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Hey, yall, what's up? Took a little break and was busy, but things are in full swing again
Justin is nominated for 5 Teen Choice Awards (Choice Music-Album, HipHop/R&B Artist, Male Artist, Single (Cry Me A River), and Choice Male Hottie (which he's only lost once)) So good luck to him with all that. The Teen Choice Awards Air August 6th, 2 days before C's birthday.
Pop star duo showing signs of growing up ( Houston Review)
"Pop star duo showing signs of growing up
By MICHAEL D. CLARK
Copyright 2003 Houston Chronicle
Much could be learned about modern post-adolescence at the Justin Timberlake and Christina Aguilera Justified and Stripped concert. First and foremost: Girls still mature much faster than boys.
The answer, for better or worse, is that both have found more personal, mature personas.
Timberlake now can blend the melody hooks, choreography and stage flash learned in 'N Sync with his interest in Motown, early rap and the dance moves of a certain self-proclaimed King of Pop.
Opening with a 10-minute breakbeat jam on the album Rock Your Body, Timberlake and his eight back-up dancers indulged in fast-paced, air-carving, body-popping tai chi. The moves are complicated and beyond the reach of less deft 'N Sync members Lance Bass and Joey Fatone.
Playing the bulk of his lone debut, Justified, Timberlake has ditched the silly graffiti costumes and oversized toyboxes of the past. He now wears fashionable street wear, like waist chains and leather trench coats. An eight-man band that included horns and DJ allowed him to move between the beat box bridge of Let's Take a Ride and smooth jazz fusion of Right For Me.
His hiccuping tenor mimics Michael Jackson in many ways. Perhaps his best imitation is as that of a young group star destined to break out on his own. Getting back with 'N Sync now seems more unlikely than ever.
For Aguilera this tour represents the freedom to further rejoice in the gratuitous bad-girl chic she has reveled in since the release of album Dirrty.
Britney-victim Timberlake and vixen-predator Aguilera initially sounded like a mismatch. In retrospect, what better way to warm up young females for Timberlake than Aguilera's girlie show?
On a multileveled stage of metal trellises, poles and stainless-steel platforms Aguilera introduced herself -- handcuffed, blindfolded and whispering sweet somethings from a video screen. Minutes later she appeared in the flesh -- almost literally.
Taking the stage in a black peek-a-boo leather-and-lycra body suit, outlined with orange neon trim plunging to just below her belly button, half of opening song Dirrty was missed just taking in the Cher-like transformation.
Not since actress Elizabeth Berkeley left innocent teen sitcom Saved By the Bell for the lurid movie flop Showgirls has a young talent gone from saint to s l u t so quickly.
For Genie in a Bottle, leashed dancers wheeled Aguilera to the stagefront strapped to a backboard in the shape of an "X." She paced around a giant cube housing a male pole-dancer for Walk Away, and gyrated with soft pink straps bound to her wrists on the stadium rock of Can't Hold Us Down.
The eye candy was the visual equivalent of Aguilera's overemotional vocals. For the ballad The Voice Within, she reached for that dramatic lover's leap often taken by Celine Dion, but doesn't have a plush enough voicebox for a soft landing.
Her reverence for Etta James on a cover of At Last was genuine, but her strained rendition only acknowledges that true songbirds make it look effortless.
Lost in all the diaphragm-bending and pastie-twirling were the subtle changes Aguilera has made in the last few years. Her Mexican dance set for Contigo en la Distancia was brilliantly theatrical, and her reworked acoustic version of Come On Over (All I Want Is You) was a nimble way of bringing this song into adulthood with her.
By comparison, the ludicrous pop nostalgia of What a Girl Wants was prepubescent fiction. Berkeley could tell her that once a woman becomes a showgirl, she can never go back to Saved By the Bell."
Some stuff in that article is a bunch of shit. Some people shouldn't be journalist.
JC's songs have leaked to message boards everywhere, which sucks because I know he wanted to keep that stuff as a suprise, but it's been getting REALLY GOOD responses, which I hope he sees. People are excited and want the album now. So maybe the leak wasn't so bad. I gotta go make phone calls. Holla at ya lata.
Johnny
Justin is nominated for 5 Teen Choice Awards (Choice Music-Album, HipHop/R&B Artist, Male Artist, Single (Cry Me A River), and Choice Male Hottie (which he's only lost once)) So good luck to him with all that. The Teen Choice Awards Air August 6th, 2 days before C's birthday.
Pop star duo showing signs of growing up ( Houston Review)
"Pop star duo showing signs of growing up
By MICHAEL D. CLARK
Copyright 2003 Houston Chronicle
Much could be learned about modern post-adolescence at the Justin Timberlake and Christina Aguilera Justified and Stripped concert. First and foremost: Girls still mature much faster than boys.
The answer, for better or worse, is that both have found more personal, mature personas.
Timberlake now can blend the melody hooks, choreography and stage flash learned in 'N Sync with his interest in Motown, early rap and the dance moves of a certain self-proclaimed King of Pop.
Opening with a 10-minute breakbeat jam on the album Rock Your Body, Timberlake and his eight back-up dancers indulged in fast-paced, air-carving, body-popping tai chi. The moves are complicated and beyond the reach of less deft 'N Sync members Lance Bass and Joey Fatone.
Playing the bulk of his lone debut, Justified, Timberlake has ditched the silly graffiti costumes and oversized toyboxes of the past. He now wears fashionable street wear, like waist chains and leather trench coats. An eight-man band that included horns and DJ allowed him to move between the beat box bridge of Let's Take a Ride and smooth jazz fusion of Right For Me.
His hiccuping tenor mimics Michael Jackson in many ways. Perhaps his best imitation is as that of a young group star destined to break out on his own. Getting back with 'N Sync now seems more unlikely than ever.
For Aguilera this tour represents the freedom to further rejoice in the gratuitous bad-girl chic she has reveled in since the release of album Dirrty.
Britney-victim Timberlake and vixen-predator Aguilera initially sounded like a mismatch. In retrospect, what better way to warm up young females for Timberlake than Aguilera's girlie show?
On a multileveled stage of metal trellises, poles and stainless-steel platforms Aguilera introduced herself -- handcuffed, blindfolded and whispering sweet somethings from a video screen. Minutes later she appeared in the flesh -- almost literally.
Taking the stage in a black peek-a-boo leather-and-lycra body suit, outlined with orange neon trim plunging to just below her belly button, half of opening song Dirrty was missed just taking in the Cher-like transformation.
Not since actress Elizabeth Berkeley left innocent teen sitcom Saved By the Bell for the lurid movie flop Showgirls has a young talent gone from saint to s l u t so quickly.
For Genie in a Bottle, leashed dancers wheeled Aguilera to the stagefront strapped to a backboard in the shape of an "X." She paced around a giant cube housing a male pole-dancer for Walk Away, and gyrated with soft pink straps bound to her wrists on the stadium rock of Can't Hold Us Down.
The eye candy was the visual equivalent of Aguilera's overemotional vocals. For the ballad The Voice Within, she reached for that dramatic lover's leap often taken by Celine Dion, but doesn't have a plush enough voicebox for a soft landing.
Her reverence for Etta James on a cover of At Last was genuine, but her strained rendition only acknowledges that true songbirds make it look effortless.
Lost in all the diaphragm-bending and pastie-twirling were the subtle changes Aguilera has made in the last few years. Her Mexican dance set for Contigo en la Distancia was brilliantly theatrical, and her reworked acoustic version of Come On Over (All I Want Is You) was a nimble way of bringing this song into adulthood with her.
By comparison, the ludicrous pop nostalgia of What a Girl Wants was prepubescent fiction. Berkeley could tell her that once a woman becomes a showgirl, she can never go back to Saved By the Bell."
Some stuff in that article is a bunch of shit. Some people shouldn't be journalist.
JC's songs have leaked to message boards everywhere, which sucks because I know he wanted to keep that stuff as a suprise, but it's been getting REALLY GOOD responses, which I hope he sees. People are excited and want the album now. So maybe the leak wasn't so bad. I gotta go make phone calls. Holla at ya lata.
Johnny