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Khác biệt giữa bản sửa đổi của “Pitchfork Media”

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Dòng 1:
{{Infobox Website
| name = Pitchfork Media
| logo = [[Tập tin:Pitchfork Media logo.svgpng|Pitchfork Media Logo|240px]]
| screenshot =
| caption =
| url = [http://www.pitchfork.com www.pitchfork.com]
| commercial =
| type = [[Tạp chí]] [[âm nhạc]] online[[trực tuyến]]
| language =
| registration = Không
Dòng 75:
 
Trái lại, Pitchfork cũng được xem là có ảnh hưởng tiêu cực đến một số nghệ sĩ indie. Những phê bình của Pitchfork có thể có ảnh hưởng đáng kể đến độ nổi tiếng của một album, đặc biệt nếu trước đấy nó chỉ có một lượng khán giả hạn chế hay được phát hành tại một [[hãng thu âm độc lập]]. Một bài đánh giá 0.0 cho album ''[[Travistan]]'' của cựu ca sĩ nhóm Dismemberment Plan, [[Travis Morrison]] đã dẫn tới sự sụt giảm doanh thu đáng kể và album gần như bị đưa vào danh sách đen của các trạm radio của trường đại học.<ref name="Washington Post"/>
 
Những ví dụ cho sự ảnh hưởng của Pitchfork có thể kể đến như:
*[[Arcade Fire]] is among the bands most commonly cited to have benefited from a Pitchfork review. In a 2005 ''[[Chicago Tribune]]'' article, a [[Merge Records]] employee states, "After the Pitchfork review, ''[[Funeral (album)|Funeral]]'' went out of print for about a week because we got so many orders for the record."<ref>{{chú thích báo
| last = Kot
| first = Greg
| coauthors =
| title = Pitchfork e-zine tells indie fans what's hot and not
| work =
| pages =
| language =
| publisher = [[The Honolulu Advertiser]]
| date= May 8, 2005
| url = http://the.honoluluadvertiser.com/article/2005/May/08/il/il22p.html
| accessdate = 2006-10-29 }}</ref>
*[[Bon Iver]] was catapulted to mainstream and critical success after a 2007 Pitchfork review of the album [[For Emma, Forever Ago]].<ref>{{chú thích web
| last = Staff
| first = Time
| authorlink =
| coauthors =
| title = Bon Iver's New Album: An Elusive Kanye West Collaborator Returns to His Emotional Roots
| work =
| publisher = [[Time (magazine)]]
| month= June | year= 2011
| url = http://www.time.com/time/arts/article/0,8599,2078731,00.html
| format =
| doi =
| accessdate = 2011-06-20}}</ref> Pitchfork was the only publication to have included the album on a 2007 end-of-the-year list, while over sixteen popular publications included the re-release on their 2008 lists. In the summer of 2011, Pitchfork noted Bon Iver's [[Bon Iver, Bon Iver|self titled release]] as "Best New Music," and later chose the release as the [[List of albums awarded Pitchfork Best New Album|Best Album of 2011]]. Pitchfork's critical acclamation of Bon Iver is widely seen as lifting the artist to commercial mainstream success, which culminated with his [[Grammy Award for Best New Artist]] and [[Grammy Award for Best Alternative Music Album|Best Alternative Music Album]]. [[Time (tạp chí)|Time Magazine]] nominated Bon Iver as [[Time Person of the Year|Person of the Year]] in 2012, noting the 2007 Pitchfork review as the "indie cred" that "led to mainstream success."<ref>{{chú thích web
| last = Staff
| first = Time
| authorlink =
| coauthors =
| title = Bon Iver
| work =
| publisher = [[Time (magazine)]]
| month= June | year= 2012
| url = http://www.time.com/time/specials/packages/article/0,28804,2107952_2107953_2109947,00.html
| format =
| doi =
| accessdate = 2012-03-29}}</ref>
*[[Clap Your Hands Say Yeah]] member Lee Sargent has discussed the impact of Pitchfork's influence on their album, saying, "The thing about a publication like Pitchfork is that they can decide when that happens. You know what I mean? They can say, 'We're going to speed up the process and this is going to happen...now!' And it was a kick in the pants for us, because we lost control of everything."<ref>{{chú thích web
| last = CR
| first =
| authorlink =
| coauthors =
| title = Clap Your Hands Say Yeah Interview
| work =
| publisher = [[Tiny Mix Tapes]]
| month= June | year= 2005
| url = http://www.tinymixtapes.com/Clap-Your-Hands-Say-Yeah,2746
| format =
| doi =
| accessdate = 2008-02-02}}</ref>
 
==Chỉ trích==
Along with its popularity, Pitchfork has attracted criticism. One common complaint is that the site's journalism suffers from a narrow view of independent music, favoring [[Low fidelity|lo-fi]] and often obscure [[indie rock]] and giving only cursory treatment to other [[music genre|genre]]s.<ref name="City Pages">{{chú thích báo |last=Thomas |first=Lindsey |title=The Pitchfork Effect |publisher=City Pages |date=June 14, 2006 |url=http://www.citypages.com/databank/27/1332/article14438.asp |accessdate=2006-10-30}}</ref> Another is that the site's opinions reflect a "[[Hipster (contemporary subculture)|hipster]]" attitude, overly subject to changing musical trends, often speaking openly about what is considered "cool" and "uncool" to readers, and attempts to create hype around chosen [[Indie music scenes|scenes]] (such as "[[dance punk]]" or "[[freak folk]]") or acts (such as [[Sufjan Stevens]] and [[Arcade Fire]]). Some critics have suggested that the site rates albums from particular music scenes or artists more favorably in order to bolster its influence when the music becomes popular.<ref>[http://www.slate.com/id/2154469 Slate. "The Indie Music Site Everyone Loves to Hate"]</ref>
 
The majority of criticism, however, is aimed at the site's album reviewing style. Critics argue the site often emphasizes a reviewers' own writing over the actual music being reviewed, sometimes not even reviewing the album and instead criticising the artist's integrity.<ref name="City Pages"/> Pitchfork is also known to give "0.0" ratings, deeming the work as utterly worthless. One critic wrote that Pitchfork's "0.0" rating of a particular album amounts to no more than a "cheap publicity stunt" for a website that "thrives on controversy."<ref name="Dusted Magazine">[http://www.dustedmagazine.com/features/651 Dusted Features [ All Y'All Haters &#93;]</ref> The critic also hypothetically asked how a neo-Nazi punk record would be scored in comparison to these "0.0" albums, based on Pitchfork standards.<ref name="Dusted Magazine"/>
 
;Nhại lại
* When Pitchfork asked comedian [[David Cross]] to compile a list of his favorite albums, he instead provided them with a list of "Albums to Listen to While Reading Overwrought Pitchfork Reviews". In it, he [[satire|satirically]] piled over-the-top praise on fictional indie rock records, mocking Pitchfork Media's reviewing style.<ref>{{chú thích web |last=Cross |first=David |authorlink=David Cross |title=Albums to Listen to While Reading Overwrought Pitchfork Reviews |
publisher=Pitchfork Media |date=May 5, 2005 |url=http://pitchfork.com/features/guest-lists/6044-david-cross-albums-to-listen-to-while-reading-overwrought-pitchfork-reviews/ |accessdate=2006-10-30 }}</ref>
* In 2004, comedy website [[Something Awful]] created a parody of Pitchfork's front page. Entitled "RichDork Media", the page makes reference to nonexistent, obscure-sounding indie-rock bands in its reviews, news headlines and advertisements. The rating system measures music on its proximity to the band [[Radiohead]].<ref>{{chú thích web | title = RichDork Media and Music Reviews and General Pretentiousness | publisher = [[Something Awful]] | year= 2004 | url = http://www.somethingawful.com/fakesa/richdork/ | accessdate = 2007-04-28 }}</ref> A similar, more light-hearted parody was created by [[Sub Pop]], a record label whose musical artists Pitchfork has reviewed (often favorably).<ref>http://web.archive.org/web/20040806183542/http://www.subpop.com/features/pdork/</ref>
*On September 10, 2007, the [[satirical]] newspaper ''[[The Onion]]'' published a story in which Pitchfork Media editor Ryan Schreiber reviews music as a whole, giving it a 6.8 out of 10.<ref>{{chú thích web | title = Pitchfork Gives Music 6.8 | publisher = [[The Onion]] | date= September 5, 2007 | url = http://www.theonion.com/content/news/pitchfork_gives_music_6_8 | accessdate = 2007-09-10 }}</ref>
 
;Rò rỉ nhạc
In August 2006, a directory on Pitchfork's servers containing over 300 albums was compromised. A web surfer managed to discover and download the collection, which included [[The Decemberists]]' ''[[The Crane Wife]]'' and [[TV on the Radio]]'s ''[[Return to Cookie Mountain]]'', both of which had previously leaked to peer-to-peer networks. Allegedly, one of the albums on the server, [[Joanna Newsom]]'s ''[[Ys (album)|Ys]]'', had not been available previously on file-sharing networks.<ref>[http://www.thephoenix.com/article_ektid22637.aspx The Joanna Newsom leak - Music - The Phoenix<!-- Bot generated title -->]</ref>
 
;Xóa và thay đổi phê bình
Pitchfork has been criticized for deleting older reviews from their archive in an effort to keep up with the changing trends in indie music. One such example is the 9.5/10 review written for ska band [[Save Ferris]]' album ''[[It Means Everything]]''.<ref>{{chú thích web|url=http://jonnyleather.com/blog1/2010/04/critical-differences-pitchforks-lost-archives-save-ferris-edition/ |title=Critical Differences: Pitchfork’s Lost Archives – Save Ferris Edition |publisher=Jonnyleather.com |date=2010-04-27 |accessdate=2011-01-30}}</ref> Similarly, the original review of ''[[Psyence Fiction]]'' by [[UNKLE]] received 9.8/10, but the review was later deleted and when the group released their next album 4 years later, the website gave it a score of 5.0/10 and described it as an improvement on their debut, calling Psyence Fiction 'one of the most anti-climactic and jaw-dropping disappointments of recent years' which 'came up short on little things like, oh, vitality, restraint, emotional resonance, and tunes.'<ref>[http://pitchfork.com/reviews/albums/8358-never-never-land/ UNKLE: Never Never Land | Album Reviews | Pitchfork]</ref>
 
Negative reviews of two [[By Divine Right]] albums were also removed from Pitchfork after members [[Brendan Canning]] and [[Leslie Feist]] became successful with the band [[Broken Social Scene]] and their own solo work. Steven Byrd's deleted review of By Divine Right's ''[[Bless This Mess]]'', on which Canning and Feist play bass and guitar, went so far as to compare the band to "retard(s) with a guitar" who "wouldn't know Rock and Roll if she broke into their house and beat up their children," rating the album 1.8 out of ten.<ref>Steven Byrd, [http://replay.waybackmachine.org/20000816163945/http://www.pitchforkmedia.com/record-reviews/b/by-divine-right/bless-this-mess.shtml review] (via [[Internet Archive]])</ref> After Belle & Sebastian's "comeback" in the mid-to-late 2000s, Pitchfork removed their 0.8-rated review of ''[[The Boy With the Arab Strap]]'' from the site.<ref>Jason Josephes,[http://web.archive.org/web/20011119181922/pitchforkmedia.com/record-reviews/b/belle-and-sebastian/boy-with-the-arab-strap.shtml] (via [[Internet Archive]])</ref><ref>Belle & Sebastian Discography [http://pitchfork.com/search/?query=belle%20sebastian&search_type=extended&filters=albums] (via Pitchfork Media)</ref> The reviewer lambasted the band for writing songs that were "so sticky they should be hanging from Ben Stiller's ear, and I don't mean that in a good way."<ref>Jason Josephes, [http://web.archive.org/web/20011119181922/pitchforkmedia.com/record-reviews/b/belle-and-sebastian/boy-with-the-arab-strap.shtml] (via [[Internet Archive]])</ref> Pitchfork originally gave the [[Flaming Lips]] album ''[[Zaireeka]]'' a scathing 0.0/10 in a review that also derided all Flaming Lips fans.<ref>Jason Josephes, [http://web.archive.org/web/20020404172254/www.pitchforkmedia.com/record-reviews/f/flaming-lips/zaireeka.shtml] (via [[Internet Archive]])</ref>
 
Interestingly, Pitchfork has also removed the 9.4/10 review for the album ''[[Things Fall Apart (album)|Things Fall Apart]]'' by [[The Roots]], presumably because it specifically stated that Pitchfork "will not un-publish anything."<ref>Samir Khan, [http://web.archive.org/web/20030219133941/www.pitchforkmedia.com/record-reviews/r/roots/things-fall-apart.shtml] (via [[Internet Archive]])</ref> They also removed the 1998 review of ''[[In the Aeroplane Over the Sea]]'', which initially received an 8.7. It can be speculated{{By whom|date=September 2012}} that Pitchfork deleted the review in light of the growing popularity and retrospective acclaim for the record.
 
A Ryan Schreiber review of the [[John Coltrane]] album ''[[Live! at the Village Vanguard]]'' was deleted after attaining notoriety for its supposedly poor writing and alleged [[Stereotypes of African Americans in the United States|racist stereotypes]], particularly in the lines, "It's like a dream I had: I floated on the River [[Sông Nin|Nile]], smokin' some fresh [[Cannabis (drug)|weed]], relaxin'. But I ain't ever gonna see the Nile anyhow." <ref>http://web.archive.org/web/20040810064854/www.pitchforkmedia.com/record-reviews/c/coltrane_john/live-at-the-village-vanguard.shtml</ref> The removed piece was mocked by a cartoon, "The Best Worst Record Review of All Time," uploaded to [[YouTube]] in 2009.<ref>http://www.youtube.com/watch?v=kvogqD8NIS8</ref>
 
;Thông tin sai
Pitchfork has been criticized directly by artists for misrepresentation, most famously in 2007 by the artist [[M.I.A. (artist)|M.I.A.]] for what one of their writers later described as "perpetuating the male-led [[Ingenue (stock character)|ingenue]] myth" with regard to her work.<ref>{{chú thích web|url=http://pitchfork.com/reviews/albums/10564-kala/ |title=Album Reviews: M.I.A.: Kala |publisher=Pitchfork |date=2007-08-21 |accessdate=2011-01-30}}</ref><ref name="mia07confronts">{{chú thích web | author=Thomson, Paul|title= M.I.A. Confronts the Haters| url= http://www.pitchforkmedia.com/article/news/44529-mia-confronts-the-haters | work = Pitchforkmedia | year=2007 | accessdate=2007-12-10 |archiveurl=http://web.archive.org/20071011040737/www.pitchforkmedia.com/article/news/44529-mia-confronts-the-haters|archivedate=2007-10-11}}</ref> Some have argued this is not isolated to Pitchfork in the music press, while this incident was later cited and similarly condemned by the artist [[Björk]].<ref>{{chú thích báo| url=http://www.guardian.co.uk/music/musicblog/2008/aug/27/whybjorkisrighttostickup | location=London | work=The Guardian | title=Why Björk is right to stand up for female producers | first=Rebecca | last=Nicholson | date=August 27, 2008}}</ref> Pitchfork's articles on M.I.A. and her career since the incident have been noticeably negative and have attracted media commentary;<ref>[http://www.newyorker.com/online/blogs/culture/2012/02/im-sorry-mia-apologized.html Culture Desk: M.I.A. Shouldn’t Have Apologized: The New Yorker]</ref> an article titled "M.I.A. Uses Pitchfork Tweets to Diss Pitchfork" was printed by ''[[LA Weekly]]'' in 2010.<ref>[http://blogs.laweekly.com/westcoastsound/2010/04/mia_pitchfork_obama_ecstasy.php M.I.A. Uses Pitchfork Tweets to Diss Pitchfork, Show Off Obama Ecstasy Pills Pic - Los Angeles Music - West Coast Sound]</ref>
 
== Lễ hội âm nhạc ==
===Lễ hội âm nhạc Intonation===
In 2005, Pitchfork curated the [[Intonation Music Festival]], attracting approximately 15,000 attendees to [[Chicago]]'s Union Park for a two-day bill featuring performances by 25 acts, including [[Broken Social Scene]], [[The Decemberists]], [[The Go! Team]], and a rare appearance by [[Les Savy Fav]].
 
===Lễ hội âm nhạc Pitchfork ===
On July 29 and 30, 2006, the publication premiered its own [[Pitchfork Music Festival]] in the same park. The event attracted over 18,000 attendees per day. More than 40 bands performed at the inaugural festival, including [[Spoon (ban nhạc)|Spoon]] and [[Yo La Tengo]], as well as a rare headlining set by reunited [[Tropicalismo|Tropicália]] band [[Os Mutantes]].<ref>{{chú thích web
| last =
| first =
| authorlink =
| coauthors =
| title = Pitchfork Music Festival 2006
| work =
| publisher = Pitchfork Media
| date= August 2, 2006
| url = http://pitchforkmedia.com/article/feature/37687/Pitchfork_Music_Festival_2006
| format =
| doi =
| accessdate = 2006-10-30 |archiveurl=http://web.archive.org/20060830102631/pitchforkmedia.com/article/feature/37687/Pitchfork_Music_Festival_2006|archivedate=2006-08-30}}</ref>
 
The Pitchfork Music Festival was held again in 2007. It was expanded to three days (Friday, July 13 - Sunday, July 15), with the first day being a collaboration between Pitchfork and the British music festival [[All Tomorrow's Parties (music festival)|All Tomorrow's Parties]] as part of the latter's "Don't Look Back" series, in which seminal artists perform their most legendary albums in their entirety. Performers that evening included [[Sonic Youth]] playing ''[[Daydream Nation]]'', [[Slint]] playing ''[[Spiderland]]'', and [[GZA (nhạc sĩ)|GZA/Genius]] playing ''[[Liquid Swords]]''. Some of the other artists who performed over the weekend included [[Ono Yōko|Yoko Ono]], [[De La Soul]], [[Cat Power]], [[The New Pornographers]], [[Stephen Malkmus]], [[Clipse]], [[Iron & Wine]], [[Girl Talk (nhạc sĩ)|Girl Talk]], [[Of Montreal]], [[Deerhunter]], [[Dan Deacon]], [[The Ponys]], and [[The Sea and Cake]].
 
Since 2011, a European winter edition of the festival takes place in Paris.
 
===All Tomorrow's Parties===
In 2008 Pitchfork collaborated with [[All Tomorrow's Parties (lễ hội âm nhạc)|All Tomorrow's Parties]] to curate half of the bill for one of their May festival weekends. This was the first event that Pitchfork has been involved in outside of the United States.
 
== Hệ thống chấm điểm ==
Lấy từ “https://vi.wikipedia.org/wiki/Pitchfork_Media”