Pitchfork’s Gender (and Name) Imbalance

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PitchforkPitchfork, like it or not, is at the center of the indie-rock whirlwind. The music site has been credited with launching the careers of Arcade Fire, Clap Your Hands Say Yeah, and more; a good review can create a fan base (hello, Girl Talk) or push you off the map (too many to count). And yes, we’re aware that music criticism is a traditionally male enterprise (just as indie rock is), but Gawker points out today that the male-to-female ratio over at the Fork may be even higher than you’d suspect. In an accounting of the genders and names of reviewers on 10 days of four random months, they found that reviews by guys named Mark always outnumbered reviews by women of any name, usually by at least 2-to-1. For instance, in March of 2007, out of 50 sampled reviews, there were two by women, and ten by dudes named Mark. Well, what can I say: dudes named Mark like bands named Animal Collective.

People love to hate on Pitchfork, but you have to know how to read it: ignore their snarky, sub-3.0 reviews, meant to make a point of some sort; don’t feel bad if one of your favorite CDs gets a 5.3; but always, always search out and listen to things they like. Overwhelmingly male (and Mark-y) or not, it’s hard not to celebrate a home for such in-depth music criticism of usually-overlooked artists. I just wish they weren’t becoming the judgemental high school clique that I’m sure oppressed all of them in actual high school.

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