the first collection of criticism by a living female rock critic

With the ubiquity of online shopping, I really miss wandering into a bookstore and “discovering” a new book for which I’ve never seen a review, never heard of before, and just picking it up on a whim. Do you miss that sometimes? I know I can still do that, but still. It’s somehow not the same. Anyway, The First Collection of Criticism by a Living Female Rock Critic by Jessica Hopper was a rare pleasant bookshop discovery for me last year. Edited from Goodreads:

Jessica Hopper’s music criticism has earned her a reputation as a firebrand, a keen observer and fearless critic not just of music but the culture around it. […] Through this vast range of album reviews, essays, columns, interviews, and oral histories, Hopper chronicles what it is to be truly obsessed with music. The pieces in The First Collection send us digging deep into our record collections, searching to re-hear what we loved and hated, makes us reconsider the art, trash, and politics Hopper illuminates, helping us to make sense of what matters to us most.

I was initially attracted by the cover and assertive title when I came across it at A Room of One’s Own, my favorite bookstore in Madison, Wisconsin, which I have to hit up every time I’m in my hometown for a visit. I admit I had never heard of Hopper before, not so much because she’s a critic that is a woman but because I don’t read Pitchfork or other music ‘zines—not regularly anyway, not enough to follow or even become acquainted with the names of certain writers. As a music reviewer in Kansas City myself at the time, I simply couldn’t resist buying The First Collection. I’m so glad I did because not only did this collection speak to me as a reviewer and critic, but also as a feminist and a woman whose adolescence was shaped during a certain period of popular music history covered here by Hopper.

Right off the bat, Hopper clarifies that she is, of course, not the first female music writer. The title serves as a call to recognize those who came before her and question why women aren’t more visible in this field. Hopper’s writing throughout the essays in The First Collection is pointed and distinctive, and I especially enjoyed her personal musings on her relationship with music. I wasn’t a Riot Grrl in the ’90s and punk isn’t my taste per se, but the feminist messaging certainly spoke to me then and Hopper’s insights on this subject affected me now, too. I don’t remember every essay (there are many), but the ones that still stand out to me a year after reading The First Collection are those about Miley Cyrus, the commercialism and corporatization of punk and alternative music festivals (Vans Warped Tour, Lollapalooza), the making of Hole’s Live Through This (even though I can’t stand Hole!), and her trip to Michael Jackson’s hometown after he died. The best and most thorough piece, though, is her interview with Jim DeRogatis about R. Kelly’s sexual misconduct and assault of underage black girls, who received no justice and whose lives were basically ruined (DeRogatis is the one who originally broke the story).

The First Collection was one of the best books I read in 2016, and I sure hope this book, Hopper, and her predecessors inspire a new generation of women music writers in the future.

Read in March 2016.

lexicon of musical invective

Nicholas Slonimsky’s Lexicon of Musical Invective was a composer’s delight! It was the perfect blend of criticism and humor, and also had colorful language and great insight into the general mindsets and opinions of music and performance practices at the time of each inclusion. I admit I could only read the book one short segment at a time as its content was overwhelmingly negative. That said, it was still interesting to read the cutting personal attacks on the composers rather than critiques just about the music or the performance. I would highly recommend this book to anyone interested in music history and criticism. This should also be required reading for every composer!