We all know about Scaruffi core but what is christgau core?

eminem strangely

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Didn't he once accuse D12 of being a minstrel show?

i don't fuckin know, i just looked up "eminem" on his site page

Jews love their minstrel shows

>guy who claims to be woke and hates rednecks
>sucks off Lynyrd Skynyrd and Aerosmith

What’s this guys problem?

He's a literal cuck.

Enema of the State [MCA, 1999]
Ignore the porn-movie cover except insofar as it conveys terror. These guys are so frightened of females that they turn down sure sex from one hussy on grounds of name-dropping and reject another for being too quick with the zipper. There's no macho camouflage--girlophobia is their great subject. And boy, have they worked up some terrific defenses. If preemptive jealousy doesn't do the trick, there's always suicide, or abduction by aliens. Yet note it well--because they're out front about their little problem, "Going Away to College" is the love song the Descendents put Green Day on earth to inspire. A-

>These guys are so frightened of females that
So much projection.

I am convinced Christgau that doesn't like music, what he is truly enamoured with are the aesthetics of the music he reviews. He is less a music critic and more of a pop art critic.
If you need proof of that, just check his lowly opinions on artists like Tim Buckley and King Crimson, musicians of high technical prowess but with little to no significance in the pop spectrum of their time while also thinking highly of artists which focus everything on style rather than on substance.

Dont most critics hate Prog

Only during the late 70's and 80's. From the 60's to the mid 70's it wasn't uncool to like wanky or progressive music in general.

The NYC critics like Christgau and Bangs never liked prog. British critics loved it until punk happened and then did an instant 360 and acted like it was worse than Hitler.

Q: So Christgau's one of the great editors...
A: Oh Christgau's great, I mean, fantastic. Tremendous insight into what you're trying to say, really good ideas about what you might do, he'll spot holes in your thinking--his sense of other people's language is not nearly so--at least when I worked with him, which is a long time ago--not nearly so insular as his own writing has become, or at least as I think it's become. No, he's a fantastic editor, just an absolutely fantastic editor.
Q: Okay, but you do have--I'm not looking for you to slag some of your contemporaries or whatever, but you obviously have some problems with Christgau. You did that piece on the Pazz & Jop poll a few years ago.
A: Oh I have tremendous problems. I think I basically--first of all, I think he hates rock-and-roll. I don't even think he makes much of a secret about it. If you actually look at his reviews, he doesn't like rock bands. He said some miserably--I can't think of a better way to put it but bigoted things about, for instance, the heavy metal audience. And I think he's promoted a fairly self-aggrandizing idea of what rock criticism should be. So, yeah, I disagree with all those things, and there's no reason to make a secret of it.

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>Christgau has named Louis Armstrong, Thelonious Monk, Chuck Berry, the Beatles, and the New York Dolls as his top five artists of all time.

>In a 1998 obituary, he called Frank Sinatra "the greatest singer of the 20th century". He considers Billie Holiday "probably my favorite singer". In his 2000 Consumer Guide book, Christgau said his favorite rock album was either The Clash (1977) or New York Dolls (1973), while his favorite record in general was Monk's 1958 Misterioso.

>Christgau readily admits to having prejudices and generally disliking genres such as heavy metal, salsa, dance, art rock, progressive rock, bluegrass, gospel, Irish folk, jazz fusion, and classical music.

Someone asked him about Sinatra once and he elaborated a little further and said that he regarded him as the greatest singer of the 20th century from a _technical_ POV, but he didn't consider him a great artist and Sinatra's image and persona never really clicked with him.

>dance
From some of his writings, I gleaned that he doesn't dislike dance music per se, but he thinks it doesn't lend itself well to writing or criticism and can't really be appreciated unless you're in da club, so he generally avoids reviewing it unless it takes pop form.

While I agree with Marsh on this point, he has as many terrible opinions as Cuckgau including disowning Neil Young for supporting Reagan, drinking Springsteen's bodily fluids, calling Queen fascists, and claiming it was Reagan's fault that his father could never afford to retire and had to work until his death.

Marsh was also one of the big names responsible for keeping KISS out of the RRHOF for years.

Some of Christgau's long essays/columns can be fairly insightful, but his short-form wiseguy capsule reviews are mostly worthless.

based

The albums he grades with an A are a tiny fraction of all the music he's ever heard. He once said that a ton of the albums he's gotten review copies of are stuff he knows he's not going to like and have no critical support, but he usually tries to listen to them at least once if just to get it out of the way. If the album was a big seller and people want to know what he thinks of it, he just stamps it with a bomb or sad face and calls it a day.

On the other hand, there's all the stuff that has been highly recommended in other quarters, or is a broad critical favorite, and/or has had some significant cultural impact which he then does feel compelled to wrestle with, however sceptical his instincts. And even if, after half a dozen spins, he decides they're garbage after all, when the next one comes along, and enough people he admires still give props to the band, he'll go through that effort again, which is how eventually he came to appreciate Daft Punk, despite having written off four of their albums in a row.

I really don't get this guy or how he got popular. His taste is middling, his reviews are too brief and usually garbage, and it seems like every artist just shits on him.

There's other cases of albums that got a lot of critical praise, but he couldn't understand what was so great about them. These go in his annual "Turkey Shoot" column. In Consumer Guide to the '90s, he said that he'd gotten to the point where he figured it was a waste of time to write about a mediocre (or roughly stuff that got a B-) so he mostly stopped reviewing these outside Turkey Shoot.

There were also the B+ albums which he regarded as good quality but still a bit short of perfection and these mostly got turned into the *, **, *** ratings.

I get that there is an internally justifiable logic to it, I just think it long ago became so tortured that he may as well have given up grading. I don't believe it's possible for an individual critic to hand out literally about a hundred As a year without the distinction becoming meaningless.

Everyone Who Pretended to Like Me Is Gone [Startime International, 2002]
Just what we always wanted--Jonathan Fire*Eater grows up. Put some DreamWorks money into a studio, that was mature. Realized Radiohead was the greatest band in the world, brainy. Stopped playing so fast, hoo boy. And most important, switched vocalists from Nick Cave imitator to Rufus Wainwright imitator. Wainwright makes up better melodies with a dick in his mouth, and not only that, Cave has more literary ability. New York scene or (hint hint) no New York scene, DreamWorks isn't buying. C+

Also now that he's old, he only reviews stuff he likes since he thinks it's pointless to spend his few remaining years handing out dud ratings.

He's a genderscreeching proto-gender billionaire gap activist new york shitty toe fucker

>billionaire
Let's not go nuts. You're not going to get rich writing about music.

tfw still no christgau core chart

no comprehendo

Neil Young.

You do.

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Art Angels

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his taste and opinions seems pretty cringe to me. wouldn't even bother

Give me his good essays.