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Christina Aguilera says she was 'hurt' when she was pitted against her contemporary Britney Spears in the beginning of their careers in the. With Liberation, Christina Aguilera sings against the pop machine and reworks her legacy.​ .site-title-edit{color:#fff}.content{width:auto;max-widthpx; paddingpx{content:"\f"}.expanded-text{display:none}. expand data-attr-style_post-date-text_all_default_font-size="16px". We need a full disco album from Christina Aguilera STAT. Relationships · Dating · Friends "wanted to make a fun video for my fans since "Telepathy" from most notably 's emotional collaboration with A Great Big World, “Say . These plus-size dresses will spice up your holiday season more than.

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Week recommend you go maze runner, the death cure, the conclusion to the season, one times nike free 5. Vibrant, young lady is things. Released 20 years to the day after her first single "Reflection", a track from Disney's Mulan, the album reminds us that Aguilera's voice, in all its braggadocian bravado, is vital in holding a mirror to culture and making us ask basic reflexive questions.

Like Mulan, Aguilera has entered a male-dominated world and held the men to account, transforming all of our preconceptions about the possibilities for women as pop artists and beyond. Throughout her career, Aguilera has consistently challenged a misogynist culture that persists in constricting a woman's choices and confining what's possible for her, including expecting a woman to do something just because there's desire and expectation and quotas of supply and demand to meet.

Aguilera the unicorn resists typecasting. Should I keep quiet, not speak, cause I'm a woman? Why can't she do exactly as she please without being called a million things? Aguilera as female artist will not conform or fall in line. She challenges; she questions; she pushes; she persists. On some stops promoting Liberation, a diminutive Aguilera stands in front of a screen reading: Far from just lyrical and textual, the career-culminating womanpower messaging of Liberation is also highly visual.

A brief selection of Aguilera's statement t-shirts worn over the year's evidences that she never shies away from speaking her mind through her clothing: Much of Aguilera's recent Liberation promotional and video wardrobe follows this tradition in more subtle ways. She's often literally wearing the pants, hiding her curvaceous figure in oversize menswear: Furthermore, with Liberation, the woman is on top sonically. Beyond lyrical content, over the course of Liberation's 15 tracks, Aguilera often sings atop male voices, manipulating them or drowning them out.

Sexy tunes like "Right Moves", which begins with a male voice before letting the trio of women be on-top, and "Pipe", which features unknown rapper XNDA responding to Aguilera's dominant come-ons with something akin to reverent submission, allow Aguilera to be in full command of her grown-woman sexuality.

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Finally "Like I Do" allows Aguilera to respond to rapper Goldlink's come-ons and to flirt both coyly and confidently with Anderson. Paak about her singularity as both woman and musical artist: Where you want to be, I've been before This litany of male voices singing beneath her on Liberation functions as the Greek chorus to her role as full-throated Muse, a Goddess of Song, in full possession of her brand of King-like femininity and vocality.

As she sings on Liberation's "Sick of Sittin'": For this display of strength, she has often been publicly and unabashedly slut-shamed, dismissed, objectified, fat-shamed, held to unreachable standards, her talent and artistry stripped of its potency in service of her use value as a sound bite, the butt of jokes, or a marketing counter tool. Much of Aguilera staying woke to womanpower has centered around her refusal to sanitize her own sexuality to meet either the norms of mainstream gender politics or mainline Feminism's resistance to them; unlike contemporaries Britney Spears and Jessica Simpson, Aguilera refused from the outset to play the role of virgin, an innocent void of sexuality.

From "Genie in a Bottle" to "Dirrty" to "Nasty Naughty Boy" to "Woohoo" to Liberation tracks like "Right Moves", "Accelerate", and "Pipe", Aguilera's full-bodied commanding carnality has always been on full display and for some this has been off-putting.

Resistant to binaries, she has refused to subscribe to the culturally comfortable notion that women are either Madonnas or Whores. As Aguilera stated on Zane Lowe's Beats One radio show in Juneshe's a "statement girl", and the complexity of her statements refuse to obfuscate her very-human existence as a sexual being. Aguilera has used her stradivarian voice and the platform it has afforded her not to play it safe and inoculate herself from misogynist criticism but to push us to think more critically and openly about gender and sexuality as they intersect her creative expression.

As she states in spoken-word on the Liberation track "Sick of Sittin'": In some ways, Lieb was right not to know what to do with Aguilera the pop unicorn. Aguilera is both incomparable vocally and always compared culturally: From the beginning, Aguilera has consistently served as a foil figure in the pop music landscape.

Britney the good girl vs. Pink the badass vs. Kelly Clarkson the classy vocalist vs. Aguilera the sexpot wailer. Lady Gaga the visionary vs. Perry the princess vs. One could safely imagine that Aguilera has earned a specialized JD in pop music for representing herself as defendant in this succession of trials often orchestrated by industry bosses and exaggerated by media outlets.

These imagined and quashed past rivalries continue to reverberate in the Twittersphere where shortsighted fans Aguilera ones included jockey for position within a culture that accepts Lieb's suppositions as a given: It is this peculiar condition of toxic fandom that spawns some of the worst vitriol: One imagines in our hyper connected world, Aguilera is both aware of this negativity and responds to it in her typical frankness with an opening Liberation tour montage in which "my existence has no expiration" echoes in disembodied voiceover.

Despite presidential evidence to the contrary, Aguilera's continued evolution evidences that lasting careers are not made from tweets, that artistic integrity and authenticity shape longevity more than popularity, chart performance, and commercial success. Furthermore, to state the obvious, legacies are far more difficult to craft than three-minute melodic pop songs or character tweets. True artistry is something intangible, indefinable, and ultimately immortal.

In other words, lasting artists exist beyond the lifecycle of Lieb's classified types. It's important to remember that not all social-media music fandom is so toxic. Much of it is tongue-in-cheek like the popular " she does not have the range " memes that emerged in recent years. Twitter user KingBeyonceStan wrote of Aguilera: Other times, the respect is clearly less playful and more earnestly reverent.

For proof, see another popular Aguilera social media hashtag: Perhaps the greatest praise for Aguilera comes from those she herself idolized and whose mantle she carries forth: In spite of fading album sales and chart success, Aguilera's legacy thus far seems to make her one of Lieb's "exceptional few".

Last November, Aguilera delivered one of her most high profile performances in years, paying tribute to Whitney Houston and the 20th anniversary of The Bodyguard soundtrack at the American Music Awards; the social media hash tag used: Aguilera had earlier recorded a cancelled The Voice tribute in which she performed alongside a hologram of Houston; although it never aired, it is accessible online.

More recently, Aguilera recorded a duet with another Disney child star who has long idolized her, Demi Lovato.

As such, sharing "Fall in Line" with Demi Lovato makes the song both pivotal and seminal in Aguilera's career catalogue. Aguilera both extends her legacy and pays it forward. You do not owe them your body and your soul. The combined lyrical and visual critique is clear: At the end of the "Fall in Line" video, the women escape their captors and emerge back to Eden as flashes of the innocent little girls they once were interject their newly liberated adult visages.

I am woman, hear me roar; sisters are indeed doing it for themselves. Sure it's heavy-handed but a surprising amount of Internet commenters have failed to grasp its messaging.

On Liberation, a spoken-word interlude tilted "Dreamers" precedes "Fall in Line". These disembodied and unaccompanied female voices reverberate and echo into the void, reminding us as a culture that we sully little-girl dreams in our objectification of women as superficial spectacles and items for mass consumption. In added texture, one of the song's writers, Audra Mae, is great-great niece of Judy Garland, another child star who struggled with her personal demons, industry pressure, and cultural expectation in her adulthood.

However, artistically, the opening triptych of songs ending with the gut-wrenching "Maria" contains Liberation's more subtle and complex statements. Aguilera has stated that "Maria" is her personal favorite track on the album. It is more deeply personal than "Fall in Line" yet equally as revelatory and liberating. Aguilera has been publicly singing since she was a year-old child, and there are a lot of children circling Liberation.

There are children's laughing voices in the background of the opening orchestration, the young women stating their dreams in "Dreamers", the youthful a cappella soprano of interlude "Searching for Maria" where Aguilera sings a few lines from Rodgers and Hammerstein's The Sound of Music. Then there's "Maria" itself which subverts vocal gender norms, with Michael Jackson's high young boy's voice woven through Aguilera's matured, deeper timbre and low notes.

As Aguilera has stated publicly on numerous occasions, the character of Maria in The Sound of Music played famously by Julie Andrews served in her childhood as both her vocal coach and her escape from family trauma.

In a interview with W magazine, she said, "I watched her twirl around those mountains, and she was just so free I felt caged by my childhood. Bad things happened in my home; there was violence.

The Sound of Music looked like a form of release. I would open my bedroom window to sing out like Maria. In my own way, I'd be in those hills I still feel like going to the window and singing out all my troubles. Throughout her career, on tracks like "I'm Ok" and "Oh, Mother", Aguilera has been vocal about the "bad things" and "violence" she witnessed in her childhood: As Aguilera learned to sing, as she transformed herself into Maria and dreamt of a better world beyond her window in which she too could be a singer, her mother was being beaten.

From the beginning, Aguilera's sonic landscape has contained these echoes of trauma. Furthermore, she has spoken repeatedly on subjects of domestic violence and used the strength of her own voice to advocate for women in her music and in her charitable service.

And so I return to Aguilera's trio of opening statements on Liberation: Such questions and their imperative response reflect the condition of disassociation following traumatic experience, the "disconnection or lack of connection between things usually associated with each other. Disassociated experiences are not integrated into the usual sense of self, resulting in discontinuities in conscious awareness. The invocation of questions in "Liberation", its closing command to "Remember", and Aguilera's childlike voice in "Searching for Maria" conjure an enchantment wherein a young "Maria" appears.

At the opening of "Maria", Aguilera speaks "I'm here. In searching for and locating Maria, Aguilera integrates the scared child who loved to sing within her adult person and liberates both of them for her creative future, a future hopefully beyond the confines of Lieb's lifecycle model and industry expectation.

Indeed, with Liberation, Aguilera is not chasing a chart; she's articulating something much deeper, subverting chart importance to her voice and artistry as a fully realized grown woman. This three track progression at the top of Aguilera's album—"Liberation", "Searching for Maria", and "Maria"—is perhaps the closest we will ever get to a representation of the dissociative aspects of childhood trauma and an adult's reintegration and liberation from them in pop music.

It's genius, a transcendent masterstroke. It's Liberation's "Maria" triptych that made me first think of Kapadia's Amy, a film that the director says forms the centerpiece of a trilogy of documentaries " about child geniuses and fameand the effect it can have, and what they mean to their country and what they mean to people. Since appearing on Star Search and the Mickey Mouse Club as a child, Aguilera is aware firsthand of this narrative, and she has had her highly public well-chronicled meltdown moments.