It was me 
if you can get past how overwritten it is in parts:
‘Britpop’… originated in the patriotic manifesto originally embraced by the bands Suede and Blur in 1992 as a reaction against the pervasive American ‘grunge’ culture, but did not reach mainstream public consciousness until August 1995. The early 1990s are, therefore, crucial to the accumulation of patriotic sentiment that resulted in the construction of an overarching ‘Cool Britannia’ rhetoric.
While ‘Britpop’ has sometimes been used to describe British pop music generally, it will here describe the 1990s rock music scene that, despite its name suggesting a scene encompassing Scottish, Welsh and Northern Irish artists, consisted entirely of English bands. The bands who most vociferously endorsed an Anglocentric ethos in the press and their lyrics were Suede, Pulp, and Blur, whose support for the English cause manifested itself in a trilogy of albums from 1993 to 1995 whose lyrics consistently centred on the minutiae and absurdity of English life. However, the most successful of these was Mancunian quintet Oasis, whose 1995 album (What’s The Story) Morning Glory? is, at the time of writing, the fourth biggest-selling British album in UK history (Lane).
The press also participated, courtesy of Select ’s April 1993 edition, entitled ‘Yanks Go Home!’. The cover feature, ‘Who Do You Think You Are Kidding, Mr Cobain?’ (Maconie 60-71), celebrated five up-and-coming English bands – among them, Suede and Pulp.
Although this was perhaps the most brazen support for Britpop, it was not the first instance of Britpop rhetoric going public. Suede’s early career was partly defined by their nationhood in both the media and their own interview answers, although they later distanced themselves from the movement. An early NME review of their live performance described them as being “as English as nine pence and the smell of the leathered back seats of ‘50s Vauxhalls” (Sutherland 15), while singer Brett Anderson not only pre-empted both Select and Blur’s anti-American statements in the press in an NME article in 1992, but also attempted to articulate the national identity that his band sought to represent by embracing a pro-English agenda: “I’m not remotely attracted by New York. I mean, all the streets are laid out in a grid. Doesn’t that say everything? In Britain, it takes this convoluted, arcane knowledge to get from one bus-stop to the next. That claustrophobic, stifled Englishness is conducive to great art.” (Harris 77)
the Britpop ‘agenda’ and the Britpop ‘sound’ are very different but equally necessary when considering what Britpop is. Suede are the patient zero of Britpop
