Jessica Hopper Unpacks The First Collection of Criticism by a Living Female Rock Critic
Author Photo by David SampsonIf you’ve seen Rushmore, then imagine Jessica Hopper at the start of her career as a punk-and-indie-rock Max Fischer. She was writing for publications 30-something music journalists were pitching to before she even donned a cap and gown for her high school graduation. Seeing as The Pitchfork Review Editor-in-Chief possesses one of the most distinctive voices in the world of music criticism, it’s easy to appreciate how she blazed a trail through the musical cosmos so early on.
This month heralds the release of Hopper’s newest book, The First Collection of Criticism by a Living Female Rock Critic. It’s a career-spanning set of pieces kaleidoscopically chronicling the wrongfully acquitted crimes of R. Kelly, the misogyny implicit in emo rock, the fall of a Christian indie rock icon into faithlessness and the way Van Morrison brings Hopper to tears.
Paste caught up with Hopper to chat about writing in her teens, editing as an adult and how her love for people and human rights has only grown throughout her life.
Paste: Since this is a collection of criticism, the book focuses more on the artists you’re writing about than on your own life. Can you walk us through the early days of your writing career?
Jessica Hopper: I started working on my first fanzine when I was in eighth grade. I was into punk rock and independent music for all of five or six months before I started working on a fanzine. In my mind, that was all the expertise I needed. When I first started writing, it was an act of fanship and devotion, but it was also a time before the Internet. Back then I was in a smaller scene [Minneapolis]. I remember hearing conversations and getting the sense from older people in the scene I was around that they were looking down on people that just went to shows and didn’t contribute in some way. You either put on shows, made fliers, had a band, something. There was that aspect: if you care about something, you participate and help keep it alive!
I did want to write about my favorite bands, and I pitched to some local music publications in Minneapolis. Pre-Internet, there were actually quite a few. I said, “I want to write Babes in Toyland,” and they asked, “How old are you?” I said “I’m in ninth grade,” and they asked, “Have you ever written before?” Needless to say, I did not get that assignment. Not one of my stronger pitches.
Ultimately, I was spurred on by someone’s “no,” but there wasn’t this dismissive vibe toward fangirlism or fangirls as there is now. Historically, that’s always been there, but, at the time and place I was at, I had so much excitement and energy for music coursing out of me at all times. Rather than people saying I didn’t know enough, wasn’t official and I wouldn’t be allowed into the clubhouse, people were like, “Hey! If I give you $35, will you review this Free Kitten album for three pages?” And I’d say, “Yeah!” My interest and my fandom were met at the door. I know that’s a very unique and special thing, because most tenth graders don’t get that kind of leg up. [Laughs]
When I was 18-19 years old, I was writing for SPIN and Grand Royal (a short-lived magazine the Beastie Boys put out) and a handful of other places. I regularly came home from high school, and instead of doing homework, I did freelance assignments, faxed stuff to my editors, worked on my fanzine or editing my friends’ pieces. As soon as I started, it was my life. I didn’t really think of it as a career until I was doing it full time 10 years later when I quit doing PR and managing bands. It wasn’t until I was about 27-28 years old that working with music was causing me to lose my love of it, and I was getting offers to write where they were saying, “When you’re willing to quit PR, we have stuff for you.” So the ground rose to meet me, and I’ve been doing it ever since.
Paste: Have there been lessons from your early freelance years that you’ve carried over into your editorial years?
Hopper: I’ve always stuck to my guns when it comes to what I’ll write about. I’ve always written with a feminist lens and from a feminist perspective—that part has never wavered. I had a very specific wheelhouse for a long time. People would come to me when they needed that thing. That’s basically how I built a career. You can see in the book, I’ve had a long career of writing about things I’ve wanted to write about. That’s not to say I didn’t pay my bills for many years just writing concert previews and whatnot. A book like this turns my career into a little bit of a fable. Towards the end of my freelancing years, I had about six regular gigs, three columns and worked as an editor in two different places. You have to hustle.