Fifteen years of ‘Utopia’
Napster and Pitchfork as technologies of democratization
Bibliographic Data
| ID | 15114635 |
|---|---|
| Authors | David Carter (0000-0002-0828-3987, University of Tasmania), I Rogers (0000-0001-6910-5319, MIT University) |
| Year | 2014 |
| Publication date | 2014-10-05 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | First Monday (JOURNAL) |
| Journal identifiers | ISSN: 1396-0458 • E-ISSN: 1396-0466 |
| Publisher | University of Illinois Libraries (PUBLISHER) |
| DOI | 10.5210/fm.v19i10.5543 |
| OpenAlex | W2085719296 |
| Language | EN |
| Citations received | 18 |
The legacy of Napster is filled with bold claims that continue to circulate. As recently as 2013, Wired writer Angela Watercutter described the service as “strings of code that forever changed the relationship between technology and music.” In this paper, we set out to problematize this narrative by outlining a seldom–reported pre–history of Napster combined with an expanded examination of the alternative legacies surrounding the platform. One such legacy is the rise of eclectic music criticism portal Pitchfork.com, a media entity (and business model) that similarly traded on a revolutionary backstory
Aesthetics · Art · Clockwork · Criticism · Democracy · Democratization · Literature · Music industry · Narrative · Political science · Sociology · Utopia · Visual arts · Digital Games and Media · History · Law · Music History and Culture · Radio, Podcasts, and Digital Media
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| Unique citing works | 18 |
|---|---|
| Citations per year | 1,64 |
| Citation span | 2015 - 2025 (11) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 4 |