T-54/55
T-54 tank in Israel
Type	Main battle tank
Place of origin	Soviet Union
Service history
In service	1947–present
Production history
Designer	Morozov (T-54), OKB-520 (T-54A and later)
Designed	1945
Manufacturer	KhPZ, UVZ (USSR), Bumar-Łabędy (Pol.), ZTS Martin (Czech.)
Produced	1946–81 (USSR) 1956–79 (Pol.) 1957–83 (Czech.)
Number built	86,000–100,000 est.
Variants	See text
Specifications (T-55)
Weight	36 tonnes (39.7 ST)
Length	6.45 m
Width	3.37 m
Height	2.40 m
Crew	4
Armour	203 mm turret, 99 mm hull, LOS = ~200 mm
Main armament	D-10T 100 mm rifled gun
Secondary armament	7.62 mm SGMT coaxial machine gun, (12.7 mm DShK heavy machine gun)
Engine	Model V-55 12-cyl. 38.88-l diesel 581 hp (433 kW)
Power/weight	14.6 hp/tonne
Suspension	Torsion bar
Ground clearance	0.425 m
Fuel capacity	961 l (254 gal)
Operational range	501 km (311 mi), 600 km (373 mi) with extra tanks
Speed	55 km/h (34 mph)

The T-54 and T-55 tanks were a series of main battle tanks designed in the Soviet Union. The first T-54 prototype appeared in March 1945, just before the end of the Second World War. The T-54 entered full production in 1947 and became the main tank for armored units of the Soviet Army, armies of the Warsaw Pact countries, and others. T-54s and T-55s were involved in many of the world's armed conflicts during the late 20th century.

The T-54/55 series eventually became the most-produced tank in history. Estimated production numbers for the series range from 86,000 to 100,000.

T-54/55 tanks were replaced by the T-62, T-64, T-72, and T-80 in the Soviet and Russian Armies, but many remain in use by up to 50 other armies worldwide, some having received sophisticated retrofitting.

Soviet tanks never directly faced their NATO Cold War adversaries in Europe. However, the T-54/55's first appearance in the west in 1960 spurred the United States to develop the M60.^[1]

Development history[link]

Predecessors: T-34 and T-44[link]

The Soviet T-34 medium tank of the 1940s is considered by many to have the best balance of firepower (85mm gun), protection and mobility for its cost of any tank of its time in the world.^[2] Its development never stopped throughout the Second World War and it continued to perform well; however, the designers could not incorporate the latest technologies or major developments as vital tank production could not be interrupted during wartime.

In 1943, the Morozov Design Bureau resurrected the pre-war T-34M development project and created the T-44 tank. Thanks to a space-efficient torsion-bar suspension, a novel transverse engine mount, and the removal of the hull machine-gunner's crew position, the T-44 performed at least as well as the T-34, but with substantially superior armour. The T-44's main drawback was the small turret which remained incapable of mounting more powerful armament than its predecessor's 85 mm tank gun. A tank mounting a 100 mm gun was desired.

Prototypes[link]

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Development of the first T-54 prototype started in October 1944 at the OKB-520 design bureau, at the Stalin Ural Tank Factory No. 183 (Uralvagonzavod), in Nizhny Tagil. The initial design was completed in December, with a prototype completed in February 1945.

Trials conducted between March and April 1945 resulted in the new tank being commissioned for service with the Red Army as the T-54. The tank had virtually the same hull and drive train as the T-44. Major differences included thicker front armour (120 mm on the upper section and 90 mm on the lower section) and a newly designed driver's hatch and vision slot. The turret ring increased in diameter to 1800 mm and had thicker armour (180 mm on the front, between 90 mm and 150 mm on the sides and 30 mm on the roof).

The main armament was the 100 mm D-10TK cannon, with two 7.62 mm GWT machine guns. The tank was powered by a new V-54 12-cylinder 38.88 litre water-cooled diesel engine developing 520 hp (388 kW) at 2,000 rpm with a two-stage reduction gearbox. Fuel capacity was increased to 530 litres in the internal fuel tank and 165 litres in the external fuel tank. Unlike the T-34, the external fuel tanks were connected to the fuel system. The rubber rollers on the road wheels were widened. The T-54 weighed 35.5 tonnes, making it slightly slower than the T-44 at 43.5 km/h. The road range increased to 360 km.

It was decided to modernize the tank before production started. The new tank's turret was tried on two modified T-44 tanks.

Another T-54 prototype was built in July 1945 which received the alternative designation Ob'yekt 137. The tank was equipped with a new turret armed with 100 mm LB-1 tank gun and 7.62 mm SG medium coaxial machine gun. The turret armour was thickened (200 mm on the front, between 125 mm and 160 mm on the sides). The tank was armed with two 7.62 mm SG-43 medium machine guns mounted inside fixed boxes on the fenders, each with 500 rounds of ammunition and operated by the driver. The turret was fitted with a 12.7 mm DShK anti-aircraft heavy machine gun. The fuel capacity was increased to 545 litres in internal fuel tanks and 180 litres in external fuel tanks. Because of this, the road range remained 360 km despite the increased weight of 39.15 tonnes. This prototype went through trials between July and November 1945. Although there were numerous drawbacks which required correction and many alterations which had to be made to the vehicle's design, it was decided to begin serial production of the new vehicle and the vehicle officially entered service on 29 April 1946. It would go into production in Nizhni Tagil and Kharkiv in 1947.^[3]

T-54[link]

The original T-54-1. It has a turret reminiscent of the T-34-85's, with prominent, undercut shot traps. This example has the fender machine gun boxes replaced with fuel tanks.

A column of five T-54-2 tanks.

Production of the initial series of T-54s began slowly as 1,490 modifications were made. The Red Army received a tank which was superior to World War Two designs and theoretically better than the newest tanks of potential opponents.^{[citation needed]} The 100 mm gun fired BR-412 series full-calibre APHE ammunition which had inferior penetration capability compared to similar ammunition fired by 88 mm KwK 43 on the Tiger II, but superior to those fired by the shorter-barrel 88 mm KwK 36 of the Tiger I^{[citation needed]} and only slightly inferior in penetration to the KwK 36's PzGr.40/43 high-velocity tungsten-core round.^{[citation needed]} The 100mm OF-412 HE fragmentation was 60% heavier in both total weight and bursting charge than the equivalent 8.8 cm Sprgr.43.^{[citation needed]}

Due to its revolutionary design, this gun was mounted in a tank weighing four-fifths that of the Panther, two-thirds that of the Tiger I, and only just more than half that of the Tiger II. The light weight, powerful engine, and robust suspension gave it excellent cross-country mobility. The exploitation trials went without any breakdowns. ^{[citation needed]}

The serial production version, designated T-54-1, differed from the second T-54 prototype. It had thicker hull armour (80 mm on the sides, 30 mm on the roof and 20 mm on the bottom) which surpassed that on the German Tiger tank.^{[citation needed]} As production ramped up, quality problems emerged. Production was stopped and an improved T-54-2 (Ob'yekt 137R) version was designed. Several changes were made and a new turret was fitted. The new dome-shaped turret with flat sides was inspired by the turret from the IS-3 heavy tank; it is similar to the later T-54 turret but with a distinctive overhang at the rear. It also had a shorter bustle. The fender machine guns were removed in favour of a single bow-mounted machine gun. The transmission was modernized and the track was widened to 580 mm. The T-54-2 entered production in 1949 at Stalin Ural Tank Factory No. 183 (Uralvagonzavod). In 1951, a second modernization was made, designated T-54-3 (Ob'yekt 137Sh), which had a new turret without side undercuts, as well as the new TSh-2-22 telescopic gunner's sight instead of the TSh-20. The tank featured the TDA smoke generating system. A command version was built, the T-54K (komandirskiy), with a second R-113 radio.^[4]

T-54A and T-54B[link]

In the beginning of 1950s the personnel of the OKB-520 design bureau of the Stalin Ural Tank Factory No. 183 (Uralvagonzavod) had been changed considerably. Morozov was replaced by Kolesnikow who in turn was replaced by Leonid N. Kartsev in March 1953. The first decision of the new designer was to fit the 100 mm D-10T tank gun with the STP-1 "Gorizont" vertical stabilizer. The new tank gun received the designation D-10TG and was fitted into the T-54's turret. The new tank received night vision equipment for the driver and was designated T-54A (Ob'yekt 137G). Originally this had a small muzzle counter-weight, which was later replaced with a fume extractor. It was equipped with a OPVT wading snorkel, the TSh-2A-22 telescopic sight, TVN-1 infrared driver's periscope and IR headlight, a new R-113 radio, multi-stage engine air filter and radiator controls for improved engine performance, an electrical oil pump, a bilge pump, an automatic fire extinguisher and extra fuel tanks. The tank officially entered production in 1954 and service in 1955. It served as a basis for T-54AK command tank, with additional R-112 radio set (front line tanks were equipped with R-113 radio set), TNA-2 navigational device, ammunition load for the main gun decreased by 5 rounds and the AB-1-P/30 charging unit, which was produced in small numbers. In October 1954 a T-54A tank, designated as T-54M (Ob'yekt 139) served as a testbed for new D-54T and D-54TS 100 mm smoothbore guns and "Raduga" and "Molniya" stabilization systems, which were later used in the T-62. These were not completely successful, so further T-55 development continued to use the D-10 series guns. It was fitted with V-54-6 engine developing 581 hp (433 kW). It never went into production.^[4]

A new version based on T-54A, designated T-54B (Ob'yekt 137G2), was designed in 1955. It was fitted with a new 100 mm D-10T2S tank gun with STP-2 "Tsyklon" 2-plane stabilizer. It entered production in 1957. During the last four months of production the new tanks were equipped with an L-2 "Luna" infrared searchlight and TPN-1-22-11 IR gunner's sight, and OU-3 IR commander's searchlight. Modern APFSDS ammunition was developed, dramatically enhancing the penetrative performance of the gun to keep it competitive with NATO armor developments. T-54B served as the basis for T-54BK command tank which had exactly the same additional equipment as the T-54AK command tank.^[4]

T-55[link]

T-55 front, rear and side elevations

Trials with nuclear weapons showed that a T-54 could survive a 2–15 kt nuclear charge at a range of more than 300 metres (980 ft) from the epicenter, but the crew only had a chance of surviving at 700 metres (2,300 ft). It was decided to create an NBC (nuclear, biological, and chemical) protection system which would start working 0.3 seconds after detecting gamma radiation.

The task of creating a basic PAZ (Protivoatomnaya Zashchita) NBC protection system offering protection against the blast of a nuclear explosion and (radioactive) particulate filtration, but not against external gamma radiation or gas,^[5] was given to the KB-60 design bureau in Kharkov and was completed in 1956. The documentation was sent to Uralvagonzavod. It was decided to increase the tank's battle capabilities by changing the tank's construction and introducing new production technologies. Many of those changes were initially tested on the T-54M (Ob'yekt 139). The tank was fitted with the new V-55 12-cylinder 4-stroke one-chamber 38.88 litre water-cooled diesel engine developing 581 hp (433 kW). Greater engine power was accomplished by increasing the pressure of fuel delivery and charging degree. The designers planned to introduce a heating system for the engine compartment and MC-1 diesel fuel filter. The engine was to be started pneumatically with the use of an AK-150S charger and an electric starter. This eliminated the need for the tank to carry a tank filled with air. To allow easier access during maintenance and repairs, it was decided to change hatches over the engine compartment. To increase the operational range, 300 litres (66 imp gal; 79 US gal) fuel tanks were added to the front of the hull, increasing the overall fuel capacity to 680 litres (150 imp gal; 180 US gal).

The original T-55 lacked an antiaircraft machine gun mount.

The ammunition load for the main gun was increased from 34 to 45, with 18 shells stored in so called "wet containers" located in hull fuel tanks (the concept for which came from Kartsev's cancelled Ob'yekt 140. The ammunition load included high explosive-fragmentation and anti-tank rounds and designers also planned to introduce the BK5M HEAT rounds which penetrated 390 millimetres (15 in) thick armour. The TPKU commander's vision device was replaced by either the TPKUB or TPKU-2B. The gunner received a TNP-165 vision device. The loader's hatch-mounted 12.7 mm DShK anti-aircraft heavy machine gun was dropped, because it was deemed worthless against high-performance jets. The tank was supposed to be equipped with "Rosa" fire protection system. The tank had a thicker turret casting and the improved two-plane gun stabilization system from the T-54B as well as night vision fighting equipment. To balance the weight of the new equipment, the armour on the back of the hull was thinned slightly.

The T-55 was significantly superior to the IS-2 Heavy Tank in all respects, including the rate of fire of the gun (at least four compared to less than three rounds per minute). Despite somewhat thinner frontal turret armour (200 millimetres (7.9 in) instead of 250 millimetres (9.8 in)) it compared favourably with the IS-3, thanks to its improved antitank gun and better mobility. Heavy tanks soon fell from favour, with only 350 IS-3s produced, and future Soviet heavy tank designs remained prototypes. The old model of highly mobile medium tanks and heavily armoured heavy tanks was replaced by a new paradigm: the "main battle tank". Parallel developments in the West would produce similar results. Katsev combined all the ongoing improvements being offered, or planned, on the T-54 into one design.^[6] This became the Ob'yect 155, and entered production at Uralvagonzavod 1 January 1958 as the T-55.^[7] It was accepted for service with the Red Army on 8 May. It suffered a significant lapse in one area: there was no antiaircraft machinegun, which had been present on the T-54.^[7]

After 1959, it served as a basis for the T-55K command tank which was equipped with an additional R-112 radio set, an AB-1-P/30 fuel powered accumulator charging unit, and TPN-1-22-11 night vision sight. All this additional equipment made it necessary to decrease the ammunition load for the main gun to 37 rounds and eliminate the bow machine gun. In the beginning of the 1960s, a T-55K was experimentally fitted with a Uran TV relay apparatus for battlefield surveillance. The tank was fitted with an external camera, the picture from which was relayed to a receiver in a BTR-50PU command vehicle. There was an observation camera mounted on a folding mast which was in turn mounted on a UAZ 69 car. The range within which the picture could be relayed varied between 10 and 30 kilometres (6.2 and 19 mi).

In 1961 a T-55 tank was used to test the "Almaz" TV complex which was supposed to replace the standard observation devices right after a nuclear explosion or while fording a body of water. There was a camera mounted on the hull for the driver and two cameras mounted on the turret, one for aiming and one for observation, and the picture from the cameras was relayed to two control screens. The tank had the front hull fuel tanks and bow machine gun removed. The commander was seated in the driver's usual position while the driver sat next to him. The cameras allowed battlefield observation and firing during daytime at ranges between 1.5 and 2 kilometres (0.93 and 1.2 mi). Because of the low quality of the equipment the trials gave negative results. In the beginning of the 1960s the OKB-29 design bureau in Omsk was working on adapting the tank to use a GTD-3T gas turbine engine developing 700 hp (522 kW). One T-55 tank fitted with this gas turbine engine passed trials but was deemed unsatisfactory and the design did not go into production.

The Omsk OKB-29 group tested three experimental T-55 tanks (designated Ob'yekt 612) between 1962 and 1965 fitted with an automatic gearbox controlled by electro-hydraulic systems. The trials found that such gearboxes were prone to frequent breakdowns in tanks. At the same time the Ob'yekt 155ML, a T-55 fitted with a launcher for three 9M14 "Malyutka" (NATO code: AT-3 Sagger) ATGMs mounted on the rear of the turret, was tested. Along with standard tanks a flamethrower-armed version was designed (designated TO-55 (Ob'yekt 482)), which was produced until 1962. It was fitted with 460 litre tanks filled with flammable liquid instead of the frontal hull fuel tanks. The flamethrower replaced the coaxial machine gun. This was a much better way to mount a flamethrower than in the experimental Ob'yekt 483, based on the T-54 tank, where the flamethrower replaced the main gun. TO-55 flamethrower tanks were withdrawn from service in 1993.

During the 1950s, the T-55 remained a significantly smaller and lighter tank than its NATO contemporaries—the U.S. M48 Patton and the British Centurion—while maintaining good firepower and reliability but light armor.^[8] The 100-mm D-10T tank gun had a larger bore than its Western counterparts.

In January 1945 some captured German tanks and vehicles were shipped to the Ordnance Research and Development Center, Aberdeen, Maryland, for tests and examination. The criteria for penetration in the tests was for at least fifty percent of the mass of the projectile to penetrate the armor. The M3 90mm gun, firing the most widely equipped T33 armor-piercing round penetrated roughly 6 inches (150 mm) of steel armor at 100 metres (330 ft), while the T30E16 HVAP round penetrated 10.5 inches (270 mm) at the same range. These tests were carried out before the T-54/55 tank entered production so it was not known how would the popular 90 mm gun on the M-46, M-47, M-48 and other western tanks perform against the armour of the post-WWII soviet tanks.^[9]

The data shows that the T33 AP round would fail to penetrate the frontal armour of the T-54/55 at any range, while the T30E16 HVAP round would only be able to penetrate the armour within 700 metres (2,300 ft). The T33 round could penetrate the side armour of the turret at about 800 metres, while the T30E16 HVAP round could do this at any practical range.^[9] The most popular anti-armor round the Soviets used for the D-10 tank gun was the 100 mm BR-412 APHE, first used on the SU-100 tank destroyer during World War 2 with an 80% probability of penetrating 135 millimetres (5.3 in) of steel armour at 1,000 metres (3,300 ft) fired from the D-10S tank gun.^[10] The BR-412D and BR-412B rounds developed in 1946-1950 had slightly superior performance over the 90 mm T33 and the M82 armor-piercing rounds.

This disadvantage lasted until the Soviet tanks began to be surpassed by newer Western developments like the M60 Main Battle Tank^[11] and upgraded Centurions and M48 Pattons using the 105 mm rifled Royal Ordnance L7 gun. Due to the low velocity of rounds from the 100 mm gun and the tank's simple fire-control system, the T-54/55 was forced to rely on HEAT shaped-charge ammunition to engage tanks at long range well into the 1960s, despite the relative inaccuracy of this ammunition at long ranges.^[8] The Soviets considered this acceptable for a potential European conflict, until the development of composite armor began reducing the effectiveness of HEAT warheads and SABOT rounds were developed for the D-10T gun.

T-55A[link]

In 1961, development of improved NBC protection systems began. The goal was to protect the crew from fast neutrons; adequate protection against gamma radiation was provided by the thick armour and a PAZ basic NBC protection system.

The POV plasticized lead antiradiation lining was developed to provide the needed protection. It was installed in the interior, requiring the driver's hatch and the coamings over the turret hatches to be noticeably enlarged. This liner had the added benefit of protecting the crew from fragments of penetrated armour.

The tank was equipped with a full PAZ/FVU chemical filtration system. The coaxial 7.62 mm SGMT machine gun was replaced by a 7.62 mm PKT machine gun. The hull was lengthened from 6.04 m to 6.2 m. The hull machine gun was removed, making space for six more main gun rounds. These changes increased the weight of the vehicle to 38 tonnes.

The design work was done by OKB-520 design bureau of Uralvagonzavod under the leadership of Leonid N. Kartsev. The T-55A served as the basis for the T-55AK command tank.^[4]

T-54/T-55 upgrades[link]

In its long service life the T-55 has been upgraded many times.

Early T-55s were fitted with a new TSh-2B-32P sight. In 1959, some tanks received mountings for the PT-55 mineclearing system or the BTU/BTU-55 plough. In 1967, the improved BM8 APFSDS round, which could penetrate 275 mm thick armour at a range of 2 km, was introduced. In 1970, new and old T-55 tanks had the loader's hatch modified to mount the 12.7 mm DShK machine gun, to deal with the threat of attack helicopters. Starting in 1974, T-55 tanks received the KTD-1 or KTD-2 laser rangefinder in an armoured box over the mantlet of the main gun, as well as the R-123 or R-123M radio set.^[12] Simultaneously efforts were made to modernize and increase the lifespan of the drive train.

During production the T-55A was frequently modernized. In 1965 a new track was introduced which could be used for between 2000 km and 3000 km which was two times more when compared to the old track. It required a new drive sprocket with 14 teeth instead of 13. Since 1974 T-55A tanks were equipped with a KTD-1 "Newa" rangefinder and TSzS-32PM sight. All T-55A tanks were equipped with the TPN-1-22-11 night sight. The R-113 radio set was replaced by a R-123 radio set. Late production models had rubber sideskirts and a driver's windshield for use during longer stints.

T-54 and T-55 tanks continued to be upgraded, refitted, and modernized into the 1990s. Advances in armour-piercing and HEAT ammunition would improve the gun's antitank capabilities in the 1960s and 1980s.

A wide array of upgrades in different price ranges are provided by many manufacturers in different countries, intended to bring the T-54/55 up to the capabilities of newer MBTs, at a lower cost. Upgrades include new engines, explosive reactive armour, new main armament such as 120 mm or 125 mm guns, active protection systems, and fire control systems with range-finders or thermal sights. These improvements make it a potent main battle tank (MBT) for the low-end budget, even to this day.

One of these upgrade packages was produced by Cadillac Gage Textron and a prototype named the Jaguar was produced. The Jaguar looked quite different from its predecessors. A newly designed turret was formed by flat armour plates installed at different angles. The hull top was new. The engine compartment and fuel tanks on the shelves over the tracks were armour-protected. The Soviet-made 100 mm gun was replaced with the American M68 105 mm rifled gun fitted with a thermal sleeve. A Marconi fire control system which was originally developed for the American light tank Stingray was fitted. The vehicle incorporated a Cadillac-Gage weapon stabilizer and gunner's sight equipped with an integral laser rangefinder. The powerpack inherited by the Jaguar from the Stinger underwent only minor alterations and comprised the Detroit Diesel 8V-92TA engine and XTG-411 automatic transmission. In 1989, two Jaguar tanks were manufactured. The chassis were provided by PRC, while the hull tops, turrets and powerplants were manufactured by Cadillac Gage Textron.^[13]

Another prototype upgrade package was produced by Teledyne Continental Motors (now General Dynamics Land Systems) for the Egyptian Army and was known as the T-54E. After further modifications and trials it was sent into mass production and received the designation Ramses II.

Description[link]

Like many post-World War II tanks, the T-54 and T-55 have a conventional layout with fighting compartment in the front, engine compartment in the rear, and a dome-shaped turret in the centre of the hull. The driver's hatch is on the front left of the hull roof. The commander is seated on the left, with the gunner to his front and the loader on the right. The tank's suspension has the drive sprocket at the rear, and dead track. Engine exhaust is on the left fender. There is a prominent gap between the first and second road wheel pairs, a distinguishing feature from the T-62, which has progressively larger spaces between road wheels towards the rear.

The T-54 can be recognized by the dome-shaped ventilator on the turret roof, which the T-55 lacks.

The T-54 and T-55 tanks are outwardly very similar and difficult to distinguish visually. Many T-54s were also updated to T-55 standards, so the distinction is often downplayed with the collective name T-54/55. Soviet tanks were factory-overhauled every 7,000 km and often given minor technology updates. Many states have added or modified the tank's equipment; India, for example, affixed fake fume extractors to its T-54s and T-55s so that its gunners wouldn't confuse them with Pakistani Type 59s.^[14]

The older T-54 can be distinguished from the T-55 by a dome-shaped ventilator on the front right of the turret and a driver-operated SGMT 7.62 mm machine gun mounted to fire through a tiny hole in the centre of the hull's front. Early T-54s lacked a gun fume extractor, had an undercut at the turret's rear, and a distinctive "pig-snout" gun mantlet.

Advantages and drawbacks[link]

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The T-54/55 tanks are mechanically simple and robust. They are very simple to operate compared to Western tanks, and don't require a high level of training or education in their crew members. The T-54/55 is a relatively small main battle tank, presenting a smaller target for its opponents to hit. The tanks have good mobility thanks to their relatively light weight (which permits easy transport by rail or flatbed truck, and allows crossing of lighter bridges), wide tracks (which give lower ground pressure and hence good mobility on soft ground), a good cold-weather start-up system, and a snorkel which allows river crossings. The T-54/55 tanks have together been manufactured in the tens of thousands, and many still remain in reserve, or even in front-line use among lower-technology fighting forces. Abundance and age together make these tanks cheap and easy to purchase. While the T-54/55 is not a match for a modern main battle tank, armour and ammunition upgrades can dramatically improve the old vehicle's performance to the point that it cannot be dismissed on the battlefield. (Gelbart 1996:75-78)

A disabled Iraqi T-55 tank, painted with graffiti "Soviet made shit" by Coalition troops, lies among other wreckage along the Highway of Death in April 1991.

Nevertheless, T-54/55 tanks have many serious defects. Small size is achieved at the expense of interior space and crew comforts, which is a common trait of most all Russian tanks. This causes practical difficulties, as it constrains the physical movements of the crew and slows operation of controls and equipment. Israelis who crewed T-54/55s captured during the 1967 and 1973 wars constantly complained about this, and it remains a problem that cannot be remedied by any upgrades. However, height limits were set for any recruit joining the tankers in the Soviet Army, hence the low average height of Soviet tankers. This is believed to completely solve the low silhouette issue, whereas other armies may not include crew member height limits as standards. The low turret profile of the tanks prevents them from depressing their main guns by more than 5° (the average for Western tanks is 10°), which limits the ability to cover terrain by fire from a hull-down position on a reverse slope. While both tanks have stabilized guns, in practice they can only fire accurately when the vehicles are at rest (this problem may have been solved with more recent upgrades). The 100 mm gun is less effective than newer tank guns of 105, 120 and 125 mm calibre, and only has a chance at being effective against some heavily armoured tanks when firing special ammunition (such as missiles) or hitting them at weaker areas such as the rear. Its main disadvantage is its light armor. While it had very strong armor that could withstand frontal hits from bazooka, PIAT, RPG-2 and most tank guns of that era, its armor became obsolete within 20 years of its introduction. Because it was designed for "traditional warfare", its side and rear armor was two or three times thinner than on the front. In Vietnam, its side armor proved very vulnerable to LAW rockets, TOW missiles and the M41 Walker Bulldog light tank with 76mm gun. As in most tanks of that generation, the internal ammunition supply is not shielded, increasing the odds that any enemy penetration of the fighting compartment could cause a catastrophic secondary explosion. And while the T-54/55 tanks can be upgraded, the stunning losses suffered by upgraded Iraqi T-55's against coalition tanks during Operation Desert Storm showed the aged design being obsolete. The original T-54/55 tanks are unlikely to be successful against modern opponents without the benefit of upgrades.

The T-54 is especially defective: It lacks NBC protection, a revolving turret floor (which complicated the crew's operations), and early models lacked gun stabilization. All of these problems were corrected in the T-55 tank, which is otherwise largely identical to the T-54.

Production history[link]

USSR[link]

T-54-1 production was slow at first as only 3 vehicles were built in 1946 and 22 in 1947. 285 T-54-1 tanks were built in 1948 by Stalin Ural Tank Factory No. 183 (Uralvagonzavod); by then it had completely replaced T-44 production at Uralvagonzavod, and Kharkov Diesel Factory No. 75 (KhPZ). Production was stopped because of a low level of production quality and frequent breakdowns. The T-54-2 entered production in 1949 at Uralvagonzavod, which produced 423 tanks by the end of 1950. It replaced the T-34 in production at the Omsk Factory No. 183 in 1950. In 1951 over 800 T-54-2 tanks were produced. The T-54-2 remained in production until 1952. The T-54A was produced between 1955 and 1957. The T-54B was produced between 1957 and April 1959. The T-55 was produced by Uralvagonzavod between 1958 and 1962. The T-55K command tank was produced from 1959. The TO-55 (Ob'yekt 482) flamethrower tank was produced until 1962.

Overall 35,000 T-54-1, T-54-2, T-54 (T-54-3), T-54A, T-54B, T-54AK1, T-54AK2, T-54BK1 and T-54BK2 tanks were produced between 1946 and 1958 and 27,500 T-55, T-55A, T-55K1, T-55K2, T-55K3, T-55AK1, T-55AK2 and T-55AK3 tanks were produced between 1955 and 1981.

Poland[link]

Polish T-54AMs

Poland produced 3,000 T-54, T-54A, T-54AD and T-54AM between 1956 and 1964 and 7,000 T-55 (between 1964 and 1968), T-55L, T-55AD-1 and T-55AD-2 (between 1968 and 1979).^{[citation needed]}

Czechoslovakia[link]

Czechoslovakia produced 2,700 T-54A, T-54AM, T-54AK, T-54AMK between 1957 and 1966 and 8,300 T-55 and T-55A between 1964 and 1983 (T-55A was probably produced since 1968) (most of them for export).^{[citation needed]}

Service history[link]

Soviet Union to Russian Federation[link]

T-55A on the streets during Martial law in Poland

The T-54/55 and the T-62 were the two most common tanks in Soviet inventory—in the mid-1970s the two tank types together comprised approximately 85% of the Soviet Army's tanks.

T-54 tanks served in the 1956 invasion of Hungary, and a few were knocked out by Molotov cocktails and Hungarian antitank guns.^[15] The revolutionaries delivered one captured T-54A to the British Embassy in Budapest, the analysis of which spurred the development of the Royal Ordnance L7 tank gun. The T-62 and T-55 are now mostly in reserve status; Russian active-duty units mainly use the T-80 and T-72, with a smaller number of T-90 tanks in service.

Middle East[link]

An abandoned South Lebanese Army Tiran-5 in South Lebanon

A destroyed Iraqi T-55 and supply truck, painted with graffiti by Coalition troops, along the highway between Kuwait City and Basra, Iraq, following the retreat of Iraqi forces from Kuwait during Operation Desert Storm

During the 1967 Six-Day War, U.S.-supplied M48 Patton tanks, Centurion tanks, and even upgraded World War II era Sherman tanks, faced T-55s. This mix of Israeli tanks, combined with superior planning of operations and superior airpower, proved to be more than capable of dealing with the T-54/T-55 series.^[16]

By the 1973 Yom Kippur War, the T-54A and T-55's gun was starting to lose its competitive effectiveness relative to the 105 mm Royal Ordnance L7 gun mounted in Israeli Centurion Mk V and M60A1 tanks. Israel captured many T-55s from Syria and mostly Egypt in 1967, and kept some of them in service. They were upgraded with a 105 mm NATO-standard L7 or M68, a US version of the L7, replacing the old Soviet 100 mm D-10, and a General Motors diesel replacing the original Soviet diesel engine. The Israelis designated these Tiran-5 medium tanks, and they were used by reserve units until the early 1990s. Most of them were then sold to assorted Third World countries, some of them in Latin America, and the rest were heavily modified, converted into heavy armoured personnel carriers; the Achzarit.

Vietnam War[link]

In the Vietnam War, the North Vietnamese NVA used T-54s against the South Vietnamese ARVN and US forces.

The NVA and ARVN engaged each other for the first time during Operation Lam Son 719, in February 1971. During that battle, 17 M41 light tanks of the ARVN 1st Armored Brigade destroyed 22 NVA-tanks, 6 T-54 and 16 PT-76, at no loss to themselves,^[17] but the friendly units loss 5 M41s and 25 APCs^[18]

On Easter Sunday, 2 April 1972, the newly activated ARVN 20th Tank Regiment, consisting of approximately 57 M48A3 Patton tanks (ARVN regiments were equivalent to US battalions, and ARVN squadrons were equivalent to US companies or troops)^[19] received reports of a large NVA tank column moving towards Dong Ha (the largest South Vietnamese city near the DMZ at the 17th parallel). At about noon, the crewmen of the ARVN 1st Squadron observed enemy armour moving south along highway 1 towards Dong Ha, and concealed their tanks on high ground with a good vantage point. Waiting for the NVA column to close to between 2,500 and 3,000 meters, the 90-mm guns of the Pattons opened fire, quickly destroying nine PT-76 light tanks and two T-54 medium tanks.^[19] The remaining NVA armour, unable to see their enemy, turned about and withdrew.

On 9 April 1972, all three squadrons of the 20th Tank Regiment fought enemy armour, firing upon tanks accompanied by infantry, again while occupying the high ground. The Pattons opened fire at approximately 2,800 meters. A few answering shots from the T-54's fell short, and the NVA tanks began to scatter. By the end of the day, the 20th had destroyed sixteen T-54 and captured one Type 59, at no loss to themselves.^[19]

NVA armour units equipped with the T-54 tank achieved one of their greatest victories in April 1972, when the NVA 203rd Armored Regiment attacked the ARVN 22nd Infantry Division at Tan Canh, which dominated a main route into the city of Kontum. After a two-day artillery barrage, eighteen T-54 tanks from the 203rd regiment attacked the 22nd Division at dawn from two directions, breaking the ARVN unit, which quickly abandoned its positions.^[20] T-54 tank No. 377 had destroyed seven M41s before itself had been destroyed by M72 LAW rocket launchers^[21]

On 30 April 1975, T-54 tank No. 390 of the NVA 203rd Armored Regiment went crashing through the gates of the South Vietnamese presidential palace, signalling the end of the war.^[20]

Other conflicts[link]

Civilians atop a T-55 tank in Libya, 2011

T-54 tanks were used during the Cambodian civil war.^[22] During the Ugandan-Tanzanian War of 1978-79, Libya sent an expeditionary force to aid Uganda dictator Idi Amin which included a few dozen T-54/55 tanks. Some of these tanks saw action against Tanzanian forces.^[23]

Polish T-55L tanks were also deployed during Martial law in Poland to intimidate the population and suppress overt displays against the Communist government.^[24]

The T-54/T-55 saw action against South African and UNITA forces during the war in Angola. This Soviet tank's reliability and ruggedness matched the demanding African operational environment. However, several numbers of T-54/T-55 tanks were lost to South African Olifant MBTs, artillery fire, and wire-guided missiles in several engagements.

The T-55 was the most numerous tank of the Yugoslav People's Army (JNA). It was the mainstay of armoured combat units during the Yugoslav Wars, where it proved vulnerable to infantry equipped with anti-tank rockets, and to misemployment in urban areas and unfriendly terrain. But there were too many of them in service for them to be replaced. During the battle of Vukovar, where the JNA grouped a large part of its tank force, a number was destroyed, almost exclusively by infantry-carried anti-tank weapons. The T-55 tank remained the most common tank in the armies of the Yugoslavian successor states until recently, and it was the most used tank by all armies during the wars. T-55s were used by Yugoslavia and Macedonia in Kosovo and the 2001 Macedonia conflict.

The Soviet Union sold thousands of T55 tanks to both Iran and Iraq during the Iran–Iraq War of 1980-1988 (known as the Persian Gulf War prior to 1991). Some saw action during Operation Desert Storm in Iraq and Kuwait in January/February 1991, and during the 2003 US invasion of Iraq (Operation Iraqi Freedom).

The T-55 has been used by Ethiopia in conflict with the Islamic Courts Union in Somalia.

The Sri Lankan army used T-55s in the Sri Lankan Civil War, which concluded in May 2009, against the LTTE (Tamil Tigers). A T-55 belonging to the LTTE was destroyed on 6 April 2009; according to media reports, it was a model produced in Czechoslovakia and obtained by the LTTE in 2001 or 2002.

T-55 tanks have seen use on both sides of the 2011 Libyan civil war, with anti-Gaddafi forces either stealing them or having them contributed by defecting members of the Libyan Army.

Operators and variants[link]

Serbian modification of T-55

The T-55 has been used worldwide by as many as 50 countries and quasi-armies. They have been subject to numerous improvements throughout their production history and afterwards and many are still in service today.

Modifications to the T-54/55 series over the years have changed almost every aspect of the vehicle. Initially, Soviet modifications included a better turret shape, improved NBC protection and an improved powerplant. Later, improved fire-control equipment and night-vision equipment was added.

Foreign improvements, both in Warsaw Pact nations and elsewhere, have further improved protection, powerplant, and firepower. T-54/55s have been re-armed with improved tank guns, AA machine guns, advanced armour arrays, and technologies such as laser range finders and computerized fire control systems that did not exist when the tank was first being built in the early days of the Cold War.

See also[link]

Tank portal

• T-55 Variants & Current Deployment
• Ramses II
• Type 59
• Al-Zarar
• Type-72Z Safir-74

Notes[link]

References[link]

• Cockburn, Andrew (1983). The Threat: Inside the Soviet Military Machine. New York: Random House. 3 May 1983 ISBN 0-394-52402-0.
• Dunstan, Simon (1982). Vietnam tracks-Armor In Battle 1945-75. Osprey Publications. ISBN 0-89141-171-2.
• Foss, Christopher F., ed (2005). Jane's Armour and Artillery 2005–2006, 26th edition. 15 August 2005 ISBN 0-7106-2686-X.
• Gelbart, Marsh (1996). Tanks: Main Battle and Light Tanks. London: Brassey's. ISBN 1-85753-168-X. 
• Starry, Gen. Donn A. (1989). Mounted Combat in Vietnam. Washington DC: Vietnam Studies, Department of the Army. First printed in 1978-CMH Pub 90-17.
• Hunnicutt, R. P. "Patton: A History of the American Main Battle Tank." ISBN 0-89141-230-1.
• Hunnicutt, R. P. Sheridan: A History of the American Light Tank. Volume 2; 1995, Presidio Press. ISBN 0-89141-462-2.
• Zaloga, Steven; Hugh Johnson (2004). T-54 and T-55 Main Battle Tanks 1944–2004. Oxford: Osprey. ISBN 1-84176-792-1. 
• Zaloga, Steven; Samuel Katz (1 September 1996). Tank Battles of the Mid-East Wars 1: The Wars of 1948–1973.. Concord. ISBN 978-962-361-612-6. 

External links[link]

Wikimedia Commons has media related to: T-55

• T-54-1, T-54-2, T-55AM, T-55AM2 Additional photos
• Cuban T-55
• Technical data sheet and pictures T-55 from ArmyRecognition.com
• T-55 Variant walk arounds and photos on Prime Portal
• Jaguar prototype main battle tank

Christina Aguilera
Aguilera attending the launch of the Montblanc John Lennon edition in September 2010.
Background information
Birth name	Christina María Aguilera
Born	(1980-12-18) December 18, 1980 (age 31) Staten Island, New York, U.S.
Origin	Wexford, Pennsylvania, U.S.
Genres	Pop, R&B, soul, dance-pop[1]
Occupations	Singer-songwriter,[2][3][4] record producer, dancer, television personality,[5] actress
Instruments	Vocals
Years active	1993–present
Labels	RCA
Website	christinaaguilera.com

Christina María Aguilera (born December 18, 1980) is an American recording artist and actress. Aguilera first appeared on national television in 1990 as a contestant on the Star Search program, and went on to star in Disney Channel's television series The Mickey Mouse Club from 1993 to 1994. Aguilera signed to RCA Records after recording "Reflection",^[6] the theme song for the animated film Mulan (1998).

In 1999, Aguilera came to prominence following her debut album Christina Aguilera, which was a commercial success spawning three number one singles on the Billboard Hot 100—"Genie in a Bottle", "What a Girl Wants", and "Come On Over Baby (All I Want Is You)."^[7] Her sophomore and her debut Latin-pop album, Mi Reflejo (2000), a Christmas third studio album, My Kind of Christmas (2000), and several collaborations followed which garnered Aguilera worldwide success, though she was displeased with her lack of input in her music and image.^[8] After parting from her management, Aguilera took creative control over her fourth studio album, Stripped (2002).^[9] The album's second single, "Beautiful", was a commercial success and helped the album's commercial performance amidst controversy over Aguilera's image.^[10][11][12] Aguilera followed up Stripped with the soul, jazz and blues inspired, Back to Basics (2006), released to positive critical acclaim.^[13] The album produced three singles "Ain't No Other Man", "Hurt" and "Candyman". Four years later Aguilera released her sixth studio album, Bionic (2010), which incorporated aspects of R&B, electropop, and synthpop and was met with mixed reviews and low sales.^{[14][15][16][17]} Aguilera's seventh studio album is set to be released in 2012.

Aside from being known for her vocal ability, music videos and image, musically, she includes themes of dealing with public scrutiny, her childhood, and female empowerment in her music.^[18] Apart from her work in music, she has also dedicated much of her time as a philanthropist for charities, human rights and world issues which include her work as a UN ambassador for the World Food Programme.^[19][20] She made her feature film debut in the musical Burlesque (2010), earning Aguilera a Golden Globe nomination for Best Original Song. Aguilera's work has earned her numerous awards and accolades, including a star on the Hollywood Walk of Fame, four Grammy Awards and one Latin Grammy Award, amongst seventeen and three nominations respectively. Rolling Stone ranked her number fifty-eight on their list of the 100 Greatest Singers of All Time, ranking as the youngest and only artist on the list under the age of thirty.^[21] She was ranked the 20th Artist of the 2000–09 decade by Billboard^[22] and is the second top selling single artist of the 2000s behind Madonna.^[23] Aguilera's albums sales are estimated at over 50 million units worldwide, making her one of the best-selling music artists of all time.^[24][25] Aguilera is currently a coach and judge on The Voice.

Life and career[link]

1980–98: Early life and career beginnings[link]

Aguilera was born in Staten Island, New York, to Fausto Wagner Xavier Aguilera, a sergeant in the US Army at the time, and Shelly Loraine (née Fidler), a Spanish teacher. Aguilera's father was born in Guayaquil, Ecuador^[26] and her mother, who is American, is of German, Irish, Welsh, and Dutch ancestry.^[27] Her father was stationed at Earnest Harmon Air Force Base in Stephenville, Newfoundland and Labrador and Japan. Aguilera lived with both her father and mother, up until their divorce when she was seven years old. Aguilera then lived with her mother, and her younger sister Rachel, at her grandmother's home in Rochester, Pennsylvania, a town outside Pittsburgh. According to both Aguilera and her mother, her father was very controlling, as well as physically and emotionally abusive. In an interview with Rolling Stone Aguilera revealed, "there was so much domestic violence going on when I grew up with my dad travelling in the military. I think the reason that my drive was so strong and I was so passionate about music was because I grew up in an environment of domestic violence."^[28] She later sang about her difficult childhood in the songs "I'm OK" on Stripped, and "Oh Mother" on Back to Basics. Even though he has made several attempts to reconnect with her, Aguilera ruled out any chance of a reunion.^[29] Since then, her mother has married a paramedic named Jim Kearns, and has changed her name.^[30]

As a child, Aguilera aspired to be a singer. She was known locally as "the little girl with the big voice",^[29] singing in local talent shows and competitions. She attended Rochester Area School District, Marshall Middle School near Wexford and North Allegheny Intermediate High School. On March 15, 1990, she appeared on Star Search singing "A Sunday Kind of Love", but lost the competition at number 2. Soon after losing on Star Search, she returned home and appeared on Pittsburgh's KDKA-TV's Wake Up With Larry Richert to perform the same song. Throughout her youth in Pittsburgh, Aguilera sang "The Star-Spangled Banner" before Pittsburgh Penguins hockey, Pittsburgh Steelers football and Pittsburgh Pirates baseball games, including during the 1992 Stanley Cup Finals.^[31] Her talent was kept a secret to avoid bullying of other children. Following her television appearances Aguilera experienced resentment and bullying including an incident in which her peers slashed the tires on her family's car.^[32] Following several incidents Aguilera was later home schooled.^[29] Aguilera recalls, "doing what I did and maybe being a little smaller, I was definitely picked on and bullied for the attention that I got. It was definitely unwanted attention and there was a lot of unfairness about it."^[33]

In 1991, Aguilera auditioned for a role on The Mickey Mouse Club; however, she did not meet the age requirements. Two years later, she joined the cast, performing musical numbers and sketch comedy, until the show's cancellation in 1994.^[34] Her co-stars included Justin Timberlake, Britney Spears, Ryan Gosling and Keri Russell where they nicknamed her "the Diva"^[35] for her performance style and voice. At the age of fourteen, Aguilera recorded her first song, "All I Wanna Do", a hit duet with Japanese singer Keizo Nakanishi.^[36] In 1997, she represented the United States at the international Golden Stag Festival with a two-song set.^[37] Aguilera entered talent contests on "teen night" at the Pegasus Lounge, a gay and lesbian nightclub in Pittsburgh,^[38] and later at Lilith Fair.^[39] In 1998, Aguilera sent in a demo of her singing Whitney Houston's "Run to You" to Disney who were looking for a singer to record the song "Reflection" for their animated feature film Mulan (1998).^[40] The demo caught the attention of producer and label executive Ron Fair who would later mentor her throughout her career and led to Aguilera earning a contract with RCA Records the same week.^[9] "Reflection" peaked within the top twenty on the Adult Contemporary Singles Chart, and it was nominated for a Golden Globe Award for Best Original Song.

[edit] 1999–01: Christina Aguilera, Mi Reflejo and new management

Under the exclusive representation of Steve Kurtz, Aguilera's self-titled debut album Christina Aguilera was released on August 24, 1999. It reached the top of the Billboard 200 and Canadian album charts, shipping eight million copies in the US^[41] and over seventeen million copies worldwide.^[42] The album is also included in the Top 100 Albums of All Time list of The Recording Industry Association of America (RIAA) based on US sales.^[43] Released during the teen pop era of 1999 the album was well received by several critics, Stephen Thomas Erlewine of AllMusic writes that Aguilera's debut "remains firmly within the teen-oriented dance-pop genre, but done right." Concluding that the album is "lightweight in the best possible sense – breezy, fun, engaging, and enjoyable on each repeated listen. Out of the deluge of teen-pop albums in 1999, this feels like the best of the lot."^[44] Her debut single, "Genie in a Bottle" was an instant hit reaching No.1 on the Billboard Hot 100 and in several countries worldwide. Her follow-up singles "What a Girl Wants" and "Come On Over Baby (All I Want Is You)" topped the Hot 100 as well during 1999 and 2000 while "I Turn to You" reached number three. She is one of the few artists to have multiple No.1 singles from a debut album in Billboard's history.^[45] She made a cameo appearance on an episode of Beverly Hills, 90210, performed on MTV's New Year's Special as MTV's first artist of the millennium, and the Super Bowl XXXIV halftime show. Aguilera wanted to display the range and audacity in her voice during the promotion of the album, and performed acoustic sets and appeared on television shows accompanied only by a piano. At the 42nd Grammy Awards Aguilera received a Best Female Pop Vocal Performance Grammy nomination for "Genie in a Bottle" and despite earlier predictions, she won the Grammy Award for Best New Artist.^[46]

In 2000, Aguilera began recording her first Spanish-language album with producer Rudy Pérez in Miami.^[47][48] Later in 2000, Aguilera, first emphasized her Latin heritage by releasing her first Spanish album, Mi Reflejo on September 12, 2000. This album contained Spanish versions of songs from her English debut as well as new Spanish tracks. Though some criticized Aguilera for trying to cash in on the Latin music boom at the time. According to Pérez, Aguilera was only semi-fluent, while recording. She understood the language, because she has grown up with her father, who is a native of Ecuador. He added "Her Latin roots are undeniable".^[47] The album peaked at number twenty-seven on the Billboard 200 and went No.1 on the Billboard Latin charts for a record 20 weeks. In 2001, it won Aguilera a Latin Grammy Award for Best Female Pop Vocal Album. The album was later certified 6× Platinum (Latin field) in the US Aguilera won the World Music Award and Billboard award as the best selling Latin artist that year. Aguilera also released a Christmas album, My Kind of Christmas, on October 24, 2000 and performed "The Christmas Song" at the White House that year.^[41] The album's only single, "The Christmas Song" made Aguilera one of three artists to take the song into the top twenty on the Billboard Hot 100.^[49] The single and My Kind of Christmas were both certified Platinum in the US^[50][51] Aguilera was Billboard's top female artist for 2000.^[52]

Aguilera's first concert tour, Christina Aguilera: In Concert (also known as "Sears & Levis Tour ") began in the summer of 2000 in the US and ended early 2001 where she toured South America and Asia. A concert special aired on ABC titled My Reflection which was released to DVD and certified Gold in the US.^[53] Aguilera was rumored to have dated MTV VJ Carson Daly.^[54] Rumors of their relationship were fueled after the release of Eminem's song, "The Real Slim Shady" in which he also insinuated a romance between her and rocker Fred Durst. Aguilera responded saying the lyrics were "disgusting, offensive and, above all, not true."^[55] Their feud ended two years later backstage at the Video Music Awards after Aguilera presented the rapper an award onstage.^[56] She dated Puerto Rican dancer Jorge Santos. Santos appeared on her tour and music videos throughout 2000. They dated for nearly two years until the relationship ended on September 11, 2001.^[57] He remained her dancer well into 2002.^[58]

Ricky Martin asked Aguilera to duet with him on the track "Nobody Wants to Be Lonely" from his album Sound Loaded; released in 2001 as the album's second single. The single reached No.1 on the World Chart and top ten in several countries. In 2001, Aguilera, Lil' Kim, Mýa, and Pink were chosen to remake Labelle's 1975 single "Lady Marmalade" for the film Moulin Rouge! and its soundtrack. The song peaked at No.1 on the Billboard Hot 100 for five weeks and was the most successful airplay-only single in history.^[59] It also reached number one in eleven other countries and earned all four performers a Grammy Award for Best Pop Collaboration with Vocals. Aguilera's appearance in the music video was compared to that of Twisted Sister frontman Dee Snider.^[60] The video won two MTV Video Music Awards including Video of the Year in 2001, where Aguilera accepted the award saying, "I guess the big hair paid off."^[61]

That same year, the single "Just Be Free" emerged into record stores which was one of the demos Aguilera recorded when she was around fifteen years old. When RCA Records discovered the single, they advised fans not to purchase it.^[62] Months later, Warlock Records was set to release Just Be Free, an album which contains the demo tracks. Aguilera filed a breach of contract and unfair competition suit against Warlock and the album's producers to block the release.^[63] Instead, the two parties came to a settlement to release the album. Aguilera lent out her name, likeness and image for an unspecified amount of damages. Many of the details of the lawsuit remain confidential. When the album was released in August 2001, it had a photograph of Aguilera when she was fifteen years old.^[64]

Although Aguilera's debut album was commercially successful, she was dissatisfied with the music and image her management had created for her. Aguilera was marketed as a bubblegum pop singer because of the genre's upward financial trend.^[65] She mentioned plans of her next album to have much more depth, both musically and lyrically.^[66] Aguilera's views of Steve Kurtz's influence in matters of the singer's creative direction, the role of being her exclusive personal manager and overscheduling had in part caused her to seek legal means of terminating their management contract. In October 2000, Aguilera filed a breach of fiduciary duty lawsuit against her manager Kurtz for improper, undue and inappropriate influence over her professional activities, as well as fraud. According to legal documents, Kurtz did not protect her rights and interests. Instead, he took action that was for his own interest, at the cost of hers. She petitioned the California State Labor Commission to nullify the contract. Aguilera revealed while recording her then upcoming album, "I was being overworked. You find out that someone you thought was a friend is stealing money behind your back, and it's heartbreaking. I put faith in the people around me, and unfortunately, it bit me in the butt."^[67] After terminating Kurtz's services, Irving Azoff was hired as her new manager.

[edit] 2002–05: New image, Stripped and marriage

On October 26, 2002, Aguilera's fourth studio album, Stripped, was released. The album sold more than 330,000 copies in the first week and peaked at number two on the Billboard 200. Unlike her previous work, the album showcased Aguilera's raunchier side.^[68] The majority of Stripped was co-written by Aguilera (who had recently signed a global music publishing contract with BMG Music Publishing), and was influenced by many different subjects and music styles, including contemporary R&B, gospel, soul, balladry, pop rock, and hip hop.^[69] The majority of the album was produced by Scott Storch and singer-songwriter Linda Perry who produced her more personal records. Rockwilder and singer Alicia Keys also contributed a track each. Upon initial release, the album was very well received by critics, although Aguilera's vocals were overlooked as she began to cultivate a more sexually provocative image.^[70] After the release of the album, she took part in photoshoots for magazines, many of these photographs featured her nude or semi-nude. Her cover for Rolling Stone,^[71] featured the singer only wearing boots and a well-placed electric guitar. It was during this time Aguilera referred to herself as "Xtina", even getting a tattoo of her nickname on the back of her neck and several piercings.^[72]

Aguilera performing during during Stripped Live... on Tour in 2003

Initially, the raunchy image had a negative effect on Aguilera in the US, especially after the release of her controversial "Dirrty" music video.^[11] She denied that this change was a matter of publicity, claiming that the image better reflected her true personality than did the image she cultivated back in 1999. Aguilera defended the video stating it was about power and control adding, "I'm also at the forefront. I'm in the power position, in complete command of everything around me."^[41] While the video for "Dirrty" became very popular on MTV, it disappointed on the US singles chart. However, the single was a hit worldwide, reaching No.1 in the UK and Ireland. The second single, "Beautiful" received critical praise. The classically influenced ballad reached number one in several countries and peaked at No.2 in the US. "Beautiful" earned Aguilera the Grammy for Best Female Pop Vocal Performance. Three more singles ("Fighter", "Can't Hold Us Down" featuring Lil' Kim, "The Voice Within") were released in the following two years and were hits that helped the album stay on the charts for the next two years. Stripped stayed on the U.S. and UK album charts well into 2004, and went on to be certified four-times platinum in the US with over thirteen million copies sold worldwide.^[73] It appeared at number ten on Billboard's year-end album chart and Aguilera was the top female artist for 2003.^[74] Kelly Clarkson's second single "Miss Independent" was co-written by Aguilera, having been half-finished for Stripped.

Aguilera performing during Stripped Live... on Tour in 2003

Aguilera joined Justin Timberlake that June on the final leg of his international Justified tour, held in the US. This portion of the tour became a co-headliner called the Justified/Stripped Tour. In August, an overhead lighting grid collapsed from the ceiling of the Boardwalk Hall in Atlantic City, New Jersey, causing major damage to the sound and video equipment below. Because the collapse occurred hours before the show, only a few stagehands were injured, but a few shows were cancelled or postponed. In the fourth quarter of that year, Aguilera continued to tour internationally without Timberlake, and changed the name of the tour to the Stripped World Tour. She also dyed her hair black. It was one of the top-grossing tours of that year, and sold out most of its venues. Rolling Stone readers named it the best tour of the year.^[75] That same year she hosted the 2003 MTV Europe Music Awards and was a special guest performer with the Pussycat Dolls' dance troupe performing at the Roxy Theatre and Viper Room in Los Angeles. She also appeared on a Maxim spread alongside them, her second Maxim cover that year set record sales for the issue making it the top selling issue to date. By the end of the year she topped the annual Hot 100 list saying, "we had fun working with certain clothes, or the lack thereof."^[76][77][78]

Aguilera's first DVD live-recording from a concert tour, Stripped Live in the U.K., was released in November 2004. In light of the tour's success, another U.S. tour was scheduled to begin in mid-2004 with a new theme. The tour however was scrapped because of the vocal cord injuries Aguilera suffered shortly before the tour's opening date. In a tribute to Madonna's performance at the inaugural MTV Video Music Awards, Aguilera performed a kiss with the singer-actress at the 2003 edition of the ceremony in August. The incident occurred during the opening performance of Madonna's songs "Like a Virgin" and "Hollywood" with fellow popstar Britney Spears.^[41] Also in 2004, she hosted a Saturday Night Live episode which included a Sex & The City skit where she portrayed Samantha Jones revealing to everyone she was a man the entire time.^[79]

Aguilera later decided to embrace a more mature image; this move was met with more praise than criticism, with articles using punch lines such as "From Crass to Class."^[80] She eventually dyed her hair cherry blonde and recorded a jingle, "Hello", for a Mercedes-Benz ad. Shortly after, she dyed her hair flaxen blonde and cut it short, and took on a Marilyn Monroe look; she is one of the main proponents (along with Dita Von Teese, Gwen Stefani, and Ashley Judd) in bringing back the 1920s–1940s Hollywood glamour look.^[81][82] In late summer 2004, Aguilera released two singles. The first, "Car Wash", was a remake of the Rose Royce disco song recorded as a collaboration with rapper Missy Elliott for the soundtrack to the film Shark Tale. She voiced a small singing part in the film playing a Rastafarian jellyfish in the film's closing musical number. The second song was also a collaboration, but this time as a second single from one of Nelly's double-release albums, Sweat, titled "Tilt Ya Head Back". Both singles failed commercially in the US, but did considerably better in other parts of the world. Aguilera collaborated with jazz artist Herbie Hancock on a cover of Leon Russell's "A Song for You" recorded for Hancock's album Possibilities, released in August 2005. Aguilera and Hancock were later nominated for the Grammy Award for Best Pop Collaboration with Vocals. She helped open the 50th Anniversary for Disneyland performing "When You Wish upon a Star", and she also collaborated with Andrea Bocelli on the song "Somos Novios" for his album Amore. Aguilera began dating music marketing executive Jordan Bratman in 2002. Their engagement was announced in February 2005,^[83] and they married on November 19, 2005, in a Napa Valley estate.^[84]

[edit] 2006–09: Back to Basics, motherhood and greatest hits album

Aguilera performing during the Sanremo Story festival in 2006

Aguilera's fifth studio album, Back to Basics was released August 15, 2006. The album debuted at No.1 in the US, the UK and eleven other countries. Aguilera described the double CD as "a throwback to the 20s, 30s, and 40s-style jazz, blues, and feel-good soul music, but with a modern twist."^[85] The album received generally positive reviews, although many critics commented on the album's length saying, "At one disc, this would have been nothing short of masterful."^[86] A review in AllMusic adds, "Back to Basics also makes clear that Stripped was a necessary artistic move for Christina: she needed to get that out of her system in order to create her own style, one that is self-consciously stylized, stylish, and sexy."^[87] The critically acclaimed lead single "Ain't No Other Man" was a substantial success, reaching No. 2 on the World Chart, No.6 in the US, and No.2 in the UK. Producers on the album included DJ Premier, Kwamé, Linda Perry, and Mark Ronson. The follow-up singles did very well in different regions, "Hurt" in Europe and "Candyman" in the Pacific. She co-directed both music videos, the former with Floria Sigismondi who directed her "Fighter" video, and the latter, "Candyman", with director/photographer Matthew Rolston which was inspired by The Andrews Sisters.^[88] Back to Basics has sold 4.5 million units worldwide,^[89] with over 1.7 million sold in the US.^[90]

In late 2006, Aguilera collaborated with Sean "Diddy" Combs on a track, titled "Tell Me", from his album Press Play. She also began the Back to Basics Tour in Europe^[91] followed by a 41-date North American tour in early 2007.^[92] After this, she toured Asia and Australia, where it was supposed to end on August 3, however she canceled her dates in Melbourne and her final two in Auckland due to an illness.^[93] Her extravagant arena tour included cabaret, three-ring circus and juke joint sets and 10 piece costumes designed by Roberto Cavalli.^[94] She released her concert DVD Back to Basics: Live and Down Under the following year. The tour grossed nearly 50 million by the end of the year in North America and an additional 40 million worldwide in her Europe and Australia dates, grossing almost 90 million by the end of the tour.^[95][96] It was the most successful US tour by a female in 2007.^[97]

At the 49th Grammy Awards, Aguilera again won the Best Female Pop Vocal Performance for "Ain't No Other Man". She made a noteworthy performance at the ceremony paying tribute to James Brown with her rendition of his song "It's a Man's Man's Man's World".^[98] In January 2007, she was named the 19th richest woman in entertainment by Forbes, with a net worth of US$60 million.^[99] Aguilera performed "Steppin' Out With My Baby" with Tony Bennett on his NBC special Tony Bennett: An American Classic and on Saturday Night Live. They performed at the 59th Primetime Emmy Awards where both specials received Emmys. "Steppin' Out" was nominated for Best Pop Collaboration with Vocals at the 50th Annual Grammy Awards.

Aguilera confirmed she was pregnant on November 4, 2007,^[100] though Paris Hilton accidentally revealed her pregnancy several weeks prior during a party Aguilera hosted.^[101] She gave birth to her son, Max Liron Bratman, in Los Angeles on January 12, 2008 and held a bris for him with Bratman, who is of Jewish descent, where the baby was circumcised in accordance with Jewish practice.^[102] Aguilera was reportedly paid $1.5 million by People for her son's baby pictures—the sixth most expensive celebrity baby photos ever taken.^[103]

In 2008, Aguilera appeared in the Martin Scorsese documentary Shine a Light which chronicles a two day Rolling Stones concert in New York City's Beacon Theatre. The film features Aguilera performing "Live With Me" alongside Mick Jagger. Shine a Light premiered at the Berlin Film Festival and was released worldwide on April 4, 2008. She also had brief cameo in the comedy film Get Him to the Greek,^[104] and appeared as a guest judge on the sixth season of Project Runway on Lifetime Television. She and designer Bob Mackie were the inspiration for the challenge in which they had to design a stage outfit for Aguilera. To commemorate Aguilera's ten years in the music industry, RCA Records released, Keeps Gettin' Better: A Decade of Hits on November 11, 2008, exclusively at Target stores in the US. The greatest hits included her first three number one singles, and other songs released from her previous three albums. "Lady Marmalade" and several Spanish singles from Mi Reflejo were included in the worldwide releases. The album's only single, "Keeps Gettin' Better", was premiered at the 2008 MTV Video Music Awards, which debuted and peaked at No.7 on the Billboard Hot 100, her highest debut on the chart. Following the greatest hits, Aguilera took over a year hiatus in 2009 working on her then upcoming album and film. She was one of Billboard's Top 20 Artists of the Decade in their year-end charts.^[105]

[edit] 2010–11: Bionic, Burlesque and The Voice

Aguilera's sixth studio album Bionic was released on June 8, 2010. The album's producers included Tricky Stewart, Samuel Dixon, Polow da Don, Le Tigre, Switch, Ester Dean, songwriters Sam Endicott, Sia Furler, Claude Kelly, Linda Perry and collaborations with M.I.A., Santigold, Nicki Minaj, and Peaches. Bionic's material consisted of many mainstream and pop records along with electronic and dance music. Two of the album's three singles, "Not Myself Tonight" and "You Lost Me" peaked at No.1 on the Billboard Hot Dance Club Play Charts^[106] but were unsuccessful elsewhere. "Woohoo", featuring rapper Nicki Minaj, was also released as the album's second single. The album was released to mixed reviews from music critics,^[107][15] with Jon Pareles of The New York Times writing that the singer's new music direction "makes her sound as peer-pressured as a pop singer can be."^[108] Allison Stewart of The Washington Post described the album as being "noisy, robotic and overstuffed" adding that the disc's "greatest disappointments" is its "virtual abandonment" of Aguilera's voice.^[109] She concluded that Aguilera attempts "to do it all," which was to try to "revel in her newfound domesticity, to wrest her crown from Gaga and to reestablish her sex kitten bona fides."^[109] Sales of Bionic were underwhelming in the US compared to her previous releases selling 110,000 copies in its first week landing at No.3.^[110][111] It has since sold 295,000 copies in the US.^[112] Shortly after the album's release, further promotion ended and a scheduled summer tour for the album was cancelled due to "inadequate rehearsal time".^[113] "You Lost Me" was her first single to not chart the Hot 100 while Bionic was her first English studio album not to receive a Grammy nomination. Aguilera later responded in an interview saying, "I was really proud of that record. I think there was a lot of promotion issues, coming from a standpoint of how everything resulted. Nothing is ever a setback. If anything, it just motivates you for what’s next."^[114]

Aguilera announced that she and Bratman had separated, saying in a statement, "Although Jordan and I are separated, our commitment to our son Max remains as strong as ever."^[115][116] Aguilera filed for divorce from Bratman on October 14, 2010, seeking joint legal and physical custody of their son, and specifying September 11, 2010, as the date of separation.^[117][118] They later reached a settlement agreement and custody deal, details of their agreement were private.^[119] Their divorce was finalized on April 15, 2011.^[120] The following month, Aguilera appeared as herself on the Entourage season seven finale as a client/friend of Ari Gold.^[121] On November 15, 2010, Aguilera received a Star on the Hollywood Walk of Fame.^[122]

Aguilera's star on the Hollywood Walk of Fame, which she received in 2010

In November 2010, Aguilera appeared in her first feature film, the musical Burlesque. She portrayed a small town girl, Ali Rose, who finds love and success in a Los Angeles neo-burlesque club.^[123] Aguilera performed eight of the musical numbers on the film's soundtrack released on November 22, 2010, and co-wrote a number of the tracks working with producers and writers including Tricky Stewart, Sia Furler, Samuel Dixon, Linda Perry, Claude Kelly, Danja, and Ron Fair. The remaining two tracks were sung by Cher, who co-starred alongside Aguilera. The soundtrack debuted in the top 20 in the US and was certified Gold.^[124][125] The film was written and directed by Steve Antin who wrote the part of Ali specifically with Aguilera in mind.^[126] Aguilera's co-stars also included Cam Gigandet, Eric Dane, Kristen Bell and Stanley Tucci. Several critics praised Aguilera's performance. A review in TIME states, "Aguilera might not be to your taste, or mine, but in terms of sheer power, she's impressive. If Ali were real, she'd have already been discovered on American Idol."^[127] While Variety wrote, "Aguilera, while undeniably entertaining when her character is onstage, cannot spin the slight backstory into anything resembling a full-blooded person."^[128] Though Burlesque was released to mixed reviews from critics,^[129][130] the film received a Golden Globe nomination for Best Picture – Musical or Comedy and earned Aguilera, writer/producer Sia Furler and Samuel Dixon, a nomination for Best Original Song for the track "Bound to You". The soundtrack also earned Aguilera a Grammy nomination for Best Compilation Soundtrack. Burlesque has grossed over $90 million worldwide.^[131]

Following the release of Burlesque, Aguilera collaborated with rapper T.I. on the track, "Castle Walls" from his album No Mercy. Aguilera performed the U.S. national anthem, "The Star-Spangled Banner", during the Super Bowl XLV on February 6, 2011, and created embarrassment when she omitted a line of the anthem and messed up the song's lyrics.^[132] She later apologized, telling CNN that "I got so caught up in the moment of the song that I lost my place. I can only hope that everyone could feel my love for this country and that the true spirit of its anthem still came through."^[133] The following week, Aguilera, alongside Jennifer Hudson, Martina McBride, Yolanda Adams, and Florence Welch opened the 53rd Grammy Awards paying tribute to Aretha Franklin.

Aguilera began dating musician and production assistant, Matt Rutler whom she met during the filming of Burlesque. Her personal life was the subject of scrutiny;^[19] and reports over out of control behavior, excessive drinking,^[134][135] and a reported confrontation with her co-star Julianne Hough.^[136][137] On March 1, 2011, Aguilera was arrested for public intoxication in West Hollywood as her boyfriend was arrested for DWI.^[138] She was later released on bail and no charges were filed.^[139][140] Although the L.A. Sheriff's office stated Aguilera's mug shot would not be released to the public, E! News obtained the mug shot which circulated social networks and the media shortly after her release.^[141] Rutler's DWI charge was dismissed due to insufficient evidence, after his BAC was determined as below the legal limit.^[142]

Aguilera signed to be a judge on The Voice, which debuted on NBC in April 2011. Aguilera, alongside other musicians Adam Levine, Blake Shelton and Cee Lo Green serve as judges and coaches, with Carson Daly as the show's host. The show's first episode was well-received, and delivered the strongest ratings for a series premiere on a major network since Undercover Boss debuted after the Super Bowl in February 2010.^[143][144] The show's first season was a ratings success for NBC following its debut.^[145][146] Aguilera performed "Moves Like Jagger" on The Voice – the single with Maroon 5 on which she is featured, from their album Hands All Over. The song was an instant hit reaching No.2 in the UK, No.1 on the World Chart and earned Aguilera her fifth No.1 single on the Billboard Hot 100, a decade after her last No.1, "Lady Marmalade".^[147] The single became the first 4 million-seller for both artists and marks the first time two former Best New Artist Grammy Award winners have collaborated on a Hot 100 hit.^[49] "Moves Like Jagger" was nominated for Best Pop Duo/Group Performance at the Grammy Awards and has since sold over 7 million copies worldwide, establishing itself among the best-selling singles of all time.^[148].

2012–present: Seventh studio album and current projects[link]

The second season of The Voice premiered following Super Bowl XLVI. Aguilera performed a cover of "At Last" by Etta James at James' funeral on January 28, 2012.^[149][150] Aguilera recorded her first Spanish-language track in over a decade titled "Casa de Mi Padre" which was released as the title song for the soundtrack and film of the same name.^[151] In regards to her upcoming album, Aguilera stated that she is recording a new studio album in an interview with Live with Regis and Kelly.^[152] No official date has been announced but the album is expected to be released in 2012.^[153]

Artistry[link]

Vocal ability[link]

Aguilera performing during her Back to Basics Tour in 2006

Aguilera possesses a soprano^[154][155] vocal range and has been referred to as the "voice of her generation" and a blue eyed soul singer.^[156][157] Aguilera also topped COVE's list of the 100 Best Pop Vocalists with a score of 50/50^[158][159] and came fifth in MTV's 22 Greatest Voices in Music.^[160] Her rendition of "It's A Man's Man's Man's World" at the 49th Grammy Awards ranked third in the Grammy's Greatest Moments List behind Celine Dion's performance of "My Heart Will Go On" and Green Day's performance of "American Idiot". In an interview, Dion described Aguilera as "probably the best vocalist in the world."^[161] Rolling Stone ranked Aguilera at 58 on their list of the 100 Greatest Singers of All Time, the youngest singer on the list.^[21]

Describing Aguilera's voice, singing teachers Phyllis Fulford and Michael Mailler said, "The low register is light and tired, the belting register is ample and full, but very scratchy because she screams; and head voice as well as whistle register are light, pure and bright. Her vocal range extends from G below middle C to C♯ one octave above soprano high C (G₃ – C♯₇). She can belt to F one octave and a third above middle C (F₅). She possesses a good-sized technical arsenal. Her trill is solid, she has a big mastery of melismas, and can sustain very long notes."^[162] Los Angeles Times writer Margaret Wappler adds Aguilera can deliver "a well-executed legato."^[163]

Since her debut in 1999, Aguilera has been compared to the likes of Mariah Carey and Whitney Houston.^[164] David Browne of The New York Times writes, "Aguilera has been one of the foremost practitioners of the overpowering, Category 5 vocal style known as melisma. Ms. Carey, Ms. Houston and Ms. Aguilera, to name its three main champions, are most associated with the period from the late ’80s through the late ’90s."^[165] A review in the Los Angeles Times compared Aguilera's vocal stylings to Barbra Streisand, Gladys Knight, and Aretha Franklin adding, "Aguilera's Streisand-esque tendencies are a good thing; they're helping her figure out how to become the "great singer" she's been dubbed since she released her first single, the wise-beyond-its-years "Genie in a Bottle", at 18."^[166] Although praised for her vocals, Aguilera has been labeled for oversinging in her songs and concerts.^[167] Longtime producer and writer, Linda Perry, commented on working on the track "Beautiful", saying, "I tried to keep it straight. I told her to get rid of the finger waves. Every time she'd start going into "hoo-ha", I'd stop the tape. I'm like, 'You're doing it again.'" Perry ended up using the first take saying, "She had a hard time accepting that as the final track. It's not a perfect vocal – it's very raw. She knows her voice really well, and she knows what's going on. She can hear things that nobody else would catch."^[168]

Themes and musical style[link]

Aguilera performing during her Back to Basics Tour in 2006

The constant theme in Aguilera's music and lyrics is love, although she has written on other subjects including spirituality, female empowerment, and grief. Aguilera has also written about her childhood in two of her records which dealt with domestic abuse. In an interview Aguilera admitted she feels responsible to reveal her most vulnerable feelings and to share the darker sides of her life adding "People that can relate might not feel as alone in the circumstance."^[169] She has been noted to constantly changing her sound in her music and lyrical content. Originally marketed as a bubblegum pop singer during the late 90s pop scene, she quickly departed into a broad range of musical genres for her follow-up album Stripped. A review states, "Clearly afflicted with Premature Serious Artist Syndrome, Aguilera wants to demonstrate the range of her interests – vampy soul, quasi-metal, piano-bar intimacy, quiet-storm R&B, bounce-bounce hip-hop, and semi-exotic rock, all of it dutifully accomplished."^[69]

The majority of the songs are characterized by Aguilera's loud vocals, though she has used breathy and soft vocals.^[170] Her 2006 release, Back to Basics included producer DJ Premier. The New York Times exclaims, "Her decision to work with the low-key DJ Premier was also a decision to snub some of the big-name producers on whom pop stars often rely."^[171] Aguilera has often cited that she prefers working with producers that are not in popular demand, saying "I don't necessarily go to the main people that are the No.1 chart-toppers in music."^[172] The album included live instrumentation and samples of past jazz and soul records. Some tracks on the album included non-traditional forms of pop music such as swing jazz and big band, drawing comparisons to Madonna's I'm Breathless and the musical film Cabaret.^[173] Her first feature film, Burlesque, influenced by Cabaret, featured mainstream producers Tricky Stewart and Danja on the soundtrack where several established songs were updated and worked into dance numbers, a style similar to 2001's Moulin Rouge! "Diamonds Are a Girl's Best Friend" was performed by Aguilera in the film, a musical number also performed by Nicole Kidman in Moulin Rouge!