What are the main predecessors of Britpop
|Origins:||Punk, Indie-Pop, New Wave, British Invasion, Merseybeat, Manchester-Rave, The Scene That Celebrates Itself|
|Origin:||England, mainly London and then Manchester|
|Period:||from 1992 through the peak 1994–1996 to around 1998|
|Different to:||Alternative rock, indie rock, grunge|
Introduction and story
The era of Brit pop began in 1992, peaked in the golden years of brit-pop 1994–1995, and continued with its foothills until the end of the decade.
Brit-Pop actually fails as a genre name. Brit-Pop is more of a cultural thrust than a musical direction that can be precisely defined. This is illustrated by an exemplary look at four of the central, extremely successful Brit pop bands:
- Blur: influenced by The Kinks, XTC, The Specials, The Jam, Buzzcocks, David Bowie, The Beatles
- Oasis: influenced by The Beatles, The Who, Sex Pistols, The Stone Roses, Small Faces
- Suede: influenced by David Bowie, Roxy Music, Morrissey
- Ash: influenced by Dinosaur Jr, classic 80s indie pop, Stiff Little Fingers, The Undertones
- The Verve: from Big Star, Spacemen 3, The Byrds, Funkadelic, Buffalo Springfield, Can
As can be seen, apart from small overlaps, there are hardly any similar influences to be recognized. All they have in common is a decided Englishishness (with the exception of Ash, which is influenced by the American market). If you look at the development and the trigger for Brit-Pop, that's not surprising either. Suede and blur were the first two Brit pop bands in this sense. They explicitly set out to restore British pop status in the world and to break the hegemony of America, which was particularly oppressive in those years due to the grunge explosion. This shows the self-image of Great Britain, the longing to have meaning and not to be pressed against the wall by the stylish young brother. After a disoriented time at the beginning of the 1990s when the Madchester phenomenon subsided and there was no really dominant scene in England apart from the Shoegazer, which was not very suitable for partying, The Scene That Celebrates Itself, hated by Melody Maker, formed as a primordial Brit-Pop soup out. With Elastica, Blur, Pulp and Lush, some of the most important protagonists of the later London Brit-Pop scene were united here in regular self-celebrations at the Syndrome Club in Camden.
The first two Brit-Pop albums (the term is, by the way, an invention of Melody Maker) were Suede's self-titled debut and blurs "Modern Life is rubbish", which most clearly articulated the return to England. blur, which previously were more of a Madchester offshoot and later became an unpredictable indie band that knew no boundaries, provided the definition of Brit-Pop in the mid-1990s with their "Life" trilogy, with the middle work "Parklife" as the central one , most diverse and best Brit pop album can be considered. Damon Albarn told typical English stories that were strongly reminiscent of Ray Davies' character sketches from the 1960s: for every Colin Zeal, Dan Abnormal, Ernold Same or Tracy Jacks, Ray Davies had a Dedicated Follower Of Fashion who watched the Waterloo Sunset on a lazy afternoon. Musically, too, blur was (although that doesn't do justice to the diversity of the band) a hybrid of The Kinks and classic English punk. Suede and blur prepared the ground and with Parklife critical mass was reached: 1.5 million records and songs such as Girls & Boys and the title track sold, which achieved incredible ubiquity for an indie band (remember: The Smiths had just had in their entire career twice in 10th place in the singles charts!). While Parklife penetrated the cultural memory of the nation more and more, a band with Oasis was formed in Manchester at the same time, which was to benefit from the prepared field and became the most successful British band since The Beatles. 15 million sold records of (What's The Story) Morning Glory later, Brit-Pop was a worldwide phenomenon and Oasis was the biggest band in the world.
While blur withdrew from the Brit-Pop corner after an annoying band war with Oasis and successfully opened up to other styles, Oasis never thought of playing another game, yes, the Noel-Rock style, named after the Oasis mastermind, always promoted Noel-Rock more Oasis-esque bands emerged. With the Morning Glory successor Be Here Now, probably the most eagerly awaited album of the last 15 years, Oasis showed their size (600,000 records sold in the first week in Great Britain alone. To date, no album has sold faster) and at the same time their limitedness. Be Here Now is considered the moment when Brit-Pop bursts. Although the album is better than its reputation, Be Here Now ended the imperial phase of Oasis. Since at the same time blur refused to play Brit-Pop, at Suede the separation of the creative duo Brett Anderson and Bernard Butler had already been completed long ago, the second coming of the Stone Roses could only disappoint with such high expectations and even Pulp, who always did strange yet immensely successful Misfits, slipped into an identity crisis with the outstanding album This Is Hardcore, was basically all over within just one and a half years.
The offshoots of the Brit-Pop phase were nonetheless very successful: Urban Hymns from The Verve and later Coldplay dominated the record market.
Important actors, albums and songs
blur, Oasis, Pulp, Ash, Suede, Supergrass, Ocean Color Scene, The Bluetones, Dodgy
Bands from the Brit Pop environment: (actually no Brit-Pop, but Brit-Pop by association, so to speak)
Manic Street Preachers, The Charlatans, Elastica, The Verve
Damon Albarn, Jarvis Cocker, Liam Gallagher, Noel Gallagher, Alan McGhee, Chris Evans
- blur: Parklife, Girls & Boys, For Tomorrow, Country House, Song 2, To The End, The Universal, End Of The Century
- Oasis: Live Forever, Supersonic, Whatever, Some Might Say, Wonderwall, Don't Look Back In Anger, Champagne Supernova
- Pulp: Common People, Mis-Shapes, Disco 2000, Babies
- Suede: Animal Nitrate, Stay Young, The Drowners, New Generation, Trash, Beautiful Ones
- Supergrass: Alright, Caught By The Fuzz
- Ocean Color Scene: The Day We Caught The Train
- The Boo Radleys: Wake Up, Find The Answer Within
- Ash: Girl From Mars, Goldfinger, Oh Yeah
- Manic Street Preachers: A Design For Life, Everything Must Go, If You Tolerate This Your Children Will Be Next
- The Verve: Bittersweet Symphony, The Drugs Don't Work, History
- Elastica: Waking Up, Connection
Britpop as a youth culture
Due to the rejection of the genre term Britpop on the part of artists and bands, it was difficult for young people and fans to define themselves as "Britpopper". Since the protagonists of this music movement were also not characterized by a certain look, there were no certain external characteristics as in other youth cultures, we have to get to the bottom of the whole thing a little deeper:
What made a Britpop fanatic? Basically it can be stated that, unlike in the indie scene, there was no urgent pursuit of economic independence, for example from the music industry. Even if you defined yourself in typical British manner mainly by what you rejected and Britpop was so characterized by sarcasm and cynicism, so a certain demarcation took place, this demarcation was more a rebellion against yourself than against existing authorities, such as one was used to it from typical alternative scenes. In Britpop you wanted more, you wanted to be successful. The social and societal realities were therefore indeed criticized, but mostly the ironic description of the circumstances remained. In contrast to other youth cultures (punk, hardcore and parts of the indie scene, for example) one got along with the "establishment" - bands such as Oasis even promoted "New Labor" under Tony Blair at times - the usual demarcation for youth cultures was not outwardly, did not take place in relation to moral ideas of the environment, but was limited solely to the direct environment. This could also be seen in the external appearance:
Clothing style: Despite the basically heterogeneous appearance within the Britpop scene, there are some clothing brands that have been and are worn as identifying marks throughout the scene: Fred Perry, Ben Sherman, Adidas, Lonsdale, Alpha Industries, Nike, Clarks, Pringle
Idioms typical of the scene: In order to be accepted as a full member of the Britpop scene at that time, the young people used a certain language, a kind of slang:
- "aye" - unfortunately cannot be translated into German
- "oi" - I agree, yes
- "yeah, yeah, yeah!" - expression of joy
- "wanker! ... geeeeeeeeeeeeezer!" - "I do not like you."
- "no! fuckin 'no!" - "Um, no, I'm not interested."
- "if you're proud about getting thrown from fucking ferrys, then why don't you go and support fucking westham united like some fucking scottish slacker?" means translated: "If all of this is not important to you, you can just as easily perish as a failure in the province!"
- "fucking mega" - "great"
- "cool as fuck" - "brilliant"
- "don't tell me not the fuck, mate"
- "bollocks" - "what nonsense!"
Britpop Ladism: The closeness of Britpopper to Ladism was shown not least in the enthusiasm of Britpop kids for sport.
Sports important to the Britpop movement were:
Films related to the Britpop lifestyle
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