{"id":16241,"date":"2011-05-27T08:00:44","date_gmt":"2011-05-27T12:00:44","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=16241"},"modified":"2011-05-27T11:43:44","modified_gmt":"2011-05-27T15:43:44","slug":"ellen-willis","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/05\/27\/ellen-willis\/","title":{"rendered":"Out of the Vinyl Deeps"},"content":{"rendered":"<p><div id=\"attachment_16259\" style=\"width: 310px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-16259\" class=\"size-full wp-image-16259\" title=\"Ellen Willis in 1981. Photograph by Jade Albert.\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/05\/ellen-willis.jpg\" alt=\"\" width=\"300\" height=\"371\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/05\/ellen-willis.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/05\/ellen-willis-242x300.jpg 242w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-16259\" class=\"wp-caption-text\">Ellen Willis in 1981. Photograph by Jade Albert.<\/p><\/div>I have never particularly enjoyed rock criticism. It has a tendency to read bombastic, and the references feel dated almost instantly. None of this is true of Ellen Willis. When I first started reading her a few years ago, I wondered if I liked her writing simply because we share the same gender; now I think I like her because she was right.<\/p>\n<p>Willis, who was a native of Queens and a Barnard graduate, was hired by <em>The New Yorker<\/em> as the magazine\u2019s first pop-music critic in 1968. Her tenure lasted seven years, and her column, Rock, Etc., covered everything from The Rolling Stones and Joni Mitchell to the birth of punk and Bette Midler.<\/p>\n<p>Her criticism could be feisty (Carly Simon\u2019s \u201cwide-eyes lyrics inevitably aroused my class antagonism\u201d) or dismissive (The Velvet Underground\u2019s eponymous album was \u201call about death, junkies, Delmore Shwartz\u2014stuff like that\u201d), but it was always sharp (Elvis was \u201cJohn and Paul in one package\u201d).<\/p>\n<p>She understood fandom and feminism equally\u2014something all too rare in the present, where music criticism is still dominated by men. Willis was able to love Patti Smith as a rock-and-roll heroine but criticize her identity. She found Smith\u2019s \u201candrogynous, one-of-the guys image\u201d to be problematic. \u201cIts rebelliousness is seductive, but it plays into a kind of misogyny that consents to distinguish a woman who acts like one of the guys (and is also sexy and conspicuously \u2018liberated\u2019) from the general run of stupid girls.\u201d<\/p>\n<p>Which is why it\u2019s so unfortunate that she stopped writing about music in the early eighties. She felt like music had lost its edge after punk. She certainly didn\u2019t disappear\u2014she taught at NYU, wrote nonmusic criticism, and occasionally chimed in with a review of a Bob Dylan album when she felt like it\u2014but her legacy became somewhat obscure. Her death from lung cancer in 2006, at the age of sixty-four, only made it worse.<\/p>\n<p><!--more-->This month, University of Minnesota Press published the anthology <em><a href=\"http:\/\/www.stmarksbookshop.com\/book\/9780816672837\">Out of the Vinyl Deeps: Ellen Willis in Rock Music<\/a><\/em>. It was edited by Willis&#8217;s daughter, Nona Willis Aronowitz. A conference was held recently at New York University to explore Willis&#8217;s writing, how she laid the groundwork for a new generation of writers (music and otherwise), and how she passed the torch.<\/p>\n<p>The room was filled with many of her confidantes and colleagues, including her longtime partner Stanley Aronowitz and the critic Karen Durbin, who shared a colorful anecdote about Willis fighting with then <em>New Yorker<\/em> editor William Shawn about allowing the word <em>menstruation<\/em> to be used in one of her pieces on women\u2019s music.\u00a0On a panel called \u201cEllen Willis and the Cultural Conversation,\u201d NPR critic Ann Powers noted that the genius of Willis\u2019s writing was that \u201cEllen felt like she was talking to you. With you.\u201d That intimacy was something Nona Willis Aronowitz wanted attendees to come away with. The day was \u201cgiving my mom\u2019s work hand-to-mouth,\u201d Willis Aronowitz said a few nights after the conference.<\/p>\n<p>The conference also worked as a celebration of a bygone era, both for writers and New Yorkers, where deadlines were flexible and rent was cheap. \u201cEditors now wouldn\u2019t be satisfied with the ambivalence she had in her writing,\u201d Willis Aronowitz noted.<\/p>\n<p>And yet while the world has changed since the heyday of Willis\u2019s music writing, much of it still sounds prescient. In 1969, she wrote, \u201cIt\u2019s my theory that rock and roll happens between fans and stars, rather than between listeners and musicians\u2014that you have to be a screaming teenager, at least in your heart, to know what\u2019s going on.\u201d In 2011, it\u2019s now commonplace, fashionable even, for critics and fans alike to pledge their eternal, teenage-style love for popular music, from Katy Perry to Taylor Swift to Justin Bieber.<\/p>\n<p>Which comes to no surprise to Willis\u2019s daughter. \u201cEvery time someone takes pop culture seriously,\u201d she said, \u201cthey\u2019re showing the influence of my mom.\u201d<\/p>\n<p><em>Marisa Meltzer is the author of <\/em><a href=\"http:\/\/us.macmillan.com\/girlpower\">Girl Power<\/a> <em>and<\/em> <a href=\"http:\/\/us.macmillan.com\/howsassychangedmylife\">How Sassy Changed My Life<\/a><em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I have never particularly enjoyed rock criticism. It has a tendency to read bombastic, and the references feel dated almost instantly. None of this is true of Ellen Willis. When I first started reading her a few years ago, I wondered if I liked her writing simply because we share the same gender; now I [&hellip;]<\/p>\n","protected":false},"author":25,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1187],"tags":[2376,2377,46,2379,2378,2380,40],"class_list":["post-16241","post","type-post","status-publish","format-standard","hentry","category-on-music","tag-ellen-willis","tag-lung-cancer","tag-music","tag-music-criticism","tag-out-of-the-vinyl-deeps","tag-rock-criticism","tag-the-new-yorker"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Out of the Vinyl Deeps by Marisa Meltzer<\/title>\n<meta name=\"description\" content=\"May 27, 2011 \u2013 I have never particularly enjoyed rock criticism. 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