"I do like Britney Spears. I think she's cute. I think she's fun. And I like her records. You know, I'm not a pop snob whatsoever. I think she makes great pop records"
About this Quote
Elton John’s praise of Britney Spears reads like a small act of cultural insurgency: a knighted institution of pop declaring allegiance to the teen-idol end of the spectrum, with zero apology. The intent is plain but strategic. He isn’t just saying he enjoys her songs; he’s rejecting the idea that taste must be performative, curated, or policed. “I’m not a pop snob whatsoever” is the key line, because it frames the compliment as a rebuke to the critic class and to rockist hangovers that treat pop as disposable product rather than craft.
The subtext is credibility transfer, but done without condescension. John doesn’t position himself as the enlightened elder “granting” legitimacy to a younger star. He normalizes her: cute, fun, good records. That casualness matters. It insists that pop pleasure is a valid endpoint, not a guilty one. By foregrounding “records” and “great pop records,” he quietly shifts the conversation from Britney-as-tabloid character to Britney-as-maker of tightly engineered hits, where songwriting, hooks, and production are the actual currencies.
Contextually, this lands in an era when Spears was often discussed through morality plays and media spectacle, and when “pop” still got treated like a lesser genre unless it came packaged with irony. John, a veteran who’s lived through multiple cycles of hype and backlash, is calling the bluff: if the songs work, they work. He’s protecting the joy of pop from the need to justify it.
The subtext is credibility transfer, but done without condescension. John doesn’t position himself as the enlightened elder “granting” legitimacy to a younger star. He normalizes her: cute, fun, good records. That casualness matters. It insists that pop pleasure is a valid endpoint, not a guilty one. By foregrounding “records” and “great pop records,” he quietly shifts the conversation from Britney-as-tabloid character to Britney-as-maker of tightly engineered hits, where songwriting, hooks, and production are the actual currencies.
Contextually, this lands in an era when Spears was often discussed through morality plays and media spectacle, and when “pop” still got treated like a lesser genre unless it came packaged with irony. John, a veteran who’s lived through multiple cycles of hype and backlash, is calling the bluff: if the songs work, they work. He’s protecting the joy of pop from the need to justify it.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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