A View from the Peanut Gallery
Induction Criteria?
Does the subjective induction criteria of The Rock & Roll Hall of Fame (aka, The Rock Hall) echo the beginnings of Rock when artists were cheated, ripped off, and marginalized?
Initially, I don't believe this was the intent. The Rock Hall was at first a DREAM—a vision of men and women whose primary purpose was to honor not just musicians, but all of those who gave so much to build and expand the music industry. It was initially meant to honor those reaching milestones of both artistic and commercial success that advanced the medium as well as those who raised the bar artistically, economically, and/or socially for those to come. Unfortunately, that is not their mission today.
I'm finding it difficult to arrive at a positive reason for which The Rock Hall chose to establish a more subjective and arbitrary standard for nominations and induction instead of using the already existing and recognized criteria being utilized by other Hall of Fames. Instead, The Rock Hall saw fit to reinvent the wheel and established precarious guidelines void of tedious and mundane facts, milestones, and statistics.
I imagine vetted data and factual evidence of achievements would hinder one's ability to honor those who would not endure actual standards and impartial scrutiny, hindering The Rock Hall from continuing their nepotism. The inconsistent actions of these voyeurs of Rock & Roll are suspect, and unfortunately reminiscent, of the carpetbaggers who arrived on the Rock scene in its infancy. Reflecting on those opportunists who viewed not only this new genre, but also the young musicians who created it as naive and vulnerable, maneuvered many into unethical contracts leaving behind broken dreams and empty pockets. Those were the days when Rock & Roll was similar to war in that it was built on the backs of the disposable. It appears far too many worthy artists who built Rock & Roll are still viewed as disposable.
That being said, the subjective nature of this induction process opens the door for prejudice, favoritism, and compromise which affords all concerned the flexibility to ignore their own guidelines and predilections. The reality is these individuals are still prevalent in, and around, music. Sadly, it appears some have found a home at The Rock Hall. They exhibit a Pavlovian dislike, and visceral reaction, to hugely successful artists that in their view are insignificant, commercial, or ineligible for reasons only they are privy to.
Instead, they fondle and induct acts who have never penned or recorded a charted record throughout their career. One of these artists was inducted on their first year of eligibility despite the fact it took 38 years for their first album released in 1976 to be certified Gold.
The Beatles had to wait two years after their eligibility before they were inducted!
The latter is a testament to how bogus the Rock & Roll Hall of Fame’s induction process is!
Collaboration Creates Magic
It has been noted there are individuals at The Rock Hall who frown upon artists who didn't pen their own material; thereby, ignoring the historical evidence that early Rock records were actually covers of old blues songs and standards from previous generations adapted to fit this new genre!
This collaboration between writers and artists enabled Rock & Roll to evolve and mature. In New York City alone, writers like Goffin & King, Bacharach & David, Mann & Weil, and Lieber & Stoller developed relationships with artists such as The Drifters, The Righteous Brothers, The Ronettes, Elvis Presley, and more. These collaborations led to “Up on the Roof,” “You’ve Lost That Lovin’ Feelin’,” “Be My Baby,” “Hound Dog,” and many other hit songs! What is the rationale, the process, in deciding to honor one while ignoring the other?
The aforementioned composers were also involved in the British invasion contributing "Don't Bring Me Down" and "We've Gotta Get out of This Place" for Eric Burdon and The Animals (a 1994 inductee,) "I'm Into Something Good" for Herman's Hermits, as well as songs for Marianne Faithfull, Manfred Mann, and Dusty Springfield (a 1999 inductee.) This ongoing partnership between artists and writers has continued, and will continue, to influence and guide new artists to understand and respect that the partnership between a great song and a great artist is magical.
Many great Rock & Roll artists who did not write their music rightfully avoided this scrutiny and have been inducted into the Rock Hall. This list includes, but is not limited to, Jackie Wilson, Janis Joplin, The Temptations, The Supremes, The Drifters, The Four Tops, and “The King” himself—Elvis Presley! I estimate that 90% of all Motown artists utilized a team of great writers made available to them by the label. Philadelphia International Records, whose artists included The O’Jays, Patti LaBelle, The Stylistics, and Teddy Pendergrass, also had most of their songs penned for their artists.
Another unfortunate fact is that many artists who were instrumental in creating and furthering the different genres that made up Rock & Roll in its infancy are being passed over simply because of their limited ability to sell tickets to the Induction Ceremony. Some years ago, a doo-wop group was bumped even though they had more votes than the act which replaced them. In 2007, Grandmaster Flash & the Furious Five, who are ARGUABLY NOT Rock & Roll and barely fulfilled the 25-year eligibility criteria, were inducted! The Rock Hall lied, manipulated, and stole an award from a group who earned it and gave it to another with the only criteria being their ability to sell tickets to the award ceremony! This is just one more reason that The Rock Hall is an embarrassment and bogus.
To note, doo-wop was overlooked until 2000 when 50 black doo-wop groups were recognized. Unfortunately, doo-wop groups such as The Skyliners, The Duprees, or Dion and the Belmonts were not recognized.
The Rock Hall doesn't feel Gold and Platinum Awards, industry milestones, and record-breaking crowds alone are appropriate guidelines for acceptance to The Rock Hall, but instead prefer conjecture, opinion, personal taste, and the artists' influence on Rock & Roll which is totally subjective.
A Synchronicity of Influences
Each new sound, new song, or new artist is composed of a cornucopia of musical influences presented in a fresh new way! We are all linked by our love and respect for music as well as the individuals that bring it to life.
We have inevitably been influenced by and/or emulated an artist we have never actually seen; however, we are inspired by musicians mimicking and emulating these artists, over and over again as one artist inspires another gradually morphing from one genre to another and so on, etc., ad infinitum.
So, who influenced whom? And, if you actually could figure that out, should that one factor be a criterion to keep one from being inducted into The Rock Hall?
