Robert Christgau
Robert Christgau
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Full Name and Common Aliases
Robert Christgau is a renowned American music critic, journalist, and educator. His full name is Robert Christgau, and he is often referred to by his initials "RC" in the music industry.
Birth and Death Dates
Born on January 4, 1942, Christgau has been a driving force in shaping the way we think about and critique popular music for over five decades. As of this writing, he remains active and continues to contribute to the world of music criticism.
Nationality and Profession(s)
Christgau is an American citizen and has worked as a music critic, journalist, and educator throughout his career. His professional expertise spans multiple disciplines, including music journalism, criticism, education, and research.
Early Life and Background
Growing up in Queens, New York, Christgau developed a passion for jazz and folk music at a young age. This early exposure laid the groundwork for his future career as a music critic. He attended Harvard University, where he began writing about music for the _Harvard Crimson_. After graduating, Christgau moved to Chicago and worked as a journalist before returning to New York City in 1967.
Major Accomplishments
Christgau's most significant contribution to the world of music criticism is his development of the "A" through "F" rating system. Introduced in 1970, this innovative grading system allows critics to provide nuanced and detailed evaluations of albums. His work at _The Village Voice_, where he served as the newspaper's music editor from 1969 to 2006, cemented his reputation as a leading voice in music criticism.
Notable Works or Actions
Some notable publications featuring Christgau's writing include _The New York Times_, _Rolling Stone_, and _Vanity Fair_. His books, such as _Any Old Way You Choose It: On Paul Simon_ (1992) and _Grown Up All Wrong: 75 Great Music Writers You Need to Know_ (2004), offer a glimpse into his expertise on music history and criticism. Christgau has also been recognized for his educational efforts, having taught courses at New York University and the City College of New York.
Impact and Legacy
Christgau's impact on the world of music criticism is immeasurable. His rating system has influenced generations of critics, providing a shared language to evaluate and discuss albums. As a writer, he has championed underappreciated artists and genres, introducing readers to new sounds and perspectives. Christgau's legacy extends beyond his written work; he has inspired numerous music critics, journalists, and scholars through his dedication to the craft.
Why They Are Widely Quoted or Remembered
Christgau is widely quoted or remembered due to his pioneering work in music criticism, which continues to influence contemporary writing about popular music. His commitment to innovation, nuance, and educational outreach has raised the bar for critics and writers alike. As a testament to his enduring impact, Christgau's ideas and writings remain relevant today, inspiring new generations of music enthusiasts and professionals.
Throughout his career, Robert Christgau has demonstrated an unwavering dedication to his craft, pushing the boundaries of what we understand as music criticism. His contributions continue to shape the world of popular music, making him one of the most influential voices in contemporary culture.
Quotes by Robert Christgau
I believe that writing on music is experienced inside your head, is not a physically present in the world, it has a different kind of authority and prominence and you absorb it differently.
Subject is very important. If you're going to write non-fiction the style means nothing or very little. The content justifies the effort you need to put into the writing itself.
Believe me, I think if I stopped writing when I left The Voice I would have quite a legacy. But the fact of the matter was, it never occurred to me to stop.
I like to say that I don't have the slightest doubt that Barack Obama read me in the early 80s. It's the kind of person he was!
People believe that criticism should be objective, whatever that means, but I really don't understand what people mean by that. I guess if you're doing sonata-allegro procedure analysis, you can be objective for a page or two. But in pop? Really hard.
Ultimately, to insist that rock criticism be political is first to insist that the humans who make and enjoy music are embroiled in politics whether they like it or not - and whether they know it or not.
In fact, many rock critics look askance at explicitly political lyrics, which I think is pretty stupid, without denying that some political lyrics are also pretty stupid.