Macapagal 43 to re-imagine Imelda’s acts as separate from political history. For Balance, Byrne’s concept album “continues to maintain an ironic distance from its subject, an amused detachment from the actual events that led to her notoriety” (Ibid 134). In this paper, I wish to extend Balance’s insight by shifting the focus on Byrne’s project itself. Disco-Opera “Here Lies Love,” as fantasy-production of Western (Byrne’s) imaginary, necessarily takes the form of a cultural commodity. The production of the album exemplifies the commodification of music as a product of capitalism (an actual product, packaged, marketed, sold) that listeners buy and consume, not simply listen to. And as a commodity, “Here Lies Love” becomes fetishized, a mysterious, venerated “thing” that conceals social relations among human beings in the capitalist mode of production (Marx in Adorno 1991, 38). Seen within the context of the global dreamwork, the fetish character of “Here Lies Love” thus operates on two levels, in that it is the fantasy-fetishization of an already fetishized commodity. Imelda herself is a (mythic) female brand, and this Imeldific fantasy-fetish is commodified further in “Here Lies Love.” What sets “Here Lies Love” apart from typical music albums is not just that it is a “concept album” but that the concept being sold is a fetishized figure of Philippine history. “Here Lies Love” is a fantasy-production of a fantasy-production—fetishization of history through the fetishization of music. We go back to the fetish character of music posited by Theodor Adorno, which despite its limitations, still manifests itself in musical productions today. In the capitalist culture industry, Adorno argues that “The fetish character of music produces its own camouflage through the identification of the listener with the fetish” (1991, 48). In the case of “Here Lies Love,” the listener buys into (identifies with) the fetishized fantasy of Imelda. The selling factor of this album is dependent not so much on the music, but on branding of Imelda. The fetishization of music in “Here Lies Love” can be coupled with the fetishization of (Imelda’s) image, as Byrne’s promotional videos for the musical is assembled using historical footage of Imelda in her glory days. This kind of double fetishism may explain the combination of genres that Byrne used in “Here Lies Love.” The fusion of genres used in the record seems like a novel move considering its political/historical subject matter. Byrne calls it “disco-opera.” While “Here Lies Love” is often compared to “Evita” in that both musicals feature the tragic lives of what