Topics in Category: Rock and Roll Hall of Fame - Not in Hall of Fame Forum Sun, 08 Dec 2019 19:18:19 +0000 Joomla! - Open Source Content Management /media/kunena/images/icons/rss.png Topics in Category: Rock and Roll Hall of Fame - Not in Hall of Fame Forum en-gb Performers who are eligible for Rock Hall of Fame - by: Darryl Tahirali

George Mullins wrote: To be honest, I have at least two fave-raves who I think should be in the Hall.

Firstly is Wynonie Harris, alias "Mr. Blues"; he has to have influenced a number of R&B and Soul artists; he should be there on general principle.

The second act I mention is going to get me some very loud ridicule, yet I feel this artist should be there - she has been an influence on the artist we call "The Material Girl", who even noted this artist's influence when interviewed for a magazine article in 1985.

To put it in her terms, "False eyelashes, blonde hair, mini-skirt, leather boots - she was cool."

I speak, of course, of one Nancy Sandra Sinatra, eldest daughter of Frank Sinatra.

True, she was primarily a pop singer, she did record a whole boatload of songs which are well worth hearing, I think; after all, between 1965 and 1970, she had eight hit songs on the charts.

I welcome your comments.

Wynonie Harris is more likely a candidate for the Early Influences category as his last charting single was in 1952. Sister Rosetta Tharpe was the Early Influence inductee last year, so there is hope for the guy whose "Good Rockin' Tonight" gets anthologized regularly on "roots of rock 'n' roll" collections. But then again, there are going to be adherents for a host of mid-level artists from Harris's period--Roy Brown, Big Mama Thornton, the Clovers, Billy Ward and the Dominos, Sonny Till and the Orioles, and others.

The case for Nancy Sinatra is thin despite those hit singles and a passing mention from Madonna. Not a great voice or stylist, working with Lee Hazlewood was a terrific boost, and--let's face it--having daddy sign you to his own record label (Reprise) is a leg up that most are not going to have. I'm not laughing, though. At this point, I think anyone whose name carries over a few decades is worth a mention. And the Rock Hall is so ballsed up and has bitten off far more than it is capable of chewing that I don't know that the Rock Hall has much meaning beyond having the _Rolling Stone_ Baby Boomer contingent behind Jann Wenner trying to define the "rock and roll" canon for everyone else.

And by now, nearly everything I hear is "pop." If people are listening to it, buying it, downloading it, pirating it, etc., it's "pop."]]>
Rock and Roll Hall of Fame Fri, 12 Oct 2018 23:06:21 +0000
Rock and Roll Hall of Fame announces 2016 - by: Committee Chairman Rock and Roll Hall of Fame Thu, 14 Apr 2016 06:07:00 +0000 Hope i live long enough - by: Committee Chairman Rock and Roll Hall of Fame Thu, 18 Feb 2016 10:16:28 +0000 If we expanded this to 1,000.... - by: Committee Chairman Rock and Roll Hall of Fame Thu, 18 Feb 2016 10:15:32 +0000 Chicago on Rock and Roll Hall of Fame - by: Committee Chairman Rock and Roll Hall of Fame Fri, 18 Dec 2015 23:24:41 +0000 Blues also counts - by: Committee Chairman Rock and Roll Hall of Fame Fri, 18 Dec 2015 23:23:42 +0000 The next Rock list..... - by: Maja 1. Foo Fighters
2. L7
3. Babes in Toyland
4. Sonic Youth
5. Soundgarden
6. Pearl Jam
7. Nirvana
8. Primus
9. Radiohead
10. Brandon Perry
11. Lisa Gerrard
12. Moloko
13. Dead can dance]]>
Rock and Roll Hall of Fame Thu, 17 Dec 2015 11:13:40 +0000
The Big Bang! The Birth of Rock and Roll - by: moondj In the early 1950s, a new form of music exploded onto the scene, exciting a growing teenage audience while startling many others who preferred the music of Bing Crosby and Patti Page. Popularized by disc jockey Alan Freed in 1951, the term “rock and roll” came to be used to describe a new form of music, steeped in the blues, rhythm and blues, country, and gospel. Teenagers fell in love with this new sound, listening to it on transistor radios and buying it in record stores. Many parents believed that this music was simply noise that had a negative influence on impressionable teens. Either way, it became clear that rock and roll was here to stay, bringing with it important changes. Examine the impact of rock and roll, and explore how the birth of this new music influenced and was influenced by technology, teen culture, race, and geography.

Students will be able to:

Evaluate the significance of the birth of rock and roll in 1950s America.
Identify key musicians that helped shape the sounds and style of early rock and roll.
Give examples of how the birth of rock and roll influenced and was influenced by technology, teen culture, race, and geography.
45: A seven-inch phonograph record played at 45 revolutions per minute (r.p.m.), especially a popular music single

Baby boomer: An individual born during the post–World War II baby boom

Civil rights: Rights for a nation’s citizens as defined by law, often understood as freedoms or protections; in the United States, rights discussed in the Constitution and its amendments, including those known as the Bill of Rights

Culture: A body of learned human knowledge, belief, and behavior; shared values and attitudes, customs, and styles for living

Deejay: Disc jockey radio show host who introduces and/or selects recordings

Disposable income: The amount of an individual’s income available for spending after essentials (food, clothing, shelter, taxes) have been taken care of

Jukebox: A money-operated phonograph or compact disk player, equipped with pushbuttons for the selection of particular recordings

Juvenile delinquency: Conduct by a juvenile characterized by antisocial behavior that is beyond parental control and subject to legal action; many linked juvenile delinquency to rock and roll and those who listened to it.

Mainstream: A dominating, widespread, or prevailing viewpoint or influence often projected to be an overall “norm” for a community or society

Musical style: The distinctive characteristics of the sound and organization of musical performances and compositions; used to categorize music reflecting similar approaches to melody, harmony, form, and/or performance techniques

Popular music: A broad term for music that appeals to large numbers or whole communities of people and may often be sold on recordings or sheet music

Racial segregation: Separation of racial groups by law and custom, which restricted the access of black Americans to jobs, schools, neighborhoods, stores, etc. and privileged white Americans; outlawed by the US Congress in 1964

Rhythm: The timing of sound in musical patterns, such as pulses, beats, etc.

Rhythm and blues: A style of upbeat popular music blending big band swing and blues that attracted large numbers of African American audiences after World War II, in the mid-1940s through the 1950s; a root of rock and roll

Rock and roll: African American slang dating back to the early twentieth century; in the early 1950s, the term came to be used to describe a new form of music, steeped in the blues, rhythm and blues, country, and gospel. Today, it refers to a wide variety of popular music.

Suburb: A small residential community established outside of a city; post World War II, families often fled cities to the safety and comfort of suburban areas. Neither urban nor rural, suburban towns were a compromise between the two extremes.

Teenager: An individual between the ages of thirteen and nineteen (also known as an adolescent); teenagers shaped popular culture in the 1950s by rebelling against the tastes of the older generations.

Tradition: Customs, beliefs, or practices valued by one generation and taught to the next

Transistor radio: Small, portable radio popular among teenagers in the 1950s that allowed them to listen to whatever music that they wanted whenever they wanted

This activity is designed to hone research and analysis skills. In this class, students are asked to consider the implications of technology in the birth and growth of rock and roll in the 1950s. Changing technology is also the focus of a Rock and Roll Hall of Fame and Museum exhibit entitled “Listen to Music: The Evolution of Audio Technology.” Ask students to identify and determine the origin of sound technologies of the 1950s and to trace this development throughout the following decades. For example, students may choose to research the transistor radio, stereo system, eight track machine, the Walkman, and the iPod. Who developed each one of these innovations? How did they change and evolve and why? How did consumers respond to them? How did these innovations change the way musicians approach the act of making and recording music? And how did this change how audiences listened to music? Why was there a need for new and different technology?

Finally, have students predict what future listening technology might involve. How might it be different from contemporary devices? How might we interact with it? What could be its advantages and disadvantages? When do you think this technology will become reality?

In this activity, students will examine and evaluate conflicting opinions about the music that has appealed to teens over the past fifty years. Have students read the quotes below. Ask them to identify whether they think each quote refers to music in the early days when rock and roll first emerged or in later years when heavy metal and hip-hop became popular. Continue the exercise by having students try to match each quote to its source. Finally, discuss with students the controversies that have surrounded rock and roll since its inception. Encourage them to share personal experiences they or their parents may have encountered regarding their own music choices.

“The most popular music was reaching its lowest [point] in the [new musical] style of . . . chant [which] concentrated on a minimum of melody line and maximum of rhythmic noise.”
Encyclopedia Britannica’s Book of the Year, 1956
“The theater is jammed with adolescents from the 9 a.m. curtain to closing and it rings and shrieks like the . . . bird house at the zoo. If one of the current heroes is announced . . . the shrieks become deafening. Only the . . . beat pounds through, stimulating the crowd to such rhythmical movements as clapping in tempo and dancing in the aisles.”
“Yeh-Heh-Heh-Hes, Baby,” TIME, June 18, 1956
“You get narrow-minded critics reviewing the shows, and all they think about [our music] is that it is just total ear-splitting, blood-curdling noise without any definition or point complained [the board member]. This is a very, very professional style of music. It means a great deal to many millions of people. We treat [our] music with respect. . . . you have to spend many years developing your style and your art.”
Rob Halford quoted in “Purity and Power – Total, Unswerving Devotion to Heavy Metal Form: Judas Priest and the Scorpions,” Musician, September 1984
“You had to know where [everyone] was gonna be playing. . . . To the rest of the world they were very little radio stations that came in staticky and the show was on in the middle of the night, but you were in the know and things were really exciting. And as much as I think we all liked being a part of our little secret thing, we all thought ‘Wow this music needs to be heard by everyone. Someone needs to take it and blow it up, give it the respect it deserves.’”
Danyel Smith, former editor of Vibe, about hip-hop in the early 1980s
“Music ‘leer-ics’ are touching new lows and . . . policing, if you will, [has] to come from more responsible sources. Meaning the . . . record manufacturers and their network daddies. . . . It won’t wash for them to . . . justify their ‘leer-ic’ garbage by declaring ‘that’s what kids want’ or ‘that’s the only thing that sells today.”
“A Warning to the Music Business,” Variety, Feb. 23, 1955
“I am going after the record industry because they are the ones that are out of control.”
C. Dolores Tucker quoted in “Caught Up in the (Gangsta) Rapture” by Kierna Mayo, The Source, June 1994
“These are my children. I do not intend to marginalize them or demean them. Rather I take responsibility for trying to understand what they are saying. I want to embrace them and transform them . . . I don’t encourage the use of [inappropriate language]. I just think we should stop pretending we are hearing them for the first time.”
US Congresswoman Maxine Waters quoted in “Caught Up in the (Gangsta) Rapture” by Kierna Mayo, The Source, June 1994
“Good morning. We are here today to revisit an issue that parents repeatedly raise with just about anyone who will listen – the challenge they face in raising healthy children in today’s 500-channel, multiplexed, videogamed, discmanned universe . . . [and its] harmful influence on the attitudes and behaviors of our children, and therefore on the safety and moral condition of our country.”
US Senator Joseph Lieberman, Rating the Ratings, July 25, 2001
In this activity, students will research and examine the implications of being an African American musician in the 1950s. Have students research important African American artists who were crucial to the development of early rock and roll. Examples include Chuck Berry, Ruth Brown, Laverne Baker, Etta James, Lloyd Price, Bo Diddley, Fats Domino, Ray Charles, Little Richard, Frankie Lymon and the Teenagers, the Orioles, Little Anthony and the Imperials, Big Joe Turner, Howlin’ Wolf, Muddy Waters, and the Chantels. Ask students to design a concert poster advertising a performance in the 1950s. (Examples of vintage concert posters can be found online.) Students should consider the following: Who is the headliner and who is the opening act? When is the concert and where? What is the venue of the concert? What are some major hits by their chosen artists? Students should remember the climate of the times when making their decisions (i.e., segregated concert halls, mixed bills, etc.). After creating the poster, have students write a music review of the concert for either a newspaper with a predominantly white reading audience or a predominantly African American audience (see Call and Post for example).

As rock and roll became a national phenomenon, many cities across the country became key to its development and expansion. Many of these were discussed in class. The Rock and Roll Hall of Fame and Museum’s Landmark Series designates certain sites around the United States as historic rock-and-roll landmarks. These include King Records in Cincinnati, OH; the Surf Ballroom in Clear Lake, IA; and Brooklyn High School and WJW, both in Cleveland, OH. Have students imagine they are on the committee to select other historic sites that have been integral in telling the story of rock and roll’s formative moments. Students should present their choices to their classmates as though they’re presenting to the other members of the selection committee. They should be prepared to defend their choices with solid evidence given their research. The class can then vote on 3–5 sites that should be designated as historic rock-and-roll landmarks. Working in small groups students can also design promotional materials (posters, t-shirts, magazine/newspaper ads, etc.) advertising chosen landmarks.

Note: Preview all materials for appropriateness for your students.

Wynonie Harris. “Good Rockin’ Tonight.” 1947.
Jackie Brenston and his Delta Cats. “Rocket 88.” 1951.
Big Mama Thornton. “Hound Dog.” 1952.
Patti Page. “How Much is that Doggie in the Window?” 1952.
Ruth Brown. “Mama, He Treats Your Daughter Mean.” 1953.
The Chords. “Sh-Boom.” 1954.
Bo Diddley “Bo Diddley.” 1955.
Fats Domino. “Ain’t That a Shame.” 1955.
Jerry Lee Lewis. “Whole Lotta Shaking Going On.” 1955.
Little Richard. “Tutti Frutti.” 1955.
Pat Boone. “Tutti Frutti.” 1956.
Elvis Presley. “Hound Dog.” 1956.
Buddy Holly. “That’ll Be the Day.” 1956
Johnny Cash. “I Walk the Line.” 1956.
Lavern Baker. “Jim Dandy.” 1957.
Elvis Presley. “All Shook Up.” 1957.
Ritchie Valens. “La Bamba.” 1958.
Chuck Berry. “Johnny B. Goode.” 1958.
Little Richard. “Good Golly, Miss Molly.” 1958.
Chuck Berry. “Memphis, Tennessee.” 1959.
Jerry Lee Lewis. “High School Confidential.” 1958.
Wanda Jackson. “Let’s Have a Party.” 1960.
Free, streaming videos of most performances can be found on or
Free, streaming audio tracks of most songs can be found on or

Note: Preview all materials for appropriateness for your students.

Rock and Roll Hall of Fame and Museum
The official website of the Rock and Roll Hall of Fame and Museum.

Rock Hall Songs that Shaped Rock and Roll App
This app allows you to explore the history of rock starting with the 1920s through 2000 by decade, artist, and song title.

History of Rock
This website is dedicated to the history of rock and roll with an emphasis on “The Golden Decade, 1954–1963.” Organized by subcategories and subgenres, this site includes biographies, timelines, and discographies.

Alan Freed
This website contains information about disc jockey Alan Freed who popularized the term “rock and roll” to describe the music he played on his Moondog radio show in the early 1950s. Includes photos, posters, and resources.

Chuck Berry
The official website of Chuck Berry.

Jerry Lee Lewis
The official website of Jerry Lee Lewis.

Elvis Presley
The official website dedicated to Elvis Presley.

Little Richard
Fan site dedicated to Little Richard.

Brackett, David, ed. The Pop, Rock, and Soul Reader: Histories and Debates. New York: Oxford University Press, 2005.
Cateforis, Theo. The Rock History Reader. New York: Routledge, 2007.
Charlton, Katherine. Rock Music Styles: A History. Boston: McGraw Hill, 1998.
Garafalo, Reebee. Rockin’ Out: Popular Music in the U.S.A. Boston: Prentice Hall, 2007
Starr, Larry and Christopher Waterman. American Popular Music: The Rock Years. New York: Oxford University Press, 2006.
Berry, Chuck. Chuck Berry: The Autobiography. New York: Harmony Books, 1987.
Dawson, Jim. Rock Around the Clock: The Record That Started the Rock Revolution! San Francisco: Backbeat Books, 2005.
Escott, Colin and Martin Hawkins. Good Rockin' Tonight: Sun Records and the Birth of Rock ‘n’ Roll. New York: St. Martin's Press, 1991.
Gordon, Robert. It Came From Memphis. Winchester, MA: Faber and Faber, 1995.
Guralnick, Peter. Careless Love: The Unmaking of Elvis Presley. Boston: Little, Brown, 1999.
Jackson, John A. Big Beat Heat: Alan Freed and the Early Years of Rock & Roll. Diane Pub Co., 1991.]]>
Rock and Roll Hall of Fame Wed, 16 Dec 2015 20:27:57 +0000
Any chance you could do - by: Shahzaib Ahmed Rock and Roll Hall of Fame Wed, 16 Dec 2015 18:48:19 +0000 Art - by: Shahzaib Ahmed Rock and Roll Hall of Fame Wed, 16 Dec 2015 18:47:04 +0000 Ritchie Valens: The First Latino Rock Star - by: rabbanidev
The second-most famous of the "Three Stars" who perished "The Day the Music Died" was Latino America's first rock star, a verifiable teen idol who reconfigured Latin culture into rock and roll and produced one deathless double-sided classic single, "La Bamba" backed with the ballad "Donna." The crash which took Buddy Holly's life in 1959 tragically also ended Ritchie's life, but his influence extends even beyond those two recordings.

Ritchie Valens' biggest hits:

"La Bamba"
"Come On, Let's Go"
"We Belong Together"
"Ooh! My Head"

Where you might have heard him The 1987 biopic La Bamba, one of the first such rock biographies to be a serious hit; "La Bamba" is heard in the movies Grease and White Chicks, "Come On, Let's Go" is featured in the 2002 crime drama Deuces Wild

Born: Richard Steven Valenzuela, May 13, 1941, Los Angeles, CA (Pacoima); died February 3, 1959 (Clear Lake, IA)

Genres Rockabilly, Rock and Roll, Tex-Mex

Instruments Vocals, Guitar

Claims to fame:

The first Latin-American to make significant inroads into the rock and roll scene.

Among the first rock and rollers to blend traditional Latin music with the new beat
Instrumental in introducing the Danelectro bass into rock
Perfected an image that was tough yet vulnerable in his songs
His ebullient vocals garnered him the nickname "The Little Richard of San Fernando"
Combined the tremelo urgency of Bo Diddley with Buddy Holly's romanticism
Subject of one of rock's first live albums

Early years

Richie was born into a family that loved blues and R&B as much as it did the traditional Latin songs that made up its culture, and this would prove to be a profound influence on him. Unfortunately, his parents were separated, and his father died when he was ten. By seventh grade the young Valens was playing the guitar and imitating the latest rock performers for his classmates. By high school, he was performing with local garage rockers The Silhouettes as their main singer and guitarist.


Neophyte entertainment manager Bob Keane was tipped off to Valens by a printer's assistant, and the 17-year-old Richie was soon recording demos of songs in Keane's basement.


During the infamous Winter Dance Party Tour of 1959, just one year after the success of "Come On, Let's Go," Ritchie Valens was killed, along with Buddy Holly and The Big Bopper, in a plane crash near Clear Lake, IA. Although his untimely demise makes him necessarily one of rock's more tragic figures, it is his musical legacy which survives him, specifically, his groundbreaking mix of musical styles and his honesty

More about Ritchie Valens

Ritchie Valens facts and trivia:

Manager Bob Keane convinced Richie to shorten his last name and add a distinctive "t" to his first

Keane was also the first to suggest Valens make a rock song out of the traditonal "La Bamba"

Valens wrote "Donna" for fellow San Fernando High classmate Donna Ludwig, and even played an early version of it over the phone

His half-live album Ritchie Valens In Concert at Pacoima Jr. High, released in 1960, is considered one of the era's great live recordings

The movie La Bamba is ostensibly about Valens' life, even though many parts are inaccurate

Ritchie Valens awards and honors Rock and Roll Hall of Fame (2001), GRAMMY Hall of Fame (2000), Rockabilly Hall of Fame (1999), Hollywood Walk of Fame (6733 Hollywood Blvd.)

Ritchie Valens hit singles:

Top 10 hits:
Pop: "Donna" (1959)

Movies and TV Valens made his only screen appearance ever in the Alan Freed musical Go, Johnny, Go! (1959), but instead of singing "Donna," his big hit at the time, he performed "Ooh! My Head"

Notable covers Led Zeppelin turned the Valens single "Ooh! My Head" into "Boogie with Stu" on the 1975 album Physical Graffiti, with credit given to his widow as "Mrs. Valens"; Los Lobos had hits all over again with "La Bamba" and "Come On, Let's Go" in 1987 when they rerecorded them for the La Bamba film soundtrack; that same year, "Weird Al" Yankovic parodied "La Bamba" as "Lasagna"]]>
Rock and Roll Hall of Fame Tue, 15 Dec 2015 19:38:10 +0000
There was Chic - by: kodu Rock and Roll Hall of Fame Mon, 14 Dec 2015 19:28:18 +0000 The 2015 RRHOF Nominations - by: Carlitos Teixeira ]]> Rock and Roll Hall of Fame Mon, 14 Dec 2015 16:18:12 +0000 Art The 2015 RRHOF Nominations - by: ibrahim hossain Rock and Roll Hall of Fame Mon, 14 Dec 2015 16:16:04 +0000 some thing about hall of fame - by: whatsupp AnjanBenzz :blink: :blink: :blink:]]> Rock and Roll Hall of Fame Mon, 14 Dec 2015 16:03:40 +0000 12/22/2012 joe cocker dead at 70 - by: russell hibbs Rock and Roll Hall of Fame Wed, 24 Dec 2014 14:33:16 +0000 A brief testament to RHOF - by: Darryl Tahirali

As for Toto, i just rewatched Dune (where beer really helped) and was surprised to read "Music by Toto" in the opening credits.

Somehow I never investigated the entire Dune phenomenon. I've known people who raved about the book, and even a couple who raved about the film. As someone who loves Plan 9 from Outer Space, I owe it to myself to watch Dune sometime. I love bad sci-fi flicks.

Anyway, i can't see a longer waiting period helping much. 25 years seems long enough already, and playing the money card, a Hall of Fame induction ceremony where the acts waited 50 years, could be quite...well...morbid.

Agreed. Twenty-five years is plenty.]]>
Rock and Roll Hall of Fame Tue, 21 Oct 2014 18:40:20 +0000
2014 Rock and Roll Hall of Fame Nominations - by: Committee Chairman Rock and Roll Hall of Fame Fri, 03 Oct 2014 19:39:00 +0000 The 2014 HoF ceremony on HBO - by: Committee Chairman Rock and Roll Hall of Fame Tue, 17 Jun 2014 19:04:53 +0000 A few to consider for 2013. - by: Committee Chairman
DDT, going back to your musical apartheid reference, you are bang on. I think in the I-Pod shuffle generation, and the lack of importance of the album, the newer generation (and damn I feel old typing this) are not really growing up with radio like we did, and feel subject to the same musical categories that we did. I remember feeling strangely guilty for loving Public Enemy as a white kid with his jean jacket and longish hair in the late 80's. Because I didn't look like someone who knew the words to "Fight the Power" doesn't mean that I couldn't recite it on command, and appreciate the message; even if it did not apply to me.

Conversely, my closest friend (who if Jamaican-Canadian) told me his love of Hall & Oates; (who may be white soul, but looks like white bread...especially Oates) and my first reaction was disbelief. After, I though how foolish that was, as I made a musical racial generalization....on someone I have been good friends with for two decades........but he doesn't know who the Allman Brothers is...:)]]>
Rock and Roll Hall of Fame Sat, 21 Sep 2013 01:15:45 +0000
Top Ten Artists who should not be in the Hall of fame but are! - by: Darryl Tahirali is “rock and roll,” anyway? At the very least, I think it should be called the Rock and Soul Hall of Fame, which leads me to . . .

>>I am fine with blues, soul and R&B music belonging due to much of the music having rock elements.

Isn’t that putting the cart before the horse? Blues began before rock was a twinkle in anyone’s eye; or as the Muddy Waters song put it, “The Blues Had a Baby and They Called It Rock and Roll.” R&B, arising roughly in the 1940s, is the most direct antecedent to rock, if only because so many R&B singers (LaVern Baker, Big Joe Turner, et al) crossed over into early rock and roll with little effort; just check the similarities between Bill Haley’s version of “Shake, Rattle, and Roll” and Turner’s--is Haley’s “rock” because he was white and Turner’s “R&B” because he was black? They both sound like “rock” to me. And soul is coterminous with rock: Both began at around the same time and have been developing concurrently ever since. Hence, “rock and soul.”

To me, this is all Western popular music of the Rock Era, which began in the 1950s. And to borrow from Del Shannon, rock is a “little town flirt”--it'll borrow from any musical form, style, or genre, to the point which we have a plethora of hyphenates (e.g., acid-house, trip-hop, skate-punk, funk-metal, etc.) describing genres, sub-genres, sub-sub-genres, seemingly ad infinitum.

So, to begin to discriminate at this point is ridiculous, such as excluding rap. Along with heavy metal, hip-hop is the biggest musical style on the planet and has been for some time. Rap is popular from Berlin to Beirut to Bangalore to Bangkok, and as an indigenous American style, as is rock, it should be recognized. (By the way, Run-DMC incorporated heavy-metal guitar into “Rock Box” two years before “Walk This Way.”)

I agree that the Rock and Roll Hall of Fame shot itself in the foot first with its potentially restrictive name and second with its reluctance to define what it considers to be “rock and roll.” (I suppose, like Supreme Court Justice Potter Stewart’s recognition of pornography, the Hall will “know it when it sees it.”) These two failings only exacerbate disagreements over which artists are “Hall-worthy”--and our own restrictive tastes and biases don’t help, either.]]>
Rock and Roll Hall of Fame Tue, 10 Jul 2012 01:20:14 +0000
The Hall of Fame List - by: Site Admin Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000 Johnny Rivers Lives - by: BiggyRat65 Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000 Rush doc a transition for directors - by: Site Admin

With two acclaimed documentaries behind them

Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000
RRHOF Acquires Johnny Cash's Tour Bus - by: Site Admin

Johnny Cash went to that big gig in the sky in 2003, but the Man in Black's silver and black tour bus will be on the road again next week in Northeast Ohio. The Rock and Roll Hall of Fame and Museum acquired the legendary country singer's luxury coach -- christened JC Unit One -- as part of its permanent collection in 2007.

Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000
RRHOF Class of 2011 leaked? (Spoiler) - by: Spheniscus item 3]]> Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000 Any chance you could do lists for the other Hall categories? - by: rockstar23 Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000 Bob Dylan's Stealing of James Damiano's Songs - by: James Damiano Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000 When in rock history where you could start your rock career? - by: Ed Kaing Rock and Roll Hall of Fame Sat, 06 Feb 2010 16:36:23 +0000