Christina Aguilera

After Britney Spears, Christina Aguilera was the most popular female singer of the late-'90s teen pop revival. Unlike many of her contemporaries, Aguilera was a technically skilled singer with a genuinely powerful voice, belting out her uptempo dance numbers and ballads with a diva's panache. Born Christina Maria Aguilera on December 18, 1980, on Staten Island, her parents were of Irish and Ecuadorian stock and her father's military career meant the family moved quite a bit during her childhood. They eventually settled in Pittsburgh, PA, where Aguilera began performing in talent shows at age six, with considerable success. She appeared on Star Search in 1988 (though she didn't win) and in 1992 joined the cast of the Disney Channel's The New Mickey Mouse Club, which also included Spears, future *NSYNC members Justin Timberlake and JC Chasez, and Felicity star Keri Russell.

After two years, Aguilera moved to Japan, where she recorded the hit duet "All I Wanna Do" with pop star Keizo Nakanishi. Returning to the U.S. in 1998, Aguilera recorded the song "Reflection" for Disney's Mulan; her performance helped earn her a record deal with RCA. Her self-titled debut album was released in the summer of 1999, and with teen-oriented dance-pop all the rage, the lead single "Genie in a Bottle" shot to the top of the charts for five weeks; the album also hit number one on its way to sales of over eight million copies in the U.S. alone. The follow-up, "What a Girl Wants," was the first number one single of the year 2000 and Aguilera consolidated her near-instant stardom by performing at the White House Christmas gala and the Super Bowl halftime show, and winning a Grammy for Best New Artist. Further hits followed in "I Turn to You" and another number one, "Come on Over Baby (All I Want Is You)."

In September 2000, seeking a place in that year's Latin pop boom, the part-Ecuadorian Aguilera recorded a Spanish-language album called Mi Reflejo, learning the lyrics phonetically since she didn't speak Spanish. It was followed quickly by the holiday album My Kind of Christmas; both sold extremely well, a testament to Aguilera's popularity. In the spring of 2001, Aguilera was featured -- along with Pink, Mya, and Lil' Kim -- on the chart-topping blockbuster remake of Patti LaBelle's "Lady Marmalade" featured on the Moulin Rouge soundtrack. Aguilera was by now a fixture at music industry awards shows; as she enjoyed her celebrity, a collection of old demos -- recorded when she was 14 and 15 -- was released under the title Just Be Free, despite Aguilera's vehement objections.

Aguilera attempted to deter the mass media's expectations when she issued her second studio album in fall 2002. Stripped, which appeared in October on RCA, was quickly criticized for its adult yet confident approach. Aguilera's look had gone from glossy to gritty. She appeared topless on the cover of the album and went nude for a fall issue of Rolling Stone. Debut single "Dirrty" revealed her new sexual power and became a chart smash, while "Beautiful" showed her softer side. For her next record, however, Aguilera split from producer Scott Storch and went to work with DJ Premier and Linda Perry, among others, for the 2006 Back to Basics, which debuted at number one on the Billboard 200. The album, a two-disc set that explored her influences, mainly '20s, '30s, and '40s jazz and blues in the style of Etta James or Billie Holiday, portrayed a more mature, yet at the same time provocative, singer. ~ Steve Huey, All Music Guide

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Agony Scene , the or The Agony Scene

Agnostic Front

At the dawn of the '80s, New York City was mired in debt and crime, grappling with one of the most trying periods in its history, yet ironically (or perhaps fittingly), its underground music scene was seething with activity like never before. Still reeling from the violent inception and subsequent implosion of punk rock, hundreds of underprivileged kids living in Manhattan and its outlying boroughs began forming rock groups to rail against the everyday trials, dangers, and prejudices of urban existence. As had been happening in other urban centers (most notably L.A. and Washington, D.C.) equally affected by the lean, recession-laced early years of Reaganomics, New York became a melting pot/hub for a flourishing hardcore scene -- a cultural phenomenon that used punk rock as a platform for politically charged, inherently regional musical catharsis.

And though it would eventually splinter into countless subgenres, at least initially NYHC (New York Hard Core) far superseded the original punk movement's ragged collective (known as much for art rockers like Talking Heads and Television as it was for "true" punks like the Ramones and Dictators) in terms of a cohesive creative vision. Among the bands at the forefront of this united, seemingly unstoppable army were Agnostic Front, whose frantic, minimalist assault and sociopolitical rants came to epitomize the essence of hardcore, New York f*ckin' City style.

Guitarist Vinnie Stigma was a first-generation punk rocker and an early-'80s skinhead who finally got around to forming his own band, Zoo Crew, in mid-1982, with vocalist John Watson. But Watson only lasted a few months before being replaced by Cuban-born Union City, NJ, native Roger Miret, a product of refugee parents with firsthand experience in social injustice and opinionated views about politics coursing through his veins. When combined with Stigma's primal rhythm guitar ferocity, Miret's charisma as a decadent urban messiah would come to personify AF's sound. Bassist Adam Moochie and drummer Ray Beez joined soon after and, after adopting the new name Agnostic Front (at Stigma's insistence because he thought it sounded like a movement), they recorded their first independent release, the United Blood EP, the following year. This was followed by 1984's career-defining Victim in Pain album, which contained a 15-minute blast of pure New York hardcore and saw the arrival of new members Rob Kabula (bass) and Jimmy Colletti (drums). It also confirmed Agnostic Front's brief status as leaders (along with precursors the Cro-Mags and Murphy's Law) of the already cresting movement, which found its weekly showcase via the now legendary Sunday matinees at favorite Lower East side haunts A7 and CBGB's.

But Agnostic Front were always on the verge of collapse due to Miret and Stigma's mercurial relationship and, like most of their hardcore brethren, were already tampering with their sound. Inevitably, as their musicianship continued to improve, the bandmembers (now including drummer Louie Beatto and additional guitarist Alex Kinon) began losing some of their raw hardcore spontaneity, and with heavy metal growing in popularity day by day, it was no surprise when they started experimenting with the tightly controlled velocity of thrash metal (i.e., buzzsaw riffing and double kick drums). Coincidentally picked up by the speed metal-friendly Combat Records, they struggled through the sessions for what would become 1986's Cause for Alarm album, today acknowledged as a crossover landmark alongside efforts by D.R.I. and Corrosion of Conformity. It was also considered a betrayal and a travesty by many of the band's early supporters, who couldn't have cared less that Cause for Alarm was teaching thousands of metal heads to appreciate hardcore.

Some saw 1987's subsequent Liberty & Justice For..., which featured an entirely revised cast of backup musicians in guitarist Steve Martin (no relation), bassist Alan Peters, and drummer Will Shepler and did away with the metal-style drumming to pursue a looser, less disciplined direction, as an act of compromise. Not that it mattered: the original hardcore scene had pretty much disintegrated by this time anyway, with growing dissension among the movement's many factions (straight-edge, skinheads, etc.) transforming most concerts into armed combat, and leading to many clubs being shut down. Released in 1989, Live at CBGB's (with new bassist Craig Setari) collected Agnostic Front's best-loved material as heard in the band's natural element and, in a way, symbolized the NYHC's official wake. As if to punctuate that fact, Roger Miret was arrested soon thereafter on serious drug charges and sentenced to nearly two years in prison.

In the interim, Vinnie Stigma and Agnostic Front carried on as best they could, undertaking their first European tour with new guitarist Matt Henderson and substitute singer Alan Peters, while Miret found solace writing lyrics about his predicament. These would comprise the bulk of 1992's comeback album, the overtly metallic One Voice, which was pretty much dead on arrival, since much of Agnostic Front's following had moved on to other things during the band's extended absence. A greatest-hits set entitled To Be Continued was also issued at this time, prompting Agnostic Front to call it a day following a farewell concert at (where else?) CBGB's. The final show was recorded for 1993's Last Warning, after which Stigma and Henderson formed Madball with Miret's younger brother Freddy Cricien.

Come 1997, however, Stigma and Miret began discussing a possible comeback for Agnostic Front. And when top punk label Epitaph Records showed interest, the band's long-rumored resurrection became fact, with former members Rob Kabula and Jimmy Colletti completing the lineup that recorded both 1998's Something's Gotta Give and 1999's Riot, Riot, Upstart in quick succession. The latter boasted an especially strong set of retro-hardcore, and featured guest appearances from M.O.D.'s Billy Milano and Rancid's Lars Frederiksen, among others. With the hardcore scene that they'd helped build effectively dead in the dirt, few listeners outside the band's New York stomping grounds seemed to care about their return, but Agnostic Front continue to perform and record occasional albums like 2001's Dead Yuppies (with new bassist Mike Gallo), 2003's Working Class Heroes, 2005's Another Voice and 2006's CD/DVD Live at CBGB's. ~ Eduardo Rivadavia, All Music Guide

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against me!

The roots of Against Me!'s rousing punk-folk sound lie in Tom Gabel's guitar-and-stool troubadourship around his native Gainesville, FL, beginning in 1997. The then 17-year-old Gabel performed as a solo act wherever anyone would have him, drawing much influence from early acoustic protest music. The band around him would eventually solidify by 2001 -- including guitarist James Bowman, drummer Warren Oakes, and bassist Andrew Seward -- and get considerably louder as punk bands often do. But there would always be some anarchism and Billy Bragg in the raucous braggadocio. After a few initial 12" and 7" releases, Against Me! issued the fan-favorite Reinventing Axl Rose through No Idea in 2002. The underground hit blended elements of punk, folk, and country into socially conscious and impassioned anthems for late-night basement shows and bars. Continuing their reputation of always being on the road, countless tour dates were played around the country. The slightly more polished As the Eternal Cowboy followed from Fat Wreck in 2003, and after a DVD (We're Never Going Home) and another 7", the band returned with their most mature effort to date, 2005's Searching for a Former Clarity. A subsequent headlining tour in support of the introspective and politically aggressive album saw the band proudly hitting every U.S. state. They signed to Sire Records in December 2005 and were back on the road by spring 2006 opening for the Alkaline Trio. That summer found Against Me! on the main stage at Warped Tour, their first time on the festival. Though the guys were officially now on the roster at Sire, they released the live album Americans Abroad!!! Against Me!!! Live in London!!! on Fat Wreck in August 2006. Recorded while on tour in London with Murder by Death, it harnessed the band's notoriously invigorating live show as well as any album could. Finally, in July of the following year, the band's major-label debut, New Wave, a decidedly more rock-oriented record produced by Butch Vig, hit shelves. ~ Johnny Loftus, All Music Guide

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afters, the or the afters

The unlikely origin of the Texas-based rock quartet The Afters is steeped in caffeine.

Josh Havens and Matt Fuqua were working together at a Starbucks in Mesquite, Texas while playing for other bands. On slow nights, they entertained customers and themselves by playing a few acoustic songs. "I'm sure we weren't supposed to be playing music on the clock, but the customers liked it," Havens jokes.

They wound up playing an acoustic show together at a church conference, and were surprised when people came up to them after the show asking where they were playing next. "We thought it would be fun to play a show and then go back to our bands," Fuqua explains. "Instead we were overwhelmed with incredible feedback from people. We decided to keep playing together and see where it took us."

The road led to a series of acoustic shows at The Door, a legendary Dallas club. "We wound up with 300 people at our first show and the crowds got bigger every time we played," Havens recalls.

Agreeing to shift from acoustic to electric, Fuqua and Havens began looking for a drummer and bassist. Naturally they found what they were looking for at Starbucks. Dodd, a regular customer at their Starbucks, joined to play drums and Wigg, a Starbucks employee, signed up to play bass. The band's powerful performances earned The Afters a loyal following and for two years the band packed The Door consistently.

Wigg explains, "We were able to draw people in at our live performances initially through our onstage charisma. Especially Josh. He has that sort of dreamy, wistful look of innocent vulnerability while maintaining a degree of confident charm. But when you break the show down to its elements there's a great deal of variety to be found. Josh sings, I sing, Matt sings, we have pop songs, we have really dramatic rock-your-face-off songs, we have sweeping, melodic ballads. There really is something for everyone."

In 2000, The Afters went into the studio to record a six-song EP. They sold all 2,000 copies in a few weeks and earned enough money to return to the studio to cut their debut, When The World is Wonderful. Independently released in 2001 under their original name Blisse, the album sold more than 25,000 copies and became a staple on Dallas rock radio.

The band knew it was onto something, but it was a show on Halloween 2002 that convinced Dodd. "That was when I knew I was finally going to be able to quit Starbucks," he says with a laugh. "We were on stage and all of a sudden the parts clicked into place at the same time. It felt like nothing could stop us."

Two years later and with a new moniker, The Afters signed with Simple/INO Records to record their follow-up, I Wish We Could All Win. Based on the strength of the album, Epic Records agreed to sign The Afters and re-release the album in the winter of 2005.

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