In defense of pop

Fake Out

I was originally going to write this column convincing you to like pop music. My opening line was going to be “Why is inaccessibility cool?” It was going to grab your attention. This piece was going to accuse you of listening to pop music wrong and intellectualizing it too much
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I (still) write sins, not tragedies

Cutting Room Floor

Most people grew out of their emo phase years ago. Though I’ve abandoned the smudged eyeliner and band T-shirt aesthetic, I still pre-order Panic! At the Disco albums, I continue to retweet Pete Wentz and I carry a torch for the bands that many have now chalked up to nothing
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Music’s power transcends ratings

Music has turned into a status symbol. I’ve seen people force themselves to like a certain band because they got a high rating on Pitchfork or because they’re “hyped.” You must like this band to be cool, you must dislike that band to be cool.   However, this kind of
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Bottom Notch duo is anything but

Signing to a record label can be a difficult decision for independent artists. Will the label constrain them? Is the tradeoff of gaining promotion worth the loss of independence? One record label that strives to eschew this problem is Pitchfork Records. The independent label has seven artists signed so far,
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