Britney, Taylor and Beyoncé defined the 2000s and changed pop culture

She grew up in a small city in New Hampshire, Nora Princessi lived two hours from the nearest commercial center, so the textbook exhibition was the lifeline for pop culture purchases.

In the fall of 2003, the 9 -year -old made a line on the exhibition and bought the gums, the gorgeous gel and “Metamorphosis”, which is the second studio album from the star “Lizzie Mcguire” Hilry Duff.

At that time, Dav was “the most important person in the world for me outside my direct family”, Princiotti wrote at “Hit Girls: Britney, Taylor, Beyoncé, and women who built the pop -up of the contract.“This is the first day of the rest of my life.”

This advertisement is not exaggerated. The Duff’s CD disk was the PRINCITTI gate to the vibrant pop world in 2000s – the era of “girls” examined accurately through the lens of some music icons in the contract.

The time book with the Pretty Spears Industry Authority opens in the prevailing pop manufacturing after the loud success of its individual song for the first time, “… Baby One More Time” for 1998. Princiotti devotes chapters for world dance music that transforms the world and smart technology use; Odysse Pop pop (and sometimes rugged) from Avril Lavigne; The complex relationship between independent rock music and pop, represented by “American Idol”, my love, Kelly Clarkson.

She also reconsidates Ashley Simpson’s music, whose professional profession was after the lips in “Saturday Night Live”, and Lindsay Lohan and Paris Hilton installations at the time.

“Every album is one”, it was sure of the artists who should include it in “Hit Girls”.

“I had the idea a little before the Y2K returned that we went through over the past few years,” she says. “But the matter was flowing to the ecosystem. I had this very clear idea that there are all these varying sectors from the world of pop stars and a copy of this world in the first decade of the twentieth century … although this music is different, but it is really clearly proportional to it, because I was fans.”

Princiotti increases its strict research with colorful memories of this era, including chat on AIM (its handle was ManagorainBow99), where Taylor Swift was dug on YouTube and heard Lady Gaga “Just Dance” in high school dance.

Finding a coherent story of 2000s was more challenging. “The question I had to answer [in the book] It was, “Unlike the audience – and unlike this feeling inside me, a book covered the rise of Britney Spears also needed to cover” rumors “by Lindsay Lohan and he also needed to cover Ashley Simpson, because this is what I lived in – what connects these artists together?” “

This uniform thread is spears. The book is brilliantly tracked the similarities between the development of the Spears profession and how the contract itself-from the way its music expanded beyond pop-year-old pop (for example, the “toxic” electrical) to the negative impact that the tabelide scrutiny has caused on its mental health.

“She is 2000s,” says Princeotti. “If you are thinking about Aughts as a whole, it starts with Britney, [and] I managed to continue to do so. There are a lot of things that I think I just go back to that woman. “

Princiotti also concludes that female pop stars in 2000s helped legitimize pop music.

“There is something about what all these women did – because they are women in the book – to photograph the idea that pop can be eliminated and unavailable, which transmitted us in one way to this place where it is often recognized as a serious artistic form, which drives culture [and] “She deserves a deep real criticism,” she says.

“You see every day as there are projects that depend on the thesis on Taylor Swift and Taylor Swift music, and [people asking,] “What do you mean to society?” And “What does the culture mean? The thing that surprised me is,” Oh, we didn’t have that. It was not like this – and now it is. “

“I came out with an early estimate of her career, she developed a plan to develop her fans base,” says Nora Prinusiotti of Taylor Swift.

(Books in two)

Due to the narrow time frame of the book – “Hit Girls” begins before Y2K and ends in early 2010 – the book also takes a different spinning in the Swift professions and its colleague BeyonCé.

The latter was new as a single artist with “Love In Love” 2003 after hacking with Destiny’s Child. PRINCITTI argues that Beyonce’s success in pop plans opened doors to hip -hop and R&b artists, which had a seismic influence on culture as a whole.

Although these species began to achieve huge ways of pop charts and music that begin in the late 1990s, Princiotti noticed in their research that the magazine and the tablloide people still prioritize.

“Although there is a clear relationship between interest in an artist like the life of Britney Spears and the interest in her music, this episode of comments did not exist for many black artists,” she wrote. “Which means that hip -hop can dominate popular music while closing the elite celebrities that enhance real pop stars.”

Meanwhile, Swift was a bob bob for a prominent visual visual pop pop at the base of its fans, one of myspace comments at one time-and until then was a genius in understanding the Fandom psychology and online habits for its followers.

“I came out with an early estimate of her career, she developed a plan for how to develop her fans base,” says Princeoste. “When everything is said and deed, we will look back at its artistic legacy, yes, as a song writer for a generation, yes, as the award for the young poet’s award.”

“But I believe that the legacy of Taylor Swift will start with the societies of the people that I collected inside the base of its fans – its strength, sometimes frightening and how this fan community has become this, and how it built it in this way.”

As with Swift, many artists in “Hit Girls” are still common today. Lavin and Bioni Currently in the main tours; Clarkson has found success with Her dialogue program during the day; Rihanna is a billionaire business pole thanks to its Fenty Beauty and Savage X Fenty. Daf, who now has four children, played the star of the TV program “Youngr”, and recently, “How I Met Your AdPly”.

Close to the end of “Hit Girls”, Princiotti explores the constant effect of these artists and this contract-from the current crop of young pop stars led by Olivia Rodrigo and nostalgia festivals such as when we were young on fashion trends such as dark denim, and “out of butterfly peaks.

PRINCITTI itself maintains the love of pop stars and presents strong theories about the reason for the emergence of this specified age such as magic: a mixture of nostalgia and second and perspective opportunities.

“For people like me who lived at least some of them, they are the ability to return to the greatest age and more wisdom,” she says. “We can take the best of it, then reconsider the worst with more open eyes. There is something that is very satisfied.”