The latest Ofcom figures show that broadcast viewing by 16- to 24-year-olds has dropped by two-thirds in the past 10 years. Additionally, the Brits’ viewing figures for all ages halved in the past decade, showing a bigger decline than the Baftas, and one worse than the overall all-ages viewing decline, said TV analyst Tom Harrington, of Enders Analysis. The BPI stressed the Brits’ engagement with young fans across social media and YouTube, citing 44m views across performances and highlights from the 2022 show on its official YouTube channel, in addition to viewing figures that gave ITVX its best single day of 2022 until Love Island started in June. So funny and detailed and, most importantly, with such a clear love and understanding of the people in it. (Michael) strikes such an entertaining balance of fan worship and camp detached wit.' -- The Times I had absolutely no doubt we were going to make it. We found out Simon Cowell was a big deal in the industry, drove up to London really early and jumped out on him singing Wannabe along to our tape. Having written for the likes of The Guardian, Vogue and Popjustice (as well as being a few years older than me), Michael Cragg is in the perfect position to deliver an authoritative tome on this period in pop music, as well as making sense of the pitch battles between the poptivists and the real music bores. In the introduction, he makes the case that:

Reach for the Stars: 1996–2006: Fame, Fallout and Pop’s… Reach for the Stars: 1996–2006: Fame, Fallout and Pop’s…

It still has PR value, though it is less a long-term sales driver than a desired co-sign,” said a publicist for several Brit-winning UK pop acts. “If you win a Brit there is heightened belief within a label that other territories will engage more.” Artists still campaign around the Brits by “building to a crescendo in [their] ongoing release and touring plans that run parallel to the well-known voting window”, they said.

Music journalist Michael Cragg, who interviewed key players from 1996-2006 for his new book Reach for the Stars, said: “Nearly everyone I spoke to go misty-eyed.” If you're interested in pop history, I recommend this new book which explores in fascinating detail the dizzy, competitive and lost world of 'manufactured' nineties and noughties pop.' -- Neil Tennant, Pet Shop Boys You won't find a more comprehensive and entertaining pop book than this.' -- Jordan Paramor, journalist and author The late nineties to early noughties was the golden era of TV talent shows making sudden pop stars of ordinary people, writes Natasha Wynarczyk. But it wasn’t like I didn’t feel it every time someone was shouting my name in a northern accent. I had to ride the storm and I’m so thankful the second wave of my music happened.

Reach for the Stars by Michael Cragg review — were we too

I’d been on Irish Popstars in 2001. They had an over-18s limit and I’d just turned 16 at the time. I got disqualified. I went to Scotland to audition. You don’t think you’re going to win these things.Jones said the BPI “will review our processes for the next event in 2024, as we always do, to make sure we take on board any learnings and ensure our approach is the right one”. You want the Brits to dance like no one’s watching, and to recapture the chaos that made it a must-watch in the 90s Explores in fascinating detail the dizzy, competitive, lost world of nineties and noughties “manufactured” pop” Prepare to be left open mouthed...some of the finest secrets from the pop-music landscape of those heady times.' -- Heat It was extremely hard on us and our families. They were equally thrust into the spotlight with no idea of how to deal with any of it. We were told we were the fattest band in pop countless times so we made a point of eating numerous bars of chocolate and fast food in defiance. We had a No1 and were the most famous band in the country but we were all pretty broke and I was still paying off my student debt. Adele’s acceptance speech for best album (for 21) was cut off to fit in a live performance from Blur (whose frontman Damon Albarn would, years later, accuse her of being “insecure”). Adele flipped the bird to “the suits, not the fans”, and ITV apologised.

The Guardian Books | The Guardian

A brilliant, celebratory, gossipy history of 90s pop. Great stories and interviews. If that's your era, you'll love it.' -- Richard Osman Vivid moments in your life reduced to long forgotten anecdotes. Historical events reduced to kitsch. And things that you had considered appalling have now been reappraised as cultural milestones by people two decades younger than you. Rather than accept that two competing ideas can both offer up positives and negatives, the pop vs indie debate became a war. Frankly, in book-form at least, it feels like the indie side has had its say. Part of why I wanted to do this book…was to add some extra weight to a hugely important period of UK music that often felt ignored in the stream of chin-stroking think pieces on Britpop, the post-Strokes UK indie resurgence or the post-MySpace Arctic Monkeys chatter.

The bastions of '00s pop - armed with buoyant, immaculately crafted, carefree anthems - provided entertainment, escapism and fun for millions. It was a heady, chorus-heavy decade - populated by the likes of Steps, S Club 7, Blue, 5ive, Mis-Teeq, Hear'Say, Busted, Girls Aloud, McFly, Craig David and Atomic Kitten, among countless others - yet the music was often dismissed as inauthentic, juvenile, not 'worthy' enough: ultimately, a 'guilty pleasure'. Now, music writer Michael Cragg aims to redress that balance. Arguably the best possible combination of writer and subject since Jesus wrote the Bible.' -- Stuart Heritage, Guardian writer