A Quote by Robert Christgau

The first half of 'Book Reports' deals with the history of popular music and rock criticism. When I hooked all those historical pieces together, building on the minstrelsy piece, it became my history of popular music.
....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.
Everybody likes music. And rock 'n' roll - that was the music that brought white youth and black youth together for the first time in American music history.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
I'm trying to fuse popular and commercial music and just make very creative music. It's popular music: it's everything for everybody.
Rock & roll seemed to just come to us, on the radio and in the record stores. It became our music. . . But then we uncovered another, deeper level, the history behind rock and R&B, the music behind our music. All roads led to the source, which was the blues.
I feel a vocabulary in my music that is coming from popular music. Popular music is like the mother of all languages.
Folk music has been our popular music... There is a myth that youngsters only like heavy metal or rock music, but that's not true.
'Next To Normal' is rock music. It's a rock opera. That, definitely, has a place in popular music.
Popularity gets up people's noses. But I understand the importance and the function of popular music. There is an artistic purpose. Popular music helps people to develop a curiosity and leads them towards classical music.
I only knew classical music, which to me was the only true music. The only way I could survive at the bar was to mix the classical music with popular songs, and that meant I had to sing. What happened was that I discovered I had a voice plus the talent to mix classical music together with more popular songs, which at the time I detested.
It is against the spirit of our non-discriminating times to openly prefer one sort of music to another, so let's just say that hearing grand orchestral music in a public place is exhilarating in a way that hearing popular music never can be, if only because, in a popular music age, a full orchestra is less familiar to our ears.
Very few opera singers in history have been able to cross into popular music.
Van Morrison remains a singer who can be compared to no other in the history of modern popular music.
Popular music of the last 50 years has failed to keep in step with advances in musical theater, namely Stephen Sondheim. But the two have grown apart so that popular music is based more than ever on a rhythmic grid that is irrelevant in musical theater. In popular music, words matter less and less. Especially now that it's so international, the fewer words the better. While theater music becomes more and more confined to a few blocks in midtown.
I play popular songs. This is not some obscure, unusual music. This is popular music.
I want people to feel what it was like in the '40s. That's when popular music in the United States was so beautiful. Frank Sinatra, the Pied Pipers, Duke Ellington, Fletcher Henderson, Tommy Dorsey, Billie Holiday. That's when popular music had deeper values, to me. This was music that was selling millions of records.
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