of the Philippine martial law era and has influenced most of the modern genres in the country, being the forerunner to OPM. Original Pilipino Music (OPM) Original Pilipino Music, more commonly referred to as OPM, a term coined by Danny Javier of the APO Hiking Society, originally referred only to a genre of Philippine pop songs, mostly ballads, that became popular after the collapse of its predecessor, the Manila sound of the 1970s. Currently, the term "OPM" has been a catch-all description for all popular music composed and performed by Filipinos, originating from the Philippines. Before the emergence of OPM in the 1970s, popular music in the Philippines throughout the 50s and 60s was a varied showcase for songs with vernacular and movie themes interpreted by recording artists such Pilita Corrales, Sylvia La Torre, Diomedes Maturan, Ric Manrique Jr., Ruben Tagalog, Helen Gamboa, Vilma Santos, Edgar Mortiz, Carmen Camacho, among many others. Since its origin, OPM has been centered in Manila, where Tagalog and English are the dominant languages. Other ethnolinguistic groups such as Visayans, Bikolanos, and Kapampangans, who make music in their native languages, rarely break into the popular Filipino local music scene, with only a handful of exceptions, which include the Bisrock (Visayan rock music) song "Charing" by 1017, a Davao-based band, and "Porque" by Maldita, a Zamboanga-based Chavacano band. A lot of compositions of Bisrock are contributed by bands such as Phylum and Missing Filemon. The debut music video of "Oras" ("Time") by Tarlac-based band Mernuts penetrated MTV Pilipinas, making it the first-ever Kapampangan music video to join the ranks of other mainstream Filipino music videos. RocKapampangan: The Birth of Philippine Kapampangan Rock, an album of modern remakes of Kapampangan folk extemporaneous songs by various Kapampangan bands was also launched in February 2008, and was regularly played via Kapampangan cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what the locals call "Kapampangan cultural renaissance", Angeles City-born balladeer Ronnie Liang rendered Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and "Ika" (Kapampangan version of "Ikaw") for his repackaged album. Despite the growing clamor for non-Tagalog and non-English music and the greater representation of other Philippine languages, the local Philippine music industry, which is centered in Manila, is unforthcoming in venturing investments to other locations. Some of the major reasons for this include