September 24, 2020

That decade when nothing could go wrong | Babelia



It is said too often, and almost always with excessive joy, that the 1990s were a happy decade. This, above all, is affirmed by people who saw her disappear into the hands of the insatiable 21st century before they were old enough to vote. It is the memory that has remained, a stigma – it was not the beautiful decade, nor the list, only the friendly friend of the other decades – with which those years still carry, when, in reality, the truly happy decade was the first of this century. And that did not reach ten. It ended with the collapse of Lehman Brothers in 2008, and we are still not very clear what to call that time. To those happy in their unconsciousness years that mediate between the relief that supposed to see that the effect 2000 did not end with everything and the shock that meant watching live how some junk mortgages They could send everything they had lent us to hell, this list is dedicated. Obviously, not everything that was recorded then, but maybe a little yes to the music that reflects the effervescent state of mind, the feeling of unbeaten that the West captured and that was capable of turning everything into a party. This time the host catches us a little less up.

The matter starts with the Crazy in love, perhaps the most relevant issue of the time. The song that featured the solo debut of Beyoncé pioneered a very contemporary format: the popular diva that even snobs adore. Towards the end, it appears gwen Stefani with his What You Waiting For ?, another example – this one from electropop, not from r’n’b– of songs that started playing at the same time at weddings and clubs indies. Another relevant aspect of that time was the revival of the postpunk. Sold out on grunge, amortized on britpop and the attempt to universalize the emo, that part of indie that, deep down, wants to fill stadiums, he stopped hiding it. He armed himself with punk, of funk and from an impeccable collection of references and transferred them to the taste of the 21st century, which asked to be able to dance and think of Schopenhauer at the same time. And if you couldn’t do both, then just dance. LCD Soundsystem and his Daft Punk Is Playing at My House, The Rapture, here with Get Myself Into It, or Bloc Party, with the nervous Banquet. That revival emerged as a continuation of the rock revival that in 2001 The strokes (Someday) and White Stripes (Fell In Love With a Girl) led. Is the sequence grunge-britpop more or less ringing.

Music indie was armed with punk, of funk and from an impeccable collection of references and transferred them to the taste of the 21st century, which asked to be able to dance and think of Schopenhauer at the same time

They were also imperial years for him hip hop. Gender laid the foundation for dominating the planet. She started doing it just when this list ends. Outkast jumped the bench with Stankonia, and they anticipated the second Gulf War by launching this massive Bombs over baghdad months before 9/11. Kanye west he finally made his solo debut four years later with The College Dropout and immediately followed him with another masterpiece, Late Registration. To that album belongs the fabulous Touch the sky. A year before flying I had only helped create The Black Album to their friend Jay Z. Here we have the thunderous 99 Problems, one of those cuts of hip hop liked by those who thought they hated the genre. This happened quite often during those years. Blackalicious (Sky Is Falling) or The Roots (Here I Come), each in their own way and attracting audiences from different places, they also succeeded.

And also, that a priori terrible idea that finally turned out to be a genius that was to vindicate the Graceland by Paul Simon and with which Vampire weekend -here with A-Punk, from their debut— they are still one of the world’s biggest pop bands. The friendly darkness of the Danish Raveonettes (The last dance). He Uk garage by The Streets (Let’s Push Things Forward). He indie English in its most punk (Time for heroes, of The Libertines, the scandal band of those years) and in its more adolescent version of the genius although somewhat old-fashioned, represented by the cut Fluorescent Adolescent, from the second length of Arctic monkeys. The lengths of Alex Turner’s, as has happened to many humans, have darkened as the years passed. More due to circumstances than age, because in the 21st century you can be young until you feel like it. In 2009 they no longer wanted to be a smart boy band but a bad boy band (Humbug). Two years later they embraced nostalgia (2011, we were already well screwed). In 2013 they told us that if we wanted to dance, fine, but that they were waiting for us in the hotel room counting condoms. Finally, in 2018 they made a record in which they told us that even the hotel was closed. They were the best years, they were the worst years.

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