In unfortunate terms, Lieb calls this model the “lifecycle for female popular music stars”. In Gender, Branding, and the Modern Music Industry (Routledge, 2013) Lieb develops a rubric to assess the vitality of particular pop female brands. Has Aguilera’s pop musical lifecycle ended? or is her truth and importance much more complicated? Lieb argues, “Simply put, for all but the exceptional few, the career lifecycle for female artists is much shorter than it is for male artists” (89). In her book and subsequent public lectures, Marketing Communications professor Kristin J. In recent years, much has been made of Aguilera’s tenuous relationship with pop superstardom, with many pondering her relevance in the post-melisma, auto-tuned digital age. This opening track raises questions the rest of the album seeks to answer: Who or what is Aguilera trying to remember? Who is she calling out for? Who are these children? With Liberation, what freedom from limit or thought or behavior is Aguilera achieving? Woven into the background of “Liberation”, written and produced by Moonlight composer Nicholas Britell, are children laughing. These questions and an imperative, two calls and a response, appear as the only words on the first instrumental title track of Christina Aguilera’s eighth studio album Liberation (RCA, 2018).
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