A book that every fan of rock music should read. A real look at the music industry as a whole that will make you feel validated, a bit overwhelmed but far more knowledgable.

In ‘The First Collection of Criticism by a Living Female Rock Critic’, Jessica Hopper brings her keen insights, razor-sharp wit, and unapologetic feminist perspective to the forefront, offering a compelling and vital exploration of music, culture, and the ongoing struggle for gender equality within the industry. Hopper's collection of essays and reviews serves as both a testament to her own career as a music journalist and a rallying cry for greater representation and recognition of women in rock criticism.

The book is divided into sections that cover a wide range of topics, from personal reflections on Hopper's own experiences in the industry to in-depth analyses of specific artists, albums, and cultural movements. Hopper's writing is passionate, articulate, and unafraid to challenge the status quo. She delves beyond mere musical analysis, weaving together social commentary, personal anecdotes, and cultural observations to create a multidimensional exploration of the music world.

One of the most notable strengths of Hopper's collection lies in her ability to unearth the overlooked and marginalized voices within the music industry. She highlights the contributions of female artists, examines the impact of gender inequality, and exposes the inherent biases and double standards that persist. Hopper's feminist lens provides a refreshing and necessary perspective, shedding light on the struggles faced by women in a male-dominated industry and advocating for their recognition and empowerment.

Hopper's writing is infused with a palpable passion for music, and her love for the art form shines through in every essay. Her ability to capture the essence of a particular artist or album is captivating, often offering readers a deeper appreciation and understanding of the music. Whether she's dissecting the cultural significance of riot grrrl, celebrating the power of punk, or examining the complexities of pop music, Hopper's writing is engaging and thought-provoking.

‘The First Collection of Criticism by a Living Female Rock Critic’ is not only a celebration of music but also a call for change. Hopper's eloquent and powerful voice sparks a larger conversation about representation, inclusivity, and the need for diverse perspectives in the realm of music criticism. Her writing challenges readers to critically examine the music they consume and the systems that shape it, while also highlighting the transformative potential of art as a catalyst for social change.

While Hopper's collection is undeniably enlightening and impactful, some readers may find certain essays or topics more resonant than others, depending on their personal musical interests and familiarity with the artists discussed.

‘The First Collection of Criticism by a Living Female Rock Critic’ is a significant and empowering work that shines a light on the contributions of women in music and challenges the patriarchal norms of the industry. Jessica Hopper's critical analysis, insightful commentary, and unwavering commitment to feminism make this collection a vital read for music enthusiasts, cultural critics, and anyone invested in the ongoing conversation surrounding gender equality and representation in the arts.

A huge thank you to NetGalley and Farrar, Straus and Giroux for the advanced reader’s copy. All opinions expressed are my own.

i would read anything hopper writes. she's just superlative in the way she can turn a phrase. The 2015 collection of rock writer Jessica Hopper’s work, The First Collection of Criticism By A Living Female Rock Critic, was a breathtaking collection—digging into criticism, interviews, essays, and first-person narratives from the Chicago journalist’s witty and insightful style. The title was a thumbed nose at the patriarchal establishment who would deign to publish multiple collections from men writing in the rock journalism sphere, but relegate women to career retrospectives, if not outright erasing them.

Jessica Hopper is a pioneer and keen observer of the landscape of the music industry. I first became a fan of hers while attending college in her native Chicago, but this collection only cemented my appreciation. She is a woman in a male dominated field who is absolutely fearless in her writing, which is eloquent and thought provoking. I felt a kinship with Hopper, she's a punk rock riot girl and, while I wouldn't call myself one, I totally identify with that music scene and I understand where she's coming from.

In fact, the first essay after the intro, "Emo: Where the Girls Aren't" spoke to me, because I totally understood it. Emo music was such a huge part of my cultural identity as a teenager and I remember acknowledging that there were so few women in the subculture. More-so, most of the songs are by men, about having been wronged by women in some regard. While I'm no longer a teenager, I will always have a soft spot for Emo, though I was always left wanting more because I didn't have many female fronted bands, let alone all female bands to rely on.

Jessica Hopper feels like who I wanted to be at thirteen and, after reading her book, I think she's still who I want to be now! She's totally authentic and badass and she has cemented my fandom.

Thank you to Net Galley for the ARC!

Music fans, you’re going to want to check this one out. I mean, just scan through the vast table of contents and try not to get excited about every single essay. 🙌🏼

First off, that title. Um WHOA. We need waaay more females out there.

Secondly, when the cover says the forward is by essay goddess, SAMANTHA IRBY I don’t care what it’s about, I’m reading it. She could write about basket-weaving and I would still give it 5 stars and scream with laughter and recognition.

Hopper covers a huge span of years and genres with her writing. There’s something for every kind of music lover here. Even though there were several essays about music I’m not familiar with, she’s able to make everything interesting and valuable, which is the mark of a great critic, I think.

Some of my favorite essays are about Chance the Rapper, Kacey Musgraves, Fleetwood Mac, Vans Warped Tour, Nicki Minaj, M.I.A, Janelle Monae, one from several years ago about the horror of R. Kelly’s sexual abuse, and one that praises the women that helped start the magazine, Rolling Stone.

I’m a gigantic Chuck Klosterman fan and really of any kind of pop culture essays so of course I’m going to jump at the chance to read fantastic essays from a music critic.

If you’re a music and essay fan, pick this one up! Thank you to @netgalley for this great book! 😍

“I want it. I need it. All these records, they give me a language to decipher just how f**ked I am. Because there is a void in my guts that can only be filled by songs.”
(Jessica Hopper)

So, normally I avoid professional music critics and reviewers like they have the plague. They almost never like what I like, and who cares what they think, right? Music is personal and you should listen to what moves you, and love what you love, no matter what anyone else thinks. But I was intrigued by the title and the blurb, and so I picked this book, read this quote in the opening section of the book, and I felt it. Though I didn’t always agree with her, and some of the choices were uneven, most of the pieces chosen for The First Collection of Criticism by a Living Female Rock Critic articles were thought-provoking, and all provided a snapshot of the culture and music of the early 2000s.

Thank you to NetGalley and Farrar, Straus and Giroux (MCD x FSG Originals) for the opportunity to read and review The First Collection of Criticism by a Living Female Rock Critic.

Thanks to MCD x FSD Originals and NetGalley for an ARC of this title.

I missed this when it first came out, so this new revised-and-expanded reissue of Jessica Hopper's criticism was a lovely chance to dig into her work. I wasn't familiar with her name, but as I dug into these pieces, I realized I had read these before at Pitchfork, the Village Voice's Pazz and Jop year-end features and others. Samantha Irby's new preface really nails what makes Hopper's work electric, and the thematic arrangement of essays/reviews in the book helps provide great context for the various topics that get revisited in her work that you wouldn't see otherwise.

All I knew about Jessica Hopper before reading this book was what I read in Sara Marcus's Girls to the Front, which frankly made her sound like a bit of a poser. What a relief, then, to find that this collection is excellent--it's like a mixtape of different types of pieces about different types of music, musicians, and scenes, and even when you have no prior knowledge of the topics she's writing about, you want to keep reading--her style is clear and brisk and creative and unapologetically feminist. Very glad I gave this book a chance.

I think that Jessica Hopper's writing is incredibly gripping. Her piece on R. Kelly is incredibly chilling. I think if you like cultural criticism through the lens of music, you are going to like Hopper's collection

So well written so fascinating.If you love music drawn to the music of female musicians this brilliant collection is one you will devour.Highky recommend really enjoyed.#netgalley#fsg

My thanks to NetGalley and the publisher Farrar, Straus and Giroux for an advanced copy of this revised and expanded edition of rock criticism.

The First Collection of Criticism by a Living Female Rock Critic is a reissue with expanded reviews and a new afterword but noted rock writer Jessica Hopper. Rap, punk, experimental, numerous genres are reviewed and examined, with profiles and oral histories of important albums and events. What I enjoyed most was Ms. Hopper's eye, well I guess ear. She knows her music, can hear and see through the mediocre and record company plaudits and get to the heart of good music. Ms. Hopper knows her stuff, where the influences come from and can write in a way that is not snobbish or to quote LCD Soundsystem, "Losing My Edge", "I had everything before everyone." Yes I get the fact that I am pretentious for writing that.

Also it was fun to revisit old musical friends in Ms. Hopper's reviews. My favorite was a review of small show she was at that featured the band Screaming Females. I loved them years ago, but have thought little about them since then. Stupid me. They still rock and have not left my turntable since reading the book.

The afterward is a summation of Ms. Hopper's life and experiences as a woman in music and journalism, and as a woman in this world. Music can bring so much love and joy into people's lives, can change and even save a life, but too many people allow it to cheapen and degrade others in so many ways. And that is the great tragedy about music.

This is a perfect gift for a music enthusiast, a young woman staring at writing and journalism, or or people who just enjoy excellent criticism and essays.

I particularly enjoyed the breadth of this collection, both in the type of music and the type of writing in the collection, whether it's profiles, interviews, or reviews. I am very much in the category of people who like listening to music, but wouldn't know where to start when it comes to analyzing it, so it was fascinating to see the different directions Hopper's own experience and analysis goes in (all of which was well-supported by the way the collection was thematically split up). I'll be revisiting this collection whenever I want to think more about how we talk about music, and especially the women who shape the music we listen to--whether that's as the artist or as the critic.

I don't usually read much about music. I love music, but in a casual (or at least somewhat clueless) sort of way that doesn't really encourage much reading about it. I am, however, a huge fan of cultural criticism in general; when its well-written and passionate, I rarely care what its analyzing. And that, I think, is what makes The First Collection of Criticism by a Living Female Rock Critic a great read. Jessica Hopper is a fantastic critic and her pieces are not just about the big names of rock. In fact, most of her work attempts to capture the small-scale, personal experience of music, of people rocking out no matter who is looking and the joy of encountering something that sweeps you up in the moment. And it certainly doesn't hurt that this has an introduction by the hilarious and brilliant Samantha Irby. Highly recommended to music lovers as well as to those who just enjoy good critical journalism by someone who loves their subject deeply.

Super interesting book. I studied music journalism in college so this was an interesting topic for me. Was fabulous.