Don’t know if that would hold true for a smaller act (did Eiffel 65 or Lou Bega start at RD? Don’t think the second one’s true…RD’s “Mambo” edit replaces all the women with Disney characters) but it’s still significantly different from the movement of some of, say, Miley Cyrus’s or Jonas Brothers’ material (though “See You Again” is weirder than Britney crossover OR Miley crossover, since it seems to have connected on mainstream radio before Radio Disney played it).

Places to look: hip-hop (Lil’ Mama, Tiffany Evans, Keke Palmer, Karina Pasian) and Christian rock. Except the latter I just can’t keep up with. Will vouch for Krystal Meyers’ album, “Make Some Noise,” though.

I do wonder whether or not an Iron and Wine song being featured in Twilight is the equivalent of the Mighty Mighty Bosstones headlining Clueless.

@dabug: I think the Jonases will eventually be really good producers in their own right but why do people slam their vocals so hard? I was a relentless Britpopper in my youth and I surely don’t find Joe’s vocals any less palatable than, say, Richard Ashcroft’s or Liam Gallagher’s (ok, probably better than Liam’s)… Nick’s might be more of an acquired taste for some, but he’s undeniably talented. Is the issue that they get called a “boyband” and people expect them to open their mouths and sound like N*Sync?

Honestly, I have more problems with Demi’s screaming…though when she nails it, she has quite a lot of promise.

however, it had already received the ‘sad cover at a funeral’ treatment from the brit soap hollyoaks:

[blog.rhapsody.com]

Crazy.

I coulda sworn I heard something worse! I think it was this one:

Mitchel:

Miranda:
Amy Diamond:

Ha…I think it was Mikael Wood who said that the Jonas Bros. needed to hook up with some of the Disney stable’s producers, but actually I’m starting to think they might want to consider being those producers themselves and putting down the microphone (Nia makes an argument that Demi’s song written by the Jonas Brothers is a good example of a great Jonas Bros. song made better by a different singer — she also tells me I really need to revisit Demi’s album, so hm). I’m not sure I’ve ever heard a JoBro song I’ve hated, but I also don’t think I’ve heard more than a handful I’ve really liked, either, and it’s mostly from the singing.

I’ll see your Miranda Cosgrove rec and raise you a

“>Mitchel Musso.

EW, was one of Miranda’s songs you liked the Max Martin-penned

“>Stay My Baby????? Which I never knew existed until just now. A cover of “>Amy Diamond’s incomparably better, original version — another point for kid’s conglom appropriation of (better) Swedish hitz. Gross.

Fwiw, I think the Jonas Bros album from this year is actually almost as good as the (way too long, and not nearly consistently lip-glossy enough) Lil Mama album from this year, myself. Also like enough of the Demi Lovato album to give it a pass, especially since her Zeppelin-riffed “Party” comes closer to Suzi Quatro than any other ’00s teen-pop I’ve heard (a real high compliment in my book). And I thought two of the four Miranda Cosgrove songs on the *iCarly* soundtrack were better than awful, but then I may well like Katrina and the Waves more than you.

Not sure who I have less use for, Iron and Wine or the Bosstones. A tossup, I’d say.

And boy bands DID let America cool off from NKOTB by skating through Europe before hitting their home shores (hence one of BSB’s first singles: “Backstreet’s Back.” Before I knew the story, I always wondered where they’d been).

I guess what Chris is suggesting is a lack of blockbusters that cross over *from* the teen-pop world to the larger world, like Britney and Backstreet and *N Sync and Xtina used to. And while I *sort of* see that (though, as he admits, there’s a lack of blockbusters in general these days), I also assume that Miley Cyrus and the Jonas Brothers have more adult fans (not necessarily just parents of tweens, either) than most of us suspect. How you’d quantify them, I’m not really sure. And Taylor Swift *clearly* does — though she’s a special case, of course, having actually crossed in the other direction; i.e., she had country hits *before* teen-pop hits. But it still seems odd to claim that she and Hannah and HS Musical — three of the biggest acts/franchises/ whatever of the past few years are acting, in any way whatsoever, below the pop radar. Ditto Kelly Clarkson, Avril, etc.

And obviously, bigger questions come into play here, too — i.e, what constitutes a hit single in 2008 in the first place (does longterm radio play *have* to be a prerequisite? and if so, why?), and how should teenpop be defined, when teens (and tweens, more to the point) listen to all sort of things *not* on Radio Disney. (And what about non-r&b-identified, non-rock-identified pop *not* specifically marketed to teens? That matters here too, somehow.)

Programmers have made it clear they are not willing to put even the best of the “Disney” songs in heavy rotation to get them heard by a wider audience. And I’m sorry, I’d rather listen to “Love Bug” than “Hey There, Delilah” (let alone any Katy Perry) as much as radio made me listen to it, but maybe that’s just me.

I am still surprised that the Jonas Brothers and Miley have caused as much mainstream furor as they have…when I started listening to the Jonases a couple of years ago because of my kid I loved them but I didn’t actually expect them to get out all that much farther than, say, Jordan Pruitt or T-Squad. Radio Disney and the Disney Channel do feel a bit locked down.