“That drew me into working with her,” says Interscope chairman/CEO John Janick.
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In 2012’s Spring Breakers, the bleakly comic art film-turned-hit movie directed by Harmony Korine, she played a wayward, bikini-clad teen. Not that Gomez is a stranger to the world outside of the shell. Selena Gomez joins Taylor Swift onstage at Madison Square Garden in New York on Nov. “I’ve been judged too much to even remotely go there. “There’s not an ounce of me that doesn’t think that whatever they’re doing is right,” says Gomez. In fact, she strongly identifies with her subversive female peers. “If they think I’m the good girl still, great!” she says, giving a sarcastic thumbs-up.
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Unlike her old Barney & Friends co-star Demi Lovato, who fought her demons to become pop’s self-help princess, and her Disney Channel comrade Miley Cyrus, who transformed the slut shaming against her into a thesis on free love, psych pop and glitter abuse, Gomez’s struggle with expectations hasn’t been obvious. Yes, it’s sexual and captivating, but that’s what makes a woman. “I didn’t want a damn guy in there,” she says. In the song’s video, she writhes and caresses herself in and out of the shower, looking happy to have the alone time. Her weariness extends to those who assume “Good for You” caters to the male gaze. Gomez is clearly tired of being defined by the men in her proximity. Selena Gomez’s Nearly Nude Album Cover Spurs Social 50 Chart Gain “This is what I always saw in him, why I always believed in him.” Are they talking? “We’re on good terms, but no.” Does she take any inspiration from his career evolution? “No. “I’m proud of him,” says Gomez, sipping ice water garnished with a squeeze of lemon. Though she’d prefer to not talk about him, she can still spare a kind word for the Biebs, who has been maturing, too. Selena Gomez and Justin Bieber at the 2011 American Music Awards. She did it to excommunicate herself from her image. “But honestly, she wasn’t looking for a No. She’s probably only f-ed Justin Bieber, if that.” He snickers. “I don’t think she’s there 100 percent yet. “She’s developing her sexiness,” says the Harlem MC, who didn’t recognize Gomez when he heard the demo. It also features her first collaboration with a rapper, the louche A$AP Rocky, whose priapic verse pokes fun at her good-girl past. and Madonna - artists who eschew bubble gum in their pursuit of pop.įirst single “Good for You” is an unlikely salvo indeed, with a woozy ambience and Gomez cooing, “Let me show you how proud I am to be yours/Leave this dress a mess on the floor.” The song is her highest-charting yet, No. 9 on Interscope, which makes Gomez labelmates with Ellie Goulding, M.I.A. It marks a split from the Disney empire that shaped so much of her story, from her star-making role on teen sitcom Wizards of Waverly Place to her five albums on Mouse-backed Hollywood Records (which sold a total of nearly 3 million copies in the United States, according to Nielsen Music). The title of her second solo album, Revival, isn’t only a marketing concept. “Body Heat” brings Latin fusion into Gomez’s mix like never before and proves that she doesn’t need Zedd (the German producer behind her recent dance chart-topper “I Want You to Know”) to make a genuine club banger.THIS COVER STORY FIRST APPEARED IN BILLBOARD MAGAZINE GET THIS WEEK’S ISSUE HERE OR SUBSCRIBE TO BILLBOARD HEREĪt 23, after a bumpy couple of years that brought big changes to her family, love life, health and career, Gomez is on a mission to commandeer her narrative. Soaring past the harsh-though-catchy EDM beats of 2013’s Stars Dance and the shallow angst of her previous work with the pop-rock project the Scene, the former Disney star finds a new comfort zone in this album’s warm, tropical beach-pop sound. Her brand of sexiness has a coy, subtle quality that never tries too hard, from the fun, flirty “Hands to Myself” to the blissed-out “Survivors” to the intoxicating “Me & the Rhythm” - a riff on the classic theme of losing yourself on the dance floor (“Everybody wants to be touched/Everybody wants to get some”) that nonetheless finds her sounding completely in control of her own euphoria. Where some former child stars tack toward aggressive maturity when they reach their twenties, Gomez finds ways to transcend that cliche. “It’s my time to butterfly,” she sings on the self-care anthem “Revival.” The Gomez of this relaxed, confident pop collection butterflies with such ease that it feels like she’s revealing her true personality for the first time.
Selena Gomez wills a new era of her career into existence within the first two minutes of her second solo album.
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