My first, and only, internship was with Tony Lioce at The Providence Journal. I was going to college (yeah, Brown) in Providence, but really, I was going to clubs. Tony was a semi-legend around town. He had been the music critic at the ProJo. Before that, he was a sort of Tom White High Society gossip spy. When I “apprenticed” with him, for all of a week, he had graduated to editor. He was a total character and a great guy. Musicians around town kind of resented him because he bigged-up Throwing Muses after Kristin Hersh and Tanya Donnelly had been his babysitters. That was jealousy, sour grapes; the Muses were geniuses, and that’s just how cool Lioce was — they babysat his kid! And yeah, he used to hang out with the Velvet Underground. These days he’s bartending in San Francisco. And he wrote this great piece for the Sunday Times about Lou Reed.
When Backstage Was No Big Deal – NYTimes.com.
In 1985 I was a junior at Brown University, and already, I was aware of the rockcrit chauvinist establishment. I don’t actually remember my feminist consciousness being so raised, but recently, I received documentary evidence. In an application for an internship at the Providence Journal, I wrote, “My experience has taught me that it is very difficult to break into any aspect of the music business, particularly for a woman.” Tony Lioce, the Pro Jo‘s former music critic, recently sent me a copy of this application (I can’t believe he’s been carting it around all these years)! I got the job, and in fact, Lioce and other editors at the ProJo were extremely helpful in my effort to get “a foothold in bridging the musical gender gap.”
Check out the application here — you can see the seedlings of “The Feminine Critique” and Rock She Wrote:
Pro Jo application