Title: The First Collection of Criticism by a Living Female Rock Critic
Author: Jessica Hopper
First published May 12, 2015
201 pages, Paperback
ISBN: 9780983186335 (ISBN10: 0983186332)
Rating: 4.03
Overview
Get ready to experience the ultimate journey through the past 20 years of American music. In The First Collection of Criticism by a Living Female Rock Critic, Jessica Hopper takes us on a wild ride as she explores the truth behind Riot Grrrl, grunge-era mythologies, emo’s rise, and much more.
Her writing style is engaging, thoughtful, and humorous, leaving no doubt why The New York Times has called her work “influential.” This book is not just a collection of Hopper’s music criticism, but also a documentation of the shifting landscape of music consumption. Her compelling album reviews, essays, columns, interviews, and oral histories will make you reconsider the art, trash, and politics of music.
So, get ready to dig deep into your record collection and join Hopper on this unforgettable journey.
About the Author
Meet Jessica Hopper, a music critic based in Chicago who has achieved great success in her career. She is the author of The First Collection of Criticism By A Living Female Rock Critic and has previously held positions as Editorial Director at MTV News, and editor at Pitchfork and Rookie.
Her essays have been featured in Best Music Writing for various years. Her book, The Girls’ Guide to Rocking, was recognized as one of 2009’s Notable Books for Young Readers by the American Library Association.
Jessica’s memoir, Night Moves, was published by the University of Texas Press in September 2018. Her next book, No God But Herself, is set to release in Fall 2021 from MCD x FSG.
This upcoming book explores the role of women in pop music in 1975.
Editoral Review
Jessica Hoppers The First Collection of Criticism by a Living Female Rock Critic is a groundbreaking collection of essays that challenges traditional music criticism and sheds light on the experiences of women in the rock industry. As a veteran music journalist and former editor of The Pitchfork Review, Hopper has spent over two decades writing about music and culture from a feminist perspective.
In this book, she compiles some of her best work, spanning from 2003 to 2014, and offers a unique insight into the complexities of the music world. The book is divided into four parts, each one exploring a different theme.
Part One, “We Are All Women Here,” centers on women’s experiences in music, highlighting the ways in which gender shapes the dynamics of the industry. Part Two, “Rock Her World,” delves into the work of female musicians and the challenges they face in a male-dominated field.
Part Three, “Go Ahead Punk, Make My Dinner,” critiques the intersection of music and masculinity, while Part Four, “Emo: Where the Girls Aren’t,” unpacks the gendered aspects of music subcultures. In each essay, Hopper offers a nuanced analysis of the issues at hand, weaving together personal anecdotes, cultural criticism, and historical context.
One of the strengths of The First Collection of Criticism is Hoppers engaging writing style. She writes with a raw honesty and a biting wit that makes even the most complex topics accessible.
Hopper has a talent for crafting vivid descriptions, bringing her subjects to life with a lyrical touch. Whether she is writing about punk rock or Britney Spears, Hopper has a knack for making her readers feel as though they are right there with her.
Beyond her prose, Hoppers perspective is what makes this book truly remarkable. As a woman in the music industry, she brings a unique perspective to her writing.
Shes unafraid to call out sexism when she sees it, and shes equally unafraid to celebrate the work of women who have been marginalized in the industry. This book is a testament to the power of feminist criticism, and it offers an important counterpoint to the male-dominated canon of rock writing.
That being said, the book is not without its flaws. Some of the essays feel dated, particularly those that focus on specific events or artists from the early 2000s.
Additionally, while Hoppers feminist perspective is valuable, there are times when her analysis feels a bit reductive. She can be quick to assume that all female artists are struggling against the same barriers, even when their experiences are vastly different.
Despite its flaws, The First Collection of Criticism is a must-read for anyone interested in music writing, feminism, or the intersection of the two. Hoppers insights are sharp, and her writing is a joy to read.
This book provides a much-needed corrective to the male-dominated world of music criticism, and it offers a powerful reminder of the talents and experiences of women in the industry. Overall, I would give The First Collection of Criticism by a Living Female Rock Critic an 8 out of 10.
While there are some limitations to the book, the strengths far outweigh the weaknesses. This book is an important contribution to the world of music writing, and it deserves to be read widely.
