Since 1986, OPM has moved from a mere organization of performing artists to cultural advocates – promoting, protecting and pushing for the rights of artists through active engagement in the following advocacies:
- The lobbying at the Senate in August 1996 for the deletion of Section 27 (B) (III) of House Bill No. 6060. The provision sought to limit corporate sponsorship of concerts, live shows and sport events to 0.35% of a company’s gross sales. If enacted, this would have eradicated a lucrative source of livelihood among industry workers as producers would venture to produce shows/concerts featuring only tried and tested singers.
- The eradication of the practice among television stations/producers of nonpayment of honoraria to singers/artists for their guesting is another success story. OPM likewise sought the strict implementation of Executive Order N. 255 s 1987 whereby local radio stations with musical formats play four (4) original Filipino music per clock. OPM spearheaded the lobby in the House of Representatives for the separation of the Amusement Tax being levied on movies from live performances. The latest success of OPM’s active promotion of their collective agenda was the passage of the Intellectual Property Code or Republic Act. No. 8293 which was signed into law in January 1998.
- The much lauded passage of Republic Act No. 8293 though once again burdened OPM with additional tasks to perform. The most telling burden of which is how to collect what is rightfully the artists share. The law imposed an additional remuneration of at least five percent (5%) of the original amount received from the first broadcast or communication of the performance. The law also strengthened the artist’s claims and granted the right to object to any distortion, mutilation or any form of modification of his performance that would be prejudicial to his reputation. The problem that arises is enforceability and monitoring when an organization such as the OPM is not geared towards those twin tasks.
- The creative way of policing the entry of foreign artists in the country by entering into an agreement with the Bureau of Immigration and Deportation providing for an Equity Collection Scheme, the proceeds from which have provided benefits to member through equity payment from foreign performers.