This group includes trendsetters and visionaries of pop, punk, hip-hop, reggae, R&B and rockabilly. One previously-nominated artist is spotlighted.
#70: Harry Nilsson
Eligible Since 1993
Never Nominated
Essential Songs: “Everybody's Talkin’” (1968), “I Guess the Lord Must Be in New York City” (1968), “Coconut” (1971),
“Jump Into the Fire” (1971), “Without You” (1971), “Spaceman” (1972)
Harry Nilsson is one of the strangest omissions from the Rock Hall. He was a consistent hitmaker, acclaimed by critics and beloved by many musicians and industry peers. Even the Beatles famously called Nilsson their favorite American artist in a 1968 interview (Nilsson would befriend Lennon and Starr years later). Just like inductees Randy Newman and Laura Nyro, Nilsson began his career as a songwriter (who penned hits for the likes of Three Dog Night, The Monkees and The Shangri-Las) and he quickly transitioned to a recording artist. The re-release of “Everybody’s Talkin’,” a Fred Neil-penned song, would be featured in the iconic film Midnight Cowboy (1969) and became Nilsson’s first top-ten hit. Perhaps more than any artist of his time, Nilsson pushed the boundaries and conventions of pop music using a DIY aesthetic in his productions. His defiance to stick to one particular genre/style (e.g., folk, hard rock, calypso) and absurdist take on everyday life made him a proto-Indie rock star. He was one of the first rock artists to make both a collection of standards, a children’s album and even recorded an entire tribute album dedicated to the music of Randy Newman….in 1970. But Nilsson’s eccentricity would ultimately be his downfall. He infamously refused to perform live and his career would tank by the end of the 1970s. There have been social media campaigns to get Nilsson into the Hall and even his brother has commented on Nilsson’s snub. But for a singer-songwriter, his two most famous songs were either covers (“Without You”) or written by someone else (“Everybody’s Talkin’”). His work is very experimental and defies genre classification. He’s all over the place but his restlessness is what made Nilsson such a brilliantly singular artist. With a number of his songs forever ingrained in American popular culture, it’s shocking to think he’s largely a forgotten artist. His prolific output (14 studio albums), Grammy wins and hit singles should be enough to put him in the Rock Hall. He needs an advocate from the nominating committee and he’d likely get inducted on his first nomination. He strikes me as one of those respected musicians who is well-regarded by both critics and peers and his legend and influence has only grown over time. Nilsson’s music is ripe for rediscovery, especially on the heels of the release of the recently-released “lost album” Losst and Founnd (2019).
#69: The Marvelettes
Eligible Since 1987
Nominated in 2013, 2015
Essential Songs: “Please Mr. Postman” (1961), “Playboy” (1962), “Too Many Fish in the Sea” (1964), “Danger Heartbreak Dead Ahead” (1965), “Don’t Mess with Bill” (1966), “The Hunter Gets Captured by the Game” (1967)
Besides Mary Wells, The Marvelettes are the last “classic” Motown act that absolutely deserves induction into the Rock Hall. They hold several distinctions that certainly makes them worthy prospects. They were Motown’s first successful girl group who lead the charge for the label’s overwhelming success for the next several decades. Perhaps more importantly, their 1961 smash “Please Mr. Postman” became the label’s first #1 pop hit and even featured a young Marvin Gaye playing drums on the track. The Beatles would famously cover the song on With the Beatles (1963) and the Carpenters’ version would also peak at #1, which is one of just 9 songs to have a #1 song covered by two different artists. But The Marvelettes are more than just “Please Mr. Postman.” I’d argue that their vastly underrated discography holds up just as well as any of their Motown contemporaries. Songs such as “Danger Heartbreak Dead Ahead,” “Too Many Fish in the Sea” and “The Hunter Gets Captured by the Game” are some of the greatest girl group songs ever recorded. The Marvelettes unfortunately were completely overshadowed by two other girl groups at Motown: The Supremes and Martha and the Vandellas. Berry Gordy simply gave the latter two groups better songs and the Marvelettes got the short end of the stick. And perhaps The Marvelettes lacked a “big name” like Diana Ross and Martha Reeves fronting their group, but they got little-to-no promotional support from Motown by the mid-60s. Even when they scored a comeback hit with the Smokey Robinson-penned “Don’t Mess with Bill,” they further faded to obscurity and eventually disbanded by 1972. Lawsuits followed over royalty disputes with Motown, but there’s no denying The Marvelettes’ importance. Along with The Miracles, The Marvelettes largely put Motown on the pathway to international superstardom and made the label a household name. They were nominated twice for induction back in 2013 and 2015, but no signs of a nomination has occurred since then. Perhaps the great nominating committee purge of 2015, which saw the dismissal of several committee members including several advocates for early rock and roll, significantly hurts their chances of appearing on another ballot. If inducted, I expect Reeves to induct them as she said this in an interview years ago: “The Marvelettes paved the way for Motown’s girls; the Supremes, everybody. If they hadn’t worked, we wouldn’t have worked.” There’s no denying their place as the first significant girl group at Motown and hopefully they reappear on another ballot.
#68: Peter Tosh
Eligible Since 2002
Never Nominated
Essential Songs: “Legalize It” (1976), “Equal Rights” (1977), “Stepping Razor” (1977), “Bush Doctor” (1978), “(You Gotta Walk) Don’t Look Back” (1978), “Wanted Dread & Alive” (1981)
When Bob Marley was posthumously inducted into the Rock Hall in 1994, his backing band The Wailers were excluded and that’s one of the worst mistakes the Hall ever made. The records, after all, say Bob Marley AND the Wailers on the covers. Peter Tosh, the guitarist-keyboardist for the Wailers until 1974, is probably the band’s other most famous member who embarked on a highly successful solo career. During this time, Tosh became more politically active as he advocated for the legalization of cannabis (he was a devoted Rastafarian) and tackled heavy topics such as apartheid, police brutality, war and nuclear weapons. Tosh became an iconic human-rights activist who gave a voice to the voiceless and his music was almost-always politically-charged, dare I say militant. In short, he was a revolutionary ahead of his time and spoke the truths of his environment. But not everyone appreciated Tosh’s ideology. Island Records president Chris Blackwell famously refused to release Tosh’s solo debut and led to Tosh producing the record himself. The title track “Legalize It” was banned in Jamaica in 1975, but would also make him Tosh an international superstar. Released in America the following year, the album would gain a cult following and would reach platinum status by the end of the century. The song was also included in the Rock Hall’s list of Songs That Shaped Rock & Roll and became a definitive pot anthem. April 20th is even recognized as International Peter Tosh Day. Four of Tosh’s albums, including Equal Rights (1977) and Bush Doctor (1978), were produced on The Rolling Stones Label, overseen by the world’s most famous rock and roll band. They even collaborated with Tosh on several songs during that time including Mick Jagger singing backup vocals on “(You Gotta Walk) Don’t Look Back” and Keith Richards playing guitar on “Bush Doctor.” He even toured with them and even appeared in the “Waiting on a Friend” music video. But despite all his international success, Tosh often clashed with Jamaican authorities and would be arrested several times on drug charges and even severely beaten under police watch. Shortly after the release of his seventh and final album No Nuclear War (1987), Tosh was tragically murdered in a home invasion. It’s not easy to be in the shadows of Marley and it’s a shame Tosh’s name often gets overlooked and the latter is unquestionably one of reggae’s greatest performers. Whether it’s with the Wailers or solo (preferably both), Tosh deserves a spot in the Rock Hall.
#67: George Michael
Eligible Since 2013
Never Nominated
Essential Songs: “Faith” (1987), “Father Figure” (1987), “I Want Your Sex” (1987), “Freedom! 90” (1990), “Praying for Time” (1990), “Fastlove” (1996)
Just to be clear, this is for George Michael’s solo career and not for his time with Wham! In an attempt to shed his teeny bopper image, he completely reinvented himself and became one of the biggest pop stars of the 80s. The first sign of Michael’s solo ambitions occurred with the release of “Careless Whisper,” a single infamously credited to “Wham! Featuring George Michael.” The song became a worldwide smash hit, but ultimately laid the groundwork for Michael’s solo career. His debut Faith (1987) launched him to international superstardom thanks in large part to his slick, raunchy and often controversial music videos that became mainstays on MTV. Faith, in many ways, can be seen as a greatest hits album spanning 6 top-5 hits including 4 that peaked at #1. The diamond-certified blockbuster also won the 1989 Grammy for Album of the Year and the title track was named by Billboard as the #1 song of 1988. On their recently-revised list of the 500 Greatest Albums, Rolling Stone ranked Faith at #151 which is a gigantic leap from its previous ranking (#472) years earlier. But Michael was a radical pop star who pushed the boundaries of the art form perhaps just as much as any performer of his era. Although he was closeted until the late 1990s (thanks to an infamous arrest in L.A.), Michael’s status as a LGBTQ icon cannot be understated. Michael’s lyrics are often ambiguous, especially when it comes to the gender of his subjects, and that made it easier for him to pivot his star persona without losing his core audience. He worked tirelessly for several HIV/AIDS charities and would embrace his queer identity in his live shows and music videos. Although he never made another hit in the U.S. after the top-ten hit “Fastlove” (1996), he remained a consistent hitmaker in his native England where he scored nearly another dozen top-20 hits. He also collaborated with several big names such as Aretha Franklin, Stevie Wonder, Paul McCartney, Ray Charles, Whitney Houston, Tony Bennett and Mary J. Blige—the majority of whom are Rock Hall inductees. Michael was also a proponent for artists’ rights especially in the midst of his legal battles with Sony Music (which he ultimately lost but forever changed how artists and their record companies negotiated contracts). The recent inductions of 80s pop icons Janet Jackson and Whitney Houston considerably boosted Michael’s chances and his name will have to come up some point down the line. Elton John, who often mentions and advocates artists he feels deserves a Rock Hall induction, was a close friend of Michael’s and I wouldn’t be shocked if the iconic singer threw support in his favor.
#66: Mary J. Blige
Eligible Since 2018
Never Nominated
Essential Songs: “Real Love” (1992), “Be Happy” (1994), “I’m Goin’ Down” (1994), “Not Gon’ Cry” (1996), “Family Affair” (2001), “Be Without You” (2005)
Mary J. Blige is the undisputed “Queen of Hip-Hop Soul.” Upon the release of her breakthrough debut What’s the 411? (1992), she—along with the then up-and-coming producer Sean Combs—combined the lyrical content of modern R&B within a hip-hop aesthetic. She took the brashness of New Jack Swing while also harboring back to the emotional intensity of traditional soul. She, perhaps more than any performer in the early 90s, bridged the gap between the two genres that made her an instant crossover star. She became the blueprint for artists such as Lauryn Hill, Erykah Badu, Beyoncé, Aaliyah and Alicia Keys to effortlessly work in both genres without compromising one for the other. Blige’s versatility plays up to strengths as a singer and can almost be seen as a series of contradictions. She can be street-wise and tough and perform emotionally-tender ballads with equal success. She can be strong yet vulnerable without appearing weak. Fashion also played a vital role in her star persona. Unlike her contemporaries Whitney Houston, Mariah Carey and Anita Baker, Blige often wore baggy clothes, baseball hats and boots that was the polar opposite of any female R&B star at the time. Blige broke all the rules and conventions of modern R&B and forever changed the landscape of the genre. She definitely has the commercial success and industry recognition necessary for Rock Hall consideration. Several of her albums went multi-platinum and nearly every album went gold. She won 9 Grammys (from 31 total nominations) and it’s more impressive she’s been nominated in several different genres including R&B, Pop, Rap, Gospel, Gospel and Dance. She was a double-nominee in the acting and songwriting categories for her work in the Netflix-produced film Mudbound at the 2018 Oscars. Her 2005 hit “Be Without You” was named the most successful R&B/Hip-Hop Song of All Time by Billboard in 2017. That same year Billboard also gave her the Icon Award for her groundbreaking achievements as a pioneering woman in the music industry. Her albums What’s the 411? (#271, 2020) And My Life have appeared on Rolling Stone’s list of the 500 Greatest Albums. Blige also collaborated with many rappers including Method Man, Jay-Z and 2020 inductee The Notorious B.I.G. Talk about well-connected, Blige has worked with an endless list of famous Hall of Famers including Elton John, Carlos Santana, U2 and Whitney Houston. Blige is a friend of the Hall as she inducted both Solomon Burke (2001) and Nina Simone (2018) at previous ceremonies. It’s no wonder her collaborator Sting once called her “the true heir to Aretha Franklin” and he just might be right.
#65: Wu-Tang Clan
Eligible Since 2018
Never Nominated
Essential Songs: “C.R.E.A.M.” (1993), “Method Man” (1993), “Protect Ya Neck” (1993), “Wu-Tang Clan Ain’t Nuthing Ta F’ Wit” (1993), “Reunited’ (1997), “Triumph” (1997)
There is a case to be made that the Wu-Tang Clan are the most influential rap group of all time. Their lineup, which includes the likes of Method Man, RZA, Ol’ Dirty Bastard and Ghostface Killah, is eclectic and simply outstanding. Each member had different delivery styles and allowed them to be individualistic and become stars in their own right. But they remained a collective who stood side-by-side in the ever-competitive world of rap. When West Coast rap dominated the mainstream charts in the early 1990s, the New York scene got a bit lost in the shuffle. Acts like A Tribe Called Quest and De La Soul represented alternative options to the genre, but never propelled them to the limelight as their West Coast contemporaries had achieved. The Wu-Tang Clan, based out of Staten Island and formed in 1992, revitalized east coast rap with their distorted sounds, raw (humorous yet often violent) lyrics and almost-nonsensical references to martial arts (among their other interests). They laid the foundations for hardcore and gangsta rap in the city’s music scene and almost single-handedly saved rap from being a parody of its excesses—both musically and visually. At once, their music is a throwback to the sounds of rap’s earliest days but also their urgent and highly-detailed lyrics and rapid deliveries made them superstars. They expanded the vocabulary of rap, so much so they even provided a glossary to help listeners contextualize the double-entendres and bizarre references to popular culture and New York City life. The Wu-Tang Clan, in many ways, secured a pathway for other NYC-based rappers to obtain success such as Nas, the newly-eligible Jay-Z and the newly-inducted Notorious B.I.G. And Wu-Tang Clan is the ground-zero for fellow member RZA’s producing career and he became one of the genre’s most prolific and influential producers. Like a few others on this list, Wu-Tang Clan’s Rock Hall prospects boils down to essentially one album: Enter the Wu-Tang (36 Chambers) (1993), a triple-platinum seller that became one of rap’s most enduring works. Rolling Stone ranked the album at #27 on their 500 Greatest Album list (the second-highest ranking of a currently-eligible Rock Hall prospect on their list) and once pegged them as “the best rap group ever.’ Wu-Tang Clan have been the subject of several films and television series including the Hulu-produced Wu-Tang: An American Saga (2019) which was renewed for a second season. This shows the enduring legacy of the collective who still release new music with varying members (their latest album The Saga Continues was released in 2017). Regarding a possible Rock Hall induction, RZA told Rolling Stone in 2019: “I think we should [get in] and I do care. I may take some time to get in there. I think it’s good for us and I think it’s good for rock & roll.” There’s even an official “Wu-Tang Clan Distinct” named in their honor in Staten Island. So, I mean, if there’s streets named after them, then I venture to guess a Rock Hall induction is coming very soon.
#64: Weezer
Eligible Since 2020
Never Nominated
Essential Songs: “Buddy Holly” (1994), “Say It Ain’t So” (1994), “Undone (The Sweater Song)” (1994), “El Scorcho” (1996), “Hash Pipe” (2001), “Island in the Sun” (2001)
Just for a moment, take a look at the album cover of Weezer’s self-titled 1994 album (aka the Blue Album). The four members, with mismatched clothes and disheveled hair, pose in front of a blank blue screen looking unenthusiastically at the camera. They, in other words, looked like average guys who would never pass as “rock stars.” But they became a huge deal in the post-grunge world of alternative rock. Visual components became a trademark for Weezer, so it’s no wonder their quirky music videos became smashes on MTV. Thanks in large part to the popularity of “Buddy Holly” and its accompanying music video, a postmodern take on the nostalgic sitcom Happy Days directed by Spike Jonze, the album (produced by The Cars’ Ric Ocasek) largely set the template for the guitar-heavy and melodic hooks that defined their sound. They blended equal doses of power pop, punk and alternative rock and became one of the dominant mainstream rock acts of the last quarter-century. For all their mainstream success and notoriety, Weezer only had one top-40 hit: “Beverly Hills” which peaked at #10 in the summer of 2005, but they have several well-known songs that the average listener would instantly recognize. Just for those first two albums, especially the increasing popularity of the once-critically-panned Pinkerton (1996) which developed a cult following, they are worthy for a Rock Hall induction. They are more influential than we may think, especially amongst later-day pop-punk and emo bands. Their cover of Toto’s “Africa” became a surprise smash hit in the summer of 2018, which secured Weezer’s long-lasting popularity. Later that year, a popular Saturday Night Live sketch featured a hilarious and heated argument between Matt Damon and Leslie Jones on the musical legacy of Weezer. Any band that causes that much excitement and emotion should most definitely be considered for induction into the Rock Hall. Weezer did surprisingly well on last year’s fan kiosk booth located inside the Rock Hall’s museum. Cuomo even tweeted last year that he envisioned the then-newly eligible Weezer and Oasis to enter the Hall of Fame in 2020. That, of course, did not come to fruition but Weezer’s strong performance on their museum kiosk has to put them on the nominating committee’s radar. Speaking of the 2020 ceremony, Weezer were apparently scheduled to be the house band for that ceremony and that certainly boosts the likelihood of securing a nomination very soon. Former bassist Matt Sharp has repeatedly denied reuniting with the band at a future induction ceremony, but stranger things have happened. They will probably have to wait until other 90s heavyweights get inducted first, but I fully except to see Weezer on a ballot within the next decade.
#63: Diana Ross
Eligible Since 1996
Never Nominated
Essential Songs: “Ain’t No Mountain High Enough” (1970), “Touch Me in the Morning” (1973), “Love Hangover” (1976), “I’m Coming Out” (1980), “Upside Down” (1980), “Endless Love” (1981)
Diana Ross was, of course, inducted into the Rock Hall as a member of the legendary Motown group The Supremes back in 1988. Despite becoming the second women inducted into the Performers category (after Aretha), Ross infamously did not show up to their induction. But despite the bad blood with the other members of The Supremes, Ross attended several ceremonies years later and it got me thinking: why hasn’t her solo career been recognized by the Rock Hall? After she departed The Supremes in 1970, she became a solo superstar and continued her chart dominance as a consistent hitmaker. With 27 top-40 hits over two decades, Ross scored 6 #1 hits and another half-dozen peaking in the top ten. When combining her output, Ross sang lead vocals on more #1 hits than any other female artist in Hot 100 history. Billboard, in 1976, even named her “female entertainer of the century” and holds a Guinness World Record for most chart appearances. Musically, Ross’ solo career is quite eclectic as she progressed from pop to R&B to disco and even adult contemporary—all with tremendous success. Songs like “Love Hangover,” “Upside Down,” and “Theme from Mahogany” have stood the test of time and can be heard in various sectors of modern popular culture. No matter what style of music she performed, Ross not only succeeded but also her signature airy vocals allowed her to put her definitive stamp on anything she recorded. But beyond chart success, let’s talk about influence and impact. Ross’ records are widely sampled by modern R&B and hip-hop artists, most notably the instrumental for “I’m Coming Out” served as the basis for 2020 inductee Notorious B.I.G.’s #1 smash “Mo Money, Mo Problems.” But perhaps Ross’ legacy is cemented as a gay icon. Her sophisticated glamour was ripped off by countless drag queens, so much so that RuPaul lists her as his idol. Her time with the Suprmes inspired the basis for the hit Broadway musical Dreamgirls and the Nile Rodgers-penned “I’m Coming Out” often serves as an unofficial gay pride anthem. To be frank, Ross’ candidacy largely boils down to her success and chart success, thus the “Fame” aspect of the Rock Hall. But there’s few superstars as big as Diana Ross and you know she’d tear the house down a melody of her biggest hits at an induction ceremony. She’s simply too big of a name that should be in the conversation for deserving two-time inductees—regardless of gender. Ross already has a ton of awards including a Lifetime Achievement Grammy (2012), Kennedy Center Honoree (2007) and Presidential Medal of Freedom recipient (2016). But a Rock Hall induction as a solo artist is still missing from this legend’s list of accomplishments.
#62: Johnny Burnette and the Rock and Roll Trio
Eligible Since 1986
Never Nominated
Essential Songs: “Lonesome Train (On a Lonesome Track)” (1956), “Rock Billy Boogie” (1956), “Tear It Up” (1956), “The Train Kept A-Rollin’” (1956), “Dreamin’” (1960),“You’re Sixteen” (1960)
The Rock Hall inducted almost all of the major rockabilly legends (e.g., Elvis Presley, Eddie Cochran, Bill Haley) in its earliest years. Taking its name from a combination of the words “Rock” and “Hillbilly,” rockabilly blended several genres such as country, rhythm and blues, and boogie-woogie within a rock and roll aesthetic. The almost-exclusively southern subgenre became one of rock and roll’s most popular trends that influenced countless artists in its wake. Rockabilly heavily inspired British Invasion era artists such as The Beatles who idolized and covered these artists in their earliest years. Somehow there’s one rockabilly band that’s a glaring omission from the Rock Hall: Johnny Burnette and the Rock and Roll Trio. Just as influential and important as any of their contemporaries, the Trio issued a mission statement with their debut single “Tear It Up.” But they lacked one thing: consistent commercial and chart success. Until he embarked on a solo career, Burnette did not have a charted U.S. hit until 1960’s “Dreamin.” Perhaps this could also be a problem for Burnette’s Rock Hall candidacy: his solo work is more readily well-known. “You’re Sixteen,” his only top-ten hit, was famously featured in American Graffiti (1973) and later became a #1 hit for Ringo Starr. It could be one of those situations where the nominating committee is unsure how to probably honor Burnette, but his legacy is well-rooted as one of the definitive rockabilly performers of his time. But just for “The Train Kept A-Rollin’,” they warrant induction into the Rock Hall. Not only does the song appear on the Rock Hall’s list of the “Songs That Shaped Rock and Roll,” but it’s one of the most influential songs ever recorded. Fast-paced, raw-sounding and completely loud, the song would become one of the most widely covered songs in rock history. An early example of guitar distortion, the song’s influence was so widespread it directly influenced future metal, punk, hard rock and blues-rock artists. It’s no wonder Led Zeppelin, Aerosmith, The Yardbirds and Motorhead covered it. The song even served as the all-star jam at the 2009 ceremony with Metallica, Jeff Beck, Jimmy Page, Joe Perry and Flea performing the iconic Burnette song. Given the generational differences amongst these musicians and that the song closed at that year’s ceremony, one would think the Trio would’ve secured a Rock Hall nomination by now. Steven Van Zandt has name-dropped them in several interviews, even stating they are “arguably the best of all rockabilly bands.” Despite Van Zandt’s continued support for the Trio, they have yet to receive an official Rock Hall nomination. With the Hall moving largely beyond artists from the 50s and 60s, it seems like the Trio is sadly getting lost in the shuffle and that’s a great shame.
#61: The Dead Kennedys
Eligible Since 2005
Never Nominated
Essential Songs: “California Uber Allies’ (1979), “Holiday in Cambodia” (1980), “Kill the Poor” (1980), “Nazi Punks F*** Off!” (1981), “Too Drunk to F***” (1981), “Bleed for Me” (1982)
The Dead Kennedys are one of punk rock’s most provocative and celebrated bands. Their entire mission was to give a middle finger to the establishment and piss off everyone—from Reagan-era conservatives to Nazi-sympathizing punk rockers. Even their band name, referring to John and Robert Kennedys’ assassinations, is in poor taste and invokes an immediate response. Their name could be interrupted as not only the death of the American dream, but also a lost sense of “old-fashioned” liberalism embraced by the Kennedys. Led by frontman/lyricist Jello Barifa, The Dead Kennedys continued punk’s tendency towards revolutionary politics just as the first wave came to a crashing halt (ironically the Sex Pistols’ infamous 1978 Winterland performance in San Francisco where the Dead Kennedys got their start). They challenged the Reaganite status quo of the 1980s with their sardonic lyrics played in a rapid-fire style. Songs titles like “Too Drunk to F***,” “Nazi Punks F*** Off,” “Kill the Poor” and “Holiday in Cambodia” are exempterly of their defiance and directness. Unlike most punk bands, the Dead Kennedys’ songs are multilayered in meaning and contain references all over popular and political culture of that time. Known for their controversial album cover art and explicit lyrics, the Dead Kennedys constantly dealt with legal issues throughout their initial 8-year run. The release of Frankenchrist (1985) was not only banned by California record stores (this happened before to them), but they were prosecuted under the state’s anti-obscenity laws for distributing pornography to minors (due to the album’s graphic cover art). The case was thrown out, but it tore the band apart and they broke up in 1986. Around this time at the height of the PMRC hearings, Barifa also became one of the most outspoken and well-articulated champions against music censorship and even appeared on mainstream daytime talk shows to defend his position. Barifa would give an amazing speech at a possible induction, much to the chagrin of HBO who has to edit that thing. Even if they get inducted (which admittedly is doubtful), I doubt the original lineup would reunite. The other members successfully sued Barifa for unpaid royalties from their back catalog in the late 1990s and they have performed on multiple tours without their famous frontman. Between the bad blood of the lawsuit and Barifa moving onto a solo music career who also has political aspirations, a Rock Hall reunion is highly unlikely. But the very idea of an induction is the polar opposite of what HBO would want and they wouldn’t show up anyway. When asked by Billboard about the Hall’s dismissal of important punk bands, guitarist East Bay Ray believes their lack of mainstream success and not being on a major label hurts their chances. Probably so, but the Dead Kennedys are also one of punk rock’s most notorious and influential bands. They are rebellious, aggressive, satirical, and loud—all the hallmarks of any great punk rock band.
Thoughts? Comments? Let me know in the comments section below and/or on Twitter.
Credit for Photos: Harry Nilsson, The Marvelettes, Peter Tosh, George Michael, Mary J. Blige, Wu-Tang Clan, Weezer, Diana Ross, Johnny Burnette and The Rock and Roll Trio, The Dead Kennedys