The historical plight of female journalists in the United States (in print, broadcast, and traditionally male-dominated arenas of journalism such as sports reporting) has been well documented. The vicissitudes of the American female rock journalist, however, have received comparatively little critical attention or analysis. This thesis is a collection of biographical accounts, obtained through in-person, telephone and e-mail interviews, with a diverse set of American women who write about, or have written about, music for a living. The central question asked in this thesis is: What personal characteristics and experiences helped these particular women excel in a historically male-dominated profession? Nearly every woman reported some form of struggle to fit into the “old boy's club” of rock journalism, ranging from mild discomfort at being one of the few female faces in boardrooms full of male colleagues, to snide remarks from editors, publishers and band members. Some women said they struggle to fit into a culture that revolves around hard partying and an encyclopedic, obsessive preoccupation with rock-and-roll statistics. To succeed in the industry – and to cope with any challenges that arise in the process – the women interviewed were conscious of adopting a role, or persona, such as “big sister” or “mother hen,” that helped their coworkers and article subjects better relate to them. This thesis also discusses the importance of mentorship for women in the field, the rise of online journalism (and with it, greater access for women), and the future for women in rock journalism.

This thesis, based on a content analysis of Rolling Stonecovers from 1967 to 2007, examines changes in the magazine's most famous image throughout time. Journalists have argued Rolling Stonemagazine's coverage has changed noticeably since its debut, but often failed to support these claims with concrete evidence. This study presents one concrete means of talking about changes in musical focus through time; it compares the Hot 100 Billboard musical charts and Rolling Stone's cover artists to examine the influence of the charts on the cover. It considers gender, race, and occupation of cover artists to document how the diversity of cover subjects has developed since the magazine's founding as well.