Monday, August 30, 2010
CHRISTINA & FRIENDS AT SIMONE & MARC'S WEDDING
Christina Aguilera, Jordan Bratman, Nicole Richie, and other Friends and Family gathered together to take some fun photo booth pictures for Simone & Marc's Wedding. The photo booth was provided by ‘Polite in Public‘.
MILEY CYRUS PRAISES XTINA!
Miley Cyrus was on her MTV Hits called ‘Miley’s Top 50 A List After Party Tunes‘, Dirrty was at #3 place for her best party tunes and commented on Christina Aguilera:
I love Xtina and I love her new video Not Myself Tonight. I love that she’s always stepping out of the box and I think people talk about her but only because we’re so infatuated with her because she is the original, she’s the one who started it all so actually she didn’t copy anyone, other people copy Xtina!
NEW BURLESQUE POSTER
One diva makes her overdue return to movies. The other makes her film acting debut. So who’s excited about Burlesque, the hot new musical that brings together Cher and Christina for a sparkly, glamorous and wild Fosse-esque song and dance spectacular? I left off the latter’s last name (Aguilera) because so does the film’s poster, which we’re happy to debut down below. It’s full of hot pink and what I think is a lightbulb-adorned — though it could also be rhinestone-studded — title vertically separating the legend on the left from the newer star on the right. The film’s tagline acknowledges the distinction between divas, too: Cher’s side says “It takes a legend,” which continues on Christina’s side, “… to make a star.” Kind of meta.In Burlesque, Aguilera is a small-town girl trying to make it big on the stage of Cher’s L.A. club, The Burlesque Lounge, but first she has to put in her due as a cocktail waitress. The musical also features Stanley Tucci, Alan Cumming, Kristen Bell, Eric Dane, Cam Gigandet and Dancing with the Stars winner Julianne Hough. It was written and directed by Steve Antin, who you may best know as the jock, Troy, in The Goonies or as the screenwriter of Sidney Lumet’s Gloria remake (he also co-produced the Pussycat Dolls reality show). As the poster says, it opens this Thanksgiving.
Wednesday, August 25, 2010
Friday, August 20, 2010
BURLESQUE: MY THOUGHTS
Where to start, where to start, where to freaking start! Hmm... well as most of you now know I got the privilege to be part of a private screening for Christina's upcoming movie 'BURLESQUE'. Let me start off by telling you the whole night was amazing. Steven Antin was in attendance sitting in the back in what looked to be very comfortable grey sofas! (Jealous). I wanted to go up to him but never got the courage too. (I think I was the only one that knew it was him) I passed by him several times and he was smoking a cigarette right in front of me after the viewing was over. Yeah I know, I know I'm a pussy for not going up to him but come on guys, I was in a whole other world. Hahahah. Well, anyways let me give you my thoughts about her acting, the movie, and the other characters. (I would love to give you guys as much information as I can but in all honesty we literally signed out lives away. If we get caught talking about 'BURLESQUE' we will get fined $5 million. I don't have that much money to spend) My Review and Thoughts:
CHRISTINA: Her acting was sensational. That's not coming from a biased opinion I honestly thought she did a great job since it is her first time acting next to veterans like Cher, Stanley Tucci, Eric Dane, Kristen Bell, Cam Gigandet, and others. Her character was sweet, funny, and extremely vocal/persistant! When you guys see the movie you will know what I'm talking about. If I had to give her a score from 1 to 10 for her acting I would unbiasedly give her a 8.5 or 9.
MOVIE: Burlesque was great. It was slow at times but then again it wasn't the official movie that was going to be released. They were still in the editing process so what we saw was the cut before the actual movie was released. I think the movie deserved an 8.5 out of 10. The dancing and vocals were killer. They made the movie so much fun. If I had to choose a couple of words to describe the movie to you guys I would choose... FUN, SEXY, and ENTERTAINING. It made me want to get up off of my seat and shake my tail feather. Oh and there is some sexy time between A & J.
OTHERS: The rest of the characters made the movie great too! I would like to call Kristen Bell's character a total BITCH! Julianne Hough was a complete sweet heart. Cher was like a mother figure, and well Cam Gigandet, was well the eye candy for most of the attendees, "BUTT" (wink wink wink) the rest of the men held there own and were a bit comedic too... The entire cast was just really fun. FUN FUN FUN!XtinaStan's Review and Thoughts:
Hey guys...I'm not a liar. I was really tired last night and just wanted to get on and say something. But I dont really care if you dont believe me. I also didnt wanna make a big deal which is why I didn't start my own thread. Yall are crazy. Why do you think people would like? Anyway, I will give a brief account of my viewing. I drove on over blasting Bionic and got in line at Sony Studios with my friend. They pulled us out of the line to go to the front after asking us our ages, we are 30 and 33. I think they wanted to make sure they got our demographic. Anyway, we sign all this crap, literally, you will be sued 5 million dollars if any info is on social networks, etc. We were led through the studios to the theater. Some dude got up and announced that it was the first time the movie was seen by audiences and everything wasnt done. Movie came on. I was really loud when I first saw Xtina. My friends sshhhhsed me. Oh well. Karlos...Did u hear my inappropriate "woot!"? =) I did it to say hi. ha ha. Anyway, without going into detail I will say that once the movie actually got to the Burlesque Lounge, it had my heart. Everyone did. Every character. The musical numbers were outstanding!!! Ok. I think I can say all that. You guys will not disappointed I dnt think, especially if they listen to our suggestions but even if they dont, youll like it. We had to do this very long survey at the end about things we thought they should change, or things we really liked. I loved it and plan to see it again and buy it. Hope that helps guys. I know its frustrating but that paperwork is really scary.
SUPER XTINA LAND 4 (FAN PAINTING)
A dedicated Christina fan from Germany painted his own interpretation of Christina's Bionic Cover and titled it "SUPER XTINA LAND 4" this is what he has to say to explain the painting:I named it "Super Xtina Land 4" (4 because of the 4th era. the first was the Genie in a Bottle era, then Stripped, then B2B and now Bionic :)
PS: Mario's hat says "J" for Jordie ;)
Thursday, August 19, 2010
Wednesday, August 18, 2010
CHRISTINA TO PERFORM AT JUSTIN TIMBERLAKE'S ANNUAL CHARITY CONCERT
Las Vegas, NV – Grammy® and Emmy® Award-winning international superstar Justin Timberlake will bring the Justin Timberlake and Friends, a Special Evening Benefiting Shriners Hospitals for Children event back to Planet Hollywood Resort & Casino’s Theatre For The Performing Arts in Las Vegas on Saturday, October 23 at 8 PM.This year’s concert will feature performances by Grammy Award®-winning talent including the multi-platinum selling recording artist, Christina Aguilera, Grammy Award®-winning producer, actor and mogul Sean "Diddy" Combs and his new group, Diddy-Dirty Money, Grammy Award®-winning superstars and 2010’s top selling artist in all genres, Lady Antebellum, legendary Hip Hop music icons, Salt-N-Pepa, Hollywood Records artist, Selena Gomez & The Scene, platinum R&B artist/music producer, T-Pain, as well as Tennman Records artist, FreeSol.
American Express will conduct an exclusive presale, via www.ticketmaster.com or charge by phone at 800-745-3000, for its cardholders starting Thursday, August 19 at 10 AM PST. A limited number of VIP packages will be auctioned off starting Saturday, August 21 at 10 AM PST and ending on Tuesday, August 31 at 12 PM PST exclusively through www.Ticketmaster.com with reserve bids starting at $500. The exclusive 22 VIP Packages include premium Gold Circle seating and will be auctioned in two ticket minimums; additional package details can be obtained at www.Ticketmaster.com.
Tickets go on sale Saturday, August 21 at 10 AM PST and range in price from $100 to $350 plus applicable live entertainment tax. Tickets can be purchased at the Box Offices at Planet Hollywood Resort & Casino, all Ticketmaster outlets, online at www.Ticketmaster.com, or charge by phone at 800-745-3000/702-474-4000. All dates, acts and ticket prices are subject to change without notice. All tickets subject to applicable taxes, service and handling charges.
Justin Timberlake is the 14th celebrity to host a PGA TOUR Tournament, The Justin Timberlake Shriners Hospitals for Children Open. The concert on October 23 is one of several events during tournament week that will benefit Shriners Hospitals for Children. Attendees of the concert will also receive a ticket for admission to the final round of the tournament on Sunday, October 24. For more information on the events during the week, log on to www.jtshrinersopen.com.
Source: JTShrinersOpen
NEW FRAGRANCE: ROYAL DESIRE
Christina Aguilera's new perfume is expected in the autumn of 2010. The name of this edition is Royal Desire, dedicated to women who feel like queens. If you enjoy luxurious things, seduction and finding yourself in the center of attention, this fragrance was created just for you.Top notes: white marshmallow, blackberry and mandarin.
Heart: honeysuckle, herbs, rose and lily.
Base: sandalwood, musk and cedar.
Packed in the bottle designed as the original, the fragrance is available as 15, 30 and 50 ml EDP.
Packed in the bottle designed as the original, the fragrance is available as 15, 30 and 50 ml EDP.
Source: Fragantica
Tuesday, August 17, 2010
SOUND OFF/FLASHFORWARD FRIDAY: BITES OF BURLESQUE
It's Burlesque
This week we are taking a look at the trailer for the upcoming movie musical BURLESQUE starring Cher and Christina Aguilera - consider it FLASHFORWARD FRIDAY a day early - as well as checking out two of Christina Aguilera's solo songs from the soundtrack - one classic Etta James cover featured in a new clip just released from the film and an especially exciting, entirely new composition "Spotlight" written exclusively for Christina for the film - in the backstage tuner that is currently set to be released nationwide on Thanksgiving. The film also stars Stanley Tucci, Kristen Bell, Alan Cumming, Julianne Hough, Cam Gigandet, Peter Gallagher and Eric Dane. Though last Christmas brought the unfortunately unsuccessful $80-million-dollar NINE, perhaps this year's quotidian singular musical entertainment from Hollywood will fare far, far better - it certainly could not be much different in casting, content, style, tone or marketing from what we have seen so far and can see here! But, be forewarned: looks can be deceiving... and what deceptively delicious looks we have here to sample courtesy of Pussycat Dolls headmaster and director Steve Antin and BURLESQUE!
You Can't Keep A Good Diva Down
One shot. That's all the breaks Broadway seems to get in Hollywood per year: one movie musical. Sure, in the 00s, following the Oscar-winning success of CHICAGO - which took home 5 Oscars including Best Picture and Best Supporting Actress for Catherine Zeta-Jones in '02 - there was the odd chance of a double-decker year here and there, but, always - without exception - one ended up being a big bomb (example: THE PRODUCERS). Some have been smash-hits like HAIRSPRAY, some have been successful enough to keep the genre alive such as DREAMGIRLS - which also nabbed a Best Supporting Actress Oscar for Jennifer Hudson as well as one for sound - and there are even prestige projects like Tim Burton's masterfully macabre re-imaging of the Stephen Sondheim masterpiece SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. There have even been a few really spectacular television musicals, most notably the Showtime production of REEFER MADNESS which starred Christian Campbell, Kristen Bell, Alan Cumming, Ana Gasteyer and Steven Weber. Spike Lee even filmed PASSING STRANGE on sixteen HD cameras live in the theatre on the closing performance and released it in select cities to much acclaim a few years back. Additionally, two brilliantly visionary and daring directors turned the genre on its head with their innovative jukebox musical takes on the song catalogues of, respectively, The Beatles, in Julie Taymor's ACROSS THE UNIVERSE, and Bob Dylan, in Todd Haynes's I'M NOT THERE. Then there are the also-rans - OK, let's be blunt: the losers. Besides the aforementioned calamity of THE PRODUCERS, there was also the Chris Columbus abomination of Jonathan Larson's Pulitzer Prize-winning RENT (though it admittedly has sporadic moments where Larson's vision shines through, such as in "I Should Tell You" and "Finale B"), as well as the good-intentioned NINE (albeit cutting 2/3 of the score was the first mistake of many). With TV's GLEE ending the 00s on a musical-theatre-awareness high note and leaving America - and the world - breathlessly awaiting their Broadway fix to be abated, the time seems ripe for a movie-musical a bit unlike anything that has come before, something truly twenty-first century. Something new. The time seems right for BURLESQUE.
Looking like the lovechild of SHOWGIRLS, CABARET and CHICAGO, the trailer for BURLESQUE seems to contain every cliché known to moviegoers and moviemakers familiar with the movie-musical genre in American cinema in the last eighty years. Is it camp, then? Not quite. Homage? Not really. What, then? As with all such subjective samplings of an entire entertainment event such as BURLESQUE, it is elementary to establish that dissecting moments in a trailer in the traditional sense can be ultimately futilely fruitless so perhaps the tone, the style, the look and the overall vibe is the best element to assess at first. Based on looks, this gets close to a 10 - and dance, well, far from a three - cribbing a phrase from A CHORUS LINE which itself find itself as one of the biggest celluloid fiascos of the last thirty years when Richard Attenborough tried (and failed) to turn it into a film. As Donna McKechnie told me in our InDepth InterView awhile back, "That movie set dancers back twenty years". Hopefully, a sexy and fun re-telling of an age-old story with some of the brightest talent in the universe will be enough to get movie musicals going again on the big screen and not just on the small one. The stage sets look stark and stylish. Since Jules Fisher and Peggy Eisenhower are responsible for the lighting - stay tuned for their upcoming InDepth InterView in which they discuss their incomparable career on Broadway, as well as working on the film versions of CHICAGO, DREAMGIRLS and, of course, BURLESQUE - just the fleeting glimpses of their work that we can glean from this trailer are enough reason to get excited for at least a visual feast - and surefire striking silhouettes! And what exists of the costumes looks dazzling.
First off, on the backstory side of things we have the old-meets-new theme coming to the very forefront, with a legend in her own right with a career unlike any other, Cher, and a Grammy-award-winning voice of a generation who has recently had a few stumbles following the middling success of her recent music endeavors (see: BIONIC, "Not Myself Tonight"). If anyone knows the highs and lows of show business, it's Cher and her presence in this project as a central figure in the drama - this is no cameo or featured role - bodes well for the overall prospect of a sense of dramatic cohesiveness to what appears to be a somewhat chaotic and fast-moving, multi-faceted movie that treads familiar territory. Though Christina Aguilera has never taken a role in a film before, she was one of the absolute best hosts from the music world that Saturday Night Live has had in recent years (her parody of Kim Cattrall in a SEX & THE CITY skit is something of comic genius) and this role in BURLESQUE, while evidently a singing and dancing challenge - judging from both the final draft of the script by Susannah Grant, Keith Merryman and Antin, as well as Diablo Cody's earlier numbered second draft - it certainly is a far cry from Lady MacBeth or Hedda Gabbler in the dramatic department. The role is no stretch - and neither is Cher's, and Tucci is playing a variation on his DEVIL WEARS PRADA character, so the ingredients are relatively ready-made, if not wholly fresh. And who knows what relation the final film bears to the script. To see how both ladies deal with the tricky territory of showbiz speak and backstage blabber and bitchery that is at least a hallmark of the script(s), will make or break whether or not the story works and audiences will be willing to accept these stars as these slightly-less-fabulous and accomplished archetypes. They do get their due diva diligence paid, don't worry - that's what onstage songs are for! Anyway, what audiences will be waiting to see is how the story is told - and how successfully - not necessarily what the actual story being told is. (Note: I have been intentionally vague on the plot as to not spoil the story since it has some surprising twists and the way the songs weave in and out through it all should be quite enjoyable - and the concept daring - if done as it is done in the shooting script. We shall soon see.)
What we can clearly hear and see from the clips of the musical numbers is flashiness, sassiness, sexiness and pizzazz. But hold it one second: aren't the production values a little too grand for a dive-y looking COYOTE UGLY-esque club like the one owned by Cher's character purports it to be? Isn't the bartender (played by Cam Gigandet) a little too Joel Grey-as-The-Emcee in CABARET (especially the mascara on one eye)? Isn't Alan Cumming a little scary? Doesn't Kristen Bell look a little catty? Doesn't Julianne Hough look a little, well, trampy? Looks can be deceiving, but it seems quite clear that all these clichés and camp are intentional and the acknowledgement of their presence by the audience expected, anticipated and even encouraged. It's a meta-movie-musical with all the trappings that come along with that. No, it's doubtful it is going to be VALLEY OF THE DOLLS-style high camp but there will be a wink and a nod - and perhaps a bump and a grind, or four (to Fosse) - in an ode to the influences central to the enterprise, but the main tapestry will potentially be something involving, enlivening and fun - and perhaps even a little moving. Movie-musicals have to be moving - just one moment, one ballad will do - and it seems as though we have the perfect such moment in BURLESQUE judging from the scripts I have read. But, since that song has not leaked yet (though a stealing glance at it can be obtained from the trailer), I will have to remain mum on that moment for the time being. You probably can't get the title song, "Burlesque", as played in the last half of the trailer, out of your head long enough to properly absorb another song - particularly an emotional pinnacle - anyway!
A few months back, we were given the first peek of the wonderfully wicked and enticing world of BURLESQUE with the song "Spotlight", a new solo song for Christina Aguilera. "Spotlight" is one of the three or four original songs that have been penned expressly for this film - Cher's material having been written by recording industry veteran Diane Warren - and it hits on all the elements that we have come to love most about Christina Aguilera's rich and expressive vocal instrument: the rasp, the runs, the sheer force and power. Boosting the barn-burning, the producers have given it a 1940s-by-way-of-2010 aural aura that gives it bump. A little gritty, a little funky, a little jazzy; a little old, a little new, a little borrowed - and a lot of blue (as in "blue movies")! It's everything of BURLESQUE in a nut-shell - or a bowler hat! "You can't keep a good girl down" indeed!
Christina Aguilera - "Spotlight"
Click Here...
Yesterday the trifecta of BURLESQUEry was made complete with the release of the first full-length performance clip from the film with Christina Aguilera taking on the Etta James classic "Something's Gotta Hold Of Me". Performing alone, singing and dancing along to the jukebox with a broom and a chair - her high heels high up on the counter, barefoot - she conjures movie-musical magic out of thin air. This is not an easy song to sing, and even harder still to do one better than the near irreproachable original - and alone. We all remember what a rough go of it Beyonce had when she covered Etta James's other untouchable song, "At Last", in CADDILAC RECORDS. Ms. James was not amused (nonetheless, this critic was). In any event, Christina knocks this clear out of the park and the stark, unadorned filmmaking style of this number hopefully indicates that this movie musical will have some inventive camerawork for the musical numbers - particularly the dancing, which gets top-billing in the trailer - and less of the choppy MTV-style hack-job-ery of some of the big-bomb movie musicals mentioned before, as well as some of the hits (inexplicably). Considering the director of this film, we can't be too sure, but at least we know it will all be done with a stylistic purpose in mind. The style is not what draws concern, it's the content. With songs like this being used to tell the story we know we will have something to emotionally latch onto. Wail all you will.
Christina Aguilera - "Something's Gotta Hold On Me"
The Pussycat Dolls are the work of Robin Antin, Steve's brother, and this film seems to be a natural extension of the bawdy, titillating, dynamo dancing divas that the Antins have utilized so well. Steve Antin directed and Denise Faye (of CHICAGO and NINE) choreographed the film, and PCD paw-prints are all over the trailer. He has a style and he knows how to utilize it to the best advantage of his performers and the material if we are to take the many music videos and PCD stage shows by the Antins as evidence: all that's left to be seen is whether or not Steve Antin can tell a compelling story - or at least keep the audience's attention - while doing all of that razzle dazzle razzmatazz. After all, that whole characteristically black-leather/pink-satin style that has become something of a phenomena - unquestionably iconic - has its roots in an actual modern-day burlesque house in LA in the mid-to-late 1990s that had the original featured (lipsynced) lead dancers like Carmen Electra and then morphed into the ever-changing carousel of the all-girl pop group of the same name that is an international sensation. PCD has attracted beautiful and rare talent before Cher and Christina, as well: Nicole Scherzinger - lead singer on PCD's biggest hits, such as "Don'tcha" and "Buttons" - got tongues wagging this week on both coasts over her delectable portrayal of Maureen in Neil Patrick Harris's warmly received staging of RENT at the Hollywood Bowl co-starring Aaron Tveit, Vanessa Hudgens, Traci Thoms and others. She also participated in workshop readings for LOVE NEVER DIES. The Pussycat Dolls - or PCD, as they are known, if that isn't clear - are, truth be told, about style over substance. So, with a two-hour film with a cast as good as this and led by three ladies as talented as Cher, Chrstina and Kristen Bell, hopefully the spell will last the duration of the evening. It's a tricky and potentially treacherous tight-rope trope, in any event, as is any movie musical in the twenty-first century.
Anything assumed, all of this - it's all supposition, anyway. All of this analysis of what should be or could be and what magic exists or doesn't exist. Yet, to have a bite of what looks to be a satisfying slice of showbiz pie, in a bracing (and biting) backstage story told through song - with a healthy dollop of camp and cliché ala mode, and a generous sprinkling of homage - served up by the top-tier-talents of Hollywood, Broadway and beyond is enough to incite excitement in any fan of musicals, whether live-in-the-house on Broadway or celluloid in-the-can in CA. Hopefully, BURLESQUE will be the cherry on top, not the ashcan (or its contents). Either way, these appetizers are sweet, sexy and scorching and speak favorably for what is to come. For me, November 24th can't come soon enough - particularly after the season we've just had on Broadway as far as new musicals of any ilk - jukebox, meta, wholly original or otherwise - are concerned. The audience is hungry. I know I am. Let's hope they're serving up what we're all positively famished for - solid entertainment (we're not expecting Albee or Sondheim). From the sights and sounds of this trailer, this song and this performance clip: it looks like they very well could be giving us what we yearn for. Expectations are set. As the song "Spotlight" professes, "Get up, get up, / This is not a test / You gotta give me your best / Get your ass up and show me how you burlesque!" Do it, girls. Show us how it's done. We're ready.
Source: BroadwayWorld
Credits: Mo-Xtina
This week we are taking a look at the trailer for the upcoming movie musical BURLESQUE starring Cher and Christina Aguilera - consider it FLASHFORWARD FRIDAY a day early - as well as checking out two of Christina Aguilera's solo songs from the soundtrack - one classic Etta James cover featured in a new clip just released from the film and an especially exciting, entirely new composition "Spotlight" written exclusively for Christina for the film - in the backstage tuner that is currently set to be released nationwide on Thanksgiving. The film also stars Stanley Tucci, Kristen Bell, Alan Cumming, Julianne Hough, Cam Gigandet, Peter Gallagher and Eric Dane. Though last Christmas brought the unfortunately unsuccessful $80-million-dollar NINE, perhaps this year's quotidian singular musical entertainment from Hollywood will fare far, far better - it certainly could not be much different in casting, content, style, tone or marketing from what we have seen so far and can see here! But, be forewarned: looks can be deceiving... and what deceptively delicious looks we have here to sample courtesy of Pussycat Dolls headmaster and director Steve Antin and BURLESQUE!
You Can't Keep A Good Diva Down
One shot. That's all the breaks Broadway seems to get in Hollywood per year: one movie musical. Sure, in the 00s, following the Oscar-winning success of CHICAGO - which took home 5 Oscars including Best Picture and Best Supporting Actress for Catherine Zeta-Jones in '02 - there was the odd chance of a double-decker year here and there, but, always - without exception - one ended up being a big bomb (example: THE PRODUCERS). Some have been smash-hits like HAIRSPRAY, some have been successful enough to keep the genre alive such as DREAMGIRLS - which also nabbed a Best Supporting Actress Oscar for Jennifer Hudson as well as one for sound - and there are even prestige projects like Tim Burton's masterfully macabre re-imaging of the Stephen Sondheim masterpiece SWEENEY TODD: THE DEMON BARBER OF FLEET STREET. There have even been a few really spectacular television musicals, most notably the Showtime production of REEFER MADNESS which starred Christian Campbell, Kristen Bell, Alan Cumming, Ana Gasteyer and Steven Weber. Spike Lee even filmed PASSING STRANGE on sixteen HD cameras live in the theatre on the closing performance and released it in select cities to much acclaim a few years back. Additionally, two brilliantly visionary and daring directors turned the genre on its head with their innovative jukebox musical takes on the song catalogues of, respectively, The Beatles, in Julie Taymor's ACROSS THE UNIVERSE, and Bob Dylan, in Todd Haynes's I'M NOT THERE. Then there are the also-rans - OK, let's be blunt: the losers. Besides the aforementioned calamity of THE PRODUCERS, there was also the Chris Columbus abomination of Jonathan Larson's Pulitzer Prize-winning RENT (though it admittedly has sporadic moments where Larson's vision shines through, such as in "I Should Tell You" and "Finale B"), as well as the good-intentioned NINE (albeit cutting 2/3 of the score was the first mistake of many). With TV's GLEE ending the 00s on a musical-theatre-awareness high note and leaving America - and the world - breathlessly awaiting their Broadway fix to be abated, the time seems ripe for a movie-musical a bit unlike anything that has come before, something truly twenty-first century. Something new. The time seems right for BURLESQUE.
Looking like the lovechild of SHOWGIRLS, CABARET and CHICAGO, the trailer for BURLESQUE seems to contain every cliché known to moviegoers and moviemakers familiar with the movie-musical genre in American cinema in the last eighty years. Is it camp, then? Not quite. Homage? Not really. What, then? As with all such subjective samplings of an entire entertainment event such as BURLESQUE, it is elementary to establish that dissecting moments in a trailer in the traditional sense can be ultimately futilely fruitless so perhaps the tone, the style, the look and the overall vibe is the best element to assess at first. Based on looks, this gets close to a 10 - and dance, well, far from a three - cribbing a phrase from A CHORUS LINE which itself find itself as one of the biggest celluloid fiascos of the last thirty years when Richard Attenborough tried (and failed) to turn it into a film. As Donna McKechnie told me in our InDepth InterView awhile back, "That movie set dancers back twenty years". Hopefully, a sexy and fun re-telling of an age-old story with some of the brightest talent in the universe will be enough to get movie musicals going again on the big screen and not just on the small one. The stage sets look stark and stylish. Since Jules Fisher and Peggy Eisenhower are responsible for the lighting - stay tuned for their upcoming InDepth InterView in which they discuss their incomparable career on Broadway, as well as working on the film versions of CHICAGO, DREAMGIRLS and, of course, BURLESQUE - just the fleeting glimpses of their work that we can glean from this trailer are enough reason to get excited for at least a visual feast - and surefire striking silhouettes! And what exists of the costumes looks dazzling.
First off, on the backstory side of things we have the old-meets-new theme coming to the very forefront, with a legend in her own right with a career unlike any other, Cher, and a Grammy-award-winning voice of a generation who has recently had a few stumbles following the middling success of her recent music endeavors (see: BIONIC, "Not Myself Tonight"). If anyone knows the highs and lows of show business, it's Cher and her presence in this project as a central figure in the drama - this is no cameo or featured role - bodes well for the overall prospect of a sense of dramatic cohesiveness to what appears to be a somewhat chaotic and fast-moving, multi-faceted movie that treads familiar territory. Though Christina Aguilera has never taken a role in a film before, she was one of the absolute best hosts from the music world that Saturday Night Live has had in recent years (her parody of Kim Cattrall in a SEX & THE CITY skit is something of comic genius) and this role in BURLESQUE, while evidently a singing and dancing challenge - judging from both the final draft of the script by Susannah Grant, Keith Merryman and Antin, as well as Diablo Cody's earlier numbered second draft - it certainly is a far cry from Lady MacBeth or Hedda Gabbler in the dramatic department. The role is no stretch - and neither is Cher's, and Tucci is playing a variation on his DEVIL WEARS PRADA character, so the ingredients are relatively ready-made, if not wholly fresh. And who knows what relation the final film bears to the script. To see how both ladies deal with the tricky territory of showbiz speak and backstage blabber and bitchery that is at least a hallmark of the script(s), will make or break whether or not the story works and audiences will be willing to accept these stars as these slightly-less-fabulous and accomplished archetypes. They do get their due diva diligence paid, don't worry - that's what onstage songs are for! Anyway, what audiences will be waiting to see is how the story is told - and how successfully - not necessarily what the actual story being told is. (Note: I have been intentionally vague on the plot as to not spoil the story since it has some surprising twists and the way the songs weave in and out through it all should be quite enjoyable - and the concept daring - if done as it is done in the shooting script. We shall soon see.)
What we can clearly hear and see from the clips of the musical numbers is flashiness, sassiness, sexiness and pizzazz. But hold it one second: aren't the production values a little too grand for a dive-y looking COYOTE UGLY-esque club like the one owned by Cher's character purports it to be? Isn't the bartender (played by Cam Gigandet) a little too Joel Grey-as-The-Emcee in CABARET (especially the mascara on one eye)? Isn't Alan Cumming a little scary? Doesn't Kristen Bell look a little catty? Doesn't Julianne Hough look a little, well, trampy? Looks can be deceiving, but it seems quite clear that all these clichés and camp are intentional and the acknowledgement of their presence by the audience expected, anticipated and even encouraged. It's a meta-movie-musical with all the trappings that come along with that. No, it's doubtful it is going to be VALLEY OF THE DOLLS-style high camp but there will be a wink and a nod - and perhaps a bump and a grind, or four (to Fosse) - in an ode to the influences central to the enterprise, but the main tapestry will potentially be something involving, enlivening and fun - and perhaps even a little moving. Movie-musicals have to be moving - just one moment, one ballad will do - and it seems as though we have the perfect such moment in BURLESQUE judging from the scripts I have read. But, since that song has not leaked yet (though a stealing glance at it can be obtained from the trailer), I will have to remain mum on that moment for the time being. You probably can't get the title song, "Burlesque", as played in the last half of the trailer, out of your head long enough to properly absorb another song - particularly an emotional pinnacle - anyway!
A few months back, we were given the first peek of the wonderfully wicked and enticing world of BURLESQUE with the song "Spotlight", a new solo song for Christina Aguilera. "Spotlight" is one of the three or four original songs that have been penned expressly for this film - Cher's material having been written by recording industry veteran Diane Warren - and it hits on all the elements that we have come to love most about Christina Aguilera's rich and expressive vocal instrument: the rasp, the runs, the sheer force and power. Boosting the barn-burning, the producers have given it a 1940s-by-way-of-2010 aural aura that gives it bump. A little gritty, a little funky, a little jazzy; a little old, a little new, a little borrowed - and a lot of blue (as in "blue movies")! It's everything of BURLESQUE in a nut-shell - or a bowler hat! "You can't keep a good girl down" indeed!
Christina Aguilera - "Spotlight"
Click Here...
Yesterday the trifecta of BURLESQUEry was made complete with the release of the first full-length performance clip from the film with Christina Aguilera taking on the Etta James classic "Something's Gotta Hold Of Me". Performing alone, singing and dancing along to the jukebox with a broom and a chair - her high heels high up on the counter, barefoot - she conjures movie-musical magic out of thin air. This is not an easy song to sing, and even harder still to do one better than the near irreproachable original - and alone. We all remember what a rough go of it Beyonce had when she covered Etta James's other untouchable song, "At Last", in CADDILAC RECORDS. Ms. James was not amused (nonetheless, this critic was). In any event, Christina knocks this clear out of the park and the stark, unadorned filmmaking style of this number hopefully indicates that this movie musical will have some inventive camerawork for the musical numbers - particularly the dancing, which gets top-billing in the trailer - and less of the choppy MTV-style hack-job-ery of some of the big-bomb movie musicals mentioned before, as well as some of the hits (inexplicably). Considering the director of this film, we can't be too sure, but at least we know it will all be done with a stylistic purpose in mind. The style is not what draws concern, it's the content. With songs like this being used to tell the story we know we will have something to emotionally latch onto. Wail all you will.
Christina Aguilera - "Something's Gotta Hold On Me"
The Pussycat Dolls are the work of Robin Antin, Steve's brother, and this film seems to be a natural extension of the bawdy, titillating, dynamo dancing divas that the Antins have utilized so well. Steve Antin directed and Denise Faye (of CHICAGO and NINE) choreographed the film, and PCD paw-prints are all over the trailer. He has a style and he knows how to utilize it to the best advantage of his performers and the material if we are to take the many music videos and PCD stage shows by the Antins as evidence: all that's left to be seen is whether or not Steve Antin can tell a compelling story - or at least keep the audience's attention - while doing all of that razzle dazzle razzmatazz. After all, that whole characteristically black-leather/pink-satin style that has become something of a phenomena - unquestionably iconic - has its roots in an actual modern-day burlesque house in LA in the mid-to-late 1990s that had the original featured (lipsynced) lead dancers like Carmen Electra and then morphed into the ever-changing carousel of the all-girl pop group of the same name that is an international sensation. PCD has attracted beautiful and rare talent before Cher and Christina, as well: Nicole Scherzinger - lead singer on PCD's biggest hits, such as "Don'tcha" and "Buttons" - got tongues wagging this week on both coasts over her delectable portrayal of Maureen in Neil Patrick Harris's warmly received staging of RENT at the Hollywood Bowl co-starring Aaron Tveit, Vanessa Hudgens, Traci Thoms and others. She also participated in workshop readings for LOVE NEVER DIES. The Pussycat Dolls - or PCD, as they are known, if that isn't clear - are, truth be told, about style over substance. So, with a two-hour film with a cast as good as this and led by three ladies as talented as Cher, Chrstina and Kristen Bell, hopefully the spell will last the duration of the evening. It's a tricky and potentially treacherous tight-rope trope, in any event, as is any movie musical in the twenty-first century.
Anything assumed, all of this - it's all supposition, anyway. All of this analysis of what should be or could be and what magic exists or doesn't exist. Yet, to have a bite of what looks to be a satisfying slice of showbiz pie, in a bracing (and biting) backstage story told through song - with a healthy dollop of camp and cliché ala mode, and a generous sprinkling of homage - served up by the top-tier-talents of Hollywood, Broadway and beyond is enough to incite excitement in any fan of musicals, whether live-in-the-house on Broadway or celluloid in-the-can in CA. Hopefully, BURLESQUE will be the cherry on top, not the ashcan (or its contents). Either way, these appetizers are sweet, sexy and scorching and speak favorably for what is to come. For me, November 24th can't come soon enough - particularly after the season we've just had on Broadway as far as new musicals of any ilk - jukebox, meta, wholly original or otherwise - are concerned. The audience is hungry. I know I am. Let's hope they're serving up what we're all positively famished for - solid entertainment (we're not expecting Albee or Sondheim). From the sights and sounds of this trailer, this song and this performance clip: it looks like they very well could be giving us what we yearn for. Expectations are set. As the song "Spotlight" professes, "Get up, get up, / This is not a test / You gotta give me your best / Get your ass up and show me how you burlesque!" Do it, girls. Show us how it's done. We're ready.
Source: BroadwayWorld
Credits: Mo-Xtina
Monday, August 16, 2010
SUPPORT THE WFP IN HELPING PAKISTAN
In the wake of the worst monsoon flooding to hit Pakistan in over 80 years, WFP and its partners are working to reach over 2.5 million people with emergency food aid. A series of airlifts have begun to deliver relief supplies to communities isolated by the floodwaters. Show your support by visiting the WFP official site and see how you can help those in need. Click here!CLICK PICTURE TO HELP SUPPORT PAKISTAN
Source: CHRISTINA AGUILERA (Official Website)
Sunday, August 15, 2010
THE BIONIC ARMY PROJECT
My name is Nate Webster and I have decided to put together a FAN BOOK to give to Christina Aguilera. The book will contain letters, collages, artwork, poems, anything really that showcases your love for our idol. There is no deadline for the book yet, but please send me your entries as soon as you finish. Put your heart and soul into this, babes! A close source to Christina has agreed to get the book to her when it's finished!Please note:
- All physical entries must be created on 8.5 x 11 paper if you live in North America. For the rest of the world, as long as the paper can be used in your computer's printer it's fine to send! Don't send it on a poster! Ha!
- If you can’t fit everything on one piece of paper, don’t worry! You’re welcome to as many pages in the book as you’d like.
- Don’t write on both sides of the paper because I will be pasting them in the book.
- All entries must include a separate note including:
A) your name
B) country and
C) your one favorite Christina song (if you had to choose one!)
*Please send all entries to:
Nathan Webster
1568 YONGE STREET
TORONTO, ON
M4T 1Z7
CANADA
OR
BionicArmy@hotmail.com (if you cannot send using regular post)Please send any further questions to BionicArmy@Hotmail.com
I will be recording video blogs as The Bionic Army Project progresses and uploading them to www.facebook.com/BionicArmy - I hope you guys participate! Let’s send Christina our love, bitches!
xoxo Nate
Thursday, August 12, 2010
CHRISTINA TO LEND VOICE TO SUPPORT THE ARTS
LOS ANGELES — Christina Aguilera is doing her part to help the arts.The Grammy-winning singer is lending her voice to a fundraiser in support of the Los Angeles County Museum of Art's latest project.
Aguilera will perform at the Sept. 25 grand opening celebration of the museum's Lynda and Stewart Resnick Pavilion, described by LACMA as "the largest purpose-built, naturally lit, open-plan museum space in the world."
The 29-year-old pop star said she's honored to help celebrate the 45,000-square-foot exhibition building, which was designed by Renzo Piano.
The gala fundraiser is open to the public. Individual tickets are $5,000 to $10,000 and tables are available for $25,000 to $100,000.
Source: Associated Press
Wednesday, August 11, 2010
NEW BURLESQUE PREVIEW: "SOMETHING'S GOT A HOLD OF ME"
A new clip from writer/director Steve Antin’s Burlesque has landed online and boasts what appears to be one of the film’s strongest elements: Grammy-winner and pop icon Christina Aguilera’s incredible voice. In the film, Aguilera plays Ali, an aspiring singer who moves to Los Angeles to chase her dreams of becoming a star. While the film’s elevator pitch may sound less than groundbreaking, you really don’t need to add much more beyond, “…and then Christina Aguilera sings a few numbers, some while scantily dressed as a burlesque dancer.”
Joining Aguilera in her first big screen appearance are Kristin Bell, Cam Gigandet, Eric Dane, Stanley Tucci, Peter Gallagher, and the apparently immortal Cher. Burlesque hits theaters on November 24th, 2010. Watch the first trailer from the film here, and check out the new clip of Aguilera singing the Etta James classic “Something’s Got a Hold on Me” after the jump.
Joining Aguilera in her first big screen appearance are Kristin Bell, Cam Gigandet, Eric Dane, Stanley Tucci, Peter Gallagher, and the apparently immortal Cher. Burlesque hits theaters on November 24th, 2010. Watch the first trailer from the film here, and check out the new clip of Aguilera singing the Etta James classic “Something’s Got a Hold on Me” after the jump.
Sunday, August 8, 2010
Thursday, August 5, 2010
CHRISTINA STRUTS HER STUFF IN 'BURLESQUE' TRAILER
Christina Aguilera is hitting the big screen for the first time this fall in "Burlesque," and the full-length trailer for the Screen Gems drama popped up on the Web today. The film finds Aguilera playing Alice, a small-town girl with hopes of becoming a famous dancer, as well as Cher taking on a motherly role."When you're putting on your make-up it's like you're an artist, but instead of painting a canvas, you're painting your face," Cher wisely tells Aguilera in one of the scenes. The legendary diva co-stars as the burlesque club owner Aguilera wants to work for. The initially shy Alice has a hard time proving she belongs on stage, but once X-tina shows off those pipes, it's officially show time.
"Burlesque," which also stars Stanley Tucci, Kristen Bell and Peter Gallagher, is set to hit theaters Nov. 24.
Source: Billboard
Credits: RD
BURLESQUE TRAILER WOW'S US WITH GREAT SINGING AND SEXY MEN
The trailer for "Burlesque" hit the web today (see it after the jump!), and if all that statement inspires is an "Oh, that Christina Aguilera movie?" response, then prepare to be impressed. I've been a fan of Christina's music for a while, but either because of the shoddy quality of the trailer that I watched or the fact that she might actually have some acting chops in her film debut, it honestly took me a while to realize that lead character Ali Rose was the lady behind "Fighter" and "Beautiful."That is, until she gets a chance to sing.
But first, that cast! I melt every time I see Eric Dane's face on the big (or small screen), so having him play Ali's love interest was brilliant casting for at least the "Grey's Anatomy" crowd (and hopefully anyone with a brain, because there's a reason he's McSteamy). And then there's Cam Gigandet, who plays a guy who works at the burlesque bar Ali finds in Los Angeles, and I think we have more hot men than we can handle in one film.
Add that to Oscar winners Cher (who is in her element here, so don't be frightened off) and Stanley freakin' Tucci. This guy's got it all, and could act his way out of a can of peas, so seeing him just made my day that much brighter. And then, as if those four weren't enough, you've got Kristen Bell, Julianne Hough (yes, from the "Footloose" remake), Peter Gallagher and Alan Cumming, and you've got a great, great, great cast.
I'm not discounting what looks like it could be a good performance from Christina, either. As I mentioned earlier, it's her first time ever in a film, so this could definitely make or break her (hello Mariah and Britney). But I like the idea of Christina going back to what worked for her before on film (of course I mean "Moulin Rouge") and making it her own. She has an amazing voice, and really she seems like the perfect choice to be starring in this film. I am excited for November 24.
Were you as wowed by this trailer as I was? Does anyone else's heart flutter whenever they see Eric Dane?
Source: Hollywood Crush.MTV
Credits: Mo-Xtina
CHRISTINA SCHOOLS CHER IN 'BURLESQUE' TRAILER
What do you get when you mix two of the hottest divas of all time, sexy dancing and some sizzling costars? The trailer for Burlesque!Christina Aguilera plays your typical small-town girl with dreams of making her way into showbiz. So, of course, she gets a waitressing job at an L.A. burlesque club run by Cher, which allows Xtina to display her Grammy-winning pipes. And voilà , stardom!
With an all-star cast including Twilight's evil vamp Cam Gigandet, Kristen Bell and Stanley Tucci, plenty of corsets and risqué choreography, this kinda looks like the Lady Marmalade video, except two hours long.
What do you think? Can't wait for Aguilera's acting debut? Or should she stick to singing?
Source: E!
Credits: Mo-Xtina
CHRISTINA AGUILERA'S 'BURLESQUE' TRAILER DEBUTS
It's been a while since Christina Aguilera was an up-and-coming artist on the pop-music scene, and even back then, she didn't struggle for long. Her debut album hit the #1 Billboard spot and went platinum eight times.But Aguilera's starring turn in "Burlesque" thrusts the 29-year-old back into the role of aspiring artist, and as the movie's first trailer shows, Aguilera has taken to the portrayal quite well.
Our first glimpse of Xtina comes as she books a one-way bus ticket out of her small town and toward the bright lights and skimpy outfits of Los Angeles. She lands at a nightclub run by none other than Cher and fights her way onto the stage and in front of an audience as a burlesque performer.
"When you are putting on your makeup, it's like you're an artist, but instead of painting a canvas, you're painting a face," Cher explains.
The trailer gives us a glimpse of Aguilera's attempts to convince Cher to give her a shot to perform, her burgeoning relationship with Cam Gigandet, her rivalry with Kristen Bell and, of course, her crazy vocal abilities.
"It's sexy, it's sensual," Aguilera said of the film last month. "The whole idea of burlesque has always intrigued me. The art of the tease, the dance, beautiful women — need I say more?"
Though "Burlesque" marks Xtina's feature-film debut, director Steven Antin revealed she didn't have any trouble getting the hang of a movie set. "She figured out how it works within weeks," he said. "She is a little bit of a freak of nature and a perfectionist. This girl is a movie star."
Source: MTV
Credits: KGBCA
Wednesday, August 4, 2010
WHY 'BIONIC' DIDN'T WORK FOR XTINA AND WHAT COULD'VE BEEN DONE DIFFERENTLY
It's a shame that Christina Aguilera's 4th studio album, "Bionic", is already considered a flop after being released a mere two months ago. However, does flop always equate with an album being inherently bad? In this case, no. "Bionic" is a great album that could've been a spectacular album if Team Aguilera hadn't dropped the ball so many times. There are a few key factors that led to the demise of "Bionic", and if these pitfalls had been avoided and different decisions had been made, it could've actually turned out to be an enormous success.Factor #1: Typecasting & Improper Transition
It'd been so long since Christina had released an album, that all anyone remembered concerning her music was throwback jazz & ballads. It didn't help that when several recording artists got together for the Hope For Haiti campaign, Christina decided to prematurely expose a new ballad months before the release of the futuristic, promising "Bionic". "Lift Me Up" became a top download on iTunes for almost a month, cementing America's belief that Christina would continue cranking out organic, timeless material on her upcoming effort. Unsurprisingly, when she later attempted to push the new project, people had a hard time adjusting to her new sound (something upbeat & up-to-date) since she'd fallen off the face of the earth for so long and provided an improper transition between "Back To Basics" & "Bionic". As for "Keeps Getting Better," don't even bother. That didn't cut it and chances are, you might've just remembered that song even existed just by reading this.Factor #2: Poor Choice of a Follow-Up Single
Despite contrary belief, "Not Myself Tonight" was a very strong lead-in to "Bionic". The first single encompassed the raw energy of the album as a whole, even though it flopped (most likely due to Factor #1). However, when it came to selecting the next single right before the album's release, the creative minds of Team Aguilera must have been out on a coffee break. To put it bluntly, "Woohoo" was a terrible choice. A song that features Christina & Lil' Kim wannabe Nicki Minaj, babbling about how their special place tastes like cake was a poor, crass choice. But it didn't get better even when the creative minds came back from their coffee break. Team Aguilera realized they needed to make up for the "Not Myself Tonight" blunder so they opted instead for "You Lost Me," a bland mash-up of "Hurt" & "Beautiful." This ended up being another poor choice in a long line of flubs as the single has fizzled on arrival. "You Lost Me" not only sounds unoriginal, but it lacks the single-worthyness that "Lift Me Up" and other ballads on the new album had. If they hadn't jumped the gun on "Lift Me Up" with the Hope For Haiti campaign, then they could've had a hit that could've supported "Bionic".Factor #3: Was the Final Tracklisting Decided with a Dartboard??
Let's face it, the bonus tracks are astoundingly better than the songs that made the final cut. The less-than-stellar filler songs like "Glam" (and its annoying intro track), "Prima Donna", "All I Need" (and its skip-worthy intro track), and "My Girls (feat. Peaches)" could've been replaced by the undoubtedly superior bonus tracks. "Monday Morning", which seems like an blissful ode to Blondie, sure fits the bill.
The fast-paced "Bobblehead" would've been a great addition as well. And "Stronger Than Ever" blows every ballad that Christina has ever recorded out of the water. Finally, the fact that "Birds Of Prey" did not make the final cut is simply an affront to the music industry.
So let's take a look at the science of launching a successful album with the proper set up from its singles. The first single of an album should be simultaneously have the ability to stand on its own and be representative of the album as a whole. The second single should be the powerhouse that helps drive album sales and increase awareness of said new album. The third single should be the cement that grounds the album as a success. And if there is a fourth single (which there is with most pop albums), it winds up most likely being the "fun single", which requires no creative input, but transitions to the end of an era. The creative teams behind artists like Britney, Rihanna, and Lady Gaga have got this down, why can't Team Aguilera follow suit?Here's what could've potentially made "Bionic" a success:
Christina, herself, could've taken a coffee break during the Hope For Haiti campaign and forgone debuting her a new ballad from her new album, or she could've recorded a cover song to help support the campaign, or even simply given a substantial donation to help the victims of the earthqauke that devastated Haiti.If only Team Aguilera hadn't had their heads stuck where the sun don't shine, they probably would've realized the snowballing, disaster-effect that their choices led to. With rumors of RCA debating whether to re-release "Bionic" with more organic material, or just drop Christina from the label altogether, it makes you wonder if the "What If" single wishlist that was just described could've saved "Bionic". Ultimately, I say 2 months is way too early to consider an album to be a total flop. Maybe Christina can find a miracle that will shoot her back to the top. Only time will tell, but the future looks bleak for little Xtina right now.
Regardless of its status as a single, "Not Myself Tonight" was the wise choice for introducing the new era of Xtina.
Assuming that the filler songs and bonus tracks were switched, "Stronger Than Ever" would've been the powerhouse second single to propel "Bionic" into a mega-success.
The album's title track, "Bionic", would've been a great third single that could've cemented the album's success. Or even a remix/single edit of "I Hate Boys" would've made an amazing third single.
And lastly, Christina could take a hint from Beyonce and the Black Eyed Peas by releasing a dual fourth/final single by way of "Bobblehead" and "Vanity".
Source: MOG
Editors Note:
I think the whole dual promotion of 'BIONIC' and 'BURLESQUE' took away from some of the promotion that could have catapulted 'BIONIC' to a mega-success worldwide. Bionic was robbed of its success, but Team Aguilera can only learn from this.
WORLD FOOD PROGRAMME GIVEAWAY - FINAL WEEK
Alright Christina fans! Our WFP Cup Giveaway has officially ended and we are moving right on to the next and final prize - are you guys enjoying all the free stuff or what?We kick off week 4 of our giveaway (and our finale week of giveaways) with an amazing official WFP Jacket. You've all been so great entering the contests over the past few weeks and we want to reward you guys for that so we are giving away eight (8) signed WFP Jackets. Each jacket is signed by Christina Aguilera herself!
If you need a refresher, here's how it works.
To enter for this week's prize, send an email with “Christina World Food Programme Giveaway” in the subject line and include your full name, telephone number, email address, date of birth and country of residence to rca.contests@sonymusic.comEntrants must enter for this week’s drawing individually and only one entry per person. If a person enter's more than once, their entry will be disqualified. Please note - by entering the contest you will also be added to the World Food Programme's Official Online Community.
So if you haven't already won something, here's your last chance! Enter today!
Click here to read the Giveaway Official Rules
Source: CHRISTINA AGUILERA (Official Website)
Tuesday, August 3, 2010
Monday, August 2, 2010
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