The Paris - Chinese Border
17 February 2010
  Critiquing the Critics
I have been thinking about criticism lately. Criticism in general, but also specifically related to pop music. There is a senior thesis-worthy topic embedded somewhere in the current state of music criticism, especially in the case study of web zine Pitchfork media. Considering it's meteoric rise to oracle-like status among indie bands, labels, listeners, TV networks, film studios, etc, it's not surprising how Pitchfork's readership continues to build Oprah-like traits. 'Best New Music' pulling 'Book of the Month' comparisons seems less and less dramatic a comparison as the years go by and the hot shit bands of yesterday fade into obscurity. How did this all come to be? Being an avid reader and listener since the beginning, I can't claim strict independence in my music discoveries. No doubt it has been a valuable resource for discovery, education and entertainment. It's a tension that seems to be growing among friends and the online community. "Great resource, used it extensively, but seems too big and therefore untrustworthy."

I plan on unpacking this a bit more over the next couple of weeks. Stay tuned.
 
Comments: Post a Comment

Subscribe to Post Comments [Atom]





<< Home
A small yet significant parcel of cyberspace

My Photo
Name:
Location: Portland, OR, United States
Archives
September 2006 / November 2006 / December 2006 / January 2007 / February 2007 / March 2007 / April 2007 / May 2007 / July 2007 / August 2007 / September 2007 / October 2007 / November 2007 / January 2008 / June 2008 / July 2008 / April 2009 / July 2009 / October 2009 / February 2010 / May 2010 / June 2010 / July 2010 / August 2010 / September 2010 / December 2010 / March 2011 / May 2011 / July 2011 / August 2011 / December 2011 /


Powered by Blogger

Subscribe to
Posts [Atom]