A Quote by Cal Ripken, Jr.
You learn as a player not to listen to the criticism. Many of the people who put out that criticism might not be as accomplished, might not understand the game as well from the inside-out.
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It is a fallacy to think that carping is the strongest form of criticism: the important work begins after the artist's mistakes have been pointed out, and the reviewer can't put it off indefinitely with sneers, although some neophytes might be tempted to try: "When in doubt, stick out your tongue" is a safe rule that never cost one any readers. But there's nothing strong about it, and it has nothing to do with the real business of criticism, which is to do justice to the best work of one's time, so that nothing gets lost.
That was one of the big problems in the [Black Panther] Party. Criticism and self-criticism were not encouraged, and the little that was given often wasn’t taken seriously. Constructive criticism and self-criticism are extremely important for any revolutionary organization. Without them, people tend to drown in their mistakes, not learn from them.
What I've really liked doing is combining what you might call art criticism or music criticism with something that is happening in real life.
If babies held the same tendency toward self-criticism as adults, they might never learn to walk or talk. Can you imagine infants stomping, 'Aarggh! Screwed up again!' Fortunately, babies are free of self-criticism. They just keep practicing.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I'm always very careful to make the distinction between music criticism and music journalism. A lot of people don't. But criticism doesn't require reporting. You can write criticism at home in your underwear. On the other hand, journalism takes legwork - you have to get out there and see things and talk to people.
It's not always caving to pressure: Sometimes criticism hits close to home; sometimes criticism changes our minds about something we've put out into the world.
Instead of books, art, theatre, and music being consigned to specialized niches, we might have a criticism that better reflects the eclecticism of our time, a criticism that takes in various arts all at once.
When you are a player, you don't really understand the criticism when you feel like you played pretty well.
Your regional newspaper, and I like to use this example, in your local museum buys a Picasso, that's news especially if they've spent $10 million for it. But if you don't have a credit on your staff then you don't have anybody who's confident to say whether or not it was a good Picasso, might even be aware of the fact that there are bad Picassos. Arts journalists who don't have the experience of criticism, the skill of criticism, don't think in terms of critical evaluation are not going to be as good a journalist as they might be.
When Ginsburg is at the top of his game you might as well put down your toys and listen.
No matter what you do, it can't be perfect. I told Jack White, 'If I'd 'a sung that song more'n twice, it might of sounded better.' He said, 'Well, it might not of. You might have took the spark out of it.' I don't know if he has a point or not. We'll find out.
I listen to a lot of criticism. From the Left and the Right and from everywhere. I mean, everybody's a media critic. And sometimes I think it's on point, and other times, I think about it and consider it and then might ultimately disagree with it. But I do listen to it; I really do.
It's an artist's choice to listen to criticism or not. I'm very sensitive to criticism.
I don't like to listen to the unthoughtful criticism. When we have thoughtful criticism, I love it.
When I first prepared this particular talk... I realized that my usual approach is usually critical. That is, a lot of the things that I do, that most people do, are because they hate something somebody else has done, or they hate that something hasn't been done. And I realized that informed criticism has completely been done in by the web. Because the web has produced so much uninformed criticism. It's kind of a Gresham's Law-bad money drives the good money out of circulation. Bad criticism drives good criticism out of circulation. You just can't criticize anything.
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