But looking at what gets a run in major music publications, and it’s clear that even if things aren’t perfect, these artists and these audiences are taken more seriously than they were. It’s true that some parts of the music-criticverse is still dismissive of what’s in the charts, and particularly music listened to by women, young people, queer folk, POCs, and by people in non-English speaking cultures, and these are all things that we proudly championed at TSJ. We gave serious critical consideration to types of music that often didn’t have the best reputation. In many ways, music-crit discourse is in a better place than it was before TSJ, and before Stylus. Some rickety logistics were figured out, the call was put out to other writers, friends and contacts, and we were back surprisingly quickly. The planets aligned when two ex-Stylus writers who had never before met turned up by chance at the same quiz night and immediately started talking about starting the Jukebox as a standalone site. The Singles Jukebox started on Stylus, and ran for a few years, and only ceased because Stylus itself ceased to be. ![]()
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