To say that this sociological fact—that sectors of any modernized society are always going to emerge as stylistic early-adopters (it’s the engine that makes styles happen)—is instead some sort of uniform cultural “movement” is, well, a work of fiction. To then take the step of calling it “dead”? Bravo! You’ve built a strawman and burned it down, and we all read along. To many music fans, “indie” and “hipster” are more or less interchangeable—linguistic shortcuts that save us the trouble of making time-consuming cultural connections and distinctions between art, fashion, commerce, and so forth. “Indie” initially signaled a politicized separation from strictly commercial imperatives for music, but we’ve morphed it, as we will with these things, into a generic word designating more or less the core tenets of capitalism: incessant newness and endless repetition with slight differences, to keep things interesting and the system proliferating.