Over a week ago, 21-year-old cover artist, CJ Villavicencio celebrated his victory in a Popeyes Philippines-sponsored online talent competition called The Pop Stage hosted by Matteo Guidicelli. While he just won a one million peso grand prize and a one-year contract under VIVA Artist’s Agency, just days later, he was met with headlines that drew allegations of plagiarizing Ang Huling El Bimbo:The Musical’s original musical arrangements in his winning entry.

Ang Huling El Bimbo:The Musical’s massive success in its 3-year run puts it at the pedestal of leading local original theater productions. Through its take on the classic stylings of the alternative rock icons, Eraserheads, they were able to reintroduce a new sound and influence a larger audience to the grandeur of theater, eventually producing its own cult following. Since then, it has continued to expand its channels and its legacy with efforts such as having its own library of original compositions on Spotify and a limited streaming premiere on YouTube at the beginning of the community quarantine.

So, when Villavicencio’s Eraserheads medley was streamed online and won the whole competition, it automatically called for the watchful eyes of fans and critics. Eventually, the alleged plagiarized work reached AHEB’s musical director, himself, Myke Salomon, who was quick to notice the stark semblance of his original musical arrangements and of CJ’s winning entry. This then spread like wildfire on social media fueled by AHEB associate choreographer Stephen Vinas’ side by side comparison, followed by theater actor and dancer, Jef Flores, when he posted a video that dissected the plagiarism accounts of the issue. 

https://www.facebook.com/stephen.vinas/videos/3719621484721359

In Jef’s video, he critically pointed out details that prove the unoriginality of the newcomer’s rendition of “Pare Ko” performance that also tags Ken Umahon and Cedric Calingasan as its musical composers. Here, he minced on every nuance including inflections and gestures paralleled with AHEB:The Musical clips for a more credible analysis. He pinpointed its striking similarities on Salomon’s original compositions solely produced for AHEB:The Musical and the catchy drums that are added to it which he notes is from Michael Jackson’s “They Don’t Really Know Us”. He even brought up the discrepancy of CJ’s post about his entry on July 27 and the time it was edited on July 30 which shows that there’s no mention of Ang Huling El Bimbo as its inspiration until a Facebook user caught notice of its semblance.

AHEB’s very inspiration, lead singer of Eraserheads, Ely Buendia, also spoke up to express his thoughts and disappointment on the victory of CJ’s work despite competition’s criteria that includes originality as 40%. In a Facebook post, he said, “I am disappointed for all the AHEB crew because I know for a fact that they poured all their hearts and souls into creating something that was true to the material and their craft,” he expresses. “In our day to day struggles against this oppressive life, the temptation is always there to take the fast route, the shortcut, the easy way to success. But we are human. I hope this matter is resolved soon and credit is given to those who deserve it.”

This was then followed by a more recent post on Aug. 5 that acts as an appeal to the people, companies and corporations involved in the issue. 

On Aug. 4, Cj finally broke his silence on the issue with a statement of apology on the allegations thrown his way. He wrote,

“Over the weekend, my life has changed in an instant. I did not expect my victory to trigger so much negative comments and hate online. I was hurt and it also aches my heart to unintentionally hurt some people as well, especially the production team of ‘Ang Huling El Bimbo The Musical.

My final performance during the finals of ‘The Pop Stage’ is an Eraserheads medley and was meant to be a tribute to my favorite artists and musical while also incorporating my own story and experiences. It is a piece that reflects my relationship with my friends, my role as a student, and my passion for music. It was also dedicated to all the students who endlessly strive in life.

There was no intention whatsoever on my part to plagiarize. I am sorry if I caused undue distress, seemed disrespectful or if I have hurt the theater community. Honestly, the things that I’ve read slightly affected my mental health. I’d also like to take this opportunity to thank all of the people who messaged just to check up on me. 

Clearly, as an amateur and aspiring artist, I still have so many things to learn. I humbly ask for everyone’s understanding as I navigate this new world that I have recently entered. I am not a bad person. My intentions were far different from what people think.

I am grateful for the support of my new management and the people behind ‘The Pop Stage.’ I am also deeply thankful to ‘The Pop Stage’ judges, Popeyes and my supporters for this life-changing opportunity. In this time of uncertainty, may we all have the heart to spread love among humanity.”

Cj’s apology, however, has now been deleted after it further drew flak from the community for apologizing too little and too late on the issue. To this date, The Pop Stage, Popeyes Philippines, along with the competition’s judges have yet to issue a statement on the backlash they received but it has since removed the videos of its finalists’ performances on Facebook.