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rainbow1199

Posts: 12,520 Often imitated, never duplicated.

#2701 [url]

Jun 7 10 8:30 PM

mariahfan150 wrote:
The thing is, Christina has problems with EVERYONE (Mariah, P!nk, Mary, Beyoncé, Britney etc.) but that's not even why I don't like her as a person. I have never once heard anyone say anything good about her, except for some producer of the moment. Anyways, I could care less about artists talking about artists.

I don't like her because there's nothing original in the slightest about her, meanwhile she really thinks she's the greatest thing walking the earth with only two hit records to her name. At least with Madonna she (her persona) was original, there was no female artist like her before her. To me, Madonna was authentic (until the whole lady of the manor, uber philanthropist bullshit of the past 10-15 years) and she is actually intelligent (not posing as someone's who's intelligent and failing miserably) self-deprecating and honest about herself at times. Christina is none of that, but I still bought all of her studio albums up to this one.
This is why you are my favorite poster here

Like I said in regards to her MTV Awards performance a few pages ago, what really gets me the most about Christina is not even her nastiness or arrogance but her fakeness.  I don't understand how anyone can be a fan of her as a person because she changes everything about her every damn record.  Normally I would applaud the bold sexual things she does, but I don't think there's any real meaning behind them.  The woman lives the most traditional life ever- settled down with a husband by 25, a kid soon after.  I don't feel any genuineness from her sexual statements.  Now, Madonna, of course, wasn't really living the life she displayed in the early 90s, but you could tell that at least ideologically she was in support of all of it.  If Christina thought there was profit in it, she'd probably be a Christian country singer. 

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BeyondIdolization

Posts: 24,926

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#2702 [url]

Jun 7 10 8:38 PM

mariahfan150 wrote:
What's funny about the whole thing is, Madonna was asked a question and she answered it unfiltered. Mariah didn't even like who she was as an artist herself back when it was said. . People really need to look up the definition of 'fake', because that was anything but 'fake'. 'Fake' would have been like Whitney in 1998 who acted like her and Mariah were great friends, when she had made well disguised disses at her before and possibly after that (I still don't know exactly what she meant when she said, 'I feel like Mariah' on that GH DVD in 2000).



I do think this whole thing is a bit fan-fueled ridiculousness, but I do believe Madonna does have respect for Mariah after all these years (she's softer now, after all), and I've always believed Mariah's had respect for Madonna (despite the 'vocice' controversy').

As for Whitney-Mariah, I do believe Whitney gained a new respect but she obviously still felt like she was 'The Best' . Mariah's expression of respect during that time was much more genuine imo.

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Colson

Posts: 18,927 FOMM Extraordinaire

#2703 [url]

Jun 7 10 8:42 PM

esettle0 wrote:
Colson wrote:


It doesn't matter what she said about TMB, die was cast once she insulted Mariah during the Daydream era. That cannot be erased no matter what fake comments she's made years latter.
So ultimately your saying that Madonna has dissed Mariah too, so why is the hate for her not the same as Christina? 

  




I've already discussed this ad nauseum in the past. Christina's diss wasn't nowhere near as bad as the other 'woman'. Take it how you may. That's how I feel.

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NhWxMaN

Posts: 15,344 FOMM Extraordinaire

#2704 [url]

Jun 7 10 8:44 PM

Chicago Tribune review of Bionic



Rating: 1 star (out of 4)

For the last decade, Christina Aguilera’s career has been as much or more about marketing as it has been about singing. It’s a shame, because as pop-machine creations go, Aguilera has genuine chops as vocalist, and far greater upside than just about any of her peers in the late-‘90s teen-pop invasion.   

On her 1999 self-titled debut album, she distinguished herself from the Britney/Backstreet Boys pack with a rangy voice that belied her youth (plus, “Genie in a Bottle” was a fetching single). After that, her career has taken a series of curious turns. Her albums have moments that live up to her promise, but are weighed down by ill-advised concepts, garish over-singing and off-putting celebrations of self (or even more off-putting complaints about just how tough it is to be Xtina). 

Her 2002 album, “Stripped,” confused growing up with stripper-pole come-on’s, and “Back to Basics” (2006) tried to turn her into a swing-era throwback who claimed she worshiped Etta James and Aretha Franklin, but then over-sang so much that it’s clear she hadn’t learned a thing from those icons. Now comes “Bionic” (RCA), which presents her as …  a robot?

Actually, futurism is all the rage lately. Lady Gaga, Rihanna and Janelle Monae are all doing variations on sci-fi themes and sexy android characters. Besides working with producers who have defined mainstream radio pop the last decade (Tricky Stewart, Polow Da Don, Linda Perry), she enlists edgier collaborators, including M.I.A. and her coproducer, Switch; Berlin-based feminist provocateur Peaches; dance-punk trio Le Tigre (including riot grrrl icon Kathleen Hannah); and Santigold producer John Hill.

The idea is to reinvent Aguilera as a techno-age diva, which means folding her voice inside uptempo dance music and glitchy electronic textures. As she declares on “Not Myself Tonight”: “I’m doing things I normally don’t do.” OK, sounds interesting so far; by making the singer’s prodigious voice less of a focal point, “Bionic” puts the emphasis on the production, the sound, the sheer audacity of upsetting expectations. 

The strategy is most successful on “Elastic Love,” in which the electro beats – conjured by Hill and Switch – propel Aguilera through a psychedelic arcade of sound effects. It would’ve been fascinating to see how far a full-blown collaboration might’ve taken her, but Aguilera spreads out the songwriting and production credits in search of more hits, most of which come off as flimsy gimmicks. 

Even by the standards of her first album, which catered to the teen market, “Bionic” is juvenile. “WooHoo” approximates dancehall reggae and distorts her voice while she spouts, “Licky, licky, yum-yum, what a great guy!”

The focus on beats ensures that these tunes will sound even sillier off the dancefloor. She dispenses fashion tips (“Don’t let the clothes wear you!”) while recycling Madonna’s “Vogue” on “Glam.” She sings in Spanish and moans a lot while demanding “Get naked!” on “Denudate.” “I Hate Boys” is the kind of trite glitter-disco the Spice Girls might’ve dispensed. And even the vaunted Le Tigre/Peaches combo platter on “My Girls” fails to ignite. 

Sandwiched between the dance tracks are a handful of ballads that allow Aguilera to flex her vocal muscles. These songs have a tacked-on quality, as if they were afterthoughts designed to sate those Aguilera fans who would complain about all the sci-fi dance tracks. But, really, does the world need another over-emoted power ballad like the Linda Perry-written and produced “Lift Me Up”?

Desperation takes hold as “Vanity” wraps up the album. Strutting like a Pussycat Doll, Aguilera intones: “Let us not forget who owns the throne.” A child’s voice answers: “You do, mommy.” 

Sarcasm? Don’t bet on it.

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BeyondIdolization

Posts: 24,926

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#2705 [url]

Jun 7 10 8:48 PM

Colson wrote:
esettle0 wrote:
Colson wrote:


It doesn't matter what she said about TMB, die was cast once she insulted Mariah during the Daydream era. That cannot be erased no matter what fake comments she's made years latter.
So ultimately your saying that Madonna has dissed Mariah too, so why is the hate for her not the same as Christina? 

  




I've already discussed this ad nauseum in the past. Christina's diss wasn't nowhere near as bad as the other 'woman'. Take it how you may. That's how I feel.



Come on, Christina disses Mariah every chance she gets. Madonna hasn't dissed Mariah since 1995, and actually complimented her in 2008. Stop having bitchy queen grudges against Madonna and turn that anger towards Christina who dissed Mariah as late as 2006.

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Colson

Posts: 18,927 FOMM Extraordinaire

#2706 [url]

Jun 7 10 8:49 PM

rainbow1199 wrote:
esettle0 wrote:
Colson wrote:


It doesn't matter what she said about TMB, die was cast once she insulted Mariah during the Daydream era. That cannot be erased no matter what fake comments she's made years latter.
So ultimately your saying that Madonna has dissed Mariah too, so why is the hate for her not the same as Christina? 

  
I think Michael (mariahfan150) has already provided an excellent explanation for why the hate for Christina on here far exceeds the hate for Vadge.  For some reason, when it comes to the latter, Colson has a major stick up his ass.  You'd think she molested him as a child or something.  See his reply to my post a few pages ago- where instead of answering the question I asked, he wrote a typically immature, nasty couple of sentences. 





STFU!! As I've told you many times in the past. And my opinion isn't going to change on this matter. I don't care what you Michael or whomever has said. 'Your' or his opinion of an 'excellent' explanation is just that, an 'opinion.' So when you continue to use 'my' name, bring up my name in your post(s) as if we are having a one and one discussion to begin with. I've been through with you a long time ago, yet you continue to act as if we are having a conversation. I don't care if this is an open forum. I don't give a f*ck what you have to say. Now how's that for being immature and nasty? Capisce!

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esettle0

Posts: 21,128 Reflections of your love have come to wither

#2707 [url]

Jun 7 10 8:53 PM

NhWxMaN wrote:
Chicago Tribune review of Bionic


Rating: 1 star (out of 4)



On her 1999 self-titled debut album, she distinguished herself from the Britney/Backstreet Boys pack with a rangy voice that belied her youth (plus, “Genie in a Bottle” was a fetching single). After that, her career has taken a series of curious turns. Her albums have moments that live up to her promise, but are weighed down by ill-advised concepts, garish over-singing and off-putting celebrations of self (or even more off-putting complaints about just how tough it is to be Xtina). 

Her 2002 album, “Stripped,” confused growing up with stripper-pole come-on’s, and “Back to Basics” (2006) tried to turn her into a swing-era throwback who claimed she worshiped Etta James and Aretha Franklin, but then over-sang so much that it’s clear she hadn’t learned a thing from those icons. Now comes “Bionic” (RCA), which presents her as …  a robot?

Actually, futurism is all the rage lately. Lady Gaga, Rihanna and Janelle Monae are all doing variations on sci-fi themes and sexy android characters. Besides working with producers who have defined mainstream radio pop the last decade (Tricky Stewart, Polow Da Don, Linda Perry), she enlists edgier collaborators, including M.I.A. and her coproducer, Switch; Berlin-based feminist provocateur Peaches; dance-punk trio Le Tigre (including riot grrrl icon Kathleen Hannah); and Santigold producer John Hill.

The idea is to reinvent Aguilera as a techno-age diva, which means folding her voice inside uptempo dance music and glitchy electronic textures. As she declares on “Not Myself Tonight”: “I’m doing things I normally don’t do.” OK, sounds interesting so far; by making the singer’s prodigious voice less of a focal point, “Bionic” puts the emphasis on the production, the sound, the sheer audacity of upsetting expectations. 

The strategy is most successful on “Elastic Love,” in which the electro beats – conjured by Hill and Switch – propel Aguilera through a psychedelic arcade of sound effects. It would’ve been fascinating to see how far a full-blown collaboration might’ve taken her, but Aguilera spreads out the songwriting and production credits in search of more hits, most of which come off as flimsy gimmicks. 

Even by the standards of her first album, which catered to the teen market, “Bionic” is juvenile. “WooHoo” approximates dancehall reggae and distorts her voice while she spouts, “Licky, licky, yum-yum, what a great guy!”

The focus on beats ensures that these tunes will sound even sillier off the dancefloor. She dispenses fashion tips (“Don’t let the clothes wear you!”) while recycling Madonna’s “Vogue” on “Glam.” She sings in Spanish and moans a lot while demanding “Get naked!” on “Denudate.” “I Hate Boys” is the kind of trite glitter-disco the Spice Girls might’ve dispensed. And even the vaunted Le Tigre/Peaches combo platter on “My Girls” fails to ignite. 

Sandwiched between the dance tracks are a handful of ballads that allow Aguilera to flex her vocal muscles. These songs have a tacked-on quality, as if they were afterthoughts designed to sate those Aguilera fans who would complain about all the sci-fi dance tracks. But, really, does the world need another over-emoted power ballad like the Linda Perry-written and produced “Lift Me Up”?

Desperation takes hold as “Vanity” wraps up the album. Strutting like a Pussycat Doll, Aguilera intones: “Let us not forget who owns the throne.” A child’s voice answers: “You do, mommy.” 

Sarcasm? Don’t bet on it.
OMG, I sooo want to hang out with the writer of this review. He/She soooo gets it. the 2nd and 3rd paragraphs are hilarious and true.

  

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Colson

Posts: 18,927 FOMM Extraordinaire

#2709 [url]

Jun 7 10 8:57 PM

BeyondIdolization wrote:
^^ Now you're just being an idiot. And rainbow1199 even called me a c*nt the other day.




I could care less about your internet relationship with him/her. They can call you whatever they want to.

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rainbow1199

Posts: 12,520 Often imitated, never duplicated.

#2710 [url]

Jun 7 10 8:58 PM

BeyondIdolization wrote:
mariahfan150 wrote:
What's funny about the whole thing is, Madonna was asked a question and she answered it unfiltered. Mariah didn't even like who she was as an artist herself back when it was said. . People really need to look up the definition of 'fake', because that was anything but 'fake'. 'Fake' would have been like Whitney in 1998 who acted like her and Mariah were great friends, when she had made well disguised disses at her before and possibly after that (I still don't know exactly what she meant when she said, 'I feel like Mariah' on that GH DVD in 2000).



I do think this whole thing is a bit fan-fueled ridiculousness, but I do believe Madonna does have respect for Mariah after all these years (she's softer now, after all), and I've always believed Mariah's had respect for Madonna (despite the 'vocice' controversy').

As for Whitney-Mariah, I do believe Whitney gained a new respect but she obviously still felt like she was 'The Best' . Mariah's expression of respect during that time was much more genuine imo.
What 'voice' controversy are you talking about? 

I do agree with you regarding the two, although Mariah got Madonna back pretty good for what she said in 96 ("I haven't paid much attention to her since middle school when she used to be popular").  I wish Mariah still had that kind of attitude- now she seems to scared to talk about other artists.  Can't blame her though, she probably just doesn't want to get a reputation like Xtina.

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BeyondIdolization

Posts: 24,926

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#2711 [url]

Jun 7 10 8:59 PM

^^ Well, that's fine. But you're not expressing your opinion in a way that will make people take you seriously.

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rainbow1199

Posts: 12,520 Often imitated, never duplicated.

#2712 [url]

Jun 7 10 9:00 PM

BeyondIdolization wrote:
^^ Now you're just being an idiot. And rainbow1199 even called me a c*nt the other day.
Only cause you called me superficial .

And I am sorry.  I should really only reserve that word for people like Colson, who most likely need mental health attention far greater than we can provide .

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esettle0

Posts: 21,128 Reflections of your love have come to wither

#2713 [url]

Jun 7 10 9:02 PM

Colson wrote:
esettle0 wrote:
Colson wrote:


It doesn't matter what she said about TMB, die was cast once she insulted Mariah during the Daydream era. That cannot be erased no matter what fake comments she's made years latter.
So ultimately your saying that Madonna has dissed Mariah too, so why is the hate for her not the same as Christina? 

  




I've already discussed this ad nauseum in the past. Christina's diss wasn't nowhere near as bad as the other 'woman'. Take it how you may. That's how I feel.
I feel you. Well I'm not gonna lie, I am being bias. I love Madonna, so I'm not gonna hate on her now for something she said two decades ago. I've never listened to a Christina song and felt like I've grown, or that I've learned something like I have with Madonna's music. I just find Christina to be offensive, fake, and at one point in her career very overrated. Christina dissing Mariah is one of the reasons I hate on her, but its def not the only reason.

  

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BeyondIdolization

Posts: 24,926

May we always be together...
In the sands of time

#2714 [url]

Jun 7 10 9:09 PM

rainbow1199 wrote:
BeyondIdolization wrote:
mariahfan150 wrote:
What's funny about the whole thing is, Madonna was asked a question and she answered it unfiltered. Mariah didn't even like who she was as an artist herself back when it was said. . People really need to look up the definition of 'fake', because that was anything but 'fake'. 'Fake' would have been like Whitney in 1998 who acted like her and Mariah were great friends, when she had made well disguised disses at her before and possibly after that (I still don't know exactly what she meant when she said, 'I feel like Mariah' on that GH DVD in 2000).



I do think this whole thing is a bit fan-fueled ridiculousness, but I do believe Madonna does have respect for Mariah after all these years (she's softer now, after all), and I've always believed Mariah's had respect for Madonna (despite the 'vocice' controversy').

As for Whitney-Mariah, I do believe Whitney gained a new respect but she obviously still felt like she was 'The Best' . Mariah's expression of respect during that time was much more genuine imo.
What 'voice' controversy are you talking about? 

I do agree with you regarding the two, although Mariah got Madonna back pretty good for what she said in 96 ("I haven't paid much attention to her since middle school when she used to be popular").  I wish Mariah still had that kind of attitude- now she seems to scared to talk about other artists.  Can't blame her though, she probably just doesn't want to get a reputation like Xtina.




It wasn't outright, but the comments early in her career about "It's happened to several people who were more about determination than talent", led me to believe she was talking about Madonna (and probably other people too). And I can imagine there was some resentment later on Mariah's part that Madonna was getting all this recognition for ROL, only a year after Mariah had released her arguably much more revealing and daring Butterly album.

And yes, obviously Mariah couldn't put on that kind of attitude now, towards anyone, or the media would tear her apart.

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Ginger1.vivamariah19436

Posts: 5,412 High yellow bastard

#2715 [url]

Jun 7 10 9:29 PM

Mariah also talked *$*@ about Madonna in an interview for W magazine back in 1996.  This picture accompanied the article.  Unfortunately, I tossed and/or sold all my Mariah magazines.  I kept some things, but probably not that one.

Christina is no Madonna, even though she desperately wants to be that type of performer.  Lots of artists change their look over the years.  Look at her contemporaries like Beyonce or Pink.  You look at their first (solo) albums and they have completely evolved musically and visually.  Christina tries to act like she's the only one who does this.  She just has the loudest mouth.

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rainbow1199

Posts: 12,520 Often imitated, never duplicated.

#2716 [url]

Jun 7 10 9:30 PM

BeyondIdolization wrote:
rainbow1199 wrote:
BeyondIdolization wrote:
mariahfan150 wrote:
What's funny about the whole thing is, Madonna was asked a question and she answered it unfiltered. Mariah didn't even like who she was as an artist herself back when it was said. . People really need to look up the definition of 'fake', because that was anything but 'fake'. 'Fake' would have been like Whitney in 1998 who acted like her and Mariah were great friends, when she had made well disguised disses at her before and possibly after that (I still don't know exactly what she meant when she said, 'I feel like Mariah' on that GH DVD in 2000).



I do think this whole thing is a bit fan-fueled ridiculousness, but I do believe Madonna does have respect for Mariah after all these years (she's softer now, after all), and I've always believed Mariah's had respect for Madonna (despite the 'vocice' controversy').

As for Whitney-Mariah, I do believe Whitney gained a new respect but she obviously still felt like she was 'The Best' . Mariah's expression of respect during that time was much more genuine imo.
What 'voice' controversy are you talking about? 

I do agree with you regarding the two, although Mariah got Madonna back pretty good for what she said in 96 ("I haven't paid much attention to her since middle school when she used to be popular").  I wish Mariah still had that kind of attitude- now she seems to scared to talk about other artists.  Can't blame her though, she probably just doesn't want to get a reputation like Xtina.




It wasn't outright, but the comments early in her career about "It's happened to several people who were more about determination than talent", led me to believe she was talking about Madonna (and probably other people too). And I can imagine there was some resentment later on Mariah's part that Madonna was getting all this recognition for ROL, only a year after Mariah had released her arguably much more revealing and daring Butterly album.

And yes, obviously Mariah couldn't put on that kind of attitude now, towards anyone, or the media would tear her apart.
Ah, I never heard about those.  I can understand why Mariah, a true vocalist, would have been resentful of people like Madonna back then.

As for 'Butterfly'-'ROL', I agree that the former is a far better album, but I think it's easy to see why the latter came across as a more interesting/revealing album to the public, in part cause Madonna was so good about working the PR about her baby/having a new lease on life, etc.  Also, the singles released from 'ROL' are not very similar to her previous commercial work.  Whereas 'Butterfly's singles (the most mainstream ones- 'Honey', 'Butterfly', 'My All') weren't all that different from Mariah's earlier work besides the fact that they were more urban.  Something like 'Honey' caused a stir but only cause the video was so sexual.  'Butterfly's sound was also pretty much in tune with late 90's R&B (Aaliyah, etc) whereas if I'm not mistaken, the techno stuff on 'ROL' was different from mainstream music at the time. 

I think 'Butterfly' was more of a personal and artistic triumph for Mariah herself (like Madonna's 'LAP'- both postdivorce albums with a significantly more artistic and less commercial theme) whereas 'ROL' was a public/critical triumph for Madonna.  Mariah had that later with 'TEOM'. 

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rainbow1199

Posts: 12,520 Often imitated, never duplicated.

#2718 [url]

Jun 7 10 10:27 PM

Slant Magazine's fantastic review of 'Bionic':
3/5 stars

After spending more than a decade being only passingly entertained by either, it's not like I really want to keep defining Christina Aguilera by comparing her minxy Betty to Britney Spears's voracious Veronica. But Christina makes it so easy when she snaps up the beat from Britney %%%#+'s "Gimme More" for the leadoff single of Bionic, her long-awaited follow-up to 2006's Back to Basics. She makes it easy when, in said leadoff, "Not Myself Tonight," she dares to utter the word Britney only spelled out in the still puzzling single-entendre of "If U Seek Amy." She really makes it easy when she tries to one-up the Playskool procreation balladry of Britney's "My Baby" by actually prefacing her own musical version of mom jeans, "All I Need," with a few vocalizations from her toddler son Max.

Unfortunately, it's her similarities with Brit that give Tina her humanity. Because the differences—her vocal showboating, her too-careful balancing act between club bangers and power ballads, her conceptual rebound from Back to Basics's retro into Bionic's futurism—all confirm her as a living, humping, belting calculation. (She doesn't help matters when she agrees to slap cover art on the new album depicting her as a jigsaw Robotron with more mechanized cogs spinning behind those pouty lips than Androids have apps.)

On the surface, Bionic is as efficient a pop entertainment as was Circus. For two-thirds of its running time, it pounds four on the floor, and then spends the remaining third ponying up to the bar while the string of slow jams bores almost everyone silly (except for all those winsome little waif boys in the corner whose lives were saved many times over by "Beautiful"). Aguilera's handpicked cadre of writers and producers—M.I.A., Christopher "Tricky" Stewart, Le Tigre, Peaches, Sia, Polow da Don, the son of Chic's Bernard Edwards, and, on the deluxe edition, Santigold and Ladytron—are eclectic and intelligently applied, if not necessarily the first group of names you'd select for a project intended to predict the future, like an album-length reincarnation of Donna Summer's "I Feel Love."

But it's all in service of routine pop sex, the sort of standard-issue sleaze that Christina's "Dirrty," a monument in maladaptive eroticism, stood in stark contrast against. With Bionic, she takes the cash, she cashes the checks, she shows them the diva snatch they want to see. She, having digested Gaga's muffin, builds up an appetite for infantile genital tagging by extolling the savory qualities of her "Woohoo," in which she chants, "All the boys think it's cake when they taste my woohoo/You don't even need a plate, just your face/Licky, licky, yum-yum." Icky, icky, ho-hum. (Throughout the song's husky double-time sex hustle, Christina's mantra "woohoo" is repeated ad nauseam, filtered so as to register as a cowbell.)

Elsewhere, in "Elastic Love," she flatly points out that her use of the lyric "rubber band" is a metaphor, an observation rendered totally redundant by M.I.A. and company's sonic Kegel exercises. If analogies fail, boy does she make her bid to grab the gays back from the clutches of Gaga explicit. Considering "I Hate Boys" (except the ones who kiss boys) is closer than I ever thought Christina would ever come to recording a Daphne Aguilera track, it's ironically also one of many tracks on Bionic that sound tailor-made to accompany the opening credits of Johnny Weir's forthcoming reality show. None more so, though, than the masquerade ball that is "Glam," a top-heavy cocktail that mixes one part "Vogue" with two parts "Technologic" and serves with a snap.

Sure, her voice remains full, brash, and loud. Whatever it is she's trying to say, she puts it out there with the conviction of a tornado siren with a 10-inch dong lodged in its throat. But ultimately, so much of what passes for hedonism on Bionic feels synthetic and compulsory. "Sex for Breakfast," shallow orgasms for lunch. The lube-slick but water-soluble Bionic is a party album without a guest list, a sex toy used without self-awareness.

http://www.slantmagazine....ina-aguilera-bionic/2139

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mereboy

Posts: 1,374 Chillin' at FOMM

#2719 [url]

Jun 7 10 10:44 PM

DutchLamb wrote:
esettle0 wrote:
DutchLamb wrote:
Yes but I'll never forget that interview when a guy asked her: What do you think about Mariah Carey?
Whitney: What do I think of her? i DON'T think of her - puts on arrogant face.

Now you won't see someone like Celine doing that.
It was hilarious though.
so wait, this is only diss I was aware of lol, theres more?

��
Well not really but she got attitude when asked about Mariah.
0.42
When Carolyn Lilipaly asked her about Whitney being competition Mariah let out a deep sigh and said Not for me.
I miss the 90's lol



gawd, i miss the 90's!

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