This is such an important and big topic, and I'm glad you are documenting it. For me, it really gets to the heart of how the music industry operated (and operates now) and as time went on became increasingly corporate, driven by profit targets and averse to any risk, and run by non-musicians. (As we've seen in many industries, and why so many of them are falling apart as customers look for other avenues and abandon them.)
It's also not surprising given how few women were allowed to take on other roles in that world. Where were the women producers, managers, arrangers, journalists, critics, etc etc? I'm always surprised when I run across a woman who actually had a significant role in that system. Even now, how many women feel comfortable writing about rock on substack?
Appreciate the interest and support Ellen! The irony is that for all the political "wokeness" in the U.S., it hasn't translated as easily to artistic freedom as it has in many other countries. When I dive further into the Asian scene, you will be blown away at what women are accomplishing. In case you didn't see my posts on Yuki Kajiura, here is one: https://zapatosjam.substack.com/p/2023-international-womens-month-7?utm_source=publication-search
I'm quite interested in how and why this artistic freedom blossoms in Asia as opposed to here. But it's also great just to know that it's happening somewhere and that it's possible, and to see the fruits of these artists.
I always think Heart and Pat Benatar etc deserve huge credit. They managed to make music that was both Metal and pop and fans didn't generally seem to care what it was. It was entertaining and the music was great. Bands that didn't need to rely on the way they looked or what they dressed in became so important. I remember in the UK hearing Pat Benatar and Heart for the first time on the radio (in the days when radio actually played different kinds of music) and having the same reaction I have now when listening to Asian female bands on the Internet. Vinyl and Cassettes were ordered from record shops and there was music for me.
I don't know when it was decided that only a certain type of limited female artiste can make millions in the West. But we seem to have fallen back into the same old, same old. This isn't meant as a criticism of them all their fans. But goodness we need a kick in the posterior again to have a music industry that actively encourages good female artistes. In the meantime I will play my old vinyl of Heart and Benatar and the latest music from Japan and Korea and look forward to the time we see an emergence of great music again. Who knows we may even learn to have decent music radio again as well.
Well, Russell, I couldn't put it any better. Thanks as always for stopping by and leaving your thoughts! BTW, I saw Lovebites live last month and it was just life-changing. They are absolutely mind-blowing. I think Koiai are another band that have no ceiling. Keep rocking!
This is such an important and big topic, and I'm glad you are documenting it. For me, it really gets to the heart of how the music industry operated (and operates now) and as time went on became increasingly corporate, driven by profit targets and averse to any risk, and run by non-musicians. (As we've seen in many industries, and why so many of them are falling apart as customers look for other avenues and abandon them.)
It's also not surprising given how few women were allowed to take on other roles in that world. Where were the women producers, managers, arrangers, journalists, critics, etc etc? I'm always surprised when I run across a woman who actually had a significant role in that system. Even now, how many women feel comfortable writing about rock on substack?
Looking forward to your further writing on this!
Appreciate the interest and support Ellen! The irony is that for all the political "wokeness" in the U.S., it hasn't translated as easily to artistic freedom as it has in many other countries. When I dive further into the Asian scene, you will be blown away at what women are accomplishing. In case you didn't see my posts on Yuki Kajiura, here is one: https://zapatosjam.substack.com/p/2023-international-womens-month-7?utm_source=publication-search
I'm quite interested in how and why this artistic freedom blossoms in Asia as opposed to here. But it's also great just to know that it's happening somewhere and that it's possible, and to see the fruits of these artists.
I always think Heart and Pat Benatar etc deserve huge credit. They managed to make music that was both Metal and pop and fans didn't generally seem to care what it was. It was entertaining and the music was great. Bands that didn't need to rely on the way they looked or what they dressed in became so important. I remember in the UK hearing Pat Benatar and Heart for the first time on the radio (in the days when radio actually played different kinds of music) and having the same reaction I have now when listening to Asian female bands on the Internet. Vinyl and Cassettes were ordered from record shops and there was music for me.
I don't know when it was decided that only a certain type of limited female artiste can make millions in the West. But we seem to have fallen back into the same old, same old. This isn't meant as a criticism of them all their fans. But goodness we need a kick in the posterior again to have a music industry that actively encourages good female artistes. In the meantime I will play my old vinyl of Heart and Benatar and the latest music from Japan and Korea and look forward to the time we see an emergence of great music again. Who knows we may even learn to have decent music radio again as well.
Well, Russell, I couldn't put it any better. Thanks as always for stopping by and leaving your thoughts! BTW, I saw Lovebites live last month and it was just life-changing. They are absolutely mind-blowing. I think Koiai are another band that have no ceiling. Keep rocking!