A Quote 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.
There is nothing like eavesdropping to show you that the world outside your head is different from the world inside your head.
There's nothing like eavesdropping to show you that the world outside your head is different from the world inside your head.
When you talk or write or film, you work with the music inside you, the music that formed you. Different generations have different musics in them, so whatever they do, it's going to come out differently, and it will speak in beats of their own generation.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
One good way to start writing poetry is to read all kinds of poetry: not just in order to imitate but to fill up your head with it, to absorb it, to make poetry an essential part of how you view the world.
I wanted to absorb the comedy world by osmosis. But I really loved kind of throwing myself in head first.
Poems have a different music from ordinary language, and every poem has a different kind of music of necessity, and that's, in a way, the hardest thing about writing poetry is waiting for that music, and sometimes you never know if it's going to come.
I believe writing is where it all begins; you can not make a film look different, you have to write it differently.
When you're writing you're constantly fighting demons to sit down and do what you do. If you listen to the voices outside your head, in addition to the ones inside your head, you'll never get anything done. There's enough inner strife.
Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.
There are different groups of people in your life that you behave slightly differently with. You behave one way with your family. You behave in a different way with your work colleagues. You behave differently with your friends from the movie club, your fitness instructor - all subtly different personas.
Even though I have a huge love for alternative music and punk music, particularly, I have always had the love for pop music inside of me. Therefore actually it felt kind of natural for me to have different projects with different genres.
Populists believe in conspiracies, and one of the most enduring is that a secret group of international bankers and capitalists, and their minions, control the world's economy. Because of my name and prominence as the head of the Chase for many years, I have earned the distinction of the "conspirator in chief" from these people.
I don't want to say that having power is overrated, but powerlessness can give rise to a different kind of authority, and that's the kind of authority that writes books.
When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.
Both my parents are artists, so that just makes me look at everything slightly different. I listened to different music; I dressed differently. So I kind of grew up without following the pack.
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