*353. Pampanga's Churches: STA. CATALINA CHURCH, Arayat

STA. CATALINA CHURCH, as it appears in 1911. The 3-level Renaissance-style facade gives it a signature look, that has earned a reputation as among Pampanga's most beautiful churches. Luther Parker Collection

The ancient town of Arayat rests on the foothills of Pampanga's mountain landmark, that has also come to be called by the same name. Its actual founding, however, is shrouded in mystery; with some sources naming either Prince Balagtas or his son, Araw--both Madjapahit Empire nobles, as the founder. But what we do know was Arayat was already a viable settlement as early as the 14th century, and 1571, it was one of the most important riverine towns of Pampanga, becoming a hub for trade and commerce.

The coming of Augustinians ushered in a brisk period of evangelization and, on 29 August 1590, Bishop Domingo Salazar approved a request to establish the first mission in the town, which was subsequently set up by Fray Juan de Valderrama. By 1600, the Arayat parish was already firmly established , under the ministry of Fray Contreras.

The early church was dedicated to Santa Catalina de Alejandria (St. Catherine of Alexandria), a 4th century virgin-martyr killed under the reign of Maxentius. Considered as one of the most important saints of the Medieval period, Sta. Catalina was also a popular Augustinian devotion.

The stone and brick structure was erected in 1753; cacnonical books indicate that the first baptism was conducted there in 1758, by a certain Fray Villalobos. The church was rebuilt by Fray Jose Torres starting in 1858. Fr. Juan Tarrero continued with the project only to become an unfortunate victim of the Philippine Revolution. It was finally finished in 1892, under the able supervision of Fr. Urbano Beduya, although several renovations continued through the first 2 decades of the 20th century.

The beautiful Sta. Catalina Church features a multi-levelled Renaissance style fachada. measures 70 meters long and 16 meters wide and stands12 meters high. It belongs to the parish of the Vicariate of Mary, Help of Christians in the Archdiocese of San Fernando. An image of its titular patron, Sta. Catalina, stands on the church portico. A separate antique image also resides in the main altar. Her  feast day is celebrated on November 25. 

*352. THE OLD SCHOOL CANTEEN

WHERE EAT'S AT. The Pampanga High School canteen, located at the school grounds, was just a modest wooden structure built to serve as an eating area for students during their recess and breaks. Ca. Late 1950s

 Who can forget the old school canteen? The sound of the bell indicating the start of recess would have us scampering towards our school canteen—that ramshackle building that sold more than refreshments and snacks for hungry students, but also provided a casual place for lively discourses, from the trivial to the sublime, while partaking of cheap spaghetti, Chiz Curls and Sunkist in tetra-packs.

 The concept of a canteen was nonexistent in my elementary years. Always, we ate our food in the classroom, bought from student vendors (recruited from the Home Economics classes) who went from room to room selling kakanins like kalame, palitaw and mochi. Otherwise, we would buy snack items from makeshift stalls around the perimeter of our school, to be eaten within the school grounds during our break time.

 It was different when I set my foot in my new high school in the city—it had a separate structure for food and refreshments. Every 9:30 a.m., all hell broke loose in the mad dash to be first in line at the canteen—the sooner you were served, the more time you can indulge in eating and socializing. 

Oh yes, it was in the canteen that various clicque were formed and friendships forged for a brief 15-20 minutes, and one’s station in the school could be gleaned from the composition of students in one table. Nerds and runts would occupy one table, and the more boisterous ones in another.

 Our school canteen was managed by the family of one student, who happened to be a classmate, and it had the basic stuff we needed to satisfy our growing appetites. Manning the fort was the loquacious Mrs. Antonio, who exuded a Mother Earth-ly aura with her matronly girth. She could not keep still at her post, making sure everyone was served efficiently, promptly.

 A typical morning merienda included such choices as spaghetti with ketchup-y sauce laced with hotdog slices (my favorite!), recado-less pancit guisado, watery sampelut, siopao, assorted sandwiches (cheese pimiento was a staple) , Chippy, Chiz Curlz –which we downed with softdrinks and orange juices in triangular cartoons—plus candies galore. The scene would be repeated come lunch time, and the canteen would be full to the rafters by noon.

I shied away from the canteen at this time, preferring to eat my packed lunch elsewhere with my best friend. Our secret break spot was at the rear of the school, under a thick canopy of bonggabilya leaves. Here, hidden by the thick foliage, we could enjoy our lunch, wrapped in banana leaves, away from the bullies whose nasty habit it was to mooch for ulam! There was not a week that I did not have porkchop or fried chicken for lunch, for some reason, I never had vegetables.

 Since the break time was a full hour, students had more time to linger—perhaps to review Physics lessons, learn a few chords from the latest issue of Jingle Magazine, character assassinate a teacher, and for the more daring ones—sneak a few puffs of smoke.

 A more serious transgression done to the canteen was the constant disappearance of plates and utensils. I remember Mrs. Antonio making a plea to our class, to please, please return the plastic yellow plates lest she gives up the canteen. I don’t know if the plates were returned, but the Antonios operated the canteen till we all finished high school.

 The sound of the bell after an hour would indicate the end of lunch, and the start of the afternoon session, which would invariably lull students to sleep, including me. The saving race would be the 3:30 pm. bell, signalling our final trip to the canteen. I would buy only a few pieces of candy like Lipps and Vi-Va by this time, preferring to save my appetite for dinner.

 I continued to be a canteen habitué in my university years, even if the big canteens there were impersonal and cold. There were no Mrs. Antonios to warm you up with a smile and a “good morning”, only uniformed attendants who served then swiped your tables cleaned, then moved on to the next . The menu was more sophisticated, with fancy entries like “flying saucer”, “club sandwich”, “sloppy joe sandwiches”. But where, oh where is my “putung babi” and “sampelut”?.

 Then and now, school canteens continue to serve the same purpose for both idlers and socializers. For the latter, a canteen is a place to see and be seen, to display trophy friends, grab a bite--and attention. As for the bored and the lonely, here’s a friendly advice: ”If you have nothing to do, do it here—in your old school canteen!!”

*351. JESS LAPID: Guagua's Last Action Hero

LIPAD, LAPID, LIPAD!. Jess Lapid Sr., at the height of his career, ranked among the bigtime action stars of the 60s, led by Fernando Poe Jr. and Joseph Estrada. Photo from Philippine Free Press, Ca. 1964.

 “Divina Valencia, 

Stella Suarez, nagbu-burles” 

Sa ngalan ng pag-ibig, 

Fernando Poe’ng makisig, 

Pangalawa si Jess Lapid.” 

 In the more innocent days of the 1960s, children all over the country used to sing this ditty to the tune of the Beatles’ ”A Hard Day’s Night”, as a tribute to the local showbiz’ most-talked about stars. Divina and Stella were obvious picks as they were the leading names that paved the way for “bomba” films in the 70s. Rising star Fernando Poe, was already a name to reckon with in action films, and hot on his heels was Poe’s discovery, Jess Lapid, who was popular enough to earn a line in the lyrics of this nonsense song, which alludes to his handsome-ness, second only to Da King. Indeed, Jess Lapid’s star could have shown brighter in Philippine moviedom, had he not met an early and untimely death.

He was born, Jesus Lapid  (b. 7 Jan. 1934)  in Guagua town; an older brother, Jose, is the father and grandfather of movie stars-turned politicians Lito Lapid (now on his last term as Senator), and son Mark Lapid (former governor of Pampanga and now TIEZA Head), respectively. Jess started as an extra in his first film from Premiere Productions, “Larawan ng Pag-Ibig” in 1961. He then shifted to being a stuntman, after finding out that they earned more than extras.

He rose to become the top stuntman of Premiere, often doubling for more established stars—riding horses, falling from cliffs, getting shot at by villains. He had the good fortune for doubling for Fernando Poe Jr., and soon, the two would become fast friends.

When Poe ventured into film productions, he made Jess one of the regulars in his films, giving him roles that required real acting, rather than choreographed stunt actions. Jess rose to the occasion and proved to be a convincing character actor. He tried him out in “Pasong Diablo”, in 1961.

 It was in the FPJ Productions, “Sierra Madre” (1963) that Poe decided to give Jess the full star treatment—from a more prominent billing to major publicity exposures. But it was Jess himself who pulled it off, by turning in a sensational performance that erased all doubts about his just being a “mere stuntman”.

 It was Tagalog Ilang-Ilang Productions picked him up and eventually made him into a superstar in the movie “Kardong Kidlat” (1964) which became such a smashing success at the box office tills. At the Globe Theater where the movie was launched, a long queue of movie fans lined up around the building just get get in and watch the talk-of-the-town film.

 1964 proved to be a bright and busy year for jess, appearing in movies like “Bilis at Tapang” with Romeo Vasquez and “Deadly Brothers” with Joseph Estrada. He co-starred with Vic Vargas in “7 Kilabot ng Barilan”. In 1968, Jess appeared alongside action movie greats Fernando Poe Jr. and Joseph Estrada in “3 Hari”, an FPJ productions offering.

 As he was raking it in, he invested in his own film outfit, Jela Productions, and began producing his own movies.

 He had just wrapped up the movie “Simaron Brothers”with Jun Aristorenas, when, on the night of 13 July 1968, he was shot to death at the Lanai Nightclub after an altercation between two groups of movie personalities. Persistent reports linked the incident to another Kapampangan actress, Nancy Roman, also his leading lady. A suspect, Mario Henson, gave himself up to the police, and at least one gunman from Angeles was implicated in the crime. Jess was brought to the National Orthopedic Hospital but was pronounced dead on arrival. He was just 35 years old when he passed away.

 “Simaron Brothers”was shown post-humously at the Globe Theater, and the blurb capitalized on his sensational death by touting his last movie as a “picture that will project the living image of Jess Lapid in the hearts of millions..”.

 As a belated tribute, nephew Lito Lapid appeared as Jess Lapid in the biopic “The Jess Lapid Story”, released in 1978. He also immortalized the iconic role of Leon Guerrero, first originated by Jess in the 1968 film, “Leon Guerrero: Laban sa 7 Kilabot”"

 Of his 3 children, one went on to follow in his footsteps. His namesake, Jess Lapid Jr. also became a movie actor, and a film and fight director. He appeared in a 1980 spin-off film that made his father famous, “Ang Bagong Kardong Kidlat”. Jess Jr. capped his career with a Best Supporting Actor award for the movie “Lumayo Ka Man Sa Akin” in 1993.

 The senior Jess can very well rest happy with the thought that the Lapid name, through his son, nephew and grandnephews, continue to contribute to the lively art of film-making in the Philippines.

*350. Shine Bright Like a Diamond: THE OCAMPO JEWELLERS OF ANGELES

GEM OF A MAN. Lawyer, banker, businessman, socio-civic leader, Mr. Ricardo Ma. Ocampo of Minalin, togther with his wife, Evansuida (nee Gueco), started the well-known Ocampo's, the jewelry and watch chain store that continues to operate today.

 For over sixty years, the name OCAMPO’s was synonymous to fine jewelry and quality watches. The name needed no other descriptor as almost all Kapampangans of good taste hied off to this shop to get the best imported wristwatches and the most stylish gold pendant necklaces, wedding rings, brooches and other jewelry pieces of superb value.

From a smalltown enterprise, OCAMPO’s grew to become a large, nationally-known enterprise, with branches and extensions all around Pampanga and even in the posh malls of Manila and Makati. Pampanga’s premiere jewellery store was founded by Atty. Ricardo “Rickie” Ma. Ocampo.

He was born in the town of Minalin on 23 October 1919, the son of Santiago L. Ocampo, a noted pioneer in jewelry merchandising and owner of a chain store of local jewelry stores. Ricardo’s mother, Felipa vda. De Ocampo, on the other hand, hailed from Guagua. For his primary education, Ricardo attended the Minalin Elementary School, before moving to Guagua National Institute. He then transferred to Pampanga High School, where he graduated in 1936.

Upon completion of his secondary school, he enrolled at the University of Santo Tomas and earned his Commerce degree in 1940. He then proceeded to take up and finish Law at Francisco Law Schoo, and passed the Bar Exams in the nick of time—just before the War. Ricardo sharpened his business acumen by assuming the managership of his father’s business, “Ocampo’s for Everything”, beginning in 1945.

With his marriage to Evansuida Gueco, daughter of Lorenzo Gueco and Saturnino Ocampo, he decided to venture on his own in 1947. Settling in the hometown of his wife, the couple put up Ocampo’s Angeles, which was primarily a small jewelry shop. To this shop, they eventually added jewellery services, a gift shop, a pawn shop, and an optical department. The Ocampos became direct importers of clocks and watch parts, which proved to be their bestsellers, after their jewelry products.

 As their fortunes grew, so too their social standing. Ricardo’s financial occupation was made busier with socio-civic activities. Ricardo became President of the One and Only Club, the Jolly Youngsters Club and Selegna Club. He also headed the popular Bato-Balani Club and Kundiman Club as Governor. Likewise, he was a lifelong member of the Angeles Jaycees, the Rotary Club of San Fernando and the Holy Name Society.

 Evansuida, on the other hand, honed her skills in the art and science of jewelry by enrolling in special gemology courses. As a gemologist, she earned international recognition for her jewelry expertise. The Ocampo couple would have four children, all daughters-- Corito, Divina, Evita and Finina, who grew up studying at the local Holy Family Academy.

 By the 1950s, OCAMPO’s would have lucrative branches in Angeles, San Fernando and Guagua, which encouraged customers to “Buy with Confidence”. The company logo incorporated images of a clock face and a gem—the banner products of their business.

 The 70s were a time of expansion and diversification to respond to the imperatives of the times. OCAMPO’s added household appliances to their product line, and put up a large warehouse-shop along MacArthur Highway in Balibago, a strategic location to capture both the local and large American base market. With the prominence of malls in the late 70s and 80s, branches of OCAMPO’s sprouted in Shoemart (SM) and Ayala Commercial Center, joining other Kapampangan-owned shops like those operated by the Dayrits (Miladay’s) and Fe Sarmiento-Panlilio (Fe Panlilio Jewellers).

 Just when things were going along very well with the Ocampos, a tragedy struck the family on 28 September 1983. Ricardo, Evansuida and their then 14 year old adopted daughter, Rosemarie Pineda, were attacked by their houseboy, Eddie Malonzo, at their posh Villa Teresa all-white mansion. The couple were killed, but their daughter survived the carnage which was reported in national newspapers.

 Despite the Ocampos’s tragic deaths, their legacy lives on in their shops which continues to operate today in Angeles and in Manila. It still enjoys a loyal following especially by a generation of Kapampangans who grew up wearing Ocampo’s wedding rings, gold chain necklaces and fine wristwatches, among others.

*349. KAPAMPANGANS IN BAGUIO

KAPAMPANGAN HIGHLANDERS. A Kapampangan belle and her tribe of kids pose for a souvenir photo while dressed in genuine Igorot attires. Lowlanders found the exotic costumes of the northern highlands attractive enough to be used as favorite dress props for photography.

 Baguio, the country’s summer capital, was developed by the Americans in the early 20th century as a mountain resort, a cool refuge from the oftentimes unbearable tropical climate they were unaccustomed to. Chinese and Japanese laborers were employed to build Kennon Road leading to the pine-clad city.

 It would soon become apparent that Baguio would bloom into a city unparalleled in beauty and natural charm. Daniel Burnham laid out the city and build the famous park that now bears his name. The Manila-Dagupan Railways made access to the highlands easier and it was just a matter of time that lowlanders would go to Baguio to find work and eventually, a new home.

 A lively building boom began immediately, peaking about 1915. At first, Japanese carpenters took an active part in the construction of the city. Sawmills were set up and these were manned and managed by Japanese settlers who invited relatives over to join them.

But in the 1930s, Pampanga carpenters gained more favour, as they were more adept in erecting houses of Spanish-Filipino style. Also, the Kapampangans charged fees that were more affordable. While the Japanese carpenters employed Ilocano, Ibaloy and Kankanay peons, the Pampanga carpenters brought in their own assistants, also from their home province. As fate would have it, it was the same Pampanga builders and their aides in the 1930s who went on to rebuild the devastated city of Baguio after World War II.

Many of these Kapampangans would fall in love in Baguio and eventually make it their home. Leogardo Mendoza, a Baguio resident since the 1930s, had a grandfather who was a maestro carpintero from Guagua. He took along his family in Baguio and Leandro’s parents went on to run baguio Theater and Bowling Alley along Abanao Street.

Some members of the Gosioco Family also had houses in Baguio and became permanent residents of the city in the 50s. As a child, I remember going to their popular general store located within Baguio market grounds, which carried everything from school supplies to Baguio sweets and souvenirs.

My uncle, Mateo Castro of Mabalacat, brought his young wife, Aurea Samson of Dau, to Baguio, and decided to settle there permanently. They made their home on top of a steep hill along Bokawkan Road, and their stylish bungalow would be a welcome home for their Kapampangan relatives every summer. As a teacher at St. Louis Boys’ High and later, a college professor at the Belgian-run St. Louis University, my uncle and his family found it easy to be integrated in Baguio society that was open and .

In the 60s and 70s, Baguio began attracting students as it grew to become a become a major center of education in the North. By then, it had become known as a university city, home to such fine schools as St. Louis University, Baguio Central University, University of the Philippines, University of Baguio, Baguio Colleges Foundation and even an agricultural school in La Trinidad.

My sister Celine would be the first of my siblings to go to Baguio for her college education at St. Louis University, and she would eventually get married to Ferdinand Hamada, whose forebears were among the first Japanese pioneers of Baguio. My brother Gregg and I would follow as well and it was always a delightful surprise to find many Kapampangans in my school, that included students from Sta Rita (Jeannie Saplala-Parker), Mabalacat (Robby Tantingco, Olga Hipolito) and Angeles (Lito Nievera, Rizal de Guzman, Ruby Pineda).

Just about the same time, Baguio developed a lively art scene, and artists from all over the country gravitated to the city, including Kapampangan painter, Ben Cabrerra (BenCab) and his wife Carolyne Kennedy. BenCab, now a National Artist, would found an art center called Tamawan Village, which houses a BenCab Museum, a 2000 square meter modern facility on a 4-hectare property beside the mountain town of Tadiangan. Today, it is a must-see destination for art aficionados.

 Baguio has lost much of its wonder and mystique in the past years, its green mountains studded with unsightly developments, with many of its heritage buildings like Pines Hotel, lost forever. It has also become overpopulated due to the influx of lowlanders and informal settlers. My last visit to the city of Pines was over 8 years ago, and although the city has dramatically changed, I was happy that I could still catch glimpses of its glorious, beautiful past, etched in the still warm and welcoming smiles of its hardy people.

*348. HILDA KORONEL: Kapampangan Actress, Cannes Sensation

HILDA SA IYO. Susan Reid, aka Hilda Koronel, at age 14. From a teen sensation to an actress of international repute.She took Cannes by storm with her intense portrayal of a daughter scorned in the 1975 movie, "Insiang".

The first time I beheld Hilda Koronel on the silver screen was in her launch movie, “Haydee”. I had lined up with my sister to watch this much ballyhooed Mars Ravelo-penned movie at the Rizal Theater in downtown Angeles one hot summer’s day in 1971, and it had been a box office hit of the season.

It was a love story between a Filipina fan, Haydee (played by Hilda Koronel) and an international combo star, Darwin Clark (Ed Finlan), who had come to Manila for a musical concert. I had read from my "Tin-Edyer Song & Show" comics that it was loosely based on the life story of Filipina Jinky Suzara and Gary Lewis, lead singer of the U.S. band, Gary Lewis and the Playboys.

I became an instant fan of Hilda Koronel, proud of the fact that she was Angeles-born, hence, a kabalen. I even took note of the fact that she was my age, just 4 days older ( she was born on 17 January 1957), and I vowed to follow her career and be her loyal fan forever. At her birth, she was named Susan Reid by her mother who hailed from the Visayas. Her father whom she never knew, was a Clark Air Base serviceman. As a waif, she lived in poverty, in the outskirts of the city.

All that would change when she was presented to producer/ starmaker Mrs. Emilia Blas of Lea Productions. At just 12 years going on 13, Susan already possessed a soulful kind of teenaged beauty that had attracted the attention of talent scouts and casters. It was said that Mrs. Blas did not have to give her a second look at the tall, 5’5” Pampangueña’s features: a bedimpled smile, an enchanting face, long black tresses. Mrs. Blas immediately took her under her wings and gave her the name, Hilda Koronel.

She invested in her promising discovery, enrolling her at Manuel L. Quezon University High School, and encouraged her to take drama, ballet, voice lessons and personality development. Hilda was cast in a bit role in the movie, “Leslie”, registering so well that the next inevitable step was a starring role in her launch movie, “Haydee”, a huge commercial success.

That same year, her dramatic skills were tested in the 1970 opus,”Santiago”. Her luminous performance was not lost in that year’s FAMAS—she was awarded a Best Supporting Actress trophy, the youngest winner ever, in the history of the prestigious award body.

However, the trend of the times were youth-oriented flicks and Hilda was soon appearing in formulaic lightweight hits like “Happy Hippie Holiday”, and recording silly ditties like “”Abracadabra Come Home”.

The turning point was when Director Lino Brocka took an interest in this talented girl and cast her in the 1975 classic, “Maynila: Sa Mga Kuko ng Liwanag”, opposite another discovery, Rafael Roco Jr. As Ligaya Paraiso, Hilda essayed the role of a girl forced to prostitute herself and give up everything, including her one true love, all because of a life of dehumanizing squalor. The movie won 6 major awards in that year’s FAMAS derby.

But it was in next year’s “Insiang” that Hilda’s star shone brightest and had everyone in showbiz talking. The story of a girl raped by her mother’s lover and exacting her revenge showed Hilda’s acting at her finest, earning her both a FAMAS and a Gawad Urian Award. Brocka’s acclaimed film went on to become the first Filipino film to play at the 1980 Cannes International Film Festival.

The response to this movie melodrama was thunderous, and all eyes in Cannes were, all of a sudden, on Hilda. She became the toast of Cannes, and her performance was raved about in magazines and newspapers, and her beauty even made the front pages of film periodicals. Hilda would become one of Lino Brocka’s favorite actresses, appearing in over ten of his films, including the trilogy, “Tatlo, Dalawa, Isa”, "Angela Markado" and "PX". 

Hilda’s career spanned over 4 decades, which would translate to over 45 films, three acting awards and 11 acting nominations. She was also a much-sought after model, and was once member of Rustan’s VIP Council and appeared as a Lux Girl. In between, shefound time to wear a bachelor’s and a Master’s degree in International Stduies from Maryknoll (now Miriam) College.

For a long while, Hilda was romantically linked with the late actor, Jay Ilagan, with whom she had a daughter, Leona. With the late Bambi del Castillo, she had another daughter, Isabel, while her marriage to Spanky Monserrat resulted in a son, Gabby.She has a second boy, Diego, with Dr. Victor Reyes. She also has two adopted daughters, Patricia and Ivy.

In May 2000. Hilda put her failed romances behind her and married a Fil-Am businessman, Ralph Dulay Moore, in Nevada., whom she had met in Greenhills earlier in 1998. In 2006, the Moores left the Philippines to settle permanently in Calfornia. In 2012, however, Hilda accepted a movie role and, in 2012, filmed Star Cinema’s, “The Mistress”, starring Bea Alonzo and John Lloyd Cruz, and directed by Olivia Lamasan.. Her comeback role would win her a Best Supporting Actress trophy at the 2013 Luna Award, proof that she has not lost her brilliant thespic touch.

My 14 year old “Haydee”has now graciously grown into a 56 year old grandmother of two, but Hilda continues to mesmerize, her name, still commanding awe and respect as the first Filipina to blaze the trail and make history in the premiere movie capital of the world that is Cannes. Together with Brocka, she has helped paved the way for a new generation of actors, actresses, directors and film makers who are now leaving their mark in international festivals around the world.

*347. KAPAMPANGAN VOICES IN TAWAG NG TANGHALAN

TAWAG'S HOSTS WITH THE MOST.  The iconic tandem of Lubao-born Patsy and Lopito will forever be inextricably associated with the most successful talent show ever to air on radio and TV. Tawag ng Tanghalan produced a bumper crop of singing superstars like Nora Aunor, Novo Bono Jr., Diomedes Maturan, Edgar Mortiz--including Kapampangans Cenon Lagman and June Pena.

Before the Filipinization of ”American Idol”, “America’s Got Talent”, “The Voice” , “X-Factor” and all those stateside talent searches, there was the one and only “Tawag ng Tanghalan”, the first true national talent search conducted by the local manufacturing and marketing giant, Philippine Marketing Company or PMC. PMC had been producing staple products for Filipino families for years, such as Luto, Perla Soap, Dari Crème, Star Margarine and its banner brand, Purico.

When it was bought by the global company, Procter and Gamble, its new product offerings expanded even more to include icon brands such as Tide, Vicks, Camay, Safeguard and Mr. Clean Camay (Crest, Zest, Oil of Olay and Ariel would follow many years later).

 To promote its products to the mass market, PMC sponsored a nationwide singing talent search in 1955, with the intent of discovering a young amateur champion from the contests conducted through 7 radio stations and open auditions using 13 roving advertising trucks. Regional finalists, judged by a panel, were then transported to Manila for the national finals held at the capacious Manila Jockey Club to perform before a huge crowd.

In the end, a Spanish mestizo, Jose Gonzalez was adjudged as the first-ever Tawag ng Tanghalan champion with his song “Angelitos Negros”, followed by Angelita Espinosa, and the Montecillo sisters. Jose Gonzalez – who would later be known as Pepe Pimentel—received a cash prize, PMC products and a surrealistic trophy designed by artist Cesar Legaspi.

This marketing ploy proved to be effective for PMC that, when television became the next big thing in media, the company bought air time on Channel 3 and produced TV version of the same contest, which proved to be a long-running success, broadcasted from the radio and TV media from 1955 to 1972. There were to be 3 years (1966-69), that “Tawag” ceased airing, but the contest resumed in 1970, spawning artists like Novo Bono, Edgar Mortiz, Jonathan Potenciano and Nora Aunor.

Closely associated with its success where the hosts, Patsy and Lopito. Patsy Mateo of Lubao, spent her growing up years in Hawaii, but came back to pursue a career in stage (‘bodabil’) and film, during the Commonwealth years and after the war. “Tawag ng Tanghalan” would giver the opportunity to flaunt her Kapampangan-ness by breaking into the language at every opportunity—to tickle the audience, calm down contestants’ nerves, or even console losing singers who were dispatched home at the sound of a gong.

Patsy was not the only Kapampangan personality in “Tawag ng Tanghalan” as conetestants from Pampang regularly joined the weekly auditions. In 17 years of “Tawag”, at least two Kapampangans have brought home the Grand Championship trophy.

 Cenon Punla Lagman of Masantol, Pampanga was a fisherman-turned singer who wowed judges with his inimitable renditions of kundiman songs. At the age of 24, he won the “1960 Tawag ng Tanghalan Grand Finals” with his performance of “Ikaw Lamang ang Iibigin”, succeeding the very popular Diomedes Maturan.

The two ”Tawag” stars went on to co-star in the movie “Maturan and Lagman”, under VIN productions. Lagman, known as the “Prinsipe ng Kundiman” went to on to record under Mayon Records, popularizing songs like, “Pandora”, “Bakas ng Lumipas”, ”Bakit Di Kita Malimot” and “Salamat sa Ala-ala”. Later, he joined Alpha Records while raising his family in Las Piñas. He died on 25 May 2013.

 June Peña, the 1965 Grand Champion, is listed in the “Tawag” record books as having represented Dagupan, Pangasinan at the national finals. In truth, Peña comes from Barangay Batang 2nd, in Sasmuan, Pampanga. It so happened that while he was paying a visit to his girlfriend Helen in Dagupan, the “Tawag” auditions were also being held there. He signed up, won the Dagupan regionals and was whisked off to Manila where he bagged the major prize with the song "Autumn Leaves", succeeding Eva Adona. Peña still resides in Pangasinan today.

 Attempts at reviving “Tawag ng Tanghalan” began in the mid 1980s with a special “Reunion of Champions” telecast that gathered past “Tawag” champions. Abroad, especially in the U.S., the spirit of “Tawag” lives on in several singing competitions that have adapted the same contest title. It is almost certain that a Kapampangan Come audtion time, it is almost certain that a Kapampangan will join, make the cut and give the performance of his life. With music in his blood, he will find it hard not to respond to the roar of the crowd and answer the call of the stage—ang “Tawag ng Tanghalan”!.