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The Manila Broadcasting Company owns the Love Radio Network, a broadcast FM radio network in the Philippines. Its headquarters are in Pasay, Manila, at the Cultural Center of the Philippine Complex. Love Radio's original format was easy listening until 2000, when it switched to Contemporary MOR, also known as the masa format.

According to the KBP's Radio Research Council Surveys and the AC Nielsen Car Survey, its flagship station is DZMB in Metro Manila (licensed to Cebu Broadcasting Company), which has been rated #1 in FM radio ratings for 15 years (from 2002 to 2017).

Love Radio was previously known as DZMB (previously broadcasting under the call letters KZRH back in 1949) when it began broadcasting on the FM band in 1975, following its initial broadcast days on the AM band. It used to play mainstream pop, but it was later relegated to easy listening music. It also introduced and institutionalized deep-voiced radio announcers as DZMB. Manuelito F. Luzon, DZMB's then-station manager, conceptualized the station's branding identity in the 1980s.

In the 2000s, Love Radio was reformatted to a contemporary masa, a format that had been trending on the landscape of FM radio in the country since the millennium's turn.

Chris Tsuper, Nicole Hyala, Tanya Chinita, Diego Bandido, Totoy Bato, Raqi Terra, Lala Banderas, Laboching, and Robin Sienna were among the radio DJs who participated.

Pop is a popular music genre that emerged in its modern form in the mid-1950s in the United States and the United Kingdom. [4] The terms popular music and pop music are frequently used interchangeably, despite the fact that the former describes all popular music and encompasses a wide range of styles. Pop music in the 1950s and 1960s included rock and roll and the youth-oriented styles it influenced. Rock and pop were roughly synonymous until the late 1960s, when pop became associated with more commercial, ephemeral, and accessible music.

Although much of the music on record charts is classified as pop music, the genre is distinct from chart music. Repeated choruses and hooks, short to medium-length songs written in a basic format (often the verse-chorus structure), and danceable rhythms or tempos are common identifying factors. A lot of pop music borrows elements from other genres like rock, urban, dance, Latin, and country.

Pop music is defined by David Hatch and Stephen Millward as "a body of music distinguishable from popular, jazz, and folk musics." Pop music, according to Pete Seeger, is "professional music that draws on both folk music and fine arts music." Pop music, according to David Boyle, a music researcher, is any type of music that a person has been exposed to through the mass media. Most people believe that pop music is only the singles charts and not the total of all chart music. Songs on the music charts come from a variety of genres, including classical, jazz, rock, and novelty songs. Pop music is seen to exist and develop separately as a genre. As a result, the term "pop music" may be used to describe a distinct genre that is intended to appeal to all, and is frequently described as "instant singles-based music aimed at teenagers" in contrast to rock music, which is defined as "album-based music for adults."

Pop music evolves in tandem with the definition of the term. Popular music, as defined by music writer Bill Lamb, is "music since industrialization in the 1800s that is most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926 to refer to a piece of music with "popular appeal." Many events in the history of recording in the 1920s, according to Hatch and Millward, can be seen as the birth of the modern pop music industry, including in country, blues, and hillbilly music.

A remix is a piece of media that has been altered or contorted from its original state by adding, removing, or changing components. A remix can be a song, a piece of artwork, a book, a video, a poem, or a photograph. The only distinguishing feature of a remix is that it appropriates and modifies other materials to create something new.

Remixes are most commonly used as a subset of audio mixing in music and song recordings. Songs can be remixed for a variety of reasons, including:

Edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes, should not be confused with remixes. Another distinction to be made is between a remix, which recombines audio fragments from a recording to create an altered version of a song, and a cover, which is a re-recording of another person's song.

While audio mixing is one of the most well-known and well-known forms of remixing, it is not the only media form that is remixed in a variety of ways. Literature, film, technology, and social systems are all examples of remix.

Relaxing music is music that is played to help people meditate. It can have a specific religious content, but it has also recently been associated with modern composers who use meditation techniques in their composition process, or who compose such music with no specific religious group in mind. Music performed as a form of meditation is also included in the concept.

Composers such as John Cage, Stuart Dempster, Pauline Oliveros, Terry Riley, La Monte Young, and Lawrence Ball pioneered modern meditation music in the twentieth century by fusing meditation techniques and concepts with music. Tony Scott's Music for Zen Meditation (1964), Karlheinz Stockhausen's Inori (1974), Mantra (1970), Hymnen (1966–67), Stimmung (1968), and Aus den sieben Tagen (1968), Olivier Messiaen's Quartet for the End of Time (1941), and Ben Johnston's Visions and Spells (a realization of Vigil (1976)) all require a meditation period before performance. R. Murray Schafer's clairaudience (clean hearing) concepts, as well as those found in his book The Tuning of the World (1977), are meditative.

Stockhausen describes Aus den sieben Tagen as "intuitive music," and the performers in the piece "Es" from this cycle are instructed to play only when they are not thinking or in a state of nonthinking (Von Gunden asserts that this is contradictory and should be "think about your playing"). Zen influenced John Cage, and pieces like Imaginary Landscape No. 4 for twelve radios are "meditations that measure the passage of time."