As much as I would like to hate that term, it's actually perfect. Throw the Shins and Postal Service and Rilo Kiley in there among the safe, harmless, inoffensive (boring?) indie rock like Soof-Yawn's that is starting to conquer American television sitcoms.

And let's be honest, Clap Your Hands blew up because of Pitchfork's review, not because some blog posted an mp3. When scalpers can get $100 in NYC for a ticket to see a local band play a show, that's solely Pitchfork's influence causing the insanity.

The Sufjan/Bright Eyes phenomenon is quite interesting. Yupsters is probably an appropriate term but not because of inoffensive qualities. Baby boomers who made the Beatles, Bob Dylan and the Rolling Stones the most popular artists of their day stopped paying attention to what was happening in music, and instead purchased what they heard on the radio - Matchbox Twenty, John Mayer, Barenaked Ladies. Yet somewhere, these adults started listening to what their kids were listening to and a funny thing happened - Iron & Wine songs shaped the story in "In Good Company," while baby boomer stations (like SF's KFOG) began playing Rilo Kiley and Bright Eyes. Now my uncle is crazy about the Shins thanks to the "Garden State" soundtrack. It may seem like the co-opting of indie rock, but I think accessibility is a positive thing.

Don't get me wrong, I'm not protective of indie rock. In fact, I never understood why Pavement wasn't huge. Do you think if Crooked Rain Crooked Rain was released today it would change Natalie Portman's life? I just think a lot of these bands are completely overrated and are considered mildly more creative than Matchbox 20 because they get the indie rock tag and Matchbox 20 doesn't. I mean really, what has Death Cab for Cutie released that would warrant all the hoopla? The Deftones and System of a Down are probably more interesting than DCFC has ever proven to be.