Christina Aguilera and Lady Gaga on The Voice

Welcome to The Week In Pop, Stereogum’s new weekly pop column. I’ll be here every Thursday with a look at mainstream pop music via essays, track reviews, chart updates, and more. The phrase “Stereogum’s weekly pop column” probably raises some questions, so let’s get to them right away:

How are we defining pop? Typically, we’ll be looking at music that cracks Billboard’s Hot 100 singles chart or gets airplay on Top 40 radio stations — or music that aspires to those destinations. Rap and R&B songs that rule urban radio without crossing over into the Top 40 might merit a closer look, too. We’ll also steer into mainstream country here because these days the Hot 100 crosses over with Nashville almost as often as it crosses over with rap and R&B. Anything that goes viral might fit here — and, therefore, anything your parents might ask you about. As usual, the definition of pop will be malleable enough to encompass any music that is popular and widely accessible. Suffice it to say most of the time pop is self-evident.

Why are we launching a column like this? We love pop music, even when we hate it. We love celebrating it, we love picking it apart, and as with any other kind of music, we love ridiculing it when it’s terrible. Exploring the music that dominates our culture is fun, and it can provide valuable perspective about our world and ourselves. In other words, it’s just a reflection of a reflection of a reflection of a reflection.

But Stereogum is an indie site! In the internet era, the idea of a musical guilty pleasure has been rendered irrelevant, rightly dismissed as the product of racism, sexism, and convoluted concepts of authenticity. This is truer than ever in an era when the boundaries between genres are disintegrating before our eyes. Even if Stereogum’s focus will always be whatever passes for “indie” music, over the past 12 years we’ve become a site about music, period. This is a place to ponder and explore everything from Death Grips to Beyoncé. That’s how we, the staff, consume music, and it’s how many of our readers consume music too. In recent years we’ve launched specialized columns to lead readers deeper into the worlds of metal and rap; this is the next phase of that, a chance to extend the conversation that springs up every time we cover events like the Grammys, the VMAs, or even wide-ranging festivals such as Lollapalooza.

If genres are disappearing, why separate pop (or any genre) into its own column? Great question! Even as our established genre definitions evolve beyond recognition, the concept of genre is still valuable for the purposes of communicating about creative endeavors. Just because the musical landscape is being redrawn doesn’t mean everything sounds the same. We need categories to understand and discuss music. A big part of examining music involves understanding how listeners define themselves according to what they do and don’t like. With that in mind, part of the fun here will be relating pop music back to the “indie” music world that remains Stereogum’s bread and butter. Where do those worlds intersect, and why? How might Tame Impala help us understand, say, Macklemore? I’m not sure, but I look forward to finding out.

CHART WATCH

As we embark on a journey into the sometimes baffling world of music charts, let’s search for some context: Smooth soul-pop ladies’ men Justin Timberlake and Robin Thicke won the respective races for the best selling album and song of the year on the charts. Timberlake’s The 20/20 Experience moved 2.43 million copies, besting Eminem’s The Marshall Mathers LP 2 (1.73 million); JT’s tally is the lowest #1 figure ever, worsting Lil Wayne’s 2.87 million for The Carter III in 2008. Meanwhile Thicke’s “Blurred Lines” sold 6.5 million throughout 2013, beating out 6.15 million for “Thrift Shop” by Macklemore & Ryan Lewis. Is it feeling especially white and male in here, or is it just me? Anyhow, now that the ball has dropped, the field for the annual sales crown is wide open.

That doesn’t mean there’s no momentum to consider in the weekly charts. Last week, Beyoncé’s BEYONCÉ began 2014 atop the albums chart for a third consecutive week, and the year’s first Hot 100 rankings marked four straight weeks at #1 for Eminem and Rihanna’s “The Monster. Both those champions have been dethroned on today’s charts, though. Your new #1 album is the soundtrack to Disney’s animated feature Frozen, up from #4 last week with 165,000 in sales. As Billboard reports, it’s only the fourth time in the chart’s 58-year history that the soundtrack to an animated movie has gone to #1, preceded by The Lion King (1994), Pocahontas (1996) and Jack Johnson’s Curious George soundtrack (2006). Don’t feel bad if you, like me, were not aware that Jack Johnson did the soundtrack for the Curious George movie or that it sold enough copies to finish #1. There wasn’t much other action of note on the albums chart thanks to a dearth of debuts, and mainstays such as Eminem, Katy Perry, Lorde, and One Direction held steady in the top 10, so we’re on to the Hot 100.

Whereas Frozen’s momentum built slowly over the course of four weeks, Pitbull and Ke$ha’s “Timber” held it down at #2 for four straight weeks before finally toppling “The Monster” this week. The song had already been ruling the digital singles chart, so it was only a matter of time. (Bad week for Ke$ha otherwise, although good in the sense that she’s seeking help.) Also notable: Katy Perry and Juicy J’s “Dark Horse” vaulted up from #11 to #6 largely on the strength of digital sales; it’s #2 on the iTunes chart and #4 on Billboard’s Digital Songs chart. We named “Dark Horse” one of the best songs of the week when Perry’s Prism dropped back in October, but it didn’t become an official single until December, when it had already caught on as a grassroots hit, or as close to a grassroots hit as you can get when your last album produced five #1 singles. It certainly feels more natural than Perry’s pronunciation of the word “unconditionally,” and definitely more so than the impending remix with Pitbull.

WHO IS BASTILLE?

This week SNL announced Jonah Hill will host the 1/25 episode with musical guest Bastille. Maybe you’re thinking, “Who is Bastille?” Here’s who:

That video already has over 50 million views, by the way. These guys are a British rock band signed to Virgin — Stereogum premiered the Yeasayer remix of their first single a few years ago — whose first three singles flopped and whose fourth, “Pompeii,” caught on to become a silent radio killer and a sales power (#6 on the iTunes singles chart this week!). Still, these guys are far from a household name. SNL has booked some low-profile guests in the past, but they’re usually critical buzz bands, from this year’s Haim appearance to Lana Del Rey’s 2012 flop. But occasionally the show books an aspiring mid-level pop act with no such cool factor whose presence seems like the product of back-room dealing. Karmin spring to mind; that band is both terrible and not that popular, yet they seem to pop up everywhere on TV. Bastille seem like the same kind of situation — their hit song is so insubstantial and unremarkable that it barely even seems to exist — although it’s hard to deny those sales numbers. And anyhow, it looks like we’ll be seeing a lot more of Bastille in 2014 — at Coachella, for instance.

TRACK CITY

Perhaps as a corrective to 2013′s sausage fest at the top of the charts, almost all the notable new singles this week are by ladies (unless you count these clowns, and I just can’t bring myself to encourage that kind of thing). Below, find a flurry of female-fronted tracks plus one exceptionally dudely dude.

Lady Gaga – “Do What U Want” (Feat. Christina Aguilera)
By now there was supposed to be a video for Lady Gaga and R. Kelly’s uptempo sex duet “Do What U Want,” the one they performed evocatively on SNL and the AMAs. It was to be directed by the ever-controversial Terry Richardson, who released a still from the shoot on his blog on 12/13. But as Molly Lambert’s great Grantland essay explains, two other important things happened on 12/13. One is that Beyoncé dropped 17 music videos at once, which made Gaga’s promise of a video for every ARTPOP track seem a little flaccid. The other is that Jessica Hopper published an interview with Chicago journalist Jim DeRogatis revisiting the many “stomach-churning” allegations against Kellz over the years; it wasn’t new information, but returning to it afresh cast a disturbing light on R. Kelly’s recorded sexploits. No one wants to picture a grown man “doing what he wants” to dozens of underage girls. A week after Gaga’s unlucky Friday the 13th, she released a “Do What U Want” remix with Rick Ross, not exactly the guy you call to project an empowering message toward women after his “Molly all in her champagne” date-rape controversy. Third time was the charm for Gaga, though. On The Voice, she performed “Do What U Want” with Christina Aguilera, transforming it from a salacious flirtation to what Lambert called “a body-positive anthem from two women whose bodies are regularly scrutinized and slammed in the media.” So that’s what we’re dealing with here, and I gotta say it leaves me feeling a lot more uplifted than when Gaga and Kellz were skeezing it up on SNL.

Ellie Goulding – “Goodness Gracious”
Although 2011′s “Lights” completed its international slow-build by going all the way to #2 in the U.S. more than a year later, British pop singer Ellie Goulding was still far from a household name. When I saw her at Hangout last year, she was gushing about how great it was to perform in front of a large audience for a change instead of the 20-odd people she was facing most nights. By the end of 2013, her profile had risen significantly stateside thanks to a pair of widely circulated, EDM-oriented singles, her own “Burn” and Calvin Harris’ “I Need Your Love.” Her first new look of 2014, “Goodness Gracious,” veers away from digitized bass drops and untz-untz climaxes toward the big-hair/big-synths ’80s pop sound embraced by the likes of M83 and Tegan And Sara — though the glitchy intro could pass for any of the artsy tropical bands that sprung up in the wake of Vampire Weekend’s debut album and Merriweather Post Pavilion.

Foxes – “Let Go For Tonight”
Speaking of British pop singers who benefitted from singing on a major DJ’s EDM hit last year: Foxes, aka Louisa Rose Allen, belted her way into ubiquity throughout late 2012 and all of 2013 as the voice of Zedd’s “Clarity.” That song drummed up some attention for her full-length debut Glorious, which Sony is releasing in March. The album’s first single, “Youth,” dropped late last summer. Its second, “Let Go For Tonight,” has actually existed since before “Clarity” hit, but the original’s post-Florence pop has been made over as a disco rager whose chorus sounds as if the producer was trying to come as close to Gaga’s “Applause” as possible without the two songs merging into one unified being. The string-laden verses help to remind us this one has an identity of its own.

Will Champlin – “Eye Of The Pyramid”
Will Champlin finished third on The Voice this season by marshaling all his brotastic powers for covers of acts like Imagine Dragons and Gavin DeGraw. So it makes plenty of sense that his first single since the show sounds like DeGraw sitting in with Imagine Dragons on a cover of Alex Clare’s Windows commercial dubstep ballad “Too Close.” I thought I had this guy pegged as soon as the beat dropped, but I have to admit I did not see that banjo coming. Although it still seems like douchebag music to me, “Eye Of The Pyramid” gets honest-to-god weird by the end, like a ritualistic Eastern ceremony tacked on to a live action remake of Disney’s Aladdin.

Lucy Hale – “You Sound Good To Me”
Lucy Hale is one of the stars of the ABC Family drama Pretty Little Liars, one of those shows that’s ostensibly for kids but has attracted a fervent adult fan base (at least among the people I follow on Twitter). We’ve become accustomed to seeing stars from kids’ shows graduate to pop careers, but from the sounds of her first single, Hale’s gone country. “You Sound Good To Me” is propelled by fiddles, pedal steel, and back-porch strumming infused with the digital polish that’s become standard in Nashville. It’s nothing too exciting, but it does, in fact, sound good to me.

NEWS IN BRIEF

  • Besides that Daft Punk/Nile Rodgers/Pharrell/Stevie Wonder business, the Grammys will include performances by Lorde, Katy Perry, Metallica with Lang Lang, and Robin Thicke with Chicago in addition to the previously announced :-/ combos Kendrick Lamar with Imagine Dragons, Pink with Nate Ruess, and a Merle Haggard/Kris Kristofferson/Willie Nelson/Blake Shelton extravaganza. [GRAMMYS]
  • Justin Timberlake won three People’s Choice Awards last night. Katy Perry nabbed two. Other musical winners included Britney Spears, Demi Lovato (and her fan base, the Lovatics — not kidding on that name), Ariana Grande, Taylor Swift, Tim McGraw, Macklemore & Ryan Lewis, One Direction, and Fall Out Boy. [USA Today]
  • Paramore and Fall Out Boy, both mall-punk royals turned rock ’n’ roll pop stars, are co-headlining a summer jaunt called the Monumentour. [Paramore]
  • Drake’s sonic architect Noah “40″ Shebib says he’s no longer working on the posthumous Aaliyah project due to public outcry over Drake’s involvement, ambivalence from Timbaland and objections from Aaliyah’s mother. [Vibe]

HOLD ON, WE’RE GOING HOME

Every week in this space we’ll share a notable piece of pop-related digital ephemera — a .gif, a tweet, a Vine, a video, whatever’s weird and/or wonderful. This week, please enjoy the cast of the acclaimed Boss-hoggin’ CBS drama The Good Wife in a music video for “Tricky Thick,” an original song that was part of the latest episode’s plot, inspired by Glee’s ripoff of Jonathan Coulton’s “Baby Got Back” cover. I had no idea Logan Huntzberger from Gilmore Girls was on that show, and I have no idea on how many levels this is supposed to be funny, but I do know it’s… really something.


(via E!)

Comments (60)
  1. If you look past the crystal-clear definition, that first picture is television in the late 1970s.

  2. I thought pop music news was what the rest of the Internet was for.

  3. I like that you guys are doing this. Now you should just let me start writing “Catchy, Good, or Both”s for you guys…

    For real.

  4. I’m actually really happy about this, since there are very few outlets to intelligently discuss pop across the web even if it’s really easy to get pop music news. Anyways:

    Bastille is pretty limp and of all the similar British pop bands to make it big here I’m kind of disappointed people chose them. Come on. Pompeii is a solid track though.

    The new Lady Gaga song is trash. Her vocals were already emulating Aguilera and having her actually show up makes the vocal pairing more than a little weird. And lyrically, Gaga’s contribution at least reads more as anger over getting bad reviews rather than a fierce declaration of independence. Done with her.

    I’ve never really liked Ellie Goulding, her voice is too thin and reedy, but the production on the new song is solid so I’ll give it a couple more chances. I’ve never been too into Foxes, and the new song isn’t really my thing if I’m being honest. Can guarantee that the last two songs will not stick with me either.

    So… yeah, maybe this week was a slow week, but it was a slow week for music in general, so, um, hopefully this column picks up steam once there’s more music coming out (and that’s not a dig on the writing, either, you did a fine job and clearly have some investment in the genre rather than just writing about it out of obligation which I appreciated.)

    Okay. I’m out.

  5. Bastille’s “Pompeii” has been getting tons of airplay for months now. It’s a pretty solid song, definitely a lot better than much of pop radio. I should know, I listen to a lot of it. I’m excited to hear that Foxes song, I liked the vocals in “Clarity”.

  6. I am kind of scared, but I’ll give it a shot. I really don’t want Tame Impala to help me understand Macklemore though.

    • Gotta be above it.

      • Just sayin’. This could either truly be a different lens to look at indie music, or it could be a nightmare where acts are put in ridiculous comparison to each other or defended for the clicks and controversy, which I hope everyone on this site is above. Time will tell how it goes.

  7. I love the writing on Stereogum so I’m down for this. But I’m reminded of a tweet by Vice yesterday: Why pretending to enjoy rubbish bands is the new pretending to enjoy decent bands.

  8. Don’t write off Bastille into you hear some of their old stuff. And its mainly Dan Smith that does most of the legwork in that band. But the key thing to know about Bastille is that they rely on vocals heavily. I’ve found the swelling melodies are what really work after repeated listenings (lending well to acapella renditions, ahem youtube). They often mash these well with the strings. Not to mention, there is a clear artistic vision. A lot of Bastille’s stuff is inspired by Twin Peaks (the cult classic show, not the rising band), and Smith really went out to create a certain mood.

    Foxes is ready to be a legitimate superstar. All she needs is her own smash hit. She’s got the voice and she’s likeable. I’ve been tracking her since early 2012, when she released the original Youth EP. She’s shown some real growth, and her lyrics can be intelligent enough to operate in that Lorde area (without the same degree of social critique).

    As for Ellie Goulding, I am not sure I like her career trajectory. Her early singles were good tracks, and Halcyon has a few bright spots. But with her latest work she’s coming dangerously close to Katy Perry territory. Hopefully she can curb some of that and return to floating in the plain between EDM and indie (a subjective term, admittedly) which she occupies so well.

    • *it’s mainly Dan Smith

    • What more of a hit can Foxes get than Clarity? That’s a genuine smash. And I Need Your Love is the best thing Ellie Goulding’s been connected with. I’m not sure what she’s showcased that would make anyone anticipate any sort of compelling musical vision. But Goulding does make good singles. Her voice works well on dance tracks. That’s her calling card to longevity.

      • When I say a smash hit I mean her own smash hit. One that only has her name attached to it. Clarity has done wonders for her career, but she needs to go big by herself as well. Yes, I agree Goulding is good on dance tracks, its the sort of dance tracks that I take issue with. I Need Your Love is one of those I actually enjoyed. Calvin Harris knows what he is doing. I’m talking about stuff more along the lines of Burn. That song is below expectations for me personally.

  9. i listen to pop radio every morning ! now i dont have to hide that fact anymore ! my blood is red just like yours !

  10. I’ll find myself crossing pop/indie streams quite often, mostly with R&B-ish type top 40 more than anything a la Usher/Climax as opposed to some sorta BS pop punk that often makes me nauseous.

    The more internet music sites segregate themselves from an all encompassing approach to music as an entity (especially in these economic times) the more biz that stand a chance of losing or, more important, gaining.

    This is a good thing, SG, and applaud your always churning minds. Its why I visit your site merely because you are continually try and find ways to connect with as many audiophiles as possible. And, if some snot nosed, tunnel visioned brat that can’t lower his noses to read and understand different categories of great music channels, well then…fuck ‘em.

    • Why are people who don’t like the kind of music you like snot nosed, tunnel visioned brats?

      When I was a kid, for the most part, I only heard popular music. I didn’t have older siblings or any especially cool friends to introduce me to bands. Most of what I saw on MTV and heard on the radio didn’t speak to me, so I generally just assumed I was out of step with the culture.

      Then the Internet came along, with Napster and Pitchfork and all the rest of it, and I found music that I loved so much it changed my life. And, yeah, most of it wasn’t on TV or the radio or playing at the mall. Since then there’s been a definite trend that most of what I like isn’t categorized as pop music. So naturally I gravitate towards sites that don’t spend a lot of time on pop music, and I’m bummed out when sites I like shift towards covering more of it, at the expense of covering less well known stuff. I don’t get what’s bratty about that?

      • Who said I liked to 40? The first album I truly loved was Sticky Fingers but that doesn’t mean I didn’t also have a copy of Men at Work, Business as Usual!

        By bratty I simply mean those who believe “indie” is the only form of music and scoff at anything unrelated to it out of narrow minded thought of it just not being quality music, thinking man’s music, I guess. You missed the point entirely, or, you just reconfirmed my perspective which is why does music have to be so segregated? Radio friendly music being dissected by a site like stereogum seems like a pretty ingenious idea.

        So because you can’t be bothered with top 40, you stomp your feet because the great writers here decide this is a channel of music that deserves attention (critical or promotional)

        Sounds bratty.

        • I’m not scoffing or stomping my virtual foot. I’m expressing an opinion about music, which is kind of the point of music blogs with comments. I listened to all the tracks above and disliked all of them to one degree or another. Stereogum has limited resources, so I’m saying, hey guys, I wish you’d take this in another direction. That would result in my discovering more tracks that I like.

          • I have to agree with you for the most part. I don’t necessarily think pop music should be totally ignored, segregated and not allowed to intermingle with critical acclaim from “indie” sites and listeners if the exceptional quality of the music is there, but the increased dedication to it on a wider scale on sites like this is rather pointless. Pop music can stand on its own legs just fine with or without some over-thinking analysis about it by a indie music critic. If I want to read about this, I’ll just visit Billboard.com, look at the charts or turn on Ellen. We seriously don’t need to read about the third runner-up from The Voice here on Stereogum. Oh, and it reeks of traffic / advertisement-driving content.

            tl;dr: If you aren’t discriminatory about the kind of pop music you cover, then you’re going to undo all of the progress for indie music sites like this did a decade ago and eventually, you will find yourself staring back at the exact type of music resource you originally set out to defeat.

          • “If you aren’t discriminatory about the kind of pop music you cover, then you’re going to undo all of the progress for indie music sites like this did a decade ago and eventually, you will find yourself staring back at the exact type of music resource you originally set out to defeat.”

            Yes. This. I think market pressures push publications in this direction. I’m sure being bought out by a larger company contributes to those pressures.

          • What doesn’t sit well with me is that I actually bothered to listen to some of the tracks above to see what I’m apparently ignoring in my listening life, and can truthfully say a lot of it is disposable / generic / watered-down / uninspired and not worth discussing just for the sake of discussing pop.

            Why not just force Michael Nelson to have a mainstream rock column next where he can talk about the other half of “douchebag music” and insert a bit of politeness in the copy to make it sound like he actually wants to write about Five Finger Death Punch, Pop Evil and Stone Sour?: http://www.billboard.com/charts/hot-mainstream-rock-tracks

            Quality-wise, is it really any different? Why does mainstream pop all of a sudden get a pass on these pages?

  11. Pompeii has a pretty nice chorus

  12. To answer the question: “Who is Bastille?”
    They’re the band your girlfriend likes but you just smile, nod and sing along while trying not to scream in horror at their overwhelming blandness.

  13. Because it’s so hard to find news about Miley Cyrus and Katy Perry and Gaga on the rest of the Internet? I’m confused why Stereogum is doing this. And I’m not thrilled that “Best Comments of the Week” will be full of Beliebers defending their prince. Eh, whatever. There’s really no such thing as selling out anymore.

    • I think a person can still sell out. I mean, who would benefit from eliminating the concept of “selling out” from our collective consciousness? Oh yeah, the people with the cash money to buy us.

      Authenticity isn’t dead, just because some indie music bloggers decide to post copy on artists manufactured by the Disney corporation.

    • I still believe in the concept of selling out. I mean, who would benefit from eliminating this concept from our collective consciousness? Oh yeah, the people with the cash money to buy us.

      Authenticity isn’t dead just because some indie bloggers decide to post copy on artists manufactured by the Disney corporation.

  14. Is it just me or is “really good pop song” the overused journalist cliche of the year?

  15. Aye cap’n, a shitstorm be a’brewin’.

  16. katy perry dark horse is THE JAM RESPECT ME

  17. Definitely agree that there’s no such thing as a guilty pleasure anymore. It’s the age of the selfie and everything is embarrassing!

  18. “…….anything your parents might ask you about.”

    My mom is going to LOVE this column!

  19. As someone who likes to know what the kids are listening to, I support this feature. I’d urge that you not neglect the world of country music in this. I need to know what pop-country jams are currently pumping at my hometown bar so I don’t come back and look like an asshole for not being able to tell Jason Aldean from Luke Bryan.

    Also: wow, that Will Champlain song is a massive ear turd. And seemingly about the illuminati?

  20. not interested. i wish that didn’t make me racist, sexist and convoluted. well maybe i’ll take convoluted.

    • I know, secretly you’re all like, “I love this R. Kelly jam, but I can’t tell my coworkers… because he’s black.”

  21. Wow… Lucy Hale on Stereogum… wasn’t expecting to read that today. And that doesn’t mean I’m upset by it either, I’m not a huge country fan – but I’m one of those adults who actually watches Pretty Little Liars. And like Crania said up-thread, it’s nice to stay on top of some country jams at least for your hometown bar’s sake.

    I support this feature. Yes, we could all get our pop news somewhere else, but it’s nice to have a place to discuss it in our community if we so desire.

  22. sd  |   Posted on Jan 10th +2

    If this is the place where we all shamefully admit our guilty pop pleasures then count me in for OneRepublic’s “Counting Stars”

    • That song is ridiculous. I can’t decide if I hate it or respect it, for what it is (a cross-section of popular music from the past couple years). The Mumford twang-and-stomp, a Lumineers/Katy Perry “hey!,” Alt-J, the disco revival, a little bit of ratchet, a gospel bridge a-la “Sacrilege” and a chorus drop. Plus the “Day Man” “ah-ahhhh” just for good measure.

      Or maybe I just think too much and hear things that aren’t there.

    • Agreed. I Shazam’d it the other day and had a rather odd “welp…I guess I like a OneRepublic song” moment. That chorus gets into to some groovy Chromeo territory.

    • I’m convinced Ryan Tedder is some kind of evil genius. The number of OneRepublic songs that I feel like I should hate that I LOVE is way too damn high.

      • Not even just OneRepublic songs IMO, but Ryan Tedder penned songs in general. I had a moment a few months ago where “Bleeding Love” came on while I was at the grocery store — a song I’d otherwise forgotten about — and realized I still knew every word! How! Does! He! Do! It!

  23. Nice to see Stereogum getting closer to its roots when most of it’s posts were rambling on about things like Britney Spears, Jessica Simpson, Michael Jackson etc as opposed to this silly Indie music stuff:
    http://www.stereogum.com/news/page/3820/

  24. When I was visiting family in NC over Christmas, “Pompeii” was inescapable. The first time we heard it, my wife and I had a long conversation about what we’re calling “LionKingcore,’ songs that feature weird backing chants that sound like they come from the Lion King (we can thank Fun. for starting this trend, I think).

  25. or, we could just boycott all this bullshit.

  26. Hey gang once you’ve read S’Gum’s pop report pop on over to my site where I will be comparing different kinds of feces. Perhaps Stereogum and myself can link up on this…………..

  27. As someone who lives the ‘other’ side of the Atlantic and is subjected to them a lot I can confirm Bastille are shite.

  28. I agree with a lot of the points about racism, sexism, and homophobia motivating dislike of disco etc., but can we really say there’s no such thing as a “guilty pleasure” anymore and that all types of music are good? I love the new Beyonce album and a lot of other pop music, but it seems like we should be able to draw the line and say certain types of music/artists just aren’t good, no?

    • I just don’t like the notion of feeling guilty about liking music. Or the notion that I *should* feel guilty about liking any of the music I like. It’s like a nagging apostrophe, like I somehow have to justify liking something because I’m accountable to some sort of ever-present panel of critics when, really, my conscience is quite clear about liking whatever music

    • I just don’t like the notion of feeling guilty about liking music. Or the notion that I *should* feel guilty about liking any of the music I like. It’s like a nagging apostrophe, like I somehow have to justify liking something because I’m accountable to some sort of ever-present panel of critics when, really, my conscience is quite clear about liking whatever music I do like.

    • Seriously, you’re racist, sexist and homophobic if you dislike disco. What is this, Duck Dynasty?

  29. pree  |   Posted on Jan 11th -1

    i like the concept of this column, have never been into chris deville’s long-winded think pieces

  30. Come on, just admit it. Spin Media needs more page views. Miley Cyrus twerking and more major label paid hype on Haim will keep you guys solvent. As that irritating commenter would say on BrooklynVegan:
    “You can’t live on hummus alone.”

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