Britpop. A (not so subtle) tribute.

"The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled."
Joni Stratton



In the 1990s, Britpop, or the era of "Cool Britannia", became an important part of national identity. It re-branded Britain (via), music and lyrics were "uniquely British" (via).

“Cool Britannia” as an identity was established by the Government. In 1997, New Labour established a landmark victory and promoted themselves as a new start for a Britain that was fast becoming ravaged by unemployment and poverty. New Prime Minister Tony Blair attempted to build on his image by holding a reception at Downing Street for the great and the good on the British art and music scenes and both the Government and the media used the event to highlight the fact that the public should be proud of what was becoming established as a cultural high point for the arts in Britain. (via)

Blur, Oasis and Pulp were "The Holy Trinity of Britpop". While Oasis came from working class background and wrote songs about unemployment, dole checks, cigarettes, alcohol, and an absent father (via), and Pulp responded with "a certain romanticism of working-class culture" (via), Blur were billed as so-called "posh boys" from London with university education. Media, in fact, turned "the battle of the bands from a musical debate into a class war" (via) between the working-class northeners Oasis and the middle-class southerners Blur (via). Britpop finally became known for "highlighting working class Britain and bringing it to the forefront of national identity", blowing "against the repressive forces of political correctness, class division and petty snobbery". The dress code - baggy sports clothing, trainers and Parka jacket - were part of it (via).
Some critics say that the representations of British identity were not authentic and reinforcing "a nostalgic and chauvinist cultural turn which privileged whiteness and to a lesser extent maleness" and that Britpop was marketed by Tony Blair's New Labour (via). Others, again, speak of a proto-feminist movement coming out of Britpop (via) and point out that its representation of national identity was more complex and that non-white and non-English Britpop musicians were there but widely ignored in the academic critique (Lueders, 2016). One thing is clear, Britpop is fantastic. And, it is not really over since a great many bands in the post-Britpop era are influenced by it ... showing discontinuities but also continuities between post-Britpop and the first-generation Britpop (Collinson, 2010).



Britpop Selection:

::: The Bluetones: Slight Return LISTEN/WATCH
::: The La's: There She Goes LISTEN/WATCH
::: The Lightning Seeds: What If LISTEN/WATCH
::: The Boo Radleys: Wake Up Boo! LISTEN/WATCH
::: Travis: Tied to the 90s LISTEN/WATCH
::: The Charlatans: The Only One I Know LISTEN/WATCH
::: Supergrass: Going Out LISTEN/WATCH
::: Blur: The Universal LISTEN/WATCH
::: Oasis: Champagne Supernova LISTEN/WATCH
::: The Verve: Bitter Sweet Symphony LISTEN/WATCH
::: Super Furry Animals: Something 4 the Weekend LISTEN/WATCH
::: Pulp: Disco 2000 LISTEN/WATCH
::: Cast: Sandstorm: LISTEN/WATCH
::: The Lightning Seeds: What You Say LISTEN/WATCH
::: Oasis: Roll With It LISTEN/WATCH
::: Travis: Why Does It Always Rain on Me? LISTEN/WATCH
::: The Lightning Seeds: Sugar Coated Iceberg LISTEN/WATCH
::: Supergrass: Sun Hits the Sky LISTEN/WATCH
::: The Lightning Seeds: You Showed Me LISTEN/WATCH
::: The Verve: Lucky Man LISTEN/WATCH
::: Supergrass: Alright LISTEN/WATCH
::: The Lightning Seeds: Life's Too Short LISTEN/WATCH
::: Pulp: Babies LISTEN/WATCH
::: The Verve: Sonnet LISTEN/WATCH
::: The Lightning Seeds: All I Want LISTEN/WATCH
::: The Boo Radleys: Wish I Was Skinny LISTEN/WATCH
::: Echobelly: Great Things LISTEN/WATCH
::: The Lightning Seeds: Ready or Not LISTEN/WATCH

- - - - - - - - - - - -
- Collinson, I. (2010). Devopop: Pop-Englishness and Post-Britpop Guitar Bands. In A. Bennett & J. Stratton (eds.) Britpop and the English Music Tradition (163-178). London & New York: Routledge.
- Lueders, C. (2016). Britpop's Common People - National identity, popular music and young people in the 1990's. University of London: Doctoral Thesis, LINK
- photographs of Richard Ashcroft via and Damon Albarn via

Paris has a good idea

"Paris is always a good idea."
Audrey Hepburn



Paris does not just seem to be a good idea but to have a good idea. The city recently announced a plan to stop housing displacement in central neighbourhoods and the creation of "ghettos for the rich". The Council of Paris published a list of 257 addresses, i.e. over 8.000 flats, that the city would have the "right of first-refusal" to buy. These flats are located in areas that are gentrified and the city aims to increase subsidised rental options and to ensure that at least some remain affordable to middle-income Parisians, the "great forgotten ones".



"Choosing diversity and solidarity, against exclusion, social determinism and the centrifugal logic of the market. It also aims to reduce inequalities between the east and the west of Paris in particular, developing social supply where it is insufficient."
Ian Brossat, mayor's aide



In other words, when a flat on the list comes of for sale it must first be offered to the city at the market price; the price is decided by the city. If the landlord or landlady does not wish to accept the offer, they can appeal to an independent judge in order to have it repriced. The plan is certainly not cheap but worth it as it "is essentially to give Paris the ability to act as a social-mix monitor, steeping in to prevent social segregation in the public interest if they feel it is under threat." No matter if it is going to be a success, it "deserves credit for really trying." (via)



photographs: of Christian Bérard and Rénee (suit by Dior, Le Marais, Paris in August 1947) by Richard Avedon via, of Audrey Hepburn, Mel Ferrer and Richard Avedon for Harper's Bazaar (by Henry Wolf, 1959) via and via, of Richard Avedon and Audrey Hepburn via, of Audrey Hepburn with William Holden (set of "Paris When it Sizzles", 1964) via and via, of Dovima dressed in Dior by Richard Avedon (1955) via