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Yahoo
20-05-2025
- Entertainment
- Yahoo
Bad Company, Cyndi Lauper, Outkast, The White Stripes Lead Rock & Roll Hall of Fame Class of 2025
The Rock & Roll Hall of Fame has officially unveiled its 2025 class, confirming Bad Company, Chubby Checker, Joe Cocker, Cyndi Lauper, Outkast, Soundgarden and The White Stripes as this year's inductees. Ryan Seacrest announced the inductees on ABC's American Idol on Sunday night, the second year in a row the show revealed the Rock Hall class (ABC parent company Disney has the TV rights to the event). Aside from the performer category, Salt-N-Pepa and Warren Zevon are being honored with the Musical Influence award. Thom Bell, Nicky Hopkins and Carol Kaye are getting the Musical Excellence Award, and Lenny Waronker — the producer and executive best known for his longtime stint as the president of Warner Records — is this year's Ahmet Ertegun Award recipient. More from The Hollywood Reporter Bruce Springsteen Performs With Smokey Robinson, John Fogerty at 2025 American Music Honors Event How New Kids on the Block's Jonathan and Jordan Knight Breathed New Life Into HGTV Global DJ Alok Is Keeping Art Human and Bringing His True Self to the Desert The induction will take place November 8th at the Peacock Theater, and it will stream live on Disney+ that night. A special will air on ABC at a later date. The Rock Hall will announce on-sale information for tickets for the event at a later date. This will be the fourth time the induction will take place in Los Angeles, and the first time since 2022. 'Each of these inductees created their own sound and attitude that had a profound impact on culture and helped to change the course of Rock & Roll forever,' John Sykes Chairman of the Rock & Roll Hall of Fame, said in a statement. 'Their music gave a voice to generations and influenced countless artists that followed in their footsteps.' The nominees who missed the cut this year are The Black Crowes, Mariah Carey, Billy Idol, Joy Division/New Order, Maná, Oasis and Phish. The Crowes, Idol, Maná and Phish had never been nominated before. Phish handily won this year's Rock Hall fan vote (which counts for one ballot in the actual voting process), while Bad Company took second and Idol came in third. Joy Division/New Order were nominated back in 2023, while Oasis and Carey were both nominated for the first time in 2024. Last year's Rock Hall class included Cher, Mary J. Blige, Ozzy Osbourne and A Tribe Called Quest. Artists become eligible for the Rock Hall 25 years after their first commercial release. Checker, Cocker, Bad Company and Outkast are all getting in on their first nominations. Cocker's induction comes 11 years after the English singer died back in 2014, and eight years after Soundgarden frontman Chris Cornell's tragic death in 2017. Lauper and The White Stripes were both previously nominated in 2023, while this was Soundgarden's third time on the ballot after nominations in 2020 and 2023. Checker's waited the longest for an induction out of this year's class, having released his first album back in 1960. Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More Most Anticipated Concert Tours of 2024: Taylor Swift, Bad Bunny, Olivia Rodrigo and More
Yahoo
19-05-2025
- Entertainment
- Yahoo
Outkast, The White Stripes, Soundgarden, Chubby Checker & More to Join 2025 Rock & Roll Hall of Fame Class: Full List
Chubby Checker, whose 'The Twist' was a global smash in 1960, has been eligible for the Rock & Roll Hall of Fame since the first class was inducted in 1986, but he was never even nominated until this year. Despite having been ignored for decades, he made it in his first time on the ballot. So did first-time nominees Bad Company, Joe Cocker and Outkast, as well as Cyndi Lauper and The White Stripes, who had each been nominated once before, and Soundgarden, which had been nominated twice before. These seven acts were all inducted in the performer category. More from Billboard Becoming Chris Cornell: Inside the Early Days of Soundgarden Maynard James Keenan Says 'Modern Miracles' Might Be Required for Ozzy Osbourne to Perform at Final Show Former MTV VJ Matt Pinfield Shares New Recovery Update Following Stroke The inductees were announced by Ryan Seacrest on ABC's American Idol on Sunday night (April 27). There are six other inductees this year in other categories. Salt-N-Pepa and Warren Zevon are set to receive the musical influence award; Philly Soul producer Thom Bell, English studio pianist/organist Nicky Hopkins and studio bass guitarist Carole Kaye (who was part of the fabled Wrecking Crew of top L.A. studio musicians) will receive the musical excellence award; and producer and label executive Lenny Waronker will receive the Ahmet Ertegun Award. Sadly, several of these people didn't live to see their inductions. Hopkins died in 1994 at age 50; Zevon in 2003 at 56; Chris Cornell of Soundgarden in 2017 at 52; and Bell in 2022 at 79. Checker had to wait even longer for induction than Cher, who was finally inducted last year, 59 years after Sonny & Cher's breakthrough smash 'I Got You Babe.' With Outkast and Salt-N-Pepa both being inducted this year, this is the sixth consecutive year that one or more rap acts has been in the induction class. With Lauper, Salt-N-Pepa, Meg White of The White Stripes and Carol Kaye being inducted this year, this is the fourth consecutive year that four or more female acts were in the induction class. Bell won the first Grammy Award ever presented for producer of the year, non-classical, in 1975. By coincidence, Waronker was among the other nominees in the category that year. Waronker was also nominated for record of the year that year for producing Maria Muldaur's classy and sexy 'Midnight at the Oasis.' Waronker's many other hits as a producer include Gordon Lightfoot's Hot 100-topping 'Sundown,' Rickie Lee Jones' 'Chuck E.'s in Love' and Randy Newman's 'I Love L.A.,' which Dawes performed as the opening song on this year's Grammy telecast. Carol Kaye, 90, is this year's oldest inductee. Checker and Waronker are both 83, but will both be 84 by the time of the Nov. 8 induction ceremony. All of the artists who were induced in the performer category have landed top five albums on the Billboard 200. Three of them reached No. 1: Bad Company (Bad Company, 1974), Outkast (Speakerboxxx/The Love Below, 2003) and Soundgarden (Superunknown, 1994). Three more reached No. 2: Chubby Checker (Your Twist Party, 1962), Joe Cocker (Mad Dogs and Englishmen, 1970) and The White Stripes (Icky Thump, 2007). Lauper climbed as high as No. 4 twice, with She's So Unusual in 1984 and True Colors in 1986. Both of the artists who are receiving musical influence awards made the top 10. Salt-N-Pepa reached No. 4 with Very Necessary in 1994. Zevon hit No. 8 with Excitable Boy in 1978. Lauper won the Grammy for best new artist in 1985. She's the sixth artist who was a past winner of that award to go on to a Rock Hall induction. Outkast won the Grammy for album of the year in 2004 for Speakerboxxx/The Love Below. André 3000 was nominated again in that category at this year's ceremony for New Blue Sun. Two of the inducted acts are duos – Outkast (André 3000 and Big Boi) and The White Stripes (Jack White and Meg White). The other seven nominees in the performer category were denied admission to the Rock Hall – this year, anyway. Oasis and Mariah Carey were both passed over for the second year in a row. Both were surprising snubs – Oasis is reuniting for a global tour in 2025; Carey's profile, never low, has been boosted in recent years by her status as the uncontested Queen of Christmas. Of the other passed-over artists, Joy Division/New Order were previously on the ballot in 2023; this was the first time on the ballot for The Black Crowes, Billy Idol, Maná and Phish. The voters showed no love for brother acts this year. Oasis includes Liam and Noel Gallagher; The Black Crowes includes Chris and Rich Robinson. Maná was vying to become the first rock en español act to make the Rock Hall. Joy Division/New Order was vying to join the short list of two related acts being inducted in tandem, following Parliament/Funkadelic in 1997 and The Small Faces/Faces in 2012. Phish, which won this year's fan vote, has never landed a Hot 100 hit, but the band is a powerhouse live attraction, as evidenced when it played the Sphere in Las Vegas in April 2024. Idol was a mainstay of early MTV – as was Lauper, who did get in. In an interview with Vulture, Idol said of his guitarist Steve Stevens, 'Because of our special relationship, if I get in, they will induct him as well.' This would have echoed Pat Benatar's induction three years ago, where the Rock Hall inducted both Benatar and her husband and musical partner, Neil Giraldo. But it's academic, as Idol didn't make it this year. The 2025 Rock & Roll Hall of Fame Induction will be live on Saturday, Nov. 8 at the Peacock Theater at L.A. Live in Los Angeles. The 2025 ceremony will once again stream live on Disney+, with a special airing on ABC at a later date and available on Hulu the next day. The 2024 ceremony aired on New Year's Day. Here's the full list of 2025 inductees: Bad Company Chubby Checker Joe Cocker Cyndi Lauper Outkast Soundgarden The White Stripes Salt-N-Pepa Warren Zevon Thom Bell Nicky Hopkins Carol Kaye Lenny Waronker Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
The Hindu
14-05-2025
- Entertainment
- The Hindu
Robert Benton, Oscar-winning director of ‘Kramer vs. Kramer', dies at 92
Robert Benton, the three-time Academy Award-winning filmmaker known for directing the 1979 best picture winner Kramer vs. Kramer and co-writing the groundbreaking Bonnie and Clyde, died Sunday in Manhattan. He was 92. His death was confirmed by his assistant and manager, Marisa Forzano. Benton's career spanned more than four decades, during which he earned acclaim for both his writing and directing. Beginning his professional life as art director at Esquire magazine, Benton partnered early with colleague David Newman. Their writing collaboration led to the 1967 film Bonnie and Clyde, which, after initial rejections, became a cultural landmark and earned them an Oscar nomination for Best Original Screenplay. Benton made his directorial debut with 1972's Bad Company and gained wider recognition with The Late Show (1977), a noir-tinged detective film starring Art Carney and Lily Tomlin. His major breakthrough came with Kramer vs. Kramer, a drama about divorce and fatherhood starring Dustin Hoffman and Meryl Streep. The film won five Academy Awards, including Best Picture, Best Actor, Best Supporting Actress, Best Director for Benton, and Best Adapted Screenplay. He continued to write and direct several character-driven dramas. Places in the Heart (1984), inspired by his Texas upbringing, earned him another Oscar for Best Original Screenplay and brought Sally Field her second Best Actress win. Later films included Nobody's Fool (1994), Twilight (1998), and The Human Stain (2003). While not all were box office successes, they were often praised for their strong performances and thoughtful writing. Throughout his career, Benton was recognized for his contributions to film. He received the Writers Guild of America's Ian McLellan Hunter Award in 1995 and the Laurel Award for screenwriting in 2007. Born in Waxahachie, Texas, Benton studied at the University of Texas and Columbia University. Before moving into film, he worked in publishing and aspired to be a painter. He is survived by his son, John.
04-05-2025
- Entertainment
Rock legends Paul Rodgers and record song with elementary students
Bad Company frontman Paul Rodgers and x-Guns N' Roses drummer Matt Sorum record a version of 'Rock 'n' Roll Fantasy' with school kids, organized by the Adopt the Arts foundation.
The Guardian
01-05-2025
- Entertainment
- The Guardian
Justice for Phish! How the jam band shaped US culture – without awards or big hits
Bernie Sanders has called them 'one of the great American rock bands'. They've been together since 1983, selling out stadiums and hosting festivals where they're the only band on the bill, drawing tens of thousands. Last week, they won the fan vote for induction into the Rock and Roll Hall of Fame, with 330,000 votes, beating the runner-up, the rock supergroup Bad Company, by 50,000. Yet outside the US, Phish may be best known as the inspiration for Ben & Jerry's Phish Food flavor. They've never had a significant mainstream hit. And when the Hall of Fame inductees were announced on Sunday, Phish wasn't among them. Bad Company was. Many fans seemed unbothered: 'Phish is too out there, too innovative, not mainstream,' wrote one on a fan message board. 'Hall of Fame just isn't a Phish thing.' Added another: 'Let the disdain and misunderstandings continue.' It's all par for the course for the quartet, who have become a household name in the US thanks to their incredibly devoted fanbase – even if most people probably can't name any of their songs. Instead, they're best known for the stereotype of their most hardcore listeners: hippies who follow them around the country on tour, selling grilled cheese sandwiches in parking lots, obsessing over set lists (the band never plays the same show twice), and doing vast amounts of drugs. There is truth to the stereotype. To attend a Phish show is to wander through a parking lot full of people distributing veggie burritos and nitrous balloons, wearing tie-dye or shirts with obscure references to specific Phish compositions. Encyclopedic knowledge of the band's songs comes with bragging rights – there are about 1,000 of them, including covers; in a series of 13 shows at Madison Square Garden in 2017, they didn't repeat a single one. The band formed in Vermont in the 80s, and its fans are extremely white. They're also very male; during a three-show stretch at the Hollywood Bowl in Los Angeles this weekend, there was a line out the door for the men's room and none at all for the women's; a Phish show is a place where men have feelings, which they demonstrate through unabashedly terrible dancing. An LA friend who reluctantly attended a concert last year, as an 'anthropological experiment', called Phish a band for east coast kids who loved summer camp. As Amanda Petrusich wrote in an in-depth New Yorker piece this month, 'people who love Phish do so with a devotion that is quasi-religious – deep, eternal and rhapsodic.' The pop-culture image of Phish has largely focused on their hardcore fans, which tends to distract from the band and the music itself. Hall of Fame or no, there's no question they've made their mark on American culture. The band has long allowed recording at their shows, and the passionate community, which traded cassette tapes and then long-form digital audio, helped to pioneer internet culture. While the band themselves are heirs to the Grateful Dead – often seen as the 'jam band' prototype – they helped spread the jam-band gospel, helping to lift or inspire a generation of bands including Dave Matthews Band and the very not-jammy Maroon 5. Festivals such as Bonnaroo are rooted in Phish culture – the band's guitarist, Trey Anastasio, headlined the first edition. As the BBC put it in 2019: 'Attending a Phish gig has become a rite of summer passage for American teens in the same way that attending Glastonbury has for British teenagers.' They began playing together in college, and the lineup hasn't changed since 1986: Anastasio on guitar and – usually – lead vocals, Mike Gordon on bass, Page McConnell on keyboards, Jon Fishman on drums. (They still play songs from Anastasio's college thesis composition.) They're generally categorized as a jam band – a term whose definition, Anastasio told the New Yorker, he's unsure about. He worries it means 'too much soloing'. But what makes the band fun to watch is how all four members – with an easy virtuosity – contribute to the impromptu evolution of each song. This isn't about a lone guitar playing endlessly while the rest of the band plays a looping chord progression. Instead, the musicians listen to each other, sometimes mimicking, sometimes diverging, always driving the song forward. Often, a song ends up totally different from where it began – new chords, new melody, new tempo, but still cohesive – so that given, say, the final minute of a song, even the most experienced Phish fan might not be able to identify the starting point. Either way, the improvised portions – which make up the majority of each show – are dynamic: the mood shifts from joyful to eerie to abstract and back again. There is a narrative structure, with tension slowly building to a raucous payoff. Phish are revered for their exhaustive knowledge of the past six decades of popular music, having covered songs from Joni Mitchell to the Five Stairsteps to Chumbawamba. They play bluegrass and funk and sing a cappella as a barbershop quartet, and they've performed with artists from Cher to Jay-Z. And they know how to put on a show. There are onstage dances and jumping on trampolines; Fishman 'plays' the vacuum cleaner, manipulating the air with his mouth. Each New Year's Eve brings a giant Madison Square Garden performance, with elaborate sets, costumes and dancers. One year, the band arrived riding a giant hot dog over the crowd; another, Fishman was supposedly shot from a cannon and went missing. They're weird, they're silly, and the fans can be a lot. But ultimately, what makes them one of 'the great American rock bands', as their fellow Vermonter put it, is summed up in a recent album title: joy. It pulses through their music, their stunts, and their community in a way that's always felt rare, and that the fans celebrate. As a touring band and an open secret, they exemplify a uniquely American tradition, rooted in 1960s counterculture but stretching well beyond it, tied to the country's vastness and unknowability. To attend a Phish show is to briefly join a caravan of characters – hippies, nerds, even frat bros – and step outside reality for a few hours. In a way, it's appropriate that they didn't make it into the Hall of Fame this year, despite hundreds of thousands of fan votes. It's in line with their whole career: a vast army of listeners, but no big hits. A part of American culture for 40 years, but never quite in the mainstream.
