Euphoria gay bar song
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Where Gossip Girl may attempt to evoke some kind of truth of teen life in New York City through its soundtrack, each episode of Euphoria presents a feral wash of styles and subgenres seemingly designed to mimic the wild emotional peaks and valleys of adolescence. Although there were occasional anachronisms and some ridiculous song syncs, these soundtracks always felt like rough reflections of their characters’ personalities.Įuphoria does something different. These shows all use their soundtracks to evoke some kind of truth about the settings and subcultures they represent: Clueless and The O.C., a decade apart, each try to present a wash of southern California chill 10 Things I Hate About You attempts to act as a survey of “angry girl music of the indie-rock persuasion” Skins’ underground electronic soundtrack aligned with the drain raves and MDMA-fuelled parties its characters were attending.
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The band Crystal Castles, for example, experienced a surge in popularity after they performed on the British show Skins, elevating them from fringe to festival act practically overnight. The best teen films and television shows are elaborate fantasies, and so the best-soundtracked teen shows have historically used the kinds of artists that would have been otherwise inaccessible to teenage audiences. The cultural legacy of a song such as Peter Bjorn and John’s “Young Folks” was cemented the moment it was used to soundtrack Serena van der Woodsen’s return to New York City in the opening scene of Gossip Girl Imogen Heap’s “Hide and Seek” is inextricable from the scene in The O.C. This is to say nothing of the way television shows have shaped the teen music zeitgeist.
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Anecdotally I know that the Juno soundtrack, which went gold in Australia, was a formative musical document for many people my age, introducing a swath of twee teenagers and preteens to Cat Power, The Velvet Underground and The Kinks. Films such as Clueless and 10 Things I Hate About You informed the tastes of their audiences as much as they reflected them: the former mixed subversive gems such as Jill Sobule’s “Supermodel”, Mott The Hoople’s “All the Young Dudes” and The Muffs’ “Kids In America” in with tracks such as Coolio’s “Rollin’ with my Homies” and The Mighty Mighty Bosstones’ “Where’d You Go?”, while the latter introduced a generation to feminist musical heroes such as Letters to Cleo and Joan Armatrading. It’s hard to overstate the cultural significance of the teen soundtrack, from the genre’s heyday in the 1990s through to its resurgence in the form of shows such as The O.C. At its best, the soundtrack signals the themes of the show while maintaining a compelling, fantastical vibe.
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Almost free-associative in its purview – the show will jump from ’70s singer-songwriter mush to ’90s gangsta rap to a 2020s experimental pop song and everything in between in the course of a single episode or even a single scene – the Euphoria soundtrack manages to stand in a lineage of classic, zeitgeist-defining teen film and television soundtracks even as it reinvents the form. The notorious HBO teen drama is known for its eye-popping and luxurious visual aesthetic, a rapid-fire, almost TikTokian editing cadence and, most notably, its exaggerated portrayal of teen drug abuse and sexual deviance.īut in its sophomore year Euphoria’s soundtrack has become as notable as its 35-millimetre vibrancy or meme-worthy narrative arcs, generating as much critical discourse as the show’s content and sparking chart resurgences for songs released 50 years ago.