Rock and Roll Royalties

Cher has won her battle over Sonny & Cher song royalties with Sonny’s widow, Mary Bono. The court ruled that the “terminations rights” section of the Copyright Act does not trump a divorce agreement, which gave Cher 50% of the royalties on Sonny &Cher songs. Mary Bono and her family of heirs still maintain the other 50% of Sonny’s royalties.

I’ve been thinking a lot about the “isn’t Cher rich enough” thing. I think here is where it is important to remember that of all the wealth Sonny & Cher accumulated from 1964-1975, Cher received nothing. In fact, the contracts were written so much in Sonny’s favor that, at the divorce, Cher was forced to pay Sonny millions in “lost future earnings” due to their act breaking up. So for all Cher’s work for ten years, she walked away with their house and primary custody of Chastity, which she ended up sharing with Sonny anyway because, as she said at the time, she wasn’t about to take Chastity’s father away from her.

And although Cher didn’t write the songs, her participation in them made them hits and this divorce settlement can be seen as a reparation of that great abuse of contracts a man made against his own wife.

Rock and Roll Royalty

Paul Grein has written a great article called “12 Reasons Cher Belongs in the Rock and Roll Hall of Fame” which was published last December during the Christmas album bruhaha and I completely missed it. To be honest, I got kind of tired of these rock-and-roll hall of fame crusades. And since this article was written, (maybe because this was written), Cher was finally included to the 2024 induction list.

And really this isn’t about a hall of fame. This is about Cher’s legitimacy and credibility in music. That’s what I’ve always been blathering on about. Cher fans are always concerned about her credibility in ways other fans of other artists (working in more respected genres) are not. So I really appreciate this article and I would like to talk about its points because they are the very markers of coolness and legitimacy in rock music.

Grein already points out that the HoF itself has broadened into many sub-genres, like R&B, rap, country. “If ABBA, Janet Jackson, Whitney Houston and Dolly Parton are in, what’s the rationale for leaving Cher out?” And here I’d like us to keep focus on the “keeping out” from the idea of legitimacy and credibility every time Grein mentions the HoF, because that is just what a hall of fame sanctions, a pre-existing status of credibility and legitimacy.

Grein pretty much follows the trail of rock legitimacy I’ve been tracking over the last umpteen years. What makes a person worthy of respect in music: is it record sales, is it concert tickets, is it loyal fans (or should we say the more male-coded aficionados?), is it years aboard the show biz, is it good critical reviews, is it influence, is it innovation, is it a stance or posture, did she help define an era or genre?

And…

Yes, She Helped Define an Era or Genre

Sonny & Cher helped define the mid-60s folk-rock and pop-rock era. Grein notes that Sonny wrote three “fine songs” with “I Got You Babe,” “Baby Don’t Go” and “The Beat Goes On.” I would add “Bang Bang (My Baby Shot Me Down)” to that list and call them strong songs of that era. Grein concedes that S&C were more pop-sounding than The Byrds (or the Mamas and the Papas, I would add), but that “their sound and look” helped define that era.

I would add that any thought of the summer of 1965 necessarily includes Cher singing “I Got You Babe.”

As a subset of this, Cher “was one of the first artists to have a big hit with a Bob Dylan song.” Her version (at #15) trounced the Byrds version at #40). Cher’s hit Bob Dylan song even preceded Dylan’s own first hit by a week (“Like a Rolling Stone”).

Yes, She Defines Rock and Roll Attitude

Grein says Cher has proven to be a risk taker. She gave up a lucrative Vegas career to become an actress. He says the HoF’s focus seems to be a youthful “rule-breaking attitude and spirit.” Grein says Cher telling the HoF to go fuck themselves on National TV was “a pretty rock and roll thing to do.” Grein also notes that, like Willie Nelson, “Cher exhibited an IDGAF attitude long before anyone had coined that acronym.”

Grein calls Cher’s Oscar dress of 1986 “one of the greatest sight-gags in Oscar history.” It was also a f*ck-you to the Academy for their snobbery around her performance outfits, boyfriends and prior status as a music and television star.

Cher: not afraid to say F*ck You.

Yes, She Has Many Hit Records Spanning a Record-Breaking Period of Time

All while multi-talking. “One month before she won the Oscar,” Grein says, “she had a top 10 hit with the rock ballad ‘ Found Someone.’ The very week she won the Oscar, she entered the Hot 100 with the follow-up hit, ‘We All Sleep Alone,’ co-written by Rock Hall members Jon Bon Jovi and Richie Sambora.”

Her albums, Grein says, span53 years from Sonny & Cher’s Look at Us in 1965 to her Christmas album of 2023. Her No. 1 singles on Billboard Hot 100 span 34 years from “I Got You Babe” in 1965 to “Believe” in 1999.  Grein also points out that her Grammy for “Believe” spanned 34 years after Sonny & Cher were nominated for best new artist.

Yes, She Has Killed It In Concert Tours

“Cher was among the first female artist to undertake a massively successful solo tour.” She has headlined “seven major concert tours” including her farewell tour which “was one of the top 10 highest-grossing  tours of that decade….For the first half of the decade, it was second only to The Rolling Stones’ Licks Tour in total grosses.” At that time it was “the most successful tour ever undertaken by a female headliner. The 236-date tour finally ended in 2005 after having played to more than 3.5 million fans and earning more than $250 million.”

The TV special of that tour earned Cher a Primetime Emmy, joining “an impressive array of women who have won in that category for one-woman concert specials” including Liza Minnelli, Barbra Streisand and Adele.

Yes, She Has Had and Impactful Influence

Grein also talks about the artists Cher either paved the way for or artists who cite her as an influence: Madonna (the aesthetics of shock), Miley Cyrus, Beyonce, Lady Gaga, Gwen Stefani, Taylor Swift (there’s a Cher quote on the wall that begins the great song, “You Need to Calm Down.“), Cyndi Lauper, Little Big Town, Adam Lambert, P!nk. Tracy Chapman and Chrissie Hynde (who re-recorded “I Got You Babe”) have cited Cher in interviews as well.

Grein quotes Shon Faye to say, “If Madonna and Lady Gaga and Kylie [Minogue] and Cyndi Lauper were playing football, Cher would be the stadium they played on, and the sun that shone down on them.”

Yes, Cher Has Had the Harshest, Meanest Critics but Some Great Critics, Too

As I wrote in 2020, Cher escaped bad reviews from famously harsh reviewers Lester Bangs and John Mendelsohn (who some claimed would have given God a bad review).

Lester Bangs reviewing All I Ever Need Is You in 1972:

John & Yoko. Grace & Paul. Paul & Linda. Sonny & Cher had the formula down years before any of those melodious romances hit the stage and were a hell of a lot more appealing too., although that may not be particularly significant—the same thing could be said for Louis Prima and Keely Smith. And let us not forget Paul and Paula. The reason that Sonny & Cher are so much nicer to think about than the aforementioned crew of dilettantes, barterers and their wives is that Sonny & Cher don’t put on the same kind of airs.  How you feel about them at this point pretty much depends on how you feel about showbiz in general. If you think that Johnny Carson is a honk and the Copa just a hangout for alcoholics, if you cannot abide the sigh of black ties and/or tiaras between you and your artist-heroes, then you probably don’t like Sonny & Cher; I have seen reviews of their recent albums by earnest 17-year old rock critics lambasting the devoted duo entirely in terms of “us” versus “them.” And at the recent MCA convention in Burbank, when Sonny & Cher played a long, slick supperclub set climaxing with their eight-minute histrionic orgy on “Hey Jude,” I observed people all around me set their faces in that grimace they never pulled out for bluejeaned mediocrities. And those that thought themselves too hip for this schmaltz would make remarks later about the “tastelessness” of it. Why? Because Cher tells Sonny she’s not gonna ball him after the show, and drops innuendos about the size of his dong? Well, I’ll settle for Sonny & Cher being just blue enough for them poor old farts and fraus in the belly of the beast, because I like slick supperclub music, I like glittery Las Vegas-style entertainment without one iota of artistic aspiration. I’ll even put on a tie. Maybe I’m just getting old but I would rather see Sonny & Cher with a bourbon and water in front of me anytime than squat sweating in another concert hall while another rock group runs through amplified oatmeal highlights from the last big album it took them eight months of overdubs to produce.

John Mendelsohn reviewing Sonny & Cher Live in 1972:

Granted that they’ve gone through some heavy changes since they practically single-handedly insinuated folk-rock into the American musical consciousness, 

….what Sonny & Cher’s detractors always fail to mention is that the couple have matured into such sensitive interpreters that they can transform even the most over familiar material into searingly soulful expressions, as witness Cher’s fiery treatment of “Danny Boy.” Truly Cher has developed into one of our most inspiring ladies of song, capable of evoking emotions that not even a Nancy Sinatra or Marcia Strassman can deal with without some evidence of strain..

Grein lists some other great Cher reviews I had never seen before. like Rob Sheffield from Rolling Stone in 2019:

…there are no other careers remotely like hers, [particularly] in the history of pop music” and he referred to Cher as “the one-woman embodiment of the whole gaudy story of pop music.”

James Reed from The Boston Globe in 2014:

Along with David Bowie, she is one of the original chameleons in pop music, constantly in flux and challenging our perceptions of her.”

Joe Lynch in Billboard from 2017:

It seems odd to say anyone as famous as Cher is under-appreciated: the woman has five No. 1 singles on the Billboard Hot 100, an Oscar for best actress and has remained a household name for half a century. even so, Cher’s impact as a musical force is unfairly disregarded or minimized…Years before David Bowie toyed with gender-bending, Cher brought her deep contralto voice to the top of the Billboard Hot 100…

James Dunn in Rolling Stone in 1996:

Cher is the coolest woman who ever stood in shoes. Why? Because her motto is, ‘I don’t give a shit what you think, I’m going to wear this multicolored wig.”

Alec Mapa in The Advocate from 2003:

Cher embodies an unapologetic freedom and fearlessness that some of us can only aspire to.

It just occurred to me all of the above are men. Some of the womens in rock criticism need to say something methinks. Besides me.

As Grein points out, right now the HoF is 25% women. If there are only 25% of women in rock music right now, that would be a fair amount. How many women are there in rock music since the dawn of rock and roll? Someone else please do the math.

Yes, She Is An Innovator

Like or despise auto-tune, it had a huge impact on Rap music. She also innovated many rock and roll “looks” including popularizing bell bottoms, long straight hair (she had girls using irons on their hair!) and inspiring the term “Giving Cher” for innovating the biggest kind of iconic attitude.

In fact, in fashion Cher is both an influencer and an innovator. With Bob Mackie, she invented the scene-stealing red-carpet look. Grein says that her Met Gala dress from 1974 is still being imitated “40 years later.”

And Bonus Yes, She Loyally Supports the Cause

Grein also says she “brought a rock sensibility to prime-time” television all through the 1970s variety series solos numbers and guest spots. This, he feels, (as does Cher scholar Robrt Pela), was Cher’s “biggest hurdle to being taken seriously…the smash success” of those shows. The shows “gave airtime to a lot of rock artists.” He mentions this includes Linda Ronstadt, Ike & Tina Turner, David Bowie (in his U.S. television debut), The Jackson 5 and Patti Labelle (among many others: The Spinners, The Supremes, Fanny, early Rick Springfield and Elton John). The shows also showcased original rock and roll artists in tribute shows, including Chuck Berry and Jerry Lee Lewis,

And most of all, Cher has been loyal to Sonny, (even after he tricked her out of a decade of earnings). Years of fake-snipping aside, years of mutual-real-snipping aside. Cher time and time again has given Sonny his due (as well as fair criticism, most recently calling him truthfully, “a mixed bag.”) She has tried to support their legacy together, despite the lack of respect he continues to receive (disrespect even), and there is not a thing more rock and roll than that.