[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]
[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]
[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]
[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]
[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]
[…] The miracle of pop music isn’t its resemblance to truth, but rather its creation of it. Pop bangs best in the empathy mode; the beat moves our bodies when we measure it against our hearts. Empathy, a philosophy of hearing and feeling heard, is paramount to pop, via Gartside (“To do what I should do/ To long for you to hear/ I open up my heart”) and Kylie (“Do you wanna hear me sing?/ Pop, pop, pop, pop”) and Chvrches (“If none of this is real/ Then show me what you feel”). Or: “I’ll meet you there, at the moment where despair end and tactics begin” (Mark Fisher.) […]