How Music Criticism Lost Its Edge
Music writers were once known for being much crankier than the average listener. What happened? The Culture Industry: A Centenary Issue Subscribers get full access. Read the issue » There is something a bit funny, at any rate, about pop-music criticism, which purports to offer serious analysis of a form that is often considered (by other people, who are also, in a sense, critics) rather silly. In 1969, Robert Christgau, the self-proclaimed Dean of American Rock Critics, began writing a Village Voice column called “Consumer Guide,” in which he assigned letter grades to new albums. He took pleasure in irritating the kinds of rock-loving hipsters who “considered consumption counterrevolutionary and didn’t like grades either.” He described the music of Donny Hathaway as “supper-club melodrama and homogenized jazz” (self-titled album, 1971: D-), and referred to George Harrison as a “hoarse dork” (“Dark Horse,” 1974: C-). In 1970, in Rolling Stone, Greil Marcus, another pioneering rock cri...