Tag Archives: Carole King

Rock Hall on a roll?

Last night’s Rock & Roll Hall of Fame ceremony gave me hope for the future of the institution. Opening the show with Taylor Swift inducting Carole King was a brilliant choice perfectly timed given the week of Tay-Tay trending. And how great was it to start the evening with King’s classic “Will You Love Me Tomorrow,” the first song performed by an all black all female group (The Shirelles) to reach number one in the United States. King, Tina Turner, and the Go-Go’s were my three top choices among this year’s nominees and all three made it in. The selections covered a diverse array of genres and eras, from a Brill building songwriter and singer to Kraftwerk’s electronic innovations to hip-hop pioneers Jay-Z , LL Cool J and Gil Scott-Heron. There was even a sui generis rock band, the Foo Fighters. I loved the generosity of the evening, the way rappers honored rock and roll and rockers honored hip hop. And I loved the repeated displays of girl power.

But — and given that I am a Rock Hall scold, you knew there had to be a butt — I’m still immensely disappointed that the Rock Hall had to undermine the gender parity of the acts inducted in the main categories by only inducting men in the supplemental categories. I also think it was a programming error to end the evening with Foo Fighters instead of Jay-Z, although I admit it allowed me to go to bed a little bit earlier. I’m not saying that Foo Fighters didn’t deserve to be inducted (they didn’t), but Hova’s speech was so powerful, funny and moving, it was the high note note we should have ended with. Closing with a rap act also would have signaled once and for all that the Rock Hall is inclusive of all the genres that have been birthed since the integration of music in the 1950s and 60s. (Fuck you Gene Simmons.) I understand that the hall probably wanted to close with Paul McCartney, who inducted the Foo Fighters. But Paul seemed more like everyone’s favorite drunk uncle (at least we got that tradition out of the way for Thanksgiving week) than a great finale.

What would have been real fire would have been to end with the usual all-star band playing “The Revolution Will Not Be Televised.” Can you imagine Jay-Z and LL Cool J trading off verses on Gil Scott-Heron’s classic proto rap? With Carole King on piano! Plus the Go-Go’s as backing singers?! Instead we got the usual tired narrative of rock and roll through the lens of white men.

Because, of course, the revolution can not be televised.

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The Rock Hall Class of 2021: 3 Steps Forward, 7 Steps Back

It sounds great. The Go-Go’s, Carole King and Tina Turner — my top three choices among the year’s nominees — all being inducted into the Rock & Roll Hall of Fame as performers, at long last. (Turner and King were inducted previously, but not for their solo performance work.) Half of the six acts being inducted into the performer category are female, and almost half (46.67%) of the individual musicians are women. (If, say, original drummer Elissa Bello were being inducted with the Go-Go’s, there would be total gender parity.) Given the hall’s horrible track record – a paltry 7.63% of total inductees prior to this year are female – this looks like progress. “Head over heels,” I tweeted when I awoke this morning to the news, referencing a Go-Go’s song (but you probably knew that).

But scroll down a little further. In addition to the six acts being inducted as performers (the men are Jay-Z, the Foo Fighters, and Todd Rundgren, if you care), the hall took the unusual step this year of inducting three acts under the Early Influence category, three under Musical Excellence, and one for the Ahmet Ertegun Award, for non-performers. Guess how many of those seven inductees are or have female members? Here’s a hint: It’s the same number of women who were in the 17 acts inducted into the hall during its first year, 1986.

That’s right: zero.

After years of criticism for their entrenched sexism and creeping racism, Cleveland’s music institution seems to be attempting to change course. Under the leadership of new chairman John Sykes, who has called for more diversity and inclusion at the clubhouse founded by the patriarchs of the record industry, the hall offered a diverse selection of nominees this year, yielding a fairly strong slate of inductees. (Though Foo Fighters over Fela Kuti? Todd Rundgren over Dionne Warwick? Really?!)

Three steps forward, seven steps back: the all-male slate of additional inductees skews the count back toward its stone age past, making the total percentage of female inductees 28 percent. Okay, that’s nine times better than the 3.45 percent of 2020’s winners (ie, Whitney Houston), but then that was a pathetically low bar. This year’s class rectifies the long-term trend of gender imbalance by a measly half a percentage point: Now, 8.17% of inductees to the hall over the past 35 years have two X chromosomes.

And most egregiously, still not a single business woman has ever been inducted into the Ahmet Ertegun non-performer category. (King, Ellie Greenwich, and Cynthia Weil have all been inducted as songwriters, along with their male partners.)

I applaud the Rock Hall’s efforts to honor artists who have been too long snubbed by voters, particularly Kraftwerk and LL Cool J. I have no issue with any of the seven deserving acts that have been added onto the main category; Gil Scott-Heron, Charley Patton, and Clarence Avant add diversity to a hall that started with impressive racial balance but has increasingly skewed white. But given that special committees handpicked by the Rock Hall selected these inductees, you might have thought they would have checked their gonads at the door. Why not honor Chaka Khan, Big Mama Thornton and Sylvia Rhone as well?

La plus ca change …

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Carole King, Naturally?

Carole King wrote or co-wrote some of the best songs of all times. Her Tapestry album remains the Diamond apotheosis of California singer-songwriter pop. And she achieved all this while also becoming a teenage parent. In her new memoir, A Natural Woman, she describes what it was like to work in a hit factory, and how decades later, she survived spousal abuse. I reviewed it for the LA Times.

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