The Pitchfork 500
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The Pitchfork 500
Male
32 years old
CHICAGO, Illinois
United States
Last Login: 10/7/2008
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| General | About the creators:
Named the “best site for music criticism on the web” by The New York Times Magazine, Pitchfork Media has become the leading independent resource for music journalism, the place people turn to find out what’s happening in new music. Founded in 1996, Pitchfork has developed one of the web’s most devoted followings, with more than 1.6 million readers monthly who tune in for daily reviews, news, features, videos, and interviews.
Created in 1996 by Ryan Schreiber and based in Chicago, Pitchfork Media has become the leading independent resource for music journalism, with a focus on indie rock, hip-hop, electronic, pop, metal, and experimental underground music. Publishing daily reviews, news, features, and interviews, Pitchfork has developed one of the web’s most devoted and loyal followings, with 1.6 million unique visitors per month. Schreiber, the founder and president lives in Brooklyn, and Scott Plagenhoef, the editor-in-chief, lives in Chicago.
Please visit us here at Pitchfork. | | Books | The Pitchfork 500 is available for purchase at the following links:
Amazon,
Barnes & Noble,
Borders,
Insound,
Powell's,
Simon & Schuster |
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The Pitchfork 500's Blurbs |
About me:
In The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present, Pitchfork offers up their take on the 500 best songs of the past three decades. Focusing on indie rock (Arcade Fire, the Shins), hip-hop (Public Enemy, Jay-Z), electronic (Daft Punk, Boards of Canada), pop (Madonna, Justin Timberlake), metal (Metallica, Boris), and experimental underground music (Suicide, Boredoms), The Pitchfork 500 features all-new essays and reviews written with the sharp wit and insight for which the site is known.
Kicking it off in 1977 with the birth of punk and independent music, The Pitchfork 500 runs chronologically, with each chapter representing a distinct period and offering a narrative of how the musical landscape of the day influenced its artists. The book opens with David Bowie, Lou Reed, Iggy Pop, Kraftwerk, and Brian Eno, the "art-rock godfathers" who set the tone and tenor for the next thirty years, and wraps up in the present, when bands connect with new audiences through social networking sites and prime-time TV placements—and when a single mp3 can turn a niche indie artist into a global sensation. Sidebars like "Yacht Rock," "Runaway Trainwrecks," "Nanofads," and "Career Killers" call out some far-from-classic musical trends and identify the guiltiest offenders.
Modernizing the music-guide format, The Pitchfork 500 reflects the way listeners are increasingly processing music—by song rather than by album. These 500 tracks condense thirty years of essential music into the ultimate chronological playlist, each song advancing the narrative and, by extension, the music itself.
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