- The album wasn't delayed. It's coming before the fall and she's working HARD for it.
- She's still working on it but is on the final sessions.
- Love Your Body was initally planned as a buzz single but it won't make the final cut or it will end as a bonus track or b-side, cause it doesn't fit the album theme. But I guarantee you that it exists
- DJ Premier, Max Martin, Benny Blanco and Paul Epworth are on.
- Polow is out. His tracks were reffused by her camp
- She's recording a powerful duet with another female singer for a tribute album.
- She's working with Cee Lo in other song, but not as a featuring.
- Scott Storch is not on the album.
- Sia wrote 1 song.
- Ladytron is probably back.
- Linda Perry too. As a producer, I wasn't informed about her writing for Christina again.
- There's a song dedicated to her father.
- And a song about her divorce (obviously) but the lyrics are kinda "ironic" and "fun", like in Madonna's "I Don't Give A".
- Ryan Tedder co-wrote 3 songs. Same for Talay Riley.
- Ester Dean and Claude Kelly are co-writting again.
- Christina's camp is getting in touch with Azealia Banks. 212 is her new jam
- She's feeling very inspired by Marie Antoinette and Whitney Houston recently. Maybe it means something...
I'm sorry, but I'm not believing this. I think Paul Epworth even tweeted that she is not working with Christina.
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Originally posted by I'mRihannaFan
I have a bad feeling, I think the 1st single will be released in September
Article from a site called "Sexy Feminist" called New Feminist Icons: Beyond Gloria Steinem and Virginia Woolf. Christina is mentioned:
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Christina Aguilera – An Exercise in Feminist Evolution
Yes, there were ass-less chaps. We’ll get to those in a minute.
The world met Christina Aguilera in that teen-pop-saturated year of 1999. The former All-New Mickey Mouse Club kidstood out among the flaxen-haired, dimple-cheeked masses because of her voice. It was bigger, stronger, and more dimensional than anything we’d heard since Mariah Carey. So we listened. And what we heard within the mix of sexualized coming-of-age fluff like “Genie in a Bottle” were girl anthems about empowerment, individualism, and standing up for yourself. “Fighter,” “What a Girl Wants,” and “Can’t Hold Us Down” championed a woman’s rights to call the shots and reject the double standards set forth by sexism and patriarchy. As she sang in “Can’t Hold Us Down”: “Am I not supposed to have an opinion?/Should I keep quiet just because I’m a woman?” Those are some lyrics we’re happy to have stuck in our heads to a catchy tune—and even better, stuck in the heads of young girls around the world.
In Christina’s world, women are never reduced to pining for a man or cowering from his abuse. They’re loud-mouthed, opinionated bitches (a title she owns, Tina Fey-style) who get what they want when they want it. It’s a ballsy message Madonna could get behind. She also has a softer side: Her song “Beautiful” is a powerful celebration of individuality and difference, with a video featuring young people of all genders, sexual orientations, and backgrounds, proclaiming their common beauty. No matter how you dress up the package, her message is one of the more feminist in popular music today.
Of course, the packaging of Christina Aguilera has always been part of the discussion surrounding her—oftentimes, the loudest part. Pop star as fetish object is nothing new, but most young performers are either too naïve to reject the image forced on them by an industry still run and ruled by men, or so eager to excel that they go too far (see: Britney Spears and Miley Cyrus). But as soon as Christina was old enough to understand her sexuality, she owned it. Sometimes that meant going a little too far, and these actions weren’t without consequence; little girls everywhere wanted to wear the belly shirts and spandex she popularized during her early reign.
Aguilera has often talked about the Catch-22 of being a female performer who’s pressured to showcase her physical attributes while being criticized for doing so. “How do I not be exploited whilst selling my sexuality? For me it’s a matter of opinion about how far is too far. … I am not an object. I am in control. I’m in the power position. I decide who I am and it’s too bad if you don’t get it—or want it,” she told Cosmopolitan. The lesson: Giving into a short-shorts trend or stuffing our bra at some point in our lives doesn’t mean we can’t evolve into self-aware feminists. As humans, we experiment and explore the extremes of ourselves to see where we feel most at home within our bodies. Aguilera simply did it in the public eye.
So as Aguilera evolved, she may have made mistakes—and when we say mistakes, we mean those ass-less chaps from the “Dirrrty” video. But most young women have a pair of ass-less chaps in their past—metaphorically speaking. Learning from them is what matters.
Christina Aguilera, Katherine Hepburn of Pop, or Why The Bitch Factor Doesn't Matter
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Well behaved women rarely make history, legendary film sirens were not generally sweet and retiring, and the great women of popular music who remain remembered were rarely lauded for good manners and poise in their own time. Why then, the worry that Christina Aguilera, for many the villainess of pop music, needs to "sweeten" up her image to gain the 'legendary' status her fans know her by?
If Britney Spears, with her coy sex appeal and public meltdowns and lost girl image which seems to garner her much popular sympathy is Marilyn Monroe, and Madonna, with her stone cold commitment to remaining relevant and making herself the singular pop woman to be reckoned with is Joan Crawford, then Christina Aguilera is Kate Hepburn, the notoriously opinionated and tough-talking film legend who broke conventions and stepped on toes and offended critics, and yet still won a record breaking four Oscars and whose place in film history is solid gold.
Ignore for a moment that most of the rumors of Christina's 'difficult' reputation when broken down basically come out to "she seemed cold when she shook my hand" or "I didn't like how she smiled" or "She looked scary." Assuming she is difficult, why should this prevent her from attaining legendary status? Katherine Hepburn was known for her difficult behavior: fighting with directors, punching Peter O'Toole, being fired from The Animal Kingdom for being "that irritating girl."
And yet Hepburn reaped benefits from this kind of brash behavior. As she said in an interview "I had to [behave that way] or they would have had me playing *****s or discontented wives who always wonder whether they should go to bed with some bore."
Which sounds not at all different from Ms. Aguilera's assertion that being an assertive woman, one is bound to be called a bitch, and that had she not behaved as she does, she would have remained in the grip of management who worked her to the bone playing America's Sweetheart night after night, living in the shadow of the more sweetheart-esque Britney Spears without ever showing her artistic range.
Hepburn also managed to make herself a success without tailoring her personality to society's standards, despite the hate she received from audiences and critics. Her personality - her sense of entitlement, her refusal to hide her intelligence, her forthcoming mannerisms, her stubborn unwillingness to appear pleasing in any traditional feminine way - was not one to engender sympathy from the majority of women or men.
And yet she managed to force those around her to give in to the inexorable force that was Hepburn. She played herself, or variations thereupon, and by endless work, managed to garner herself a place in history.
Christina Aguilera shares many of her qualities. Like Katherine, Christina is known for her dedication to her work: colleagues, professionals in the business, and even detractors admit that she takes her music seriously, works hard, knows her craft and shows up and does her thing. Many of the contestants on NBC's hit "The Voice" have mentioned their surprise at how knowledgable about music she is, and how passionate she is about her craft.
Like Katherine, Christina refuses to hide her opinions. From taking on mega-rapper Eminem for misogynist lyrics (made all the more pertinent considering her history of growing up in a household filled with domestic violence), to giving honest, hard hitting critiques as a coach, she has been despised for her unwillingness to keep her mouth shut.
Quick, as a test: name three opinions Britney Spears has expressed which made you think, which were in any way controversial, which addressed some issue in society. Done? Most likely, you thought of actions which engendered controversy: wearing revealing outfits, her dancing, her public breakdown. Yet her opinions on these things tend to be themselves effortlessly bland, and exude a sweet-spirited naivete which seems to make her all the more beloved.
Now think of opinions Christina has expressed. There are a good deal more: one can recall her calling out other artists for using Autotune, her critiques of sexual double-standards in society and the music business, her stance on domestic violence...the list goes on. Ms. Aguilera faced an excessive amount of vitriol this season on her hit show for critiquing one contestant for being 'too one dimensional' and worried that 'celebrity sway' from his past career on the Mickey Mouse Club and famous friends would help him win over more talented members.
The uproar was instantaneous. Nevermind the fact that she is paid to give criticism, or that she neatly explained what her issues were: the contestant was talented, but not as much as others, and she didn't want him to win due to famous friends pulling for him. The contestant himself and others around him were thrown into a tizzy over why she "really" 'insulted' him. It could never be that she had an opinion on his talent level and stated it. Oh no, she had to have had a deep abiding crush on him from back when she was twelve, or a fight with other MMC members, or jealousy that he was supported by celebrities. Because it was impossible for a woman to simply make a critique: she must be driven by emotion.
Christina, like Katherine, also suffers obsessive public scrutiny and at times fury for not appearing in traditionally pleasing modes of dress. Katherine shocked in her trousers at a time when women were expected to wear skirts, she stunned with her refusal to wear any makeup but red lipstick, she horrified when she appeared frumpy or masculine. Yet she ignored her detractors, and continued to dress in a manner pleasing only herself.
Christina shares this trait. Hounded for dressing too 'trampy' or too 'messy' for being too skinny, too overweight, too ridiculous: her refusal to appear consistently conventionally attractive seems to invite the ire of both men and women. Yet, like Hepburn, Christina slaps on her red lipstick and shows up to award shows and tributes dressing exactly how she pleases.
Of course, one does not become a legend over night, or even over months of nights, or a year: it takes many years of consistent work to be considered one. Christina Aguilera will ultimately have to continue putting out strong work, proving her mettle as a songwriter and artist, and challenging conventions to join the ranks of Ms. Hepburn. Yet she seems to be on the right track: after all, Katherine was called a bitch for years on end, until she was finally named a living legend.
Do you think it's true that X could tribute her? Could explain those "whitney" type runs in The Prayer. The poster before did say "a powerful duet for a tribute's album".
