling the media. DZRH was however allowed to continue operations, closely monitored by the Broadcast Media Council, and eventually, the Kapisanan ng mga Brodkaster ng Pilipinas (KBP). Advertising was limited per clock-hour to 13 minutes. Even scripts for radio dramas were scrutinized for subversive content.
But with the assassination of former senator Benigno Aquino, Jr., radio was practically alone in presenting the true picture of an outraged Filipino people, and radio broadcasts were the catalysts that spurred on a nation to oust the authoritarian regime in a peaceful revolution called People Power — an event that the entire world applauded.
Indeed, through the decades, DZRH has been a vital cog in safeguarding democracy. It played a crucial role in securing the safety of civilians during successive coup attempts that marred President Corazon Aquino’s term. In 1989, it was Rey Langit, then News Director of DZRH, who negotiated on the air with rebel forces who had stationed snipers in Makati’s high-rise buildings. Government and rebel troops monitored each other’s moves on MBC’s flagship station until the stand-off was resolved.
Through numerous electoral exercises, DZRH has monitored not just public opinion but has shown an uncanny reliability of mirroring votes cast through its exit polls culled from over 200 partner stations throughout the country. And as history continues to unfold, DZRH remains focused on a socio- political scenario that has great implications on the future of every Filipino.
Indeed, well within the station’s news and public affairs remit, serbisyong bayan continues to top network priorities. DZRH teams are on 24- hour duty, providing public service round the clock. Disaster relief operations also rely heavily on the support DZRH renders during natural calamities, while its Operation Tulong program, established in 1978, has significantly strengthened the sense of volunteerism in civic society.
Believing that radiomen have the power to get things done, listeners are also allowed to air their grievances, call on missing relatives, seek help for medical needs, or appeal to government officials to act on issues and complaints. DZRH harnessed this capability by launching a program called “Liberty in Action,” a program dealing with the movers and shakers of Philippine society.
Erstwhile newsbreaks have been expanded into full programs that include live interviews and on-the-spot coverage of important events. The news-talk format now also includes discussions of subjects like medicine and health, justice and the law, environment and sustainable development, arts and culture, showbiz personalities, and even frank discussions of sex-related matters
In 1996, under the stewardship of MBC Chairman Fred J. Elizalde, DZRH embarked on a “One Nation, One Station” initiative, expanding its coverage to an unprecedented 97 percent of the Philippine archipelago. To date, it is the only station in the country that is on the air nationwide 24 hours a day on stereo-quality, simulcast via satellite to relay stations in key provincial cities.
The DZRH news team has also taken new media by the horns, mining the potential of internet radio and live blogging to maximize the station’s accessibility to audiences both here and abroad.
This is further enhanced by the station’s television presence as RHTV, broadcast over thousands of cable networks all over the country.
All these are part of our humble way of paying back the Filipino public, which for more than seven solid decades, has witnessed and supported DZRH as it set the trends on radio with its mien for grassroots entertainment and its unerring pulse on our daily lives.