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Collects Ellen Willis' writings on popular music from her career at the New Yorker and other publications.
Originally published: Hanover: Published by University Press of New England [for] Wesleyan University Press, c1992.
"Offering a compelling and cohesive narrative of Willis's liberationist "transcendence politics," the essays--among them previously unpublished and uncollected pieces--are organized by decade from the 1960s to the 2000s.... [It]concludes with excerpts from Willis's unfinished book about politics and the cultural unconscious, introduced by her longtime partner, Stanley Aronowitz. An invaluable reckoning of American society since the 1960s, this volume is a testament to an iconoclastic and fiercely original voice. "--
What do young women care about? What are their hopes, worries, and ambitions? Have they heard of feminism, and do they relate to it? These are just a few of the questions journalist Nona Willis Aronowitz and photographer Emma Bee Bernstein set out to answer in Girldrive. In October 2007, Aronowitz and Bernstein took a cross-country road trip to meet with the 127 women profiled in this book, ranging from well-known feminists like Kathleen Hanna, Laura Kipnis, Erica Jong, and Michele Wallace, to women who don t relate to feminism at all. The result of these interviews, Girldrive is a regional chronicle of the struggles, concerns, successes, and insights of young women who are grapplingjust as hard as their mothers and grandmothers didto find, define, and fight for gender equity. "
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. With this volume spanning from her punk fanzine roots to her landmark piece on R. Kelly's past, The First Collection leaves no doubt why The New York Times has called Hopper's work "influential." Not merely a selection of two decades of Hopper's most engaging, thoughtful, and humorous writing, this book documents the last 20 years of American music making and the shifting landscape of music consumption. The book journeys through the truths of Riot Grrrl's empowering insurgence, decamps to Gary, IN, on the eve of Michael Jackson's death, explodes the grunge-era mythologies of Nirvana and Courtney Love, and examines emo's rise. 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.
One of our great essayists and journalists—the Dean of American Rock Critics, Robert Christgau—takes us on a heady tour through his life and times in this vividly atmospheric and visceral memoir that is both a love letter to a New York long past and a tribute to the transformative power of art. Lifelong New Yorker Robert Christgau has been writing about pop culture since he was twelve and getting paid for it since he was twenty-two, covering rock for Esquire in its heyday and personifying the music beat at the Village Voice for over three decades. Christgau listened to Alan Freed howl about rock ‘n’ roll before Elvis, settled east of Manhattan’s Avenue B forty years before it was cool, witnessed Monterey and Woodstock and Chicago ’68, and the first abortion speak-out. He’s caught Coltrane in the East Village, Muddy Waters in Chicago, Otis Redding at the Apollo, the Dead in the Haight, Janis Joplin at the Fillmore, the Rolling Stones at the Garden, the Clash in Leeds, Grandmaster Flash in Times Square, and every punk band you can think of at CBGB. Christgau chronicled many of the key cultural shifts of the last half century and revolutionized the cultural status of the music critic in the process. Going Into the City is a look back at the upbringing that grounded him, the history that transformed him, and the music, books, and films that showed him the way. Like Alfred Kazin’s A Walker in the City, E. B. White’s Here Is New York, Joseph Mitchell’s Up in the Old Hotel, and Patti Smith’s Just Kids, it is a loving portrait of a lost New York. It’s an homage to the city of Christgau’s youth from Queens to the Lower East Side—a city that exists mostly in memory today. And it’s a love story about the Greenwich Village girl who roamed this realm of possibility with him.
Has the world’s hottest pop star been kidnapped, joined a secret sect, or simply gone into hiding? The answer lies in the abandoned subway stations of Chicago . . . One minute insanely famous pop singer Molly Metropolis is on her way to a major performance in Chicago, and the next, she’s gone. A journalist who’s been covering Molly joins the singer's personal assistant in an increasingly desperate search to find her, guided by a journal left behind in her hotel room, and possible clues hidden in her songs—all of which seem to point to an abandoned line in the Chicago subway system. It leads them to a map of half-completed train lines underneath Chicago, which in turn leads them to the secret, subterranean headquarters of an obscure intellectual sect—and the realization that they’ve gone too far to turn back. And if a superstar can disappear without a trace . . . what can happen to these young women? Suspenseful and wildly original, The Ghost Network is a novel about larger-than-life fantasies—of love, sex, pop music, amateur detective work, and personal reinvention. Debut novelist Catie Disabato bursts on the scene with an ingeniously plotted, witty, haunting mystery.