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When a collection of my mom Ellen Willis’s rock criticism, called Out of the Vinyl Deeps, was released in the spring of 2011, it fell into open arms. Veteran music writers rediscovered forty-year-old writings, while brand-new cultural critics reblogged her photos and quotes on Tumblr. It was a multigenerational outpouring of appreciation, a sense that this collection really did fill a void, really had revised the lineup of Important Rock Writers.
But something wasn’t quite right. People who were just picking her up labeled her a “rock critic” first and foremost, even though she’d written about music for really only the first seven years of her career. Many fans were completely unaware that after and during her stint as the first pop music critic at the New Yorker she was a contributing columnist for Rolling Stone, a longtime Village Voice staffer, a feminist activist—the take-to-the-streets kind—and eventually a professor who invented a new and still unrivaled cultural reporting program at New York University. One reviewer wrote that she “left the profession” after The New Yorker to “pursue academia.”1 My mother would be mortified.
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