We see Mylene, as an up and coming disco diva, being swayed to leave her virginous, good girl image and have more of a sex appeal with her image and performance to make it big in the music industry. Shaolin, purposely trying to get under her skin, tells her she’ll never make it big because she’s not sexy. Roy persuades Mylene to change her image and be apart of movie playing the role of a sexy female lead. Both of these scenes reminded me of Tiongson’s reading that included interviews of Pinay DJs. Many of the artists expressed how they are judged hypercritically by Pinoy DJs, and are more hireable for gigs when they decide to perform with sex appeal. If Mylene hadn’t come to the decision to perform with sex appeal and and kept her religious image, Roy would have taken his offer away to produce an album for her. Women who perform who have more sex appeal are more consumable to a larger audience, particularly the male audience, and  become more profitable. I can’t help but wonder if, like some of the Pinay DJs, after transitioning to a “sexy image”, if Mylene will ever question if her fans support her for her image first and her music second. These scenes also reminded me of.Rose’s reading discussing the sexism of women in the music industry, especially black women within hip hop, being seen as only sex objects for their audience so that the heads of these industries, usually male, can profit off of them. This is highlighted with Roy’s and Mylene’s work dynamic. However it is not only reinforced by the higher ups in the industry, but the rappers themselves who must protect their masculine image within the industry. In Shaolin’s and Mylene’s argument, he defends his hypermasuline imge after being provoked by Mylene and says “I ain’t no f*****”. His susee of homophobic slurs followed by him saying the Mylene has no worth in the industry bc she’s not sexy, is his way of holding onto his maculine power, reinforcing the sexist dynamic.