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Taylor Glasby fell into K-pop much like Alice climbed into the rabbit hole. Drowsy on the riverbank, the protagonist grew transfixed by a kind of extrasensory delight, and in spades. Glasby, meanwhile, came into the musical genre in the midst of an already-accomplished career in music journalism, when she found her standard beats just weren’t cutting it like they used to.

“I’d grown up loving pop music, especially performance-lead artists like Prince and Madonna, before shifting into a rock and indie space,” the London-based journalist says. “Around 2010, 2011, I’d burned out on covering those genres and was looking for something to get me excited about music again.”

Enter K-pop, the rabbit hole in which the world seemed to shine a little bit brighter. She was hooked instantly.

“It was everything I’d loved about U.S. pop, but amplified — bigger colors, bigger videos, bigger groups and more intricate songs,” she remembers. “Over the past decade, K-pop has refined itself into a genius work of art, from the way groups visually embody their creative concepts to the immaculate choreography and song production. It’s impossible to get bored.”

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