aeolianblues

Guys I need you all to watch this, the beginning of The Last Dinner Party's set live on this tour. I am still recovering from seeing them live hee hee. They're so good. They were so good. Boundless energy. Excellent atmosphere. Timeless in some ways.

Singer Abigail Morris is so energetic on stage, she barely ever stopped moving around and dancing the entire hour that she was on stage.

I love the dressing, every member had their own style on stage, and you could see this was a group of people each bringing ideas to the table. Also, as is often the case with new bands, entirely democratic. From guitarist Emily Roberts in the fairy/angel dress, to Abigail's Edwardian corsage, and the various biker-rock and punk rocker looks the rest of the band adopted.

What struck me (and this is almost strange to me) is that when they first came on stage, given we'd all only ever seen them in pictures so far, was that they were so small. So tiny. They were literally just girls, like many of us in the crowd, and so small... and then as the show progressed, I noticed them change in my perception: they seemed to grow taller, grander, bugger before my eyes. I cannot explain it, because it's not as if we didn't go into this loving them, but somehow they began to cut a taller, more impressive figure before our very eyes as our admiration grew. They almost grew into that role, you could say. I mentioned this to my friend, who was also beside me on the barrier (we got barrier! Queued for 7 hours), and they felt the same. It might just be an effect the girls have!

So here for you to try and live second-hand and vicariously through, is the intro to their live set, Prelude to Ecstasy, and the first song they performed, Burn Alive.

Courtney Love’s just written the best article I’ve read: on the exclusion of women from the Rock n Roll Hall of Fame. I agree with everything she’s said— the rock hall is literally just a bunch of white men in a feedback loop patting each other on the back. And another thing that she sort of touched upon but I’ve been hearing much more from friends of mine is the almost insulting way in which they’ve nominated “Joy Division/New Order” this year: they are not the same band! The fact that Gillian is in in New Order made New Order what it was! That’s what made the band different from Joy Division! For them to just walk over that difference and ignore it is just ignorant. So-called historians if they don’t even know that.

Here’s Courtney’s article, give it a read:

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I got into this business to write great songs and have fun. I was a quick learner. I read every music magazine I could get my hands on and at 12, after digesting many issues of Creem, I decided to base my personality on Lester Bangs, the rock critic raconteur; his abiding belief in the transformative power of a great rock song matched mine. (I also obsessed over his running arguments with Lou Reed – they confounded me, but I loved it.) Artists and their songs shaped my life, my beliefs, my self-conception as a musician – Patti Smith’s growling Pissing in the River, Heart’s Barracuda, the Runaways’ Dead End Justice, which I still know every word of. But what no magazine or album could teach me or prepare me for was how exceptional you have to be, as a woman and an artist, to keep your head above water in the music business.

The magnificent Chuck D rapped: “Elvis is a hero to most, but he doesn’t mean shit to me.” I concur. Big Mama Thornton first sang Hound Dog, written for her (and possibly with her) in 1952, which later put the King on the radio. Sister Rosetta Tharpe covered it, too, hers being the fiercest version. Her song Strange Things Happen Every Day was recorded in 1944. It was these songs, and her evangelical guitar playing, that changed music for ever and created what we now call rock’n’roll.

The nominations for this year’s class, announced last month, offered the annual reminder of just how extraordinary a woman must be to make it into the ol’ boys club. (Artists become eligible 25 years after releasing their first record.) More women were nominated in one year than at any time in its 40-year history. There were the iconoclasts: Kate Bush, Cyndi Lauper, Missy Elliott; two women in era-defining bands: Meg White of the White Stripes and Gillian Gilbert of New Order; and a woman who subverted the boys club: Sheryl Crow.

Yet this year’s list featured several legendary women who have had to cool their jets waiting to be noticed. This was the fourth nomination for Bush, a visionary, the first female artist to hit No 1 in the UK chart with a song she wrote (1979’s Wuthering Heights), at 19. She became eligible in 2004. That year, Prince was inducted – deservedly, in his first year of eligibility – along with Jackson Browne, ZZ Top, Traffic, Bob Seger, the Dells and George Harrison. The Rock Hall’s co-founder and then-chairman Jann Wenner (also the co-founder of Rolling Stone) was inducted himself. But Bush didn’t make it on the ballot until 2018 – and still she is not in.

Never mind that she was the first woman in pop history to have written every track on a million-selling debut. A pioneer of synthesisers and music videos, she was discovered last year by a new generation of fans when Running Up That Hill (A Deal With God) featured in the Netflix hit Stranger Things. She is still making albums. And yet there is no guarantee of her being a shoo-in this year. It took the Rock Hall 30-plus years to induct Nina Simone and Carole King. Linda Ronstadt released her debut in 1969 and became the first woman to headline stadiums, yet she was inducted alongside Nirvana in 2014. Most egregiously, Tina Turner was inducted as a solo artist three decades after making the grade alongside her abuser, Ike.

Why are women so marginalised by the Rock Hall? Of the 31 people on the nominating board, just nine are women. According to the music historian Evelyn McDonnell, the Rock Hall voters, among them musicians and industry elites, are 90% male.

You can write the Rock Hall off as a “boomer tomb” and argue that it is building a totem to its own irrelevance. Why should we care who is in and who is not? But as scornful as its inductions have been, the Rock Hall is a bulwark against erasure, which every female artist faces whether they long for the honour or want to spit on it. It is still game recognising game, history made and marked.

The Rock Hall is a king-making force in the global music industry. (In the US, it is broadcast on HBO.) Induction affects artists’ ticket prices, their performance guarantees, the quality of their reissue campaigns (if they get reissued at all). These opportunities are life-changing – the difference between touring secondary-market casinos opening for a second-rate comedian, or headlining respected festivals. The Rock Hall has covered itself in a sheen of gravitas and longevity that the Grammys do not have. Particularly for veteran female artists, induction confers a status that directly affects the living they are able to make. It is one of the only ways, and certainly the most visible, for these women to have their legacy and impact honoured with immediate material effect. “These ain’t songs, these is hymns,” to quote Jay-Z.

The bar is demonstrably lower for men to hop over (or slither under). The Rock Hall recognised Pearl Jam about four seconds after they became eligible – and yet Chaka Khan, eligible since 2003, languishes with seven nominations. All is not lost, though – the Rock Hall is doing a special programme for Women’s History Month on her stagewear ...

Yet Khan changed music; when she was on stage in her feathered kit, taking Tell Me Something Good to all the places it goes, she opened up a libidinal new world. Sensuality, Blackness: she was so very free. It was godlike. And nothing was ever the same.

But for all her exceptional talent and accomplishments – and if there is one thing women in music must be, it is endlessly exceptional – Khan has not convinced the Rock Hall. Her credits, her Grammys, her longevity, her craft, her tenacity to survive being a young Black woman with a mind of her own in the 70s music business, the bridge to Close the Door – none of it merits canonisation. Or so sayeth the Rock Hall.

The Rock Hall’s canon-making doesn’t just reek of sexist gatekeeping, but also purposeful ignorance and hostility. This year, one voter told Vulture magazine that they barely knew who Bush was – in a year she had a worldwide No 1 single 38 years after she first released it. Meg White’s potential induction as one half of the White Stripes (in their first year of eligibility) has sparked openly contemptuous discourse online; you sense that if voters could get Jack White in without her, they would do it today. And still: she would be only the third female drummer in there, following the Go-Go’s Gina Shock and Mo Tucker of the Velvet Underground. Where is Sheila E – eligible since 2001?

It doesn’t look good for Black artists, either – the Beastie Boys were inducted in 2012 ahead of most of the Black hip-hop artists they learned to rhyme from. A Tribe Called Quest, eligible since 2010 and whose music forged a new frontier for hip-hop, were nominated last year and again this year, a roll of the dice against the white rockers they are forced to compete with on the ballots.

If so few women are being inducted into the Rock Hall, then the nominating committee is broken. If so few Black artists, so few women of colour, are being inducted, then the voting process needs to be overhauled. Music is a lifeforce that is constantly evolving – and they can’t keep up. Shame on HBO for propping up this farce.

If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honour what visionary women artists have created, innovated, revolutionised and contributed to popular music – well, then let it go to hell in a handbag.

Thanks to Netflix using Kate Bush's Running Up The Hill and the fact that she's gone straight back to the top of the charts, it looks like Placebo's cover of the song (for 2003's Covers album) has also become the band's most popular song in recent times lol