Why is Dy acknowledged by his colleagues as a founding father of the Philippine music and recording industry?
Hard work and discipline are ingrained in James G. Dy since he was a kid. He was as self-driven as his grand old man. He hardly waited for his adolescence to be productive. But in every beat of his heart, music has been there.
James was enamoured with the harmonica at 11. He joined a school band at 15. He tinkered with other musical instruments and was hooked on the saxophone.
Living and breathing music in a land whose soul vibrates with singing, dancing and praying, Dy decided in 1959 to put up the first independent music and recording company in the Philippines, Dyna (Music) Products Inc., now popularly known as Dyna Music.
With meager resources and lean-but-mean staff, the company first held offices on Raon Street, the Tin Pan Alley in Manila with a cassette manufacturing plant in a suburb.
In its early years, it had scored major national and international coups.
Under Dy, Dyna gave birth to many of the hottest Filipino talents, then and now, and established their singing careers for international stardom: from the so called "’50s mystery singer," to Perry Como-sing-alike Diomedes Maturan and Asia’s Queen of Songs Pilita Corrales and Carmen Soriano, to 30 other pop and country artists such as Jose Mari Gonzales, Fred Panopio, Armida Siguion Reyna, Pauline Sevilla, Jose Mari Chan, The Reycard Duet, Nonoy Zuñiga, Vernie Varga, Martin Nievera, Pops Fernandez, Claire dela Fuente, Joey Albert, Efren Montes, Miriam Pantig, Sampaguita, Keno, Dingdong Avanzado, Willie Nepomunceno and a few live bands (Afterimage, Introvoys, Second Wind).
In the international scene, the track record was even bigger: Dyna acquired the rights to distribute ABC-Paramount, Cadence, EMI (Parlophone, Capitol and Liberty), Polygram, A&M, Arista and other record-breaking labels. By any standard, the "coup" was equated with striking "oil". Among the top artists under license were Teddy Randazzo, Paul Anka, Glenn & Joan Campbell, Al Martino, Connie Francis, Anita Bryant, the Platters and Chubby Checker. The hottest selling stars of the era were also covered: the Beatles, Bee Gees, Lettermen, Sergio Mendez & Brazil 66, James Last, Herb Alpert & the Tijuana Brass, Al Caiola, Carlos Jobim, Matt Monroe, Cliff Richard, Barry Manilow, Dave Clark 5, Jerry & the Pacemakers, Herman’s Hermit, Gary Lewis & the Playboys.
While indulging in his "(music) hobby," Dy made sure he was not remiss in his social responsibility. Taking from the inherent benevolence of his forebears who churned out philanthropic deeds in style, without publicity and fanfare, Dy also helped the needy help themselves. His own brand of selflessness, however, was described as "double-impact." As he lent a helping right hand to his fellow Filipinos in order to weather fire, earthquakes, storms and all other calamities, the left hand of Dy is "clenched," so to speak.
It was up in the air, and fighting hard.
As founder and president in the 1970s and 1980s of the Philippine Association of the Record Industry (PARI), Dy professionalized the local music industry and developed Philippine music to its current most-admired status.
Dy’s leadership inspired and synergized the business acumen of his associates, surprisingly including his friendly competitors, together with likeminded Filipino composers, authors, publishers and artists to "get our acts together, for the protection of intellectual property rights." Not just music, but all IPRs, including the movies, computer software, books and other works of art.
The anti-piracy program PARI had implemented under Dy minimized music piracy to a substantial level. This elicited the support of the press and the media. It compelled the law enforcement agencies to take more decisive action. Bills were initiated and laws passed. Everybody was happy.
During those times, Dy had also inspired the foundation of ASEAN Music Industry Association (AMIA).
As founding father of the Association of Southeast Asian Nations’ industry organization that deals with music concerns, Dy was responsible for advancing the causes of Asian spirit as epitomized in and by music "without blacklisting foreign music in the region." It also let the Filipino talents shine in Asia. His inspired leadership of the AMIA strengthened Dy’s advocacy versus piracy in the Asian bloc even more, which prompted a commendation from Ian Thomas, then director-general and Chief Executive of the International Federation of Phonogram and Videogram Producers (IFPI).
All the Dy-inspired music companies, under the Dyna Group (topbilled by Dyna Music now run by son Howard Dy as Managing Director), accounted for a considerable share in total Philippine music market, according to official figures.
His is a living example to his children and grandchildren and leads by inspiration to his people – that is why he commands respect from three generations of Filipino-Chinese in the Philippines: from the trailblazing Filipino-Chinese General Chamber of Commerce, to the Federation of Filipino-Chinese Chamber of Commerce and Industry. In 1999, he was conferred a doctorate degree in Humanities.