Sasha Frere-Jones joined The New Yorker as a staff writer and pop-music critic in 2004.

But first, The New Yorker's pop-music critic, Sasha Frere-Jones, gave Clark a questionnaire about her life and work.

It was produced by David Eriksen for Murlyn Music, and received a mixed reception from pop-music critics.

At newspapers and magazines, as here at The New Yorker, classical-music critics and pop-music critics are usually different people.

In this country, meanwhile, Michael Fremer, an audiophile and pop-music critic, founded a magazine, The Tracking Angle, that proselytizes for LP's.

Sasha Frere-Jones is a musician and the pop-music critic of The New Yorker.

Prior to that, he was the pop-music critic for the New York Times, beginning in 2002.

"Goth" was a term invented by pop-music critics for the bass-laden, mournful sounds that sprang up in the early 80's and for the style's young followers.

After you were hired as The New Yorker's pop-music critic, you had lunch with Willis.

To the Editor: Why do you repeatedly give space to pop-music critics who treat rap not only with seriousness but with reverence?