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Fleetwood Mac's Stevie Nicks performs on stage at the 2018 iHeartRadio Music Festival.
Kevin Mazur / Getty Images for iHeartMedia
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Kevin Mazur / Getty Images for iHeartMedia
Fleetwood Mac's Stevie Nicks performs on stage at the 2018 iHeartRadio Music Festival.
Kevin Mazur / Getty Images for iHeartMedia
The Rock & Roll Hall of Fame announced its nominees for 2019 on Tuesday and, in line with what has become an annual tradition, the list is accompanied by the usual opacity of the Hall and a hint of the best. acrimony.
One candidate has already been inducted, two more are receiving their fifth candidacy and another has already announced that he would refuse honor before changing his title on Tuesday morning.
The nominees of this year's Rock & Roll Hall of Fame are, in alphabetical order:
- The Cure (second nomination)
- Def Leppard (first appointment)
- Devo (first appointment)
- Janet Jackson (third nomination)
- John Prine (first appointment)
- Kraftwerk (fifth nomination)
- LL Cool J (fifth nomination)
- MC5 (fourth nomination)
- Radiohead (second nomination)
- Rage Against the Machine (second nomination)
- Roxy Music (first appointment)
- Rufus & Chaka Khan (third nomination)
- Stevie Nicks (already inducted with Fleetwood Mac, but first solo nomination)
- Todd Rundgren (first appointment)
- The zombies (fourth nomination)
To be nominated, groups or artists must have released their first commercial recording 25 years or more before. Each year, the inductees are decided by "over 1000 [previous] inductees, historians and members of the music industry, as well as the overall results of online voting of Rock Hall fans ", says Rock Hall on its website.
This year's list includes only three women, one of whom, Stevie Nicks, has already been inducted into Fleetwood Mac. Three outstanding nominations in first place – for Roxy Music, Def Leppard and John Prine, the latter being considered a real success, considering his advanced age, his prolific performance and the high esteem of his peers.
The strategy of announcing candidates – first place, inductees – seconds is of course crucial, for at least two reasons. This generates a lot of advertising (for example, the text you are reading right now) and allows its voting members to take the public's temperature on the candidates for induction before voting, which allows them to control their public reputation. . It's a win-win situation without "real" losers.
Except that, for those who invest little in all shebang – even if they are candidates, as did Def Leppard today. Addressing the Huffington Post in 2015, singer Joe Elliot said his group would decline an induction if it ever did it and that recognition of a platinum record made a lot more sense for it "because it represents a million people who I've bought your album, and these millions mean a lot more to me than some people who decide if you're worthy of the Hall of Fame." Display panel Tuesday after the announcement of the Hall, Elliot has a little rotated, stating to the trade publication that "it's absolutely not Groucho Marx," Any club that would have my membership status to which I would not like not adhere. "When you think that every band that means something in the world, starting with the Beatles and Stones, and any artist that has influenced them – your Chuck Berrys, your Little Richards, etc. etc. – then you want to sure to be there. is not it?
Considering the Rock of Roll Hall of Fame, its nominees and the broader significance of the two, it might be useful to look at its roots. The history of the music industry is largely an exploitation of the back room, and the Hall is no exception.
It's a classic story of duplicity. In Sticky fingers, the biography of Rolling stone Joe Hagan, founder of Jann Wenner, describes the design of the room by Bruce Brandwen, who had imagined it for the first time as a TV event à la carte. Brandwen and his attorney contacted Ahmet Ertegun, founder of Atlantic Records and many of the twentieth century's record leaders, to manage the operation, which then signed a five-year deal with the television production company of Brandwen, Black Tie Network. Hagan explains how the disk industry moguls recruited by Ertegun to handle the young operation see greater potential for the Hall after the city of Cleveland, where he is now based, thanks to the funding and the money. inauguration of a museum. A few years later, Brandwen sued the court for breach of contract after being stranded in the retransmission of the induction ceremony, eventually being arranged amicably and breaking up. the bonds that he and his society had formed. "Removing the Black Tie network was in keeping with the intentions of the record man: he gave the non-profit institution the grape leaf it needed to protect itself from the disastrous reputation of the music industry," he said. Hagan writes. It was a "superbly designed booth," Brandwen told Hagan.
But the dark side is never the only side – and the room is not defined by its original story, itself linked to a predominantly white and male circle of power brokers. The process of nominating and introducing artists into the room can be sadly opaque, but it's not wrong, no more. "Even though I was only 43 years old, I've always considered the launch of the Rock & Roll Hall of Fame as a rite of passage," writes another legendary record holder, Seymour Stein, in his memoir. Mermaid song. "We all had to do our own private research, prepare notes, debate the inductees, and fundamentally map the history of popular music, behind the scenes, and in music."
So, in December, when the room is back in the headlines for announcing which of this year's 15 nominees would be invited to its Brooklyn ceremony and airing on HBO next spring, it might be interesting to treat these ads with the same duality that is central to the institution itself.
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