Backstreet boys i want it that way live 2013
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Yet the cover’s tone of mocking condescension toward teenybopper pop music is also facilitated by a gendered hierarchy of “high” and “low” popular culture that specifically devalues the music consumed by teenage girls. Featuring a cover photo of a trio of differently outfitted “Britney” dolls alongside a headline reading “Sells Like Teen Spirit”–a pun on the title of the breakthrough megahit (“Smells Like Teen Spirit”) by the defunct rock band Nirvana–Pulse coyly plotted the trajectory of a decade’s-long decrescendo in popular music: from the promise of grunge, extinguished with the 1994 suicide of Nirvana lead singer Kurt Cobain, to the ascendancy of girl and boy performers with their own look-alike action figures. By May 2000, so ubiquitous were the jeremiads against teenybopper pop performers and their fans that Pulse, the glossy in-house magazine of Tower Records, would see fit to mock the popularity of Spears and ‘N Sync even as it dutifully promoted their newest releases. Since the late 1990s, the phenomenal visibility and commercial success of performers such as Britney Spears, the Backstreet Boys, and ‘N Sync has inspired anxious public hand-wringing about the shallowness of youth culture, the triumph of commerce over art, and the sacrifice of “depth” to surface and image.
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Among recent trends in youth music culture, perhaps none has been so widely reviled as the rise of a new generation of manufactured “teenybopper” pop acts.