Yesterday Jessica Hopper announced that Wednesday had been her last day as an employee of recently Condé Nast-isized multimedia music conglomerate Pitchfork, where she’d been a senior editor for the website and editor in chief of print quarterly The Pitchfork Review since October 2014.
Yesterday was my last day at Pitchfork, sad I didn’t get a chance to write/publish my “Mac DeMarco is the Millennial Leo Sayer” think piece.
— Jessica Hopper (@jesshopp) November 12, 2015
Am grateful I got to do the work I did there with The Pitch +The Pitchfork Review, and that I got to work with some really wonderful folks
She also reiterated her point about the doors that had opened because of the success of her second book, published earlier this year by Chicago imprint Featherproof: The First Collection of Criticism by a Living Female Rock Critic compiles reviews, feature stories, and interviews that span her career, including a dozen pieces originally published in the Reader and dating back to 2004. (Hopper also wrote the bite-size music-news column Gossip Wolf with me from 2010, when the Reader launched it, till 2012.) Over the past year she’s begun a series of very necessary public conversations, both on Twitter and in her appearances at music conferences such as Australia’s Bigsound, about the marginalization, mistreatment, and often naked aggression that women, people of color, and LGBT-identified people encounter in pretty much every aspect of the music industry, whether they’re fans, performers, critics, or folks working at nightclubs or other venues.
Breaking from holiday Twitter ban to say that working with @jesshopp even for 7 months was like studying christianity under jesus herself
— Laura Snapes (@laurasnapes) November 12, 2015
