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==Influence on Popular Music Criticism==
==Influence on Popular Music Criticism==
Willis was the first popular critic for ''[[The New Yorker]]'', between 1968 and 1975, and as such was one of the first American popular music critics to writing for a national audience. She got the job after having published only one article on popular music in the underground magazine Cheetah, "Dylan," in 1967. In addition to her "Rock, etc." column in the New Yorker, she also published criticism on popular music in ''[[Rolling Stone]]'', the ''[[Village Voice]]'', and for liner notes and book anthologies, most notably her essay on the [[Velvet Underground]] for the Greil Marcus "desert island disc" anthology ''[[Stranded (album)|Stranded]]'' (1979). Contemporary Richard Goldstein characterized her work as "liberationist" at its heart and said that "Ellen, Emma Goldman, and Abbie Hoffman are part of a lost tradition-radicals of desire."<ref>{{cite book|last=Willis|first=Ellen|title=Out of the Vinyl Deeps|year=2011|publisher=University of Minnesota Press|author=Sasha Frere-Jones|authorlink="Forward"|page=xiii}}</ref>
Willis was the first popular music critic for ''[[The New Yorker]]'', between 1968 and 1975. As such, she was one of the first American popular music critics to write for a national audience. She got the job after having published only one article on popular music in the underground magazine Cheetah, "Dylan," in 1967. In addition to her "Rock, etc." column in the New Yorker, she also published criticism on popular music in ''[[Rolling Stone]]'', the ''[[Village Voice]]'', and for liner notes and book anthologies, most notably her essay on the [[Velvet Underground]] for the Greil Marcus "desert island disc" anthology ''[[Stranded (album)|Stranded]]'' (1979). Contemporary Richard Goldstein characterized her work as "liberationist" at its heart and said that "Ellen, Emma Goldman, and Abbie Hoffman are part of a lost tradition-radicals of desire."<ref>{{cite book|last=Willis|first=Ellen|title=Out of the Vinyl Deeps|year=2011|publisher=University of Minnesota Press|author=Sasha Frere-Jones|authorlink="Forward"|page=xiii}}</ref>


She was a contemporary and friend of notable critics [[Robert Christgau]], Georgia Christgau, [[Greil Marcus]], and [[Richard Goldstein]],{{dn}} among others. Christgau, [[Joe Levy]], [[Evelyn McDonnell]], [[Joan Morgan]], and [[Ann Powers]] have all cited her as an influence on their careers and writing styles.<ref>{{cite book|last=Willis|first=Ellen|title=Out of the Vinyl Deeps|year=2011|publisher=University of Minnesota Press|author=Carr, Daphne|authorlink="Raise Your Hand"|coauthors=Nagy, Evie|chapter=Afterword}}</ref> In 2011, the first anthology exclusively devoted to Willis's popular music writing, ''Out of the Vinyl Deeps'' (University of Minnesota Press), arrived. It was announced that a conference at New York University, Sex, Hope, & Rock 'n' Roll: The Writings of Ellen Willis,<ref name="Sex, Hope & Rock 'n' Roll Conference website">{{cite web|url=http://ellenwillis2011.blogspot.com/|work=website}}</ref> will celebrate her anthology and pop music criticism on April 30, 2011.{{update after|2011|04|30}}
She was a contemporary and friend of notable critics [[Robert Christgau]], Georgia Christgau, [[Greil Marcus]], and [[Richard Goldstein]],{{dn}} among others. Christgau, [[Joe Levy]], [[Evelyn McDonnell]], [[Joan Morgan]], and [[Ann Powers]] have all cited her as an influence on their careers and writing styles.<ref>{{cite book|last=Willis|first=Ellen|title=Out of the Vinyl Deeps|year=2011|publisher=University of Minnesota Press|author=Carr, Daphne|authorlink="Raise Your Hand"|coauthors=Nagy, Evie|chapter=Afterword}}</ref> In 2011, the first anthology exclusively devoted to Willis's popular music writing, ''Out of the Vinyl Deeps'' (University of Minnesota Press), arrived. It was announced that a conference at New York University, Sex, Hope, & Rock 'n' Roll: The Writings of Ellen Willis,<ref name="Sex, Hope & Rock 'n' Roll Conference website">{{cite web|url=http://ellenwillis2011.blogspot.com/|work=website}}</ref> will celebrate her anthology and pop music criticism on April 30, 2011.{{update after|2011|04|30}}

Revision as of 21:14, 23 June 2011

Ellen Jane Willis
Born(1941-12-14)December 14, 1941
DiedNovember 9, 2006(2006-11-09) (aged 64)
OccupationJournalist
SpouseStanley Aronowitz

Ellen Jane Willis (December 14, 1941 – November 9, 2006) was an American left-wing political essayist, journalist, and pop music critic.

Biography

Willis was born in Manhattan, and grew up in the boroughs of the Bronx and Queens in New York City.[1] Her father was a police lieutenant in the New York City Police Department.[1] Willis attended Barnard College[1] as an undergraduate and did graduate study at University of California, Berkeley, where she studied comparative literature for a semester but left graduate school shortly afterwards. [citation needed] In the late 1960s and 1970s, she was the first pop music critic for The New Yorker, and later wrote for, among others, the Village Voice, The Nation, Rolling Stone, Slate, and Salon, as well as Dissent, where she was also on the editorial board. She was the author of several books of collected essays. At the time of her death, she was a professor in the journalism department of New York University and the head of its Center for Cultural Reporting and Criticism.[2] She lived in Queens with her husband Stanley Aronowitz and her daughter, Nona Willis-Aronowitz. On November 9, 2006, she died of lung cancer.[2] Her papers were deposited in the Arthur and Elizabeth Schlesinger Library on the History of Women in AmericaRadcliffe Institute at Harvard University in 2008.

In his 1984 volume "Dance With the Devil", Stanley Booth compared her physical appearance to "Emily Dickinson with tuberculosis" and said that during an interview with the Rolling Stones, she handled like a "blowtorch" a marijuana cigarette that had been given her.

Writing and activism

She is also known for her feminist politics and was a member of New York Radical Women and subsequently co-founder in early 1969 with Shulamith Firestone of the radical feminist group Redstockings.[3] She was one of the few women working in music criticism during its inaugural years, when it was predominantly a male-dominated field. Starting in 1979, Willis wrote a number of essays that were highly critical of anti-pornography feminism, criticizing it for what she saw as its sexual puritanism and moral authoritarianism, as well as its threat to free speech. These essays were among the earliest expressions of feminist opposition to the anti-pornography movement. Her 1981 essay, "Lust Horizons: Is the Women's Movement Pro-Sex?" is the origin of the term, "pro-sex feminism".[4] She was also a strong supporter of women's abortion rights, and in the early 1980s was a founding member of the pro-choice street theater and protest group No More Nice Girls.

A self-described anti-authoritarian democratic socialist, she was very critical of what she viewed as social conservatism and authoritarianism on both the political right and left. In cultural politics, she was equally opposed to the idea that cultural issues are politically unimportant, as well as to strong forms of identity politics and their manifestation as political correctness. In several essays and interviews written since the September 11 attacks, she cautiously supported humanitarian intervention and, while opposed to the US invasion of Iraq,[5] she criticized certain aspects of the anti-war movement.[6][7]

Coming from a Jewish background, Willis also wrote a number of essays on anti-Semitism, and was particularly critical of left anti-Semitism. Occasionally she wrote about Judaism itself, penning a particularly notable essay about her brother's spiritual journey as a Baal Teshuva for Rolling Stone in 1977.[8]

Willis saw political authoritarianism and sexual repression as closely linked, an idea first advanced by psychologist Wilhelm Reich; much of Willis' writing advances a Reichian or radical Freudian analysis of such phenomena. In 2006 she was working on a book on the importance of radical psychoanalytic thought to current social and political issues.[2]

Willis was the first popular music critic for The New Yorker, between 1968 and 1975. As such, she was one of the first American popular music critics to write for a national audience. She got the job after having published only one article on popular music in the underground magazine Cheetah, "Dylan," in 1967. In addition to her "Rock, etc." column in the New Yorker, she also published criticism on popular music in Rolling Stone, the Village Voice, and for liner notes and book anthologies, most notably her essay on the Velvet Underground for the Greil Marcus "desert island disc" anthology Stranded (1979). Contemporary Richard Goldstein characterized her work as "liberationist" at its heart and said that "Ellen, Emma Goldman, and Abbie Hoffman are part of a lost tradition-radicals of desire."[9]

She was a contemporary and friend of notable critics Robert Christgau, Georgia Christgau, Greil Marcus, and Richard Goldstein,[disambiguation needed] among others. Christgau, Joe Levy, Evelyn McDonnell, Joan Morgan, and Ann Powers have all cited her as an influence on their careers and writing styles.[10] In 2011, the first anthology exclusively devoted to Willis's popular music writing, Out of the Vinyl Deeps (University of Minnesota Press), arrived. It was announced that a conference at New York University, Sex, Hope, & Rock 'n' Roll: The Writings of Ellen Willis,[11] will celebrate her anthology and pop music criticism on April 30, 2011.[needs update]

Notes

  1. ^ a b c Margalit Fox, Ellen Willis, 64, Journalist and Feminist, Dies, New York Times, November 10, 2006.
  2. ^ a b c Official page on the site of the Department of Journalism, New York University, accessed 7 July 2007
  3. ^ Ellen Willis, "Radical Feminism and Feminist Radicalism", 1984, collected in No More Nice Girls: Countercultural Essays, Wesleyan University Press, 1992, ISBN 0-8195-5250-X, p. 117–150, especially p. 119, 124.
  4. ^ Ellen Willis, Lust Horizons: The 'Voice' and the women's movement, Village Voice 50th Anniversary Issue, 2007. This is not the original "Lust Horizons" essay, but a retrospective essay mentioning that essay as the origin of the term. Accessed online 7 July 2007. A lightly revised version of the original "Lust Horizons" essay can be found in No More Nice Girls, p. 3–14.
  5. ^ Ellen Willis, Ellen Willis Responds, Dissent, Winter 2003. Accessed online 7 July 2007.
  6. ^ Why I'm not for Peace, Radical Society, April 2002, p. 13–19; copy formerly posted on Willis's NYU faculty site was archived on the Internet Archive 23 December 2005. Accessed online 7 July 2007.
  7. ^ March 27, 2003 broadcast, Doug Henwood's radio archives, Left Business Observer.
  8. ^ Ellen Willis, Next Year in Jerusalem, originally published in Rolling Stone, April 1977.
  9. ^ Willis, Ellen (2011). Out of the Vinyl Deeps. University of Minnesota Press. p. xiii. {{cite book}}: More than one of |author= and |last= specified (help)
  10. ^ Willis, Ellen (2011). "Afterword". Out of the Vinyl Deeps. University of Minnesota Press. {{cite book}}: More than one of |author= and |last= specified (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  11. ^ website http://ellenwillis2011.blogspot.com/. {{cite web}}: Missing or empty |title= (help)

Bibliography

Books

  • Echols, Alice (1989). Daring to Be Bad: Radical Feminism in America 1967-1975. University of Minnesota Press. ISBN 0816617864. {{cite book}}: |access-date= requires |url= (help) Willis wrote the foreword to a book by Alice Echols

Essays by Ellen Willis

Reviews and critiques of Ellen Willis

Interviews

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