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Blur music, videos, stats, and photos

Ultimately, the band did play, albeit an hour and a half after they were scheduled to appear. After the completion of the reunion dates, James said the group had not discussed further plans, and Albarn told Q soon after that Blur had no intention of recording or touring again. He said, "I just can't do it anymore", and explained that the main motivation for participating in the reunion was to repair his relationship with Coxon, which he succeeded at. Coxon also said that no further Blur activity was planned, telling NME.com in September, "We're in touch and we say 'Wotcha' and all that but nothing has been mentioned about any more shows or anything else". The event does not bubble, but the related focusout event that follows does bubble. Originally, this event was only applicable to form elements, such as .

That concert at Hyde Park was released digitally the following week as Parklive; it later came out as a physical release that year. The NME concurred, saying Blur were "a reunited band making music to rival their very best". It was also a commercial success, becoming the sixth consecutive Blur LP since Parklife to top the British charts.

After initial sessions in London, the band left to record the rest of the album in Iceland, away from the Britpop scene. From March to July 1990, Blur toured Britain, opening for the Cramps, and testing out new songs. In October 1990, after their tour was over, Blur released the single "She's So High", which reached number 48 in the UK Singles Chart. The band had trouble creating a follow-up single, but they made progress when paired with producer Stephen Street. The resulting single release, "There's No Other Way", became a hit, peaking at number eight. As a result of the single's success, Blur became pop stars and were accepted into a clique of bands who frequented the Syndrome club in London dubbed "The Scene That Celebrates Itself".

One last album, Think Tank, appeared in 2003 but the bandmembers went their separate ways after its release, with Albarn turning toward Gorillaz and other creative projects. In April 2015, Blur released their first studio album in twelve years, The Magic Whip. Conceived over five days in Hong Kong after a cancelled Japan tour in 2013, the album was inspired by the city as well.

The result was Blur, the band's fifth studio album, released in February 1997. Although the music press predicted that the lo-fi sonic experimentation would alienate Blur's teenage girl fan-base, they generally applauded the effort. Despite cries of "commercial suicide", the album and its first single, "Beetlebum", debuted at number one in the UK. Although the album could not match the sales of its predecessors in Britain, internationally Blur was more successful. In the US, the album received strong reviews, reached number 61 on the Billboard 200 and was certified gold. The album's "Song 2" single was also popular on alternative radio, reaching number six on the Billboard Modern Rock chart and remaining on that chart for 26 weeks.

In April 2010, Blur released their first new recording since 2003, "Fool's Day", for the Record Store Day event, as a vinyl record limited to 1000 copies; it was later made available as a free download on their website. No Distance Left to Run was nominated as Best Long Form Music Video for the 53rd Grammy Awards, Blur's first-ever Grammy nomination. Albarn stepped out with the hip-hop/pop cartoon group Gorillaz in 2000, a collaboration with artist Jamie Hewlett that soon eclipsed the popularity of Blur internationally. Coxon departed during the recording of Blur's next album, with Albarn stepping in on guitar.

For many, life is a blur of workdays, weekends and a whole lot of stress in between. His fastball may be a blur to hitters, but Eovaldi's career has come into sharp focus with the Red Sox. They briefly reunited in March 2019 for a surprise performance at an Albarn-organized Africa Express event in London. After their original name Seymour was rejected by Food, the band chose "Blur" from a list of alternatives the label drew up.

NME magazine wrote in 1991, " are acceptable pretty face of a whole clump of bands that have emerged since the whole Manchester thing started to run out of steam." Modern Life Is Rubbish turned out to be a dry run for blur's breakthrough album, Parklife. Released in April 1994, Parklife entered the charts at number one and catapulted the band to stardom in Britain. The stylized new wave dance-pop single "Girls and Boys" entered the charts at number five; the single managed to spend 15 weeks on the U.S. charts, peaking at number 52, but the album never cracked the charts. Initially, Blur were one of the multitude of British bands that appeared in the wake of the Stone Roses, mining the same swirling, pseudo-psychedelic guitar pop, only with louder guitars. In the process, the group broke down the doors for a new generation of guitar bands that became labeled as Brit-pop.

In 2005, XFM News reported that Blur would record an EP, and denied that they would hire a replacement guitarist for Coxon. Overall the band kept a low profile and did no studio or touring work as a three-piece. Though the band members finally met up in October, they posted on their website that they had only "met up for an enjoyable lunch" and that there were no "other music plans for Blur". After 13 and the subsequent tours in 1999–2000, band members pursued other projects. Graham Coxon recorded a string of solo albums, while Damon Albarn dedicated his time to Gorillaz, the animated band he had created with Jamie Hewlett.

2001, Martin Webb, Michel Plungjan, Keith Drakard, Instant JavaScript These form elements need to have an onFocus event handler to blur the current focus. One moment in Britpop that has long been the subject of intense criticism is the video of Blur’s 1995 single ‘Country House’. Although the single is most famous for being the band’s offering in the fierce media spectacle ‘The Battle of Britpop’, against Oasis hit ‘Roll With It’, the misogyny contained within is more significant. Innovative, ever-morphing Brit-pop band with punch that nabbed constant critical adulation and the occasional massive hit.