What would be considered pop punk today? In the past, groups like Fall Out Boy and Green Day had talented musicians with deep understandings of music. In contrast, musicians like Machine Gun Kelly, a failed rap artist, tried to revive the genre with mediocre lyricism, little musicianship and bad style. How does that change the idea of what pop punk is and where the genre is headed? Join digital editor-in-chief Arundhati Ghosh, print managing editor Audrey Vieira, and audio producer Christina Lopez as they discuss the evolution and future of pop punk.

Music

We Cruisin' · Otis McDonald

We Cruisin'

℗ YouTube Audio Library

Released on: 2022-11-11

In this episode, we’ll talk about the pros and cons of fandom culture and whether or not it is descending into a toxic environment. We’ll discuss the intentions and creations of fandoms, what fandoms look like today, the impact of social media, and some examples of fandoms that have gotten a bad rep and some that we view as neutral. Join staff photographer Olivia Cagle, content editor Adam Cherian, and audio producer Talisa Treviño of Afterglow as they discuss the pros and cons of fandom culture today.

Recorded and Edited by Talisa Treviño

Music

Ice & Fire · King Canyon · Otis McDonald · Eric Krasno · Son Little

Ice & Fire

℗ 2022 Mixto Records

Released on: 2022-12-02

Composer: Eric Krasno

Composer: Otis McDonald

Composer: Mike Chiavaro

Composer: Son Little

With the release of boygenius’s album, the record, there will be more talks about how great Phoebe Bridgers is while diminishing the talent and appreciation for the other members, Julien Baker and Lucy Dacus. This episode of Glow My God touches on how the rising fame of solo artists impact bands/supergroups. Join audio producer Christina Lopez, multimedia editor Autumn Palacio, and staff writer Avi Thakor in their discussion about how one member of a group is more popular amongst fans and listeners and how it can overshadow the work and talent of other members.

Recorded and Edited by Christina Lopez

Music

We Cruisin' · Otis McDonald

We Cruisin'

℗ YouTube Audio Library

Released on: 2022-11-11

In this episode, we’ll be talking about the commodification of sad girl indie. We’ll discuss how we got here, the gendered term of sad girl indie, the problems with labeling artists, and reflect on the ways listeners can appreciate sad girl indie music for art again rather than as a commodity or aesthetic. Join staff designer Caroline Pastrano, print managing editor Audrey Vieira, and audio producer Talisa Treviño as they discuss why listeners should stop commodifying artists into the “sad girl indie” subgenre.

Recorded and Edited by Talisa Treviño

Music

We Cruisin' · Otis McDonald

We Cruisin'

℗ YouTube Audio Library

Released on: 2022-11-11

They say art is the playground for the wealthy, and music is not exempt from that. Whether it be independent music or mainstream pop, there is an undeniable fact that those with a privileged background will be more likely to succeed in music today. We at Afterglow thought it would be a great idea to discuss how music can become more accessible, and how we can support fledging musicians that are just starting out. How many of our favorite musicians are given the platform they have due to their generational wealth and how can we as listeners broaden our horizons?

In this episode, we will be talking about the problem with ranking music. Ranking music is not a new practice. As soon as recorded music was able to be purchased on a physical medium, music was quantified on a number scale. Billboard charts started in 1940, and a variety of song charts followed, which were eventually consolidated into the Hot 100 by mid-1958. Nowadays, we have an overwhelming amount of lists. Our world is obsessed with data and listing things to organize how we feel. There's Pitchfork that scores its music on a scale of 10, MusicCritic which bases itself on a scale of 100, Anthony Fantano, a weird hipster man that operates on a scale of 10 and has “light” or “strong” on certain numbers, and finally, Rolling Stone, who really popularized the way we rank music. Join Content Editor Arundhati Ghosh, Managing Editor Felix Kalvesmaki, and Audio Director Trevor Stovall as they discuss what is going on with music journalism and whether or not should music be ranked at all?

When COVID-19 hit, the music industry was left in shambles with little to no government resources to pick up the pieces. Which left artists fending for themselves, and forcing them to make their digital presence known in the unprecedented times that followed. And in came TikTok, the massive video-sharing-based social media platform that tailors its videos to you based on its algorithm and its critically acclaimed “For You” page. TikTok is unlike YouTube because of one pivotal reason – the length of each video. Because of the fifteen-second to 3 minute-time range, users can scroll through dozens of videos a day, filled with dozens of different songs and creators. TikTok exposes its users to such a wide range of media that there’s a place for everyone, and among all those videos are the musicians of tomorrow. Based on just a few lyrics or beats, a new trend emerges, and before the creator knows it, their music is famous. But… Not everyone is sold on it, and some believe that the fledgling app is a fad that will come and go. In this episode, digital design editor Roberto Soto, print design editor Isabel Alvarez, and host Trevor Stovall are here to talk about their different hot takes on the larger-than-life platform that is TikTok.

In this episode, we discuss the often unsung heroes of the music industry: producers. We highlight some of our personal favorite and least favorite producers. Audio Director Mark Yoder hosts this episode along with special guests, Managing Editor Samantha Paradiso, and Content Editor Claire Harper.

In this episode, we delve into the wide world of EDM and why it's a genre worth exploring. We discuss what artists and genres within EDM we enjoy the most and which ones we could do without. Audio Director Mark Yoder hosts this episode along with special guests, Content Editor Mica Garza, and Multimedia Staffer Rachel Marquez.

In this episode, we recap the best and worst of the Grammys and then debate whether modern albums should still be released on vinyl. Audio Director Mark Yoder hosts this episode along with special guests, Content Editor Adithya Srinivas, and Senior Digital Illustrator Roberto Soto.