By Farah G. Decano

 

TO the world, Spoliarium is Juan Luna’s famous painting that won first place in the 1884 Exposicion National de Bellas Artes in Madrid.  Depicting fallen gladiators being dragged out of the arena by Roman soldiers before spectators coveting the dead warriors’ armor and weapons, the Luna composition is now proudly displayed at the National Museum as its centerpiece.

To the Filipinos, it is also Eraserhead’s 1997 hit song that captivated the young generations of that decade.  The composer, Ely Buendia, revealed only in recent years that it was about hang-over of friends after drinking bottles of Goldschlagger.  The 90’s jingle still continues to enjoy a good playtime in music apps.

In  evaluating both artworks, the Filipinos did not just appreciate them at face value. They have associated different meanings to both compositions with a common theme:  oppression and the opportunism of cowards.

According to history, Juan Luna’s obra was intentional in the depiction of the sufferings of Filipinos under the Spanish Regime.  His international exposure in Europe made him realize the injustices, violence, and abuses that his countrymen endured during the rule of the Spaniards.  His painting emits a gloom of helplessness against the powerful enabled by the complicity of the fearful.  Any sensitive art looker will certainly leave the museum with a tinge of a heavy heart after a few minutes of gazing at the extensive oil canvass.

Eraserhead’s Spoliarium has been associated with the same theme of defenselessness against the mighty and the influential.  Unlike the visual art of the same title, the more popular meaning of the song was not intended by the composer.  The listeners connected the same to the rape case filed by 80’s bold star, Pepsi Paloma, against celebrity hosts – Vic Sotto, Joey de Leon, and Richie d’ Horsie.  The criminal action was eventually withdrawn and the latter hosts made a public apology. An unverified gossip spread like wildfire  that the young star  signed the desistance at gunpoint by someone close to the three celebrities. When Eraserhead’s Spoliarium was released 15 years later after the controversy, the following lyrics of the song brought back to the consciousness of the Filipinos the tragedy of Pepsi Paloma:

 

Umiyak ang umaga
 Anong sinulat ni Enteng at Joey dyan
Sa pintong salamin
Di ko na mabasa
Pagkat merong nagbura

 

Despite repeated denials by the composer, the song’s continuing allusion to the rape case persists over the decades. It did not help that Senator Vicente “Tito” Sotto in 2018 had to stop the Daily Inquirer from publishing articles by a certain Atty. Rodel Rodis about the young star.  The restraint gave more meaning to the lyrics of the song,… “Pagkat merong nagbura.” In fairness to the Daily Inquirer and Senator Sotto, the author was given a chance to substantiate his claims in his Pepsi Paloma articles but he was not able to provide any. Hence, these Rodis’ articles were made unavailable.

The takedown of Atty. Rodis’ articles, however, did not hush the “chatters.”  Instead, it triggered what is now popularly called the Streisand effect –  the increase of public awareness because of attempts to hide information.

There have been many crimes involving celebrities in the Philippines but nothing captivates the public so much like the case of Pepsi Paloma.

Is it because of some societal guilt we want to erase?   During that time, we witnessed  the exploitation of the poor, the abuse of minors, the condescending treatment of women, and the strong-arming by the wealthy, and yet, we did nothing.

Did we all behave like the spectators in Juan Luna’s painting?  Did a young woman die of depression because the world stood still as others took advantage of her youth and innocence?

The song Spoliarium has a way of reminding us.  It is lyrical. It is poignant. May we someday completely atone for our sins of omission.

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