When young people are excited about stuff they tell me about things. And especially when I was working at Rookie, that was basically all we covered - young music, young bands. I’m really fortunate that I work with cool people and young writers.
Obviously it’s part of your job to know what’s up, but I’m curious about how you made room for, or prioritized, discovering new music after starting a family.
I’ve been thinking a lot about that weird study that says people stop discovering music after the age of thirty-three. Jessica and I talked about her book, genre-hopping, and finding yourself in your work. The title is a nod to the ways publishing and journalism have historically obscured women’s expertise, but also a 2015 manifesto - a physical handbook for a generation that can (more) easily locate itself and its ideologies in the media, on Twitter and Tumblr. She’s in the city to promote her second book, a collection of genre-spanning interviews and essays cheekily titled The First Collection of Criticism By A Living Female Rock Critic. “I’m a go-getter in a lot of ways and there came a point where I started asking for what I wanted really explicitly - regardless of the repercussions,” Hopper says on the phone from her sister’s couch in New York City. She was the music editor at Rookie before migrating to the seminal music blog in 2014. Editor-in-chief of the new quarterly, The Pitchfork Review, and the brains behind the site’s intelligent and far-out new op-ed column, The Pitch, Hopper spent over 15 years freelancing before she entered the editorial fray.
If you are a young music writer - but particularly if you’re a young writer who identifies as a woman - chances are you’ve gotten an e-mail from Jessica Hopper.
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