![]() ![]() Here’s Karen Black on the poster for The Day of the Locust:Īnd here’s Christina Aguilera keeping it classy in the liner notes: Bionic may be neither a work of high art nor a pop masterpiece, but much of it’s so frequently batshit crazy and so thoroughly listenable that I find it irresistible.ĪNYWAYS, as I was flipping through the album art for Bionic (which is as bonkers and fabulous–if not even more so–than the album itself), I had a revelation, and that revelation was that Christina Aguilera and I both share a love of Karen Black in The Day of the Locust. ![]() And then there’s “Vanity,” a song that scales to such heights of camp absurdity that it’s another post all unto itself. Some of the songs, like “I Am” (co-written by Sia and painfully lovely in its chamber pop minimalism) and the glorious “My Girls” (a Le Tigre-penned track with a Peaches rap interlude, so electropop fantastiche), are legitimately good songs other songs, like the ode to muff diving called “Woo Hoo” and the oh-so-unsubtly titled “Sex for Breakfast,” feature lyrics so cartoonishly sexual that they could fit right into Showgirls: The Musical (book and lyrics by Joe Eszterhas, music by Andrew Lloyd Weber on a burritos and meth bender). In which case, how could I not love this nonsense? After all, if Christina Aguilera’s latest album was an early-to-mid-90s Marvel Comic character, she’d be Nymphomaniac Robotranny Joan Crawford 2099: Besides, it probably explains why I’m enjoying Bionic so damn much. ![]() Over on Facebook, a friend of mine described Christina Aguilera’s Bionic as mostly consisting of “transparent attempts to pander to obnoxious queens.” I recognize that taste is a subjective thing, so he could be wrong, but he did study music production, so I’m willing to trust his critical assessment on this matter. ![]()
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