Britpop was guitars first and foremost

Unless you listened to blur then it was any assortment of annoying sounds

I guess there had to be somebody for Coldplay to actually seem cool compared to

Are you playing Boy Bands in the Britpop thread?

one of the biggest culture shocks when i first moved to the states was nobody knowing who robbie williams was

If you had to come to Canada first you would have found out we were already sick of him as well

I'm guessing the old Commonwealth has some sort of media exchange

nah he's goated

He's alot

@Elric bandwagonesque is god level what were you thinking

supergrass

Jack Black told a story how we went to see Radiohead play and Supergrass was opening, and bumped into Elliott Smith right before Radiohead got on stage. He only went to see Supergrass

Never thought I could be so indifferent to a band with song titles like literal Gene Clark and Neil Jung

Interesting read, but i do gotta contest the writer's downplaying of the lyrics as just playful kid-centric pop moreso than anything sexually charged.

I wont argue that the song (lyrics, music, and all) is definitely intended to sound and look more kid-friendly, and is indeed very different from Britney Spears' debut as a "blossoming schoolgirl". But the song's kiddie bop style and the lyrics go hand-in-hand

I'm usually not the type to get hung up on the whole "they're a child!!!", grooming discourse that a gold chunk of Twitter users seem to be obsessed with... But there's definitely something not right about a song and video with those lyrics being featured on a wall-sized screen in a room with a little girl jumping on her bed singing along.

I don't think the writer has any immoral intentions in how he describes it or anything — but to mention lines like "i'll show you mine if you show me yours" (a cliche of little kid-speak) and basically say it's more innocent than not because it's a vague, meta-concept of Pop, doesn't hold water for me. He makes a point to say it's not nearly as bad as "Barbie Girl", but i'd argue the two songs are more similar than not — they are conceptually achieving the same thing with the kiddie-bop music and personas; Aqua's lyrics were just more upfront and satirical, while B*Witched were "innocently suggestive".

They also claim B*Witched "aimed at 9-10 year olds", and I'm not sure how true this actually is. The other singles from their debut are very much a "who's who" of 90s pop group genre formula: Slow romance ballads and bubblegum kitsch. But the same year "C'est La Vie" the was featured in Smart House, it was also in What Women Want and Daria — which definitely aren't children's media.

I'm sure a lot of preteen girls listened to them, just like tons listened to Christina Aguilera and Britney. But B'Witched's debut album didn't go platinum in 12 months by "aiming at 9-10 year olds".

TL;DR - Didn't mean to sound like i dont like the article you shared fam haha, on the contrary. Im gonna read more in that series cause there was some interesting bits in that C'est La Vie one

Britpop =/= "british pop music"

I miss your calendar artwork

Those lads could not have gotten a bigger break over here at that time than the Clueless soundtrack @RASIE

idk I mean they coulda come up w it on their own

damn the wire song s***s on the other one tho so idc rlly

Put in the work so you don't have to

I'd have to give up the Best Songs and Best Films threads to think about that again no that was a cool phase tho

they ripped off wire twice and wire got paid handsomely for their trouble!

add to op