>>14532
I remember thinking this was one of the best of that sort of indie music around that time. Here's another that I liked:

And, of course, this classic:

>>14532
It's annoyed me for at least 10 years how this youtube video cuts at the end. Is there a story to it?

I'm no expert on DJing or anything but just listened to two Boiler Room type sets back to back. The first one just played a load of intros to tracks that sample well known and popular beats but as soon as the rhythm keepers kicked in he'd move on to the next (with generous samples of just his name being yelled). The second one would play more of the tracks but randomly break up the flow with scratching - you can see the crowd getting hype then faltering and stopping dancing every time. Most of the audience of both ends up just milling around chatting or looking bored instead of dancing. These are professional DJs. Am I looking for the wrong things here? Aren't DJs supposed to get the crowd dancing and keep them dancing, not just hype themselves and show off?

https://www.youtube.com/watch?v=bSWZ11pKRck

https://www.youtube.com/watch?v=Om3EQnKvgqk


https://www.youtube.com/watch?v=VmqvYNOHasg

https://www.youtube.com/watch?v=QbRJ35mnRQA

https://www.youtube.com/watch?v=VM4TxJfCKxE

https://www.youtube.com/watch?v=JTTC_fD598A

>>14540

This one's a banger. I bet I don't like anything else she's done after this.

https://www.youtube.com/watch?v=5H8K8pKFiRU

https://www.youtube.com/watch?v=LaTGrV58wec

One of Martha Wash's numerous uncredited singing performances.

For "You're In A Bad Way", the guy from Saint Etienne wanted to copy the organ sound of early-'60s pop groups like The Tornadoes. I think he did an excellent job. Certainly a better job than "The Tornados" did of spelling their own name.

https://www.youtube.com/watch?v=_eozkIGlrww

Sounding like a bit of an uninspired rehash of Hold Me Now, this is still a good song.

https://www.youtube.com/watch?v=7zTei5RMhQ8

https://www.youtube.com/watch?v=uB1D9wWxd2w

>>14550

Blimey, that's Proustian. I can practically smell the Impulse body spray and Bacardi Breezer. Dry humping on a single bed with a Forever Friends duvet cover. Walking home and having a cheeky sniff of my fingers. Halcyon days.

>>14551


https://www.youtube.com/watch?v=SHAQlFq6TFg

>>14552

If you're implying that I spaffed my pants, then you'd be absolutely right. I wouldn't mind a bit of fastlove these days. At my age it's like trying to squeeze the last bit of toothpaste out of the tube.

Anyway, it seems almost unbelievable in hindsight that a record like this could make the Top 10:

I'm not sure if 1996 was a bonkers year for pop music, or if I've just got used to the charts being incredibly dreary.

>>14553

Bjork was always a bit too "out there" for me. Too artsy and exaggerated. Kind of like Kate Bush on Icelandic steroids.

But the bottom of the barrel of annoying 1996 songs for me was probably Marcarena by Los Del Rio. I spent a lot of time in my bedsit studying for exams at uni that spring/summer, and every. single. fucking. radio station was playing it up and down all day.

I'll make a point of not including that video in this post.

https://www.youtube.com/watch?v=BEtnzgxFSvQ

>>14553
The charts in the '90s were so incredibly diverse compared to what we have now. I was going to offer you some 1996 Adiemus too, but it turns out that came out in 1995, and the song never actually entered the charts (although the album got to #3). But I refuse to post Enigma again like I do every time I make this point.

The past really is a foreign country.

>>14556

There was more room for novelty records in those days. Record labels were more willing to take a chance. It was only in the late 90s to early 2000s that popular music became painfully bland and exchangeable. Even emo went full corporate.

It's one reason, but of course not the main reason why Napster, Kazaa and Gnutella got so big. Because people just didn't want to pay anymore for the shite that was being put out. Even if new music is mediocre, there's still a difference between getting it for free and being expected to pay for it.

https://www.youtube.com/watch?v=FC3y9llDXuM

Mena Suvari was my all time biggest celebrity crush in those days. I always wanted to meet somebody like her. She was just stunning.

>>14558
Have you ever considered what this might look like to another species?

Imagine instead of this skinny teenager it's a bird of paradise doing a little dance, a baboon caressing its swollen butt glands or some sort of giant extraterrestrial arthropod vibrating, clicking and humming with big shiny multifaceted eyes as random bits of unrelated biological matter (possibly meat, or pubic hair) rain down around it. "Spectac-ular." Biological life is weird.

>>14559

For Kevin Spacey, they probably should have made the movie more about teenage boys.

Mena Suvari was already 20 when American Beauty was made.

>>14560
I was trying to help you disassociate and step outside the human lens, not accusing you of being a carpet bagger, calm down. She wasn't, as it happens. She turned 20 the February they finished filming.

>>14559
This scene isn't reality and was an attempt to convert the power of fantasy thoughts and wishful thinking into film. So no, it's not comparable to animals. Baboons don't live deadened middle class American lives, you never even see them wearing ties. The movie has more depth than you're giving to it.

>>14562
I think you might be retarded.

>>14562

>The movie has more depth than you're giving to it.

It has about a second-year film student's level of depth. At the time, it was mainly seen as a searing satire of American middle class prosperity at the end of the 90s. Which was when the economic boom of the Clinton years had left many people complacent and bored to tears with their picture perfect suburban white middle class stability.

The sexual innuendo of a middle aged dad spaffing to his daughter's best friend, while far from unrealistic, was just thrown in as a plot device and as a way to intertwine the film's adult satire with the subplot of wry romantic teen comedy.

Office Space is another film from that era, which was in a similar vein poking fun at the senseless white middle class corporate grind and people's ability to flat out reject it. Because they could.

Neither film could, or would be made today. Not just because of American Beauty's veiled endorsement of noncing, but because the middle classes have very little to be bored about nowadays and are faced with constant fears of downward social mobility.

>>14564
Indeed. But how deep it is or isn't has no bearing on whether or not such a thing as an overstylised, non-human mating display fantasy might be imagined as a way to illustrate how weird our own fantasies are.

>>14564
No, we still have similar media being created. Severance would be the most obvious in recent years, then there's Mad Men, Qualityland or you can point to how IT Crowd seems to have only grown in popularity. Also obviously Office Space flopped and became a cult film in the DVD era.

There's nothing especially unusual about the 90s for feelings of alienation. Marx was writing about it in the mid-1800s.

>The sexual innuendo of a middle aged dad spaffing to his daughter's best friend, while far from unrealistic, was just thrown in as a plot device and as a way to intertwine the film's adult satire with the subplot of wry romantic teen comedy.

It's part of the quintessential mid-life crisis and you must have fallen asleep because the movie doesn't endorse noncing, it actually has him being horrified by the reality.

>>14564
>Neither film could, or would be made today
What do people mean when they say this? That it wouldn't be successful? Literal interpretation perhaps but it annoys me that people would suggest an idea simply can't happen because of timeframe.

>>14568
All the actors are far too old for the roles these days.

>>14568

Again, you can't satirise middle class boredom if the middle class aren't bored. American Beauty was trying to unmask the affluence of the 90s economic boom and show how unhappy people were under that mask. It isn't that there haven't been boom and bust cycles since. There have. People were doing well before the 2007/08 financial crisis and before covid. But never again quite the way that they were at the end of the 90s. And American Beauty and Office Space tapped into that.

It was a moment in time, and I don't think you could pull off a similar believable satire/comedy film in the current economic climate.

>>14570

Fight Club would've certainly looked different if it took place in 2022.

Office Space on the other hand, nah, I think that one is pretty timelessly relatable. It would have worked two decades earlier and still worked two decades later. The first time I saw it was on a Delta Airlines flight in about 2016 or so (because they haven't changed the in flight entertainment since about 2006 lol), and it resonated with me then.

>>14573
>Office Space ... would have worked two decades earlier
I think the audience of the late '70s to early '80s would have at best confused and distressed by a film with a soundtrack comprised largely of '90s Hip-hop artists who would have been maybe ten or eleven years old at the time and yet to start their careers. Same goes for the cast, most of them were pre-teens in 1979 and that would have given the whole film a very different vibe. Unless we're talking about taking the finished 1999 film, sending that back 20 years and putting that out in the cinemas. That would probably give us a more accurate sense of "Does this work +/-20 years?" than a version starring children but most of the pre-teen cast will grow up haunted by the idea that there are aged doppelgänger out there with their same names. Never mind the potential butterfly effect from any of these things.

>>14578
I, for one, would love to see a film where Benny Hill smashes up a box of carbon paper while Grandmaster Flash and Kurtis Blow play in the background.

>>14578

Very clever, but you know what I meant.

The office space (see what I did there) of the mid-late 70s and early 80s wouldn't have been too drastically different to that of the mid-late 90s, in terms of dull suffocating corporate beureuacracy*. Less computers sure, but your boss is still an arsehole, there's still traffic jams every morning, you're still spending your time doing ultimately meaningless busywork, and you still get thrown out on your arse with no thanks for your 20 years of service when the consultants come in. The premise would have still been entirely relatable.

Bring it twenty years forward, meanwhile, and frankly the only thing that would be meaningfully different at all is that they would have an open plan office and flatscreens instead of cubicles and CRTs.

*_{this word is so hard to spell I wasn't even close enough for spellcheck to suggest it so fuck it I'm leaving it.}

https://www.youtube.com/watch?v=6JgG8fZAlu0

>>14581
>*this word is so hard to spell I wasn't even close enough for spellcheck to suggest it so fuck it I'm leaving it.
I used to struggle with it but if you can remember "bureau" and "cracy" it suddenly slots together. Bureaucracy.

This is great. Amazing even.

I'm a grown man who likes his stories. I should get into the radio.

https://www.youtube.com/watch?v=vuRErxnJzIM

There was a time when Stock/Aitken/Waterman were really putting out ok music, for what it was and what it was supposed to be.

At this point in spring of 1988 with Hazell Dean, their sound was already starting to become tediously formulaic, but it's still part of my early memories as a younglad, so that's ok.

Niko B's a good lad. It's not litter if you bin it.

https://www.youtube.com/watch?v=1B1RJiOGPUI


https://www.youtube.com/watch?v=F5inzYuzxu8

https://www.youtube.com/watch?v=gUhRKVIjJtw

https://www.youtube.com/watch?v=U7Bia2XaYSE

https://www.youtube.com/watch?v=sZb3pMaDmeg

"Slave to the Rhythm" was intended as a single or album track for Frankie Goes To Hollywood, but Trevor Horn, ever the perfectionist, wasn't happy with how it was turning out because he felt it sounded too generic and was lacking punch, so he scrapped it and a year later reworked it from the ground up to become Grace Jones' biggest hit.