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Home / Robert Christgau Best Reviewed Albums of the 2010s

Robert Christgau Best Reviewed Albums of the 2010s

American music journalist

Robert Christgau
Christgau in 2010

Christgau in 2010
Born Robert Thomas Christgau
(1942-04-18) April 18, 1942 (age 80)
New York City, U.S.
Occupation
  • Music critic
  • essayist
  • announcer
Alma mater Dartmouth Higher
Period 1967–present
Spouse

Carola Dibbell

​

(m. 1974)​
Children 1
Website
robertchristgau.com

Robert Thomas Christgau ( KRIST-gow; built-in April 18, 1942) is an American music journalist and essayist. Among the nearly well-known,[one] revered, and influential music critics,[2] he began his career in the late 1960s as one of the earliest professional rock critics and later became an early proponent of musical movements such as hip hop, riot grrrl, and the import of African pop music in the Westward.[1] Christgau spent 37 years as the primary music critic and senior editor for The Village Voice, during which time he created and oversaw the annual Pazz & Jop critics poll. He has also covered popular music for Esquire, Creem, Newsday, Playboy, Rolling Rock, Billboard, NPR, Blender, and MSN Music, and was a visiting arts teacher at New York Academy.[three] CNN senior writer Jamie Allen has called Christgau "the E. F. Hutton of the music earth – when he talks, people listen."[4]

Christgau is best known for his terse, letter-graded capsule anthology reviews, equanimous in a concentrated, fragmented prose way featuring layered clauses, caustic wit, ane-liner jokes, political digressions, and allusions ranging from mutual knowledge to the esoteric.[5] Originally published in his "Consumer Guide" columns during his tenure at The Village Vox from 1969 to 2006, the reviews were collected in book form across 3 decade-catastrophe volumes – Christgau'south Record Guide: Rock Albums of the Seventies (1981), Christgau's Record Guide: The '80s (1990), and Christgau's Consumer Guide: Albums of the '90s (2000).[3] Multiple collections of his essays have also been published in book form,[iii] and a website published in his name since 2001 has freely hosted most of his work.

In 2006, the Vocalization dismissed Christgau after the paper's acquisition by New Times Media. He connected to write reviews in the "Consumer Guide" format for MSN Music, Cuepoint, and Noisey – Vice 's music section – where they were published in his "Expert Witness" column[vi] until July 2019.[7] In September that year, he launched a paid-subscription newsletter called And It Don't Stop, published on the email-newsletter platform Substack and featuring a monthly "Consumer Guide" column, among other writings.[8]

Early on life [edit]

Christgau was born in Greenwich Village, Manhattan, New York City,[9] on Apr xviii, 1942,[ten] and was raised in Queens, New York City,[11] the son of a fireman.[12] He has said he became a rock and scroll fan when disc jockey Alan Freed moved to the city in 1954.[13]

After attending public school in New York City,[12] he attended Dartmouth College, graduating in 1962 with a B.A. in English. At college, his musical interests turned to jazz, but he chop-chop returned to rock afterward moving back to New York.[fourteen] Christgau has said that Miles Davis'southward 1960 album Sketches of Spain initiated in him "ane stage of the disillusionment with jazz that resulted in my render to rock and coil."[15] He was deeply influenced by New Journalism writers such equally Gay Talese and Tom Wolfe. "My ambitions when I went into journalism were always, to an extent, literary," Christgau afterwards said.[16]

Career [edit]

I am interested in those places where popular civilisation and avant-garde culture intersect. As a critic, I want to achieve a new understanding of culture in both its artful and political aspects; as a journalist, I want to suggest whatever I figure out to an audience in an entertaining and provocative way.

—Christgau (1977)[17]

Christgau initially wrote short stories, earlier giving up fiction in 1964 to become a sportswriter, and afterwards, a police reporter for the Newark Star-Ledger.[18] He became a freelance writer after a story he wrote about the decease of a woman in New Jersey was published by New York magazine.[19] Christgau was amongst the first dedicated rock critics.[20] He was asked to take over the dormant music column at Esquire, which he began writing in June 1967.[21] He besides contributed to Cheetah magazine at that fourth dimension.[22] He afterward became a leading phonation in the formation of a musical–political aesthetic combining New Left politics and the counterculture.[22] Later Esquire discontinued the cavalcade, Christgau moved to The Village Vocalization in 1969, and he also worked as a college professor.

From early in his emergence every bit a critic, Christgau was conscious of his lack of formal cognition of music. In a 1968 piece he commented:

I don't know anything about music, which ought to be a damaging access just isn't ... The fact is that pop writers in general shy away from such arcana as key signature and beats to the measure ... I used to confide my worries near this to friends in the tape industry, who reassured me. They didn't know anything most music either. The technical stuff didn't matter, I was told. Yous just gotta dig it.[23]

In early 1972, Christgau accepted a total-fourth dimension chore equally music critic for Newsday. He returned to The Village Vocalization in 1974 as music editor.[24] In a 1976 slice for the paper, he coined the term "Rock Critic Establishment"[25] to draw the growth in influence of American music critics. His article carried the parenthesized subtitle "But Is That Bad for Rock?"[26] He listed Dave Marsh, John Rockwell, Paul Nelson, Jon Landau and himself every bit members of this "Establishment".[25]

Christgau remained at The Village Voice until August 2006, when he was fired shortly afterward the newspaper's acquisition past New Times Media.[24] Two months later, Christgau became a contributing editor at Rolling Rock (which showtime published his review of Moby Grape's Wow in 1968).[27] Late in 2007, Christgau was fired by Rolling Stone,[28] although he continued to work for the magazine for some other iii months. Starting with the March 2008 result, he joined Blender, where he was listed as "senior critic" for three problems and and then "contributing editor".[29] Christgau had been a regular contributor to Blender earlier he joined Rolling Rock. He continued to write for Blender until the magazine ceased publication in March 2009.

In 1987, he was awarded a Guggenheim Fellowship in the field of "Folklore and Popular Culture" to study the history of popular music.[xxx] [31]

Christgau has also written oft for Playboy, Spin, and Creem. He appears in the 2011 rockumentary Color Me Obsessed, near the Replacements.[32]

He previously taught during the formative years of the California Institute of the Arts. Equally of 2007, he was also an offshoot professor in the Clive Davis Department of Recorded Music at New York Academy.[33]

In Baronial 2013, Christgau revealed in an article written for Barnes & Noble'due south website that he is writing a memoir.[34] On July 15, 2014, Christgau debuted a monthly column on Billboard 'south website.[35]

"Consumer Guide" and "Expert Witness" columns [edit]

Christgau is possibly best known for his "Consumer Guide" columns, which have been published more-or-less monthly since July x, 1969, in the Village Voice,[36] besides equally a cursory period in Creem.[37] In its original format, each edition of the "Consumer Guide" consisted of approximately 20 single-paragraph album reviews, each given a letter grade ranging from A+ to E−.[38] These reviews were after nerveless, expanded, and extensively revised in a three-book book series, the starting time of which was published in 1981 as Christgau'south Record Guide: Rock Albums of the Seventies; it was followed by Christgau'due south Record Guide: The '80s (1990) and Christgau's Consumer Guide: Albums of the '90s (2000).[36]

In his original grading arrangement from 1969 to 1990, albums were given a class ranging from A+ to Due east−. Under this system, Christgau generally considered a B+ or higher to exist a personal recommendation.[39] He noted that in practice, grades below a C− were rare.[40] In 1990, Christgau changed the format of the "Consumer Guide" to focus more on the albums he liked.[36] B+ records that Christgau deemed "unworthy of a total review" were mostly given brief comments and star marks ranging from three down to one, denoting an honorable mention",[41] records which Christgau believed may be of involvement to their ain target audience.[42] Lesser albums were filed nether categories such every bit "Neither" (which may impress at first with "coherent craft or an arresting track or 2", earlier failing to make an impression over again)[42] and "Duds" (which indicated bad records and were listed without further comment). Christgau did give full reviews and traditional grades to records he pans in an annual Nov "Turkey Shoot" column in The Village Voice, until he left the newspaper in 2006.[36]

In 2001, robertchristgau.com – an online archive of Christgau'southward "Consumer Guide" reviews and other writings from his career – was prepare as a co-operative project between Christgau and longtime friend Tom Hull; the two had met in 1975 before long after Hull queried Christgau as The Village Voice 'southward regional editor for St. Louis. The website was created after the September 11, 2001 attacks when Hull was stuck in New York while visiting from his native Wichita. While Christgau spent many nights preparing by Hamlet Voice writings for the website, past 2002 much of the older "Consumer Guide" columns had been inputted by Hull and a pocket-sized coterie of fans. Co-ordinate to Christgau, Hull is "a figurer genius besides as an excellent and very knowledgeable music critic, but he'd never washed much web site work. The pattern of the web site, particularly its loftier searchability and small interest in graphics, are his idea of what a useful music site should be".[43]

In December 2006, Christgau began writing his "Consumer Guide" columns for MSN Music, initially appearing every other month, before switching to a monthly schedule in June 2007. On July 1, 2010, he announced in the introduction to his "Consumer Guide" column that the July 2010 installment would be his last on MSN.[44] However, on Nov 22, Christgau launched a blog on MSN, called "Adept Witness", which featured reviews only of albums that he had graded B+ or college, since those albums "are the gut and backbone of my musical pleasance"; the writing of reviews for which are "and then rewarding psychologically that I'm happy to do it at blogger's rates".[45] He besides began respective with dedicated readers of the cavalcade, named as "The Witnesses" subsequently the column.[46] On September twenty, 2013, Christgau announced in the comments section that "Adept Witness" would terminate to be published by October 1, 2013, writing, "As I understand it, Microsoft is shutting down the entire MSN freelance arts operation at that time ..."[47]

On September ten, 2014, Christgau debuted a new version of "Expert Witness" on Cuepoint, an online music magazine published on the blogging platform Medium.[48] In Baronial 2015, he was hired by Vice to write the column for the mag's music section, Noisey.[6] In July 2019, the concluding edition of "Adept Witness" was published.[7]

In September 2019, at the encouragement of friend and colleague Joe Levy, Christgau began publishing the newsletter "And It Don't End" on the newsletter-subscription platform Substack. Charging subscribers $5 per month, it has included his monthly "Consumer Guide" column, podcasts, and complimentary weekly content like volume reviews. Christgau was skeptical of the platform at showtime: "Basically I told Joe that if I didn't take enough subscribers to pay what I made at Noisey by Christmas I was going to quit. I wasn't going to do it for less than that money. I had that many subscribers inside of three days." Past May 2020, "And It Don't Stop" had more than than i,000 subscribers. Christgau was ambivalent about the platform at first, simply has since found it "immensely gratifying", explaining that, "A man my age, who is however really intellectually active? It is tremendously flattering and gratifying that there are people who are ready to help support me."[46]

Pazz & Jop [edit]

Between 1968 and 1970, Christgau submitted ballots in Jazz & Pop magazine'southward almanac critics' poll. He selected Bob Dylan's John Wesley Harding (released belatedly in 1967), The Who's Tommy (1969), and Randy Newman's 12 Songs (1970) as the best pop albums of their respective years, and Miles Davis's Bitches Mash (1970) equally the best jazz album of its year.[49] [l] [51] Jazz & Pop discontinued publication in 1971.[52]

In 1971, Christgau inaugurated the almanac Pazz & Jop music poll, named in tribute to Jazz & Popular. The poll surveyed music critics on their favorite releases of the year. The poll results were published in the Village Phonation every February after compiling "top x" lists submitted by music critics beyond the nation. Throughout Christgau's career at the Voice, every poll was accompanied by a lengthy Christgau essay analyzing the results and pondering the year'due south overall musical output. The Vocalization continued the feature afterwards Christgau's dismissal. Although he no longer oversaw the poll, Christgau continued to vote and, since the 2015 poll, also contributed essays to the results.[53] [54]

"Dean's Lists" [edit]

Each year that Pazz & Jop has run, Christgau has created a personal list of his favorite releases called the "Dean'south List". Just his acme ten count toward his vote in the poll, but his full lists of favorites usually numbered far more than that. These lists – or at least Christgau'south top tens – were typically published in The Village Vocalism forth with the Pazz & Jop results. After Christgau was dismissed from the Vocalism, he continued publishing his annual lists on his ain website and at The Barnes & Noble Review.

While Pazz & Jop'due south amass critics' poll are its master draw, Christgau'due south Deans' Lists are noteworthy in their ain correct. Henry Hauser from Result of Sound said Christgau'south "annual 'Pazz & Jop' poll has been a bona fide American establishment. For music writers, his twelvemonth-end essays and extensive 'Dean's List' are like watching the large ball drop in Times Square."[55]

The post-obit are Christgau'south choices for the number-one album of the year, including the point score he assigned for the poll. Pazz & Jop'due south rules provided that each item in a top 10 could be allotted between 5 and 30 points, with all 10 items totaling 100, allowing critics to weight certain albums more heavily if they chose to do so. In some years, Christgau often gave an equal number of points to his first- and 2nd-ranked albums, simply they were nevertheless ranked every bit start and second, non as a necktie for get-go; this list collects only his number-1 picks.

Fashion and impact [edit]

No one in this time and identify has the fourth dimension to sit down and listen uninterrupted for sixty minutes to anybody's music. I think Robert Christgau is the final tape reviewer on earth who listens to eight records a twenty-four hours twice before giving his stance on it ... Christgau is the terminal faithful record critic on earth. He gave united states an A-plus. That'due south pretty much who I make my records for. He's like the last of that whole Lester Bangs generation of tape reviewers, and I still mind his words. He gets my vision, and I'1000 absurd with that. But one-half these people, they read Pitchfork, and they base of operations half their opinion and quotes on that.

—Questlove, 2008[105]

"Christgau's blurbs", writes Slate music critic Jody Rosen, "are like no 1 else's – dumbo with ideas and allusions, starting time-person confessions and invective, highbrow references and slang".[24] Rosen describes Christgau's writing equally "often maddening, always thought-provoking ... With Pauline Kael, Christgau is arguably 1 of the two nigh important American mass-culture critics of the second half of the 20th century. ... All rock critics working today, at to the lowest degree the ones who want to do more rewrite PR re-create, are in some sense Christgauians."[24] Spin magazine wrote in 2015, "Y'all probably wouldn't be reading this publication if Robert Christgau didn't largely invent stone criticism as we know it."[106]

Douglas Wolk said the earliest "Consumer Guide" columns were generally brief and detailed, but "within a few years ... he adult his particular gift for 'power, wit and economy', a phrase he used to depict the Ramones in a dead-on 37-word review of Get out Abode". In his stance, the "Consumer Guide" reviews were "an enormous pleasure to read slowly, equally writing, even if you accept no particular interest in pop music. And if y'all do happen to take more than a little interest in popular music, they're a treasure."[36] While regarding the early columns every bit "a model of denoting, witty criticism", Dave Marsh in 1976 said "the tone of the writing is now snotty – it lacks compassion, not to mention empathy, with electric current rock."[107]

Fans of Christgau'due south "Consumer Guide" like to share lines from their favorite reviews, Wolk writes, citing "Sting wears his sexual resentment on his chord changes like a closet 'American Woman' fan" (from Christgau's review of the 1983 Police album Synchronicity); "Calling Neil Tennant a bored wimp is like accusing Jackson Pollock of making a mess" (reviewing the 1987 Pet Shop Boys anthology Actually); and "Mick Jagger should fold up his penis and go home" (in a review of Prince's 1980 album Muddied Mind).[36]

In 1978, Lou Reed recorded a tirade against Christgau and his column on the 1978 live album, Take No Prisoners: "Critics. What does Robert Christgau practice in bed? I mean, is he a toe fucker? Human, anal retentive, A Consumer'southward Guide to Rock, what a moron: 'A Written report' by, y'know, Robert Christgau. Prissy fiddling boxes: B-PLUS. Tin can you imagine working for a fucking year, and yous go a B+ from some asshole in The Village Vocalisation?"[108] Christgau rated the album C+ and wrote in his review, "I thank Lou for pronouncing my proper name right."[109] In December 1980, Christgau provoked angry responses from Voice readers when his column approvingly quoted his wife Carola Dibbell'southward reaction to the murder of John Lennon: "Why is information technology ever Bobby Kennedy or John Lennon? Why isn't it Richard Nixon or Paul McCartney?"[110] Similar criticism came from Sonic Youth in their vocal "Kill Yr Idols". Christgau responded past maxim "Idolization is for rock stars, fifty-fifty rock stars manqué similar these impotent bohos – critics but want a little respect. And so if it'due south not too hypersensitive of me, I wasn't flattered to hear my name pronounced right, not on this particular championship track."[111]

Tastes and prejudices [edit]

Christgau has named Louis Armstrong, Thelonious Monk, Chuck Berry, the Beatles, and the New York Dolls as his top v artists of all fourth dimension.[112] In a 1998 obituary, he called Frank Sinatra "the greatest singer of the 20th century".[113] He considers Billie Vacation "probably [his] favorite vocalizer".[114] In his 2000 Consumer Guide volume, Christgau said his favorite rock album was either The Clash (1977) or New York Dolls (1973), while his favorite record in general was Monk'southward 1958 Misterioso.[115] In July 2013, during an interview with Esquire magazine'south Peter Gerstenzang, Christgau criticized the voters at the Rock and Roll Hall of Fame, saying "they're pretty stupid" for not voting in the New York Dolls.[116] When asked about Beatles albums, he said he most often listens to The Beatles' 2nd Album – which he purchased in 1965 – and Sgt. Pepper'due south Lonely Hearts Club Band.[117]

Wolk wrote: "When he says he'southward 'encyclopedic' about pop music, he means information technology. In that location are not a lot of white guys in their 60s waving the flag for Lil Wayne's Da Drought iii, specially not in the same column as they moving ridge the flag for a Willie Nelson/Merle Haggard/Ray Toll trio album, an anthology of new Chinese pop, Vampire Weekend, and Wussy ..."[36] Christgau reflected in 2004: "Stone criticism was certainly more fun in the erstwhile days, no matter how cool the tyros opining for chump alter in netzines like PopMatters and Pitchfork remember it is now."[118]

Christgau readily admits to having prejudices and by and large disliking genres such as heavy metal, salsa, trip the light fantastic,[112] art rock, progressive rock, bluegrass, gospel, Irish folk, jazz fusion, and classical music.[43] "I admire metal's integrity, brutality, and obsessiveness", Christgau wrote in 1986, "but I tin't stand its delusions of grandeur, the way it apes and misapprehends reactionary notions of nobility".[119] Christgau said in 2018 that he rarely writes virtually jazz as it is "hard" to write about in an "impressionistic way", that he is "non at all well-schooled in the jazz albums of the '50s and '60s", and that he has neither the "language nor the frame of reference to write readily about them"; even while critiquing jazz artists like Miles Davis, Ornette Coleman, and Sonny Rollins, he said "finding the words involves either considerable effort or a stroke of luck".[114] Christgau has also admitted to disliking the records of Jeff Buckley and Nina Simone, noting that the latter's classical background, "default gravity and depressive tendencies are qualities I'm seldom attracted to in any kind of art."[114] Writing in a two-part characteristic on music critics for Rolling Rock in 1976, Dave Marsh bemoaned Christgau equally a "classic, sad example" of how "many critics ... superimpos[ed] their own, frequently arbitrary, standards upon performers." Marsh went on to accuse him of condign "big-headed and humorless – the raves are reserved for jazz artists, while even the best stone is treated condescendingly unless it conforms to Christgau's passion for leftist politics (especially feminism) and bohemian culture." Marsh named some other prejudice of Christgau's to be "apolitical or middle-grade performers" of rock music.[107]

"Dean of American rock critics" [edit]

Christgau has been widely known as the "Dean of American stone critics",[120] a designation he originally gave to himself while slightly drunk at a press result for the 5th Dimension in the early 1970s.[43] Co-ordinate to Rosen, "Christgau was in his late 20s at the time – not exactly an éminence grise – so maybe it was the alcohol talking, or maybe he was just a very arrogant boyfriend. In whatever case, every bit the years passed, the quip became a fact."[24] When asked about it years afterward, Christgau said the title "seemed to push button people'south buttons, so I stuck with it. At that place'southward obviously no official hierarchy within rock criticism – but real academies tin can do that. But if you mean to ask whether I think some rock critics are better than others, you're damn direct I do. Don't you lot?"[43] "For a long time he's been called the 'dean of American rock critics'", wrote New York Times literary critic Dwight Garner in 2015. "It's a line that started out every bit an offhanded joke. These days, few dispute it."[121]

Personal life [edit]

Christgau married fellow critic and writer Carola Dibbell in 1974;[112] they accept an adopted daughter, Nina, built-in in Honduras in 1986.[122] They have long lived in New York, as of 2020. He has said he was raised in a "built-in-again Church" in Queens, but has since get an atheist.[123]

Christgau has been long, albeit argumentative, friends with critics such every bit Dave Marsh, Greil Marcus, and the late Ellen Willis, whom he dated from 1966 to 1969. He has as well mentored younger critics such every bit Ann Powers and Chuck Eddy.[112]

Books [edit]

  • Whatsoever Erstwhile Way Yous Choose Information technology: Rock and Other Pop Music, 1967–1973, Penguin Books, 1973
  • Christgau's Record Guide: Rock Albums of the Seventies, Ticknor & Fields, 1981
  • Christgau's Tape Guide: The '80s, Pantheon Books, 1990
  • Grown Up All Wrong: 75 Great Rock and Pop Artists from Vaudeville to Techno, Harvard University Printing, 1998
  • Christgau's Consumer Guide: Albums of the '90s, St. Martin's Griffin, 2000
  • Going into the Metropolis: Portrait of a Critic every bit a Young man, Dey Street Books, 2015
  • Is It Nonetheless Good to Ya? Fifty Years of Rock Criticism 1967–2017, Knuckles University Printing, 2018
  • Book Reports: A Music Critic on His First Honey, Which Was Reading, Duke University Press, 2019

See also [edit]

  • Album era

References [edit]

Citations [edit]

  1. ^ a b Greene, Jayson (May 28, 2015). "Christgau, Robert". Grove Music Online . Retrieved June 12, 2021.
  2. ^ Shepherd, John; Horn, David; Laing, Dave; Oliver, Paul; Wicke, Peter, eds. (2003). Continuum Encyclopedia of Popular Music of the World Volume I: Media, Industry and Gild. A&C Black. p. 306. ISBN978-1847144737.
  3. ^ a b c "Robert Christgau". Harper Collins. Retrieved September 30, 2015.
  4. ^ Allen, Jamie (November ix, 2000). "Music critic Christgau delivers new guide to consumers". CNN.com . Retrieved February 13, 2020.
  5. ^ Manzler 2000; Pick 2000; Klein 2002; Anderson 2001.
  6. ^ a b Christgau, Robert (August 13, 2015). "Welcome to Skillful Witness". Vice . Retrieved August fourteen, 2015.
  7. ^ a b Christgau, Robert (July 9, 2019). "Xgau Sez". robertchristgau.com . Retrieved September 29, 2019.
  8. ^ Hull, Tom (September 17, 2019). "Music Week". tomhull.com . Retrieved September 29, 2019.
  9. ^ Christgau, Robert (2015). Going into the City. Dey Street. p. 23. ISBN978-0-06-223880-i.
  10. ^ Greene, Jayson (May 28, 2015). "Christgau, Robert". Grove Music Online. Vol. 1. Oxford University Press. doi:10.1093/gmo/9781561592630.article.a2282362. ISBN978-1-56159-263-0.
  11. ^ Christgau, Robert (December xxx, 1971). "Consumer Guide (22)". The Village Voice . Retrieved Nov 18, 2013.
  12. ^ a b Christgau, Robert. "Robert Christgau Biography". robertchristgau.com . Retrieved January 28, 2014.
  13. ^ Christgau, Robert (2004), "A Counter in Search of a Civilisation". Any Erstwhile Mode You Cull Information technology, Cooper Square Press, p.2.
  14. ^ Christgau, Robert (May 9, 2001). "A conversation with Robert Christgau". Salon.com. Interviewed by Barbara O'Dair. Retrieved Oct 22, 2013.
  15. ^ Christgau, Robert (May 21, 1970). "Jazz Annual". The Village Voice . Retrieved September 20, 2013. ... Sketches of Spain, which in 1960 catapulted Davis into the favor of the kind of man who reads Playboy and initiated in me ane phase of the disillusionment ...
  16. ^ Eliscu, Jenny (October 26, 2016). "Prolific Music Critic Robert Christgau Knows What He Likes (and Hates)". Vice . Retrieved October twenty, 2016.
  17. ^ Locher, Frances C.; Evory, Ann, eds. (1977). Contemporary Authors. Gale. p. 118. ISBN081030029X.
  18. ^ Christgau, Robert (2004), "A Counter in Search of a Culture". Any Old Way You Choose It, Cooper Foursquare Printing, p.4.
  19. ^ Christgau, Robert (July viii, 2008). "Game Changer". NAJP . Retrieved Jan 29, 2022.
  20. ^ Gendron, Bernard (2002). Betwixt Montmartre and the Mudd Society: Popular Music and the Advanced. Chicago, IL: Academy of Chicago Printing. p. 193. ISBN978-0-226-28737-ix.
  21. ^ Gendron 2002, p. 193.
  22. ^ a b Wiener, Jon (1991). Come Together: John Lennon in His Time. Urbana, IL: Academy of Illinois Press. p. 38. ISBN978-0-252-06131-eight.
  23. ^ Gendron 2002, pp. 346–47.
  24. ^ a b c d due east Rosen, Judy (September 5, 2006), "X-ed Out: The Village Voice fires a famous music critic". Slate.com. Retrieved Baronial xv, 2009.
  25. ^ a b Marsh, Dave (December 16, 1976). "The Critics' Critic". Rolling Rock. Available at Rock'due south Backpages (subscription required).
  26. ^ Gendron 2002, pp. 223–24.
  27. ^ Bob Christgau (June 22, 1968), Correspondence, Love Letters & Advice, Rolling Stone
  28. ^ Christgau, Robert (March 27, 2009), "Poptastic bye-bye Archived Apr vii, 2011, at the Wayback Machine". Manufactures. Retrieved March 4, 2010
  29. ^ Blender, June 2008, p. sixteen
  30. ^ "Robert Christgau". Guggenheim Foundation . Retrieved November 8, 2016.
  31. ^ Cohen, David (Jan 16, 2007). "Robert Christgau: Schoolhouse of rock". The Guardian.
  32. ^ Beaudoin, Jedd (December 2, 2012). "'Color Me Obsessed: A Film Near the Replacements' Paints 'Minor Ring' with Major Strokes". PopMatters . Retrieved January 29, 2014.
  33. ^ Cohen, David (Jan sixteen, 2007). "Robert Christgau: School of stone". The Guardian . Retrieved March 27, 2016.
  34. ^ Christgau, Robert (August 27, 2013). "Tell All". Barnes & Noble . Retrieved January 26, 2014.
  35. ^ Gonzalez, Ed (July 16, 2014). "Links for the Day: Nathan Rabin Is Deplorable for the Manic Pixie Dream Girl, Robert Christgau Premieres Billboard Column, Hillary Clinton on The Daily Show, & More". Slant Magazine . Retrieved August 27, 2014.
  36. ^ a b c d east f thou Wolk, Douglas (July ix, 2010). "Music'southward Fourth dimension Capsules: 41 Years of Christgau's 'Consumer Guide'". Vulture . Retrieved April xv, 2017.
  37. ^ Applegate, Edd (1996). Literary Journalism: A Biographical Dictionary of Writers and Editors. Greenwood Publishing Grouping. p. 49. ISBN0313299498.
  38. ^ Cohen, David (September xxx, 2006). "The grad school of rock". New Zealand Listener . Retrieved July 13, 2019.
  39. ^ "CG 70s: The Criteria". RobertChristgau.com.
  40. ^ "CG 90s: Introduction". RobertChristgau.com.
  41. ^ Christgau, Robert (January 1, 2019). "Xgau Sez". robertchristgau.com. Archived from the original on Jan 1, 2019. Retrieved January 1, 2019.
  42. ^ a b "Cardinal to Icons". RobertChristgau.com.
  43. ^ a b c d Rubio, Steven (July 2002). "Online commutation with Robert Christgau". Rockcritics Athenaeum. rockcritics.com. pp. i–5.
  44. ^ Christgau, Robert. "Within Music". MSN. Archived from the original on March ii, 2011. Retrieved July 1, 2010.
  45. ^ Christgau, Robert (November 22, 2010). "This Blog—The Whats, Whys, and Wherefores". Skillful Witness. MSN. Archived from the original on July fourteen, 2011. Retrieved January fifteen, 2011.
  46. ^ a b Barmann, Jay (May 28, 2020). "How Creators Brand Coin on Subscription Platforms and Services". influence.co . Retrieved July thirteen, 2020.
  47. ^ Christgau, Robert (September 20, 2013). "Odds and Ends 036". MSN Music. Archived from the original on September 29, 2013. Retrieved September 22, 2013.
  48. ^ Christgau, Robert (September 10, 2014). "Skilful Witness: The Story Till Now". Cuepoint . Retrieved October 11, 2014.
  49. ^ Christgau, Robert. "Robert Christgau'southward 1968 Jazz & Pop Election". Retrieved January 23, 2019.
  50. ^ Christgau, Robert. "Robert Christgau'southward 1969 Jazz & Popular Ballot". Retrieved Jan 23, 2019.
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  52. ^ "Jazz & Pop". Stone'due south Backpages. Retrieved January 23, 2019.
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  118. ^ Hoskyns, Barney (April 2013). "Music Journalism at 50". Rock'southward Backpages . Retrieved June 29, 2019.
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  121. ^ Garner, Dwight (February 24, 2015). "Review: Robert Christgau Reflects on His Career every bit a Stone Critic". The New York Times . Retrieved January 24, 2019.
  122. ^ Dickey, Jack (Feb 24, 2015). "How To Survive 13,000 Album Reviews". Fourth dimension . Retrieved October 27, 2015.
  123. ^ Christgau, Robert (August 27, 1991). "With God on Their Side". The Hamlet Voice . Retrieved Apr half-dozen, 2017.

General bibliography [edit]

  • Anderson, Rick (June xiv, 2001). "Reno News & Review - Christgau'southward Consumer Guide: Albums of the '90s - In the Mix - Volume - Arts&Culture". Reno News & Review . Retrieved February 11, 2020.
  • Klein, Joshua (March 29, 2002). "Robert Christgau: Christgau's Consumer Guide: Albums Of The '90s". The A.5. Gild . Retrieved February 11, 2020.
  • Manzler, Scott (October 31, 2000). "Christgau's Consumer Guide To Albums Of The '90s". No Depression . Retrieved February eleven, 2020.
  • Option, Steve (Dec 13, 2000). "The Pleasure Principle". Riverfront Times . Retrieved Feb 11, 2020.

Further reading [edit]

  • Buyanovsky, Dan (February 24, 2015). "'I'1000 a Adept Writer' - Robert Christgau on the Life and Legacy of Robert Christgau". Noisey . Retrieved April iii, 2017.
  • Powers, Devon (2013). Writing the Record: The Village Voice and the Nascency of Rock Criticism . Amherst: University of Massachusetts Press. ISBN978-1-62534-012-2 – via the Internet Archive (registration required).

External links [edit]

  • Official website
  • Users' Guide to the Consumer Guide at MSN Music

skinnerhattes.blogspot.com

Source: https://en.wikipedia.org/wiki/Robert_Christgau