Think of it as a new edition of the hard-soft dynamic employed by Nirvana. Instead of remaking rock by marrying punk`s crashing chaos to invitingly Beatlesque melodies, Spears - or really, her billion-dollar producers, Max Martin and Dr. Luke - sustain her calling on the keen edge of dance-pop by shading the near-industrial beats and breakdowns of English grime music with a beatifically insipid chorus worthy of Martin`s recently minted star, Taio Cruz.
How does this link to Lopez and Lee? Both offer fine examples of what it takes to exist in the novelty-obessed pop world, a thing that`s too long preoccupied Spears, and which must feel even more pressing now that the Louisiana-born proto-nubile is getting uncomfortably close to 30.
Lopez`s musical efforts may have recently flopped, but her comeback via "American Idol," ramping up in fall of the show`s return on Jan. 19, reminds us that the good form of female pop star - the flexible type, with enough personality to celebrate her distinct from newer rivals but not sostubbornly committed toherselfthat a new context can`t upgrade her - can give a longer public life than anyone expected. And a just-published newbiography of burlesque legend Lee againbrings to head the most striking fact about American sex symbols: Given the nation`s repressed attitudes about genuine public displays of sensuality, the bestmethod formass seduction is a massive brain-tease.
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