This group includes visionaries and trendsetters from hip-hop, alternative, metal, hard rock, R&B, power pop and new wave. Two previously-nominated artists and one Rock Hall Contender are featured in this installment.
#30: Salt-N-Pepa
Eligible Since 2012
Never Nominated
Essential Songs: “Push It” (1986), “Expression” (1988), “Let’s Talk About Sex” (1990), “None of Your Business” (1993), “Shoop” (1993), “Whatta Man” (1993)
So far, no female hip-hop artists have been nominated for induction into the Rock & Roll Hall of Fame. But in recent years, female rappers are more visible and dominant than ever before. Just last year, Nicki Minaj, Cardi B, Megan thee Stallion and Doja Cat all occupied the top spot on the Billboard Hot 100. But it wasn’t always easy being a woman in a largely-male dominated genre (and industry at large) that objectified women. Female rappers from the genre’s earliest years challenged the status quo and fought hard for their voices to be heard. And before the likes of Missy Elliott and Lauryn Hill become serious Rock Hall contenders, 80s-era female rappers need to be considered first and perhaps no one is more deserving than Salt-N-Pepa. They broke down gender barriers and became the genre’s first all-female rap crew. Cheryl James (Salt) and Sandra Denton (Pepa) first met as nursing students at a Queens community college and worked together at a Sears department store in 1984. One of their co-workers asked them to record a rap demo for a class project and the demo became so popular that local radio stations started playing it. The rest is history: they quickly landed a record contract on an independent label the following year where they started recording their debut album. “Push It,” their breakout smash, reached the top-20 on the pop charts and became the first platinum-certified single by a female rap artist. The then-teenaged DJ Spinderella became their DJ in 1987, thus completing the “classic lineup” of this iconic trio. Thanks to their pop sensibilities, they--along with the likes of LL Cool J and Run-DMC--were one of the genre’s first crossover stars and one of the crucial figures who assimilated hip-hop to the mainstream. More importantly, Salt-N-Pepa injected feminist messages into their music and challenged the misogyny of rap at the time. They embraced their sexualities and gave brutally honest takes on men in their songs with no regard (blast “Let’s Talk About Sex” and “Shoop” as prime examples). Their commercial peak culminuated with the release of Very Necessary (1993), which would sell 5 million copies. They haven’t recorded a studio album since 1997 but still frequently embark on national tours. Trendsetters in every sense of the word, Salt-N-Pepa are absolutely Rock Hall worthy and it’s shocking they haven’t gotten one yet. For one thing, they obtained a decade of commercial success which was very rare for rap artists at the time. They have several songs well-known across popular media such as “Shoop” appearing in Deadpool (2016) and “Push It” serving as the theme song for the revised Supermarket Sweep. But the recent announcement that they will be receiving the Lifetime Achievement Grammy next month is absolutely important and a giant step forward towards building momentum for a potential Rock Hall nomination. With an upcoming Lifetime biopic also airing later this year, now is the time to honor the “First Ladies of Rap” and their pioneering accomplishments.
#29: Soundgarden
Eligible Since 2012
Nominated in 2020
Essential Songs: “Rusty Cage” (1991), “Black Hole Sun” (1994), “The Day I Tried to Live” (1994), “Fell on Black Days” (1994), “Spoonman” (1994), “Burden in My Hand” (1996)
One of the pivotal architects of grunge, Soundgarden largely laid the blueprints for the genre’s defining characteristics and its long-lasting popularity. Forming in mid-1980s Seattle, Soundgarden took musical influences from mainstream hard rock, underground punk and heavy metal. They combined those styles to develop a unique and largely experimental sound. Soundgarden were unquestionably the most musical adventurous of the major grunge bands. Singer Chris Cornell served as the primary songwriter who penned melancholic and existential lyrics that perfectly captured Kim Thayils’ heavy guitar riffs. Soundgarden were the first grunge band to sign a major record deal with A&M Records in 1989, but they didn’t experience substantial commercial success until after grunge broke out into the mainstream. Their back-to-back masterpieces Badmotorfinger (1991) and Superunknown (1994), are among the greatest albums in rock history. The latter, in particular, marked the zenith of Soundgarden’s popularity as they became full-fledged MTV stars thanks to their iconic song “Black Hole Sun.” Creative differences, however, tore the band apart and they broke up in 1997 and Cornell and the members pursued other projects. They rekindled in 2010, embarked on a tour the following year and released their final studio album King Animal (2012) before Cornell’s tragic 2017 death. At the 2018 ceremony, Ann Wilson and Jerry Cantrell performed a rendition of “Black Hole Sun” in honor of the late Cornell. The performance, which was mediocre at best, was unusual for one reason: Soundgarden are not Rock Hall inductees. It’s rare, almost unheard of, that the Rock Hall would devote an entire segment—shown on HBO no less—to an artist who isn’t (yet) an inductee. Nothing against Cornell who was unquestionably the talented and versatile rock vocalist of his generation, but it’s an unprecedented move. From that moment on, it was a matter of time before they finally received a nomination and they did for the class of 2020. Despite finishing fourth on that year’s fan vote, they didn’t get enough votes which is kinda shocking as their Seattle contemporaries Nirvana and Pearl Jam waltzed right in years ago. But it sorta makes sense as Soundgarden lacked the cultural impact when compared to those two bands and they had to wait before they could receive more serious Rock Hall consideration. Plus, there were way too many hard rock and metal bands on that ballot, many of whom influenced Soundgarden, to give the Seattle legends a legit shot for induction last year. And while they didn’t get inducted on their first nomination, expect their name to pop up on the ballot again soon. Tom Morello, Cornell’s close friend and former Audioslave band mate, sits on the nominating committee and has publicly voiced his desire to get Soundgarden into the Rock Hall someday. But let’s just hope the ongoing legal drama between the surviving members of Soundgarden and Cornell’s widow is squashed before their induction happens.
#28: Pixies
Eligible Since 2014
Never Nominated
Essential Songs: “Gigantic” (1988), “Where is My Mind?” (1988), “Debaser” (1989), “Here Comes Your Man” (1989), “Monkey Gone to Heaven” (1989), “Velouria” (1990)
The first time I heard a Pixies song was during the final scene and closing credits of the cult classic Fight Club (1999). Not to give away any spoilers, but David Fincher’s decision to use “Where is My Mind?” to accompany the lead character’s crumbling mental breakdown is one of the powerful usages of music I’ve ever seen in a film. Thanks to the film’s long-lasting popularity, the song brought the Pixies back to the limelight and became arguably their most well-known song. Even though they never had a mainstream hit or achieved substantial commercial success during their initial run, the Pixies are one of the most influential bands to arrive on the alternative rock scene in the late 1980s. The band’s origins begin when Black Francis and Joey Santiago met while they were students at the University of Massachusetts: Amherst in the mid-80s. They began playing music together, eventually dropped out of college and started a band. They infamously placed an ad looking for a guitarist “into Husker Du and Peter, Paul & Mary'' and eventually hired Kim Deal. And the rest is history. Francis’ songwriting can best be described as fragmented, dark, cryptic and hauntingly beautiful. His songs are picturesque sketches into a surrealist universe that is often trippy and downright bizarre. This is a band who based one of their best-known songs after the controversial Bunuel-Dali surrealist masterpiece Un Chein Andalou (1929). It doesn’t get much weirder than that. Aesthetically, the Pixies used bizarre stop-start timing and extremely stripped-down production techniques that became commonplace in modern alternative rock. They released two back-to-back masterpieces Surfer Rosa (1988) and Doolittle (1989), both of which are ranked on Rolling Stone’s 500 Greatest Albums list, that served as critical turning points in the history of alternative rock and largely inspired the growing grunge movement. But the Pixies broke up before they could experience the commercial success as their predecessors. They influenced so many major bands including Radiohead, Smashing Pumpkins, Pavement and Weezer. Even inductees Bono and David Bowie have sung their praises, the latter even allowing Francis to perform at his 50th birthday celebration. But if you need more convincing of why the Pixies deserve to be inducted into the Rock Hall, look at the comments made by Nirvana’s Kurt Cobain in a 1994 Rolling Stone cover story. When Cobain was writing his magnum opus “Smells Like Teen Spirit,” he notes: “I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies.” If your band inspired not only Nirvana but one of the greatest modern rock songs in recent history, then you should be in contention for the Rock Hall. They might be your favorite band’s “favorite band” and lack the mainstream notoriety often needed to boost one’s Rock Hall chances. But the Pixies’ popularity and legacy has only increased over the years and they inspired so many iconic bands that it’s hard to ignore them for much longer.
#27: Iron Maiden
Eligible Since 2005
Never Nominated
Essential Songs: “Hallowed By Thy Name” (1982), “The Number of the Beast” (1982), “Run to the Hills” (1982), “The Trooper” (1983), “2 Minutes to Midnight” (1984), “Aces High” (1984)
There’s a moment in Bill & Ted’s Excellent Adventure (1989) when the title characters are transported to a medieval kingdom and they offend a king so much he tells his guards to “put them in the iron maiden.” Thinking it’s the metal band, Bill & Ted are so overjoyed as they play air-guitar before realizing it’s a medieval torture device and they’ll likely meet their demise. It’s an incredibly stupid scene but this was my first exposure to the world of Iron Maiden, one of metal’s most popular and legendary bands. First formed in 1975, they went through several lineup changes before releasing their 1980 self-titled debut album. Iron Maiden were one of the first bands to fuse the excessive tendencies of progressive rock and the fast-paced energies of punk rock within the metal genre. Lyrically, Iron Maiden’s highly-intellectual songs featured themes of mythology, fantasy, war and history. Sometimes you need to be a scholar to understand what’s going on or what they’re referencing. Their album covers featured their mascot Eddie (what is he exactly?) who would often make appearances at their concerts. The visuals and theatrics are just as important to Iron Maiden’s legacy as their music. In many ways, they are metal’s first marketable band who sold a truckload of shirts and albums thanks to their graphic and often disturbing visuals. Despite selling over 100 million records and packing arenas worldwide for decades, Iron Maiden is probably the most famous rock band you’ll be hard-pressed to hear on a radio station. Their songs weren’t meant for the radio and they refused to compromise their artistic vision. They definitely followed their own pathway to fame and success while remaining one of the biggest bands in the world. Very few bands can do this at the level Iron Maiden did. For these reasons, Iron Maiden should be inducted into the Rock Hall. Whether it’s Bruce Dickinson’s operatic vocals, Steve Harris’ lyric-writing or their soaring triple guitar attack, virtually every metal artist who processed Iron Maiden lists them as an influence. Their musicianship and close attention to detail is almost unmatched. Iron Maiden has a notable distinction (so far) in Rock Hall history: they are the only band (so far) to have polled in the top five on the Rock Hall’s “Rock Your Choice” kiosks at the museum in 2018 and 2019. This alone should put them on the nominating committee’s radar as I believe they are probably the only metal band who could probably get inducted the first time they appear on a ballot. Akin to progressive rock’s Rush, Iron Maiden is a cultish band with a fanbase so devoted that they would stop at nothing to get their idols enshrined. Their fans are so widespread that even Lady Gaga is a fan and said they’ve “changed my life.” Even if the members of Iron Maiden have repeatedly critiqued the Rock Hall and would like not attend their induction, this is one for the fans.
#26: Kool & The Gang
Eligible Since 1995
Never Nominated
Essential Songs: “Hollywood Swinging” (1973), “Jungle Boogie” (1973), “Ladies’ Night” (1979), “Celebration” (1980), “Get Down on It” (1981), “Joanna” (1982)
One of R&B’s greatest hitmakers, Kool & the Gang is one of the most puzzling Rock Hall omissions. They initially formed a jazz band while they were still high school students in New Jersey and began playing clubs. But by the late 1960s, soul music dominated the charts and Kool & the Gang eventually adopted a more commercial sound. There are definitely still jazz elements in their earliest records, in fact their debut album comprises of only instrumentals, and they always had that horn section that made them stand out. But labeling Kool & the Gang to one specific genre does them a great injustice as they played rock, funk, pop and jazz on their albums. Their live performances, in particular, were often praised and gained a wider audience. Their crossover hit “Jungle Boogie” sounded just as funky and joyous as any Sly Stone, George Clinton or James Brown record. But Kool & the Gang used their jazz instincts to electrify any audience and they became one of the most popular bands of their time. But despite an appearance on the Saturday Night Fever soundtrack (among other things), their popularity declined by the end of the 70s. But with the addition of vocalist James “J.T.” Taylor in 1979, they experienced one of the great comebacks in rock history. As evident in songs such as “Celebration,” Kool & the Gang embraced more of a pop sound and became even bigger stars. They, around this time, also performed tender ballads that made them adult contemporary mainstays. Some might argue they “sold out” and they weren’t always liked by the critics but they always ventured into different styles and genres so effortlessly. They defied expectations and always succeeded on their own terms. Given they have nearly two decades of chart success and popularity, it’s shocking Kool & the Gang has yet to receive a Rock Hall nomination. They were inducted into the Songwriters Hall of Fame in 2018 and have received quite a few lifetime achievement awards in recent years. Perhaps their best argument for induction is they are one of the sampled artists in hip-hop history. The sounds of Kool & the Gang became just as important as James Brown for providing the sounds that led to the fruition of modern hip-hop. Sadly, bandleader Ronald Bell’s recent passing has resulted in a ton of media coverage on the band’s legacy. Megaproducer Mark Ronson quipped, “Measuring Kool & the Gang’s influence is like asking what the influences of the Beatles was over pop music.” It doesn’t get more of a ringing endorsement than that from one of modern music’s greatest minds. When the band visited the Rock Hall back in 2013, Bell remarked “we got to get up in here. They’ve got to show us some love.” It’s likely to happen now that Questlove, who sits on the nominating committee, has publicly voiced his admiration of the band. Let’s hope he brings that chart, he made for the 2014 Soul Train Awards, outlining their influence on the history of hip-hop to the next nominating committee meeting.
#25: Willie Nelson
Eligible Since 1987
Never Nominated
Essential Songs: “Blue Eyes Crying in the Rain” (1975), “If You’ve Got the Money I’ve Got the Time” (1976), “Whiskey River” (1978), “Angel Flying Too Close to the Ground” (1980), “On the Road Again” (1980), “Always on My Mind” (1982)
As discussed earlier in this project, country music is not well-represented in the Rock Hall and very few from their genre have been selected. Of all the potential country performers who could likely get inducted into the Rock Hall, Willie Nelson probably has the best chance. Originally a songwriter who penned hits for the likes of Patsy Cline and Faron Young, Nelson pursued a solo career and only achieved modest success during the 1960s. After a brief retirement in the early 1970s, Nelson moved back to Texas and came out of retirement after becoming intrigued by the growing Austin music scene. Along with Waylon Jennings and Kris Kristofferson, Nelson pioneered outlaw country that was a shark contrast to the formulaic and highly-polished sounds of country music at the time. Happening at the time when southern rock music was at its peak, outlaw country added more of a rock sound with the introspective lyricism of folk and roots music. More importantly, outlaw country was an attitude: they wore black leather jackets, grew their hair out and openly consumed drugs and alcohol. They were the hippies of country music who shook the establishment to its very core. Nelson became the unofficial leader of outlaw country who became, arguably, the definitive crossover star in country music history. A prolific songwriter, his songs have been widely covered by artists from all genres including rock. Along with Rock Hall inductees Neil Young and John Mellencamp, Nelson co-founded the inaugural Farm Aid concerts in 1985 to raise awareness for farmers and their families. Nelson has performed at every Farm Aid concert since its inception. Now thinking, Nelson might be the most well-connected artist in this project. He’s worked with everyone, many of whom are Rock Hall inductees, and it’s shocking his name doesn’t get brought up more often. Perhaps some see him as a pure country artist, but he defines the spirit and attitude of rock and roll more than virtually anyone alive. His love of cannabis is legendary and he’s probably the biggest proponent for its legalization. Speaking of the Rock Hall, Nelson did appear at the 1995 ceremony where he inducted The Allman Brothers Band and even performed his song “Funny How Time Slips Away” with Al Green. Paul Shaffer, the former Late Show band leader who serves as the musical director for the Rock Hall’s induction ceremonies and also sits on the nominating committee, apparently brought up Nelson’s name during last year’s committee meeting. But, sadly, Nelson did not appear on the shortlist of nominees. Shaffer was one of the main supporters for The Zombies and it took 4 nominations until they earned induction, so it’s highly likely Shaffer will bring up Nelson’s name again later this month. And as Shaffer notes, Nelson is in his late 80s and his health has frankly been a roller coaster of sorts in recent years. The clock is ticking for the Rock Hall to induct him in his lifetime.
#24: Big Star
Eligible Since 1998
Never Nominated
Essential Songs: “The Ballad of El Goodo” (1972), “In the Street” (1972), “Thirteen” (1972), “Back of a Car” (1974), “September Gurls” (1974),” “Nightime” (1978)
I remember watching an episode of That 70’s Show as a teenager and really enjoyed the show’s theme song “In the Street.” Performed by Rock Hall inductees Cheap Trick, it led to my discovery of power pop and the many wonders it beholds. But little did I realize the song was written and performed by Big Star, one of rock’s greatest cult bands who never quite broke through to the mainstream. Led by the great songwriting team of Alex Chilton (from The Box Tops fame) and Chris Bell, the Memphis-based Big Star became one of the foundational power pop bands who largely gave the genre its identity. They were heavily influenced by the melodic hooks and guitar-playing of the British Invasion era (e.g, Beatles, Who, Kinks) and the jangly sounds and harmonies of country-rock (e.g, Byrds, Buffalo Springfield). Big Star had the audacity to name their debut album #1 Record (1972), ironically and boldly titled, and the critics loved them. But poor distribution practices and a lack of marketing killed any chance for the general public to find the album. Bell, dissatisfied with the album’s commercial failure and the attention paid to the already-established Chilton, left the band in pursuit of a solo career (he died in a car accident in 1978). Big Star soldiered on as a trio as they released two more albums before disbanding in 1975. Almost like a blimp in the sky, Big Star vanished. They would sporadically tour over the next few decades and even released their fourth and final studio album In Space in 2005. Big Star might appear to be an obscure selection for induction into the Rock Hall, but they are one of the most enduring and influential bands of all time. Thanks to their melodic hooks, introspective lyrics and acoustically stripped-down style, Big Star proved to be supremely important to the development of modern alternative rock. The likes of R.E.M., Jeff Buckley, Wilco, Teenage Fanclub and Counting Crows are all heavily influenced by Big Star. But no other band is known for their love of Big Star than The Replacements. He worked with the band on “Left of the Dial,” on the great album Tim. In one of their most famous songs named front man Chilton, Paul Westerberg claims “I never travel far without a little Big Star.” Chilton strikes me as the next “highly respected” musician from an often-overlooked band to score a nomination. It worked for ELO, Dire Straits, Roxy Music and T. Rex and certainly Big Star could be next. Holly George-Warren, a current member of the nominating committee who once worked for the museum, wrote a biography on Chilton years ago and that’s why there’s a strong likelihood they’ll receive a nomination in any given year. They didn’t sell a ton of records and remain somewhat obscure, but their music transcended generations and remains impact nearly half-a-century later.
#23: Pat Benatar
Eligible Since 2000
Nominated in 2020
Essential Songs: “Heartbreaker” (1979), “Hit Me with Your Best Shot” (1980), “Treat Me Right” (1980), "Shadows of the Night” (1982), “Love is a Battlefield” (1983), “We Belong” (1984)
When Pat Benatar was nominated for induction into the Rock & Roll Hall of Fame in October 2019, I—like most people who closely follow the Rock Hall—assumed she’d get inducted the first year she appeared on a ballot. In the current populist era of Rock Hall induction ceremonies on HBO, she checks many boxes: a household name, music still played on classic rock radio stations and an early MTV star. Triple check. When Benatar was ultimately not selected last year, I was floored but—after much thought—not surprised. Despite polling second on the fan vote, she was never well-liked by critics who, let’s face it, are the segment of the voting body who most consistently cast their votes. She also didn’t publicly comment on her Rock Hall nomination until a month after the announcement which probably didn’t sit well with a select few. But that doesn’t take away that Benatar is among the most egregious omissions from the Rock Hall. When she burst onto the rock music scene in the late 1970s, Benatar was already a divorcee in her mid-20s finally pursuing her musical dreams (she was once accepted to the prestigious Juilliard School in New York City as a teenager). This was a bold statement and she had a lot to prove in a male-dominated industry. Thanks to her powerhouse vocals and catchy, hook-driven choruses, Benatar became one of rock’s leading female talents that appealed to a mainstream audience. She won the Grammy for Best Female Rock Performance a record 4 times from 1980-83, cementing her status as one of the premier female rock stars of that era. And seriously, “Heartbreaker” rocks harder than most songs from Rock Hall inductees. This led to Dick Clark famously (and humorously) to say “I wouldn’t want to cross you” and, no, this was not a woman to be messed with. Her image as a tough, no-nonsense rocker was admirable and bold. Her music videos, in particular, were almost like mini-movies (I still remember the first time I watched “Love is a Battlefield” as a child) and they became huge hits on MTV in its earliest years. In fact, “You Better Run” was the second video played on the channel and she was the first woman shown on MTV. She was also constantly played on the radio and many of them became definitive hits of the decade. Her music is still played everywhere and it’s impossible to escape. Given her performance on the fan ballot, there’s a strong chance she returns for a second consecutive nomination this year. Considering the Rock Hall allowed her husband and longtime collaborator Neil Giraldo to be included in her nomination, it’s an olive branch that could hopefully lead to Benatar showing up and performing at a future ceremony. Either way, she belongs in the Rock Hall.
#22: The B-52’s
Eligible Since 2004
Never Nominated
Essential Songs: “Rock Lobster” (1978), “Planet Claire” (1979), “Party Out of Bounds” (1980), “Private Idaho” (1980), “Love Shack” (1989), “Roam” (1989)
One of the most inventive and subversive new wave bands of the late 20th century, The B-52’s are gamechangers who forever changed the landscape of rock and roll. They have a unique and original sound that cannot be mistaken for anyone else. Their influences are multifaceted ranging from modern pop to surf rock to Motown to avant-garde/experimental musical styles. It’s almost like a mad science experiment that encapsulates the history of rock and roll into one distinct sound. Add to the mix their nonsensical and bizarre lyrics that are undeniably dancable and you have the world’s “greatest party band.” Forming in mid-70s Athens, Georgia, they broke out with a series of performances at famed nightclubs in New York City and they became darlings of the growing new wave scene. Beyond their music, The B-52’s embraced a campy visual aesthetic that was completely flamboyant and unforgettable: beehive hairdos and flashy and colorful clothes. They are historically significant as one of the most overly queer artists embraced by a mainstream audience. All but one member are members of the LGBTQ community but The B-52’s’ sexual orientation doesn’t matter here. Rather, queerness (to them) are individuals who deviated from the status quo and accepted their true selves. The B-52’s were unapologetically campy, bold, and embraced free love in the name of having a good time. Their queerness allowed them to redefine ideas of southern identity—something that was rarely explored before their arrival. The Rock Hall could definitely induct more queer artists into its institution and The B-52’s would be a welcoming start. Beyond that, they are also one of the most critically-acclaimed bands of their time. Their self-titled debut album appears on Rolling Stone’s 500 Greatest Albums list (#200) and two of their classics “Rock Lobster” and “Love Shack” appear on their 500 Greatest Songs list (the former also appears on the Rock Hall’s “Songs That Shaped Rock and Roll” list too). And they have the longevity often needed for a Rock Hall induction. In fact, They didn’t reach their commercial peak until a decade after their debut album and embarked on one of the greatest comebacks in rock history. Just when it looked the band was over after lead guitarist Ricky Wilson’s 1985 death, they rose from the ashes and became more successful and popular than ever before. Their journey was never easy but The B-52’s are one of the cornerstones of modern music that needs to be inducted into the Rock Hall. Some voters might view them as a novelty act, but that underscores their importance as defiant outsiders who challenged societal norms and became legends. And they seem highly likely as the next new wave-era act to receive a long overdue nomination. In fact, they’re one of the few that could probably get inducted the first year they appear on a ballot. Who doesn’t love The B-52’s? I can’t think of anyone and usually those are the artists who waltz right into the Rock Hall. For more information on The B-52’s, check out this piece from my Rock Hall Contenders series.
#21: Duran Duran
Eligible Since 2007
Never Nominated
Essential Songs: “Girls on Film” (1981), “Hungry Like the Wolf” (1982), “Rio” (1982), “Save a Prayer” (1982), “A View to a Kill” (1985), “Ordinary World” (1993)
I attended the 2019 Rock Hall ceremony and one of the loudest ovations that night came when Duran Duran’s Simon Le Bon and John Taylor came onto the stage to induct Roxy Music. Honestly, the room was so loud it was deafening. With such an enthusiastic reaction from the audience, this should provoke the Rock Hall to finally nominate Duran Duran. They are one of the most popular, prolific and innovative bands to come out of the 1980s. Heavily influenced by the sounds of glam, disco and punk, Duran Duran rose from the post-punk English underground who further elevated the popularity of new wave to the masses. Due to their overwhelming popularity during their peak, the media referred to them as the “fab five” (the closest thing to Beatlemania in the 80s) and it’s easy to see why. They—perhaps more than any band—are responsible for the rise and popularity of MTV. Duran Duran’s music videos were cinematic in every sense of the word. They featured complex stories, stunning scenery and visuals, shot on-location in exotic locations and shot using 35mm film (highly uncommon at the time given most record companies saw videos as cheap and disposable marketing stunts). Often using gorgeous fashion models as the centerpiece of their sexually-charged videos, it also helped that all five members looked like models themselves. Their escapist brand of entertainment defined MTV in its earliest years and VJ Martha Quinn once said, “Everyone says MTV made Duran, but you know what, Duran Duran made MTV too.” She’s absolutely right and Duran Duran were among the first artists to completely take advantage of the music video medium and its unlimited possibilities. Because their popularity is so intertwined with their music videos, sometimes you wonder if they would’ve been as successful without them. It doesn’t really matter, but it certainly helped being at the right place at the right time. Beyond their music videos, Duran Duran wrote universal anthems that led to the ever-lasting popularity of new wave and the music has transcended generations. They fizzled by the end of the 80s but embarked on an excellent comeback with the mature-sounding Wedding Album (1993). Critics often downplayed their musical talents and some felt they never shed the teen heartthrob label placed on them. But Duran Duran is all about overcoming the odds and proving their naysayers wrong. Looking at the performers who worked on their latest album Paper Gods (2015), I expect producer Mark Ronson to induct Duran Duran. He even discussed the impact of their music on his life and career in the documentary There’s Something You Should Know last year. They’re probably the most populist new wave band imaginable. Given their widespread popularity, it wouldn’t shock me if they were the first new wave act to top the fan vote in any given year. They’re just too popular, influential and famous to be excluded for much longer. If there’s something you should know, it’s never doubt the powers of the Duranies who would stop at nothing to get them into the Rock Hall.
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Credit for Photos: Salt N Pepa, Soundgarden, Pixies, Iron Maiden, Kool & The Gang, Willie Nelson, Big Star, Pat Benatar, The B-52’s, Duran Duran