Tag Archives: Rock and Roll Hall of Fame

The Problem with 1/12th: Armchair Art Walk Talk

On March 4, I took part in the San Pedro Armchair Art Walk. Following are the remarks I prepared on Women’s History Month, the Rock & Roll Hall of Fame, Women Who Rock, and the problem with tokenism. You can watch the video with slideshow here. I was joined by two brilliant artists, Anne Daub and Monica Orozco.

I want to thank Linda Grimes, Sharyl Holtzman, and the San Pedro Waterfront Arts District for putting together this event. First Thursdays is one of my favorite things to do here in Pedro, and I can’t wait to be able to do it in person again: lobster rolls from the lobster truck, or sushi at Senfuku, wine and snacks and great art at Arnie and Ray’s gallery, all the galleries and restaurants and trucks and people. But I’m glad we have this to tide us over until those good times return.

Like all of us I’m sure, I have mixed feelings about Women’s History Month, because of course, half of the planet should get more than 1/12th of the year. But the fact is, we don’t. Women, like people of color, get disproportionately ignored the other 11 months of the year, so we better shout our achievements every second of the month of March, and keep shouting until it’s women’s history year, decade, century and millennium.

Interestingly, 1/12th is almost exactly the fraction of artists who are women who have been inducted into the rock’n’roll hall of fame since it was founded in 1986. It’s actually less than that: 7.63 percent. These appalling figures are why we need recuperative efforts such as Women’s History Month, or books about Women Who Rock: To set the record straight by shining a spotlight on the legions of women who get left out of the institutions, the history books, the archives, the museums, the playlists, the algorithms. Uplifting female musicians has been a mission for me ever since I was just a kid and heard Patti Smith singing about the sea of possibilities and Poly Styrene shouting Oh bondage, up yours! I created this book to celebrate what I call this rhythm movement, a century of female artists making great, glorious, gutsy music – some of them in the rock hall, most of them not. I hired dozens of women writers and artists to create portraits of these sheroes in words and in ink; here are a few examples . If you want to buy this book, it’s available here in Pedro at the Corner Store and the shop next door to it as well as the Cabrillo Aquarium Gift shop. And of course on Amazon.

But it’s important not just to celebrate women, but also to continually point out the way they are systematically disenfranchised, ignored, abused, and silenced by a male-dominated society and its institutions. We can’t stop with the ghettoization of dedicated history months; we need to be heard every month. That’s why for 10 years, in multiple articles, wielding statistics, graphs, historic examples, and suggested solutions, I have been documenting the Rock Hall’s abominable gender record. And I’m happy to say that in 2021, they listened, and acted. Women make up almost a quarter of the nominees announced last month, which granted, is not parity – but it’s three times better than 7.63 percent. Of course, these nominees – including Kate Bush, Mary J. Blige, and the Go-Go’s — have to get inducted. And the rock hall has 34 years of manhandling music history to make up for: the fact that every inductee gets a vote skews the rock hall voting body male. If every female act nominated – and only those acts – were inducted, the total percentage of women in the hall would rise more than one percentage point, to 8.73 percent – slightly more than 1/12th. That’s the best case scenario. In 2020, only one woman was inducted, Whitney Houston. As Janet Jackson said in 2019, Induct more women.

The industry, press, hall of fames, and history books have a long legacy of treating women musicians like shit. And they are increasingly getting called out on it. In 1994, the Grammys temporarily dropped the Best Female Rock Vocal category because they couldn’t think of any women to nominate for it – no PJ Harvey, no Ani Difranco, no Melissa Etheridge, no Kristin Hersh. A group called Strong Women in Music protested that year. In 2018, the Grammys were denounced for their failure to award women artists. When the Recording Academy president responded women need to “step up” to the plate – as if it was women’s fault their work was being shafted – he was forced to step down. This year, all the nominees in the Best Rock Performance category are female or female-fronted. That’s progress, and it’s progress caused not by women stepping up, but by women speaking up and demanding change.

So in March, we celebrate history, her story, our stories, but now and all year, we must also march, and protest, and demand not just our 8 percent, but our 50 percent. In the rock halls, in the history books, on the airwaves, on the streaming services, in our ears and in our hearts.

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Turbulence at the Rock Hall

Black History Month Spotlight: Whitney Houston

Whitney Houston is the only woman being inducted into the Rock and Roll Hall of fame in 2020.

In her 1998 piece Turbulent, Shirin Neshat juxtaposes two videos. In the first, a man in a white button-down shirt stands in front of an auditorium of other men. He turns to face the camera and sings a work by the Persian poet Rumi, accompanied by string instruments that are not filmed. It’s a powerfully emotive performance – a series of ululated exclamations — rewarded by a round of applause; the man takes his bows.

In the second, a woman in a black hijab stands in front of an empty theater and softly begins moaning. The camera rotates to her face slowly. She sings wordless scales, with the only accompaniment the amplified echo of her own voice, panting and bell-like and screeching – a one-woman emotive cacophony. When she finishes, there is no applause. There is no one there to clap.

Turbulence answers the old riddle: If a tree falls in the forest and there’s no one there to hear it, does it make a sound? The woman, Iranian vocalist and composer Sussan Deyhim, makes a mighty sound – as have the other women, across time and space, who have sung their songs in the privacy of their showers, their bedrooms, their walks, their woods because no one could, or would, hear them. Neshat was directly commenting on the fact that in her birth country of Iran, women were not allowed to sing in public after the Islamic revolution (they now can sing only in limited circumstances). But I see the bold, disturbing binary depicted in Turbulent as relevant across cultures.

How many little girls have been told they should be seen and not heard? How many aspiring musicians have auditioned for A&R men – and they are almost always men – only to be asked to trade their bodies for a contract? How many women have gotten past the casting couch only to be told they’re not skinny/pretty/pale/soft/sexy enough? How many were kept off the airwaves because only one woman was allowed on the playlist – because (as one country radio consultant infamously said) they were the tomatoes in the salad, not the lettuce? How many were allowed to be representatives of feminine beauty, but only for one song, one year, before they were deemed too old? How many were recognized for the innovations – the genius — that made them not necessarily popular, but pioneers? How many are saluted as legends? Are in the Songwriters Hall of Fame? Are in the Rock&Roll Hall of Fame?

We can answer the last two questions: 31 songwriters, or 7 percent of the total body, and  — as of today’s announcement of the class of 2020 – 140 artists, or 7.68 percent.

The halls’ omissions are striking. I do not think they accurately correlate to the successes of women in music, though that’s a hard thing to quantify. They certainly do not correlate to the efforts and effects of female musicians, to the percentage of women in the world, or to any known genetic link to musical talent. What they do represent are the gendered tastes of the mostly male nominating and voting bodies that make these decisions. They are today’s version of the Shriners or Masons: bro’ societies devoted to self-perpetuation. They are patriarchies.

Which makes it all the more offensive when they insist their decisions have nothing to do with gender or race, but only with quality (as both Rock Hall Foundation CEO Joel Peresman and former Rock Hall Board chair Jann Wenner have recently said). When they say that, they tell us that Chaka Khan, Big Mama Thornton, Cher, Labelle, the Go-Go’s, Bette Midler, Celia Cruz, Selena, Bjork, Dionne Warwick, Pat Benatar, etc., etc., are not actually good, but are just women. They add insult to injury.

The halls didn’t necessarily erect the obstacles that have historically kept sisters from achieving the fame and fortune of their brothers – though many of the industry insiders who created and run the halls certainly did work for companies infamous for sexual discrimination. But by repeatedly inducting only a puny, token number of acceptable ladies, they enshrine those gags – and then say they were earned.

Look outside the industry. In your home, in your schoolyard, in your gym, around your campfire: who makes the music? Who sings the songs?

And who is listening?

Turbulent is included in Shirin Neshat: I Will Greet the Sun Again, an exhibit currently at the Broad museum in Los Angeles, https://www.thebroad.org/shirinneshat.

You can read my previous writing about the Rock Hall here:

https://www.billboard.com/articles/business/8543758/rock-roll-hall-fame-gender-racial-diversity-guest-opinion-evelyn-mcdonnell

https://longreads.com/2019/03/29/the-manhandling-of-rock-n-roll-history/

https://www.salon.com/2011/12/11/the_rock_hall_of_fames_women_problem/

 

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Rock Hall Keeps Getting More Male and More White

NOTE: THIS POST HAS BEEN CORRECTED TO STATE THAT FOUR PEOPLE OF COLOR ARE IN THIS YEAR’S INDUCTEES.

The Rock and Roll Hall of Fame announced the 2020 inductees this morning. The good news is both Whitney Houston and the Notorious B.I.G. are included. The bad news is Houston is the only woman among the 23 people honored (including the non-performer honorees), and she and Biggie are two of the only four people of color. That means 4.34% of this year’s class is female, and 17.39% is POC. Cumulatively, that means the Rock Hall continues to get less diverse by race and gender: 7.68% of the total number of inductees is female, down from the already depressing 7.77% of 2019. For POC, that’s 32.4%, down from 32.77%.

These results should throw down the gauntlet for new Rock Hall Chair John Sykes, who has said that increasing the hall’s diversity is his top priority. He will have to take strong, decisive actions to reverse this steady decline.

Stylistically, the lineup is slightly more diverse than in some years, including T. Rex, the Doobie Brothers, Depeche Mode, and Nine Inch Nails. Chaka Khan was snubbed once again — a fact I consider an outrage. The only other woman nominated, Pat Benatar, was also passed over.

Thanks to LMU graduate student Marika Price for crunching the numers.

You can read my previous writing about the Rock Hall here:

https://www.billboard.com/articles/business/8543758/rock-roll-hall-fame-gender-racial-diversity-guest-opinion-evelyn-mcdonnell

https://longreads.com/2019/03/29/the-manhandling-of-rock-n-roll-history/

https://www.salon.com/2011/12/11/the_rock_hall_of_fames_women_problem/

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#RockandRollHallofShame

No women. Not one. There is not a single female in any of the five acts to be inducted into the Rock and Roll Hall of Fame next year. The Cock Hall has a long history of exclusion, as I’ve written about before. But this year is the worst. MOR white-guy classic rockers Steve Miller, Deep Purple, Cheap Trick (okay, I confess, I voted for them), and Chicago over nominees Chic, Chaka Khan, and Janet Jackson. Not to mention all the deserving women who were once again passed over for nominations. When you break it down intersectionally, as this blogger did yesterday, the omission of women of color is even more egregious and depressing. Rock and Roll Hall of Shame.

The most disappointing aspect to this year’s winners is that the HoF tried. They recruited women and people of color, adding many new voters to the induction process. I know, because not only was I finally sent a ballot — 30 years after I became a professional music critic, need I point out — I was sent two! And I was asked by a board member to suggest other voters, at least one of whom received his first ballot after a similar amount of time as an extremely well-regarded Latino cultural journalist. (I should point out at this juncture that nominee Los Lobos were not inducted. Someone please crunch the numbers of Hispanic acts in the Hall of Shame. Only one act with predominantly people of color — famed misogynists N.W.A — made the cut this time.)

Someone with more time than I have needs to investigate this further. My sense is that having been launched by old white guys, the Hall is too big of a ship at this point to change direction. No amount of course correction can keep it from plunging off the edge into irrelevancy. It’s a true shame, because I was there the day the Hall opened, and I believe in honoring the important but complicated history of American popular music. But building a voting body around a sexist, racist industry is the wrong way to go about it.

I appreciate having been finally invited into the boys club. I’ll vote again, because enfranchisement is precious. But dammit, I’m ready to build my own club.

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Rocking the Rock Hall Library

Evelyn McDonnell and Cliff Michalski

Evelyn McDonnell and Cliff Michalski at the Rock Hall Library

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Librarian Andy Leach, author Evelyn McDonnell, and discographer Omid Yamini

 

Evelyn McDonnell speaks at the Rock Hall Library + Archives

Evelyn McDonnell speaks at the Rock Hall Library + Archives

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Omid Yamini at the Rock Hall Library

I’m still processing my whirlwind weekend visit to Cleveland’s Rock and Roll Hall of Fame, Museum, Library and Archives a couple weeks ago. It was an honor to argue the case for the importance of the Runaways within those sacred institutional walls. Plus Cleveland played a pivotal role in Runaways history, as I got to discuss with journalists and fans who were there for those famous Agora shows, including writer Cliff Michalski, who I had interviewed for the book. Queens of Noise discographer and Runaways archivist Omid Yamini joined me on the podium and in the back rooms of the archives. Here are some snapshots of the wintery weekend. All photos courtesy of The Rock and Roll Hall of Fame Library and Archives.

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Queens at Rock Hall Info

Rock and Roll Hall of Fame members can make reservations for my January 25 presentation in Cleveland beginning tomorrow, January 13. Non-members can reserve beginning Tuesday. For more info, visit the Rock Hall site. Runaways collector and Queens of Noise discographer Omid Yamini will be joining me for this special event.

Author Series with Evelyn McDonnell, author of Queens of Noise: The Real Story of the Runaways | The Rock and Roll Hall of Fame and Museum.

via Queens at Rock Hall Info.

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Jett Snubbed Again

Alas, the Rock and Roll Hall of Fame passed over Joan Jett and the Blackhearts again this year. The good news is Heart and Donna Summer will be inducted, along with Rush, Public Enemy, Albert King, and Randy Newman. That means one third of this year’s musical honorees are female, a considerable improvement over the overall numbers: As I reported in Salon last year, only one-tenth of the total Hall of Famers at that time were women. It’s particularly galling to see Rush anointed and Jett bypassed, given the Canadian band’s awful treatment of their label mates the Runaways back in the day. But Rush were able to mobilize a huge fan base. Next year, Jettheads, let’s get it together. Joan’s manager, Kenny Laguna, was philosophic in an email: “We predict 4 or 5 years of nomination. This is year 2.”

via Rock and Roll Hall of Fame 2013 Inductees: Rush, Public Enemy, Heart and Randy Newman | Music News | Rolling Stone.

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