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The category of “other,” when repeated three times to frame a work’s genre, signals more than just a failure to slot a recording into preexisting industry boxes—it signals a deliberate rejection of the limits those boxes impose on creative expression. For any sound to land outside every established genre, from the most mainstream pop and hip-hop frameworks to the most niche underground subgenres that circulate in small, dedicated scenes, it has to reject every convention that audiences and critics have come to associate with labeled music, refusing to lean on familiar structures, tropes, or reference points that would make it easy to categorize, market, or even discuss in the terms most commonly used to talk about recorded sound.
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