{"id":34782,"date":"2012-10-23T16:20:51","date_gmt":"2012-10-23T21:20:51","guid":{"rendered":"https:\/\/juicemagazine.com\/home\/?p=34782"},"modified":"2012-10-18T00:23:16","modified_gmt":"2012-10-18T05:23:16","slug":"rock-and-roll-hall-of-fame-2013-nominees","status":"publish","type":"post","link":"https:\/\/juicemagazine.com\/home\/rock-and-roll-hall-of-fame-2013-nominees\/","title":{"rendered":"ROCK AND ROLL HALL OF FAME 2013 NOMINEES"},"content":{"rendered":"<p>The Rock and Roll Hall of Fame Foundation Announces Nominees for 2013 Induction<\/p>\n<p>For the first time in its history, the Rock and Roll Hall of Fame is offering fans the opportunity to participate in the induction selection. Through December 3, the public can vote for the five nominees they believe to be most deserving of induction into the Rock and Roll Hall of Fame. The top five artists, as selected by the public, will comprise a \u201cfans\u2019 ballot\u201d that will be tallied along with the other ballots to choose the 2013 inductees. For more information and to place your vote, please visit <a href=\"http:\/\/www.rockhall.org\">www.rockhall.org<\/a><\/p>\n<p><iframe src=\"http:\/\/www.youtube.com\/embed\/-d7VzXgLO6Q\" frameborder=\"0\" width=\"560\" height=\"315\"><\/iframe><\/p>\n<p>The nominees for induction into the Rock and Roll Hall of Fame in 2013 are:<br \/>\nThe Paul Butterfield Blues Band<br \/>\nChic<br \/>\nDeep Purple<br \/>\nHeart<br \/>\nJoan Jett and the Blackhearts<br \/>\nAlbert King<br \/>\nKraftwerk<br \/>\nThe Marvelettes<br \/>\nThe Meters<br \/>\nRandy Newman<br \/>\nN.W.A<br \/>\nProcol Harum<br \/>\nPublic Enemy<br \/>\nRush<br \/>\nDonna Summer<\/p>\n<p>PRESS RELEASE:<\/p>\n<p>\u201cThe definition of \u2018rock and roll\u2019 means different things to different people, but as broad as the classifications may be, they all share a common love of the music,\u201d commented Joel Peresman, President and CEO of the Rock and Roll Hall of Fame Foundation. \u201cThis year we again proudly put forth a fantastic array of groups and artists that span the entire genre that is \u2018rock and roll\u2019.\u201d<\/p>\n<p>To be eligible for nomination, an individual artist or band must have released its first single or album at least 25 years prior to the year of nomination. The 2013 Nominees had to release their first recording no later than 1987.<\/p>\n<p>Ballots will be sent to an international voting body of more than 600 artists, historians and members of the music industry.<\/p>\n<p>All inductees are ultimately represented in the Rock and Roll Hall of Fame and Museum in Cleveland, the nonprofit organization that exists to educate its audiences on the global impact of the rock and roll art form via the museum, as well as its education programs and library and archives.<\/p>\n<p>The 28th Annual Rock and Roll Hall of Fame Induction Ceremony will be held in Los Angeles at the Nokia Theatre L.A. LIVE on Thursday, April 18, 2013. The show will be broadcast on HBO at a later date.<\/p>\n<p>*****************<\/p>\n<p>About the Rock and Roll Hall of Fame 2013 Nominees:<\/p>\n<p>THE PAUL BUTTERFIELD BLUES BAND<br \/>\n\u201cI was born in Chicago \u2013 nineteen and forty-one\u2026\u201d\u00a0 The racially mixed Paul Butterfield Blues Band blasted-off from the Windy City with a wall-of-sound fueled by Butterfield\u2019s inspired harmonica and lead guitarist Mike Bloom\u00adfield\u2019s explosive lead guitar \u2013 at that moment, American rock and roll collided with the real South\u00adside Chicago blues and there was no turning back.\u00a0 Along with original members Elvin Bishop on second guitar and Mark Naftalin on organ, they conquered the landmark 1965 Newport Folk Festival.\u00a0 It was there Bob Dylan borrowed Bloomfield and the Butterfield band\u2019s African-American rhythm section of Sam Lay on drums and bassist Jerome Arnold (both former Howlin\u2019 Wolf band members) for his world-shaking electric debut that Sunday evening.\u00a0 The Butterfield band converted the country-blues purists and turned on the Fillmore generation to the pleasures of Muddy Waters, Howlin\u2019 Wolf, Little Walter, Willie Dixon and Elmore James.\u00a0 With the release of their blues-drenched debut album in the fall of 1965, and its adventurous East-West follow-up in the summer of \u201966, the Paul Butterfield Blues Band kicked open a door that brought a defining new edge to rock and roll.<\/p>\n<p>CHIC<br \/>\nChic&#8217;s founding partnership consisted of songwriter-producer-guitarist Nile Rodgers and bassist Bernard Edwards (1952-1996), abetted by future Power Station drummer Tony Thompson (1954-2003).\u00a0 They rescued disco in 1977 with a combination of groove, soul and distinctly New York City studio smarts.\u00a0 Rodgers\u2019 chopping rhythm guitar alongside Edwards\u2019 deft bass lines were the perfect counterpart to melodic arrangements with their two female vocalists Alfa Anderson and Norma Jean Wright (replaced by Luci Martin).\u00a0 Out-of-the-box chart smashes \u201cDance, Dance, Dance (Yowsah, Yowsah, Yowsah),\u201d the #1 \u201cLe Freak\u201d and #1 \u201cGood Times\u201d (ranked on Rolling Stone\u2019s 500 Greatest Singles Of All Time) made Chic the preeminent disco band \u2013 emphasis on the word \u2018band\u2019 \u2013 of the late \u201970s.\u00a0 Their music also extended disco\u2019s tenure at a critical moment, as hip-hop (and later in the \u201980s, New Jack Swing) began to take the stage.\u00a0 Over the years, artists such as Sugar Hill Gang and Diddy have turned to Chic for beats and samples: \u201cGood Times\u201d has been checked everywhere from \u201cRapper\u2019s Delight\u201d and Blondie\u2019s \u201cRapture,\u201d to Queen\u2019s \u201cAnother One Bites The Dust.\u201d\u00a0 Rodgers and Edwards followed their five years in Chic with careers as top-flight producers for an A-list of megastars.\u00a0 Under Rodgers\u2019 leadership, Chic has continued to tour, releasing live performances of its shows in Japan and Amsterdam.<\/p>\n<p>DEEP PURPLE<br \/>\nTaking their name from a \u201930s swingtime-era pop hit, there was nothing breathy or sentimental about the British quintet Deep Purple, first organized in 1967, around a core of phenomenally brilliant musicians.\u00a0 Classically trained, former child prodigy Jon Lord (1941\u20132012) was responsible for the towering wall of organ sound that formed the band\u2019s bedrock.\u00a0 Lord found an ally for his classical ideas in ace session guitarist Ritchie Blackmore.\u00a0 (In fact, Deep Purple was among the first to stage an orchestral concerto, a concept attempted with varying degrees of success by other bands through the years.)\u00a0 Rod Evans joined next, with the powerful vocal template that was introduced on 1968\u2019s \u201cHush\u201d (a Joe South song) and \u201cKentucky Woman\u201d (Neil Diamond).\u00a0 Evans brought along his former band\u2019s thundering drummer, Ian Paice, but Evans was eventually replaced by longtime frontman Ian Gillan; multi-instrumental Welsh bassist Roger Glover completed the first definitive lineup.\u00a0 Their onslaught of sound along with such contemporaries as Black Sabbath and Led Zeppelin, led rock critics to coin a new musical genre: heavy metal.\u00a0 The original lineup reached an early peak on the landmark albums Machine Head and Who Do We Think We Are, whose epic chart singles \u201cSmoke On The Water\u201d and \u201cWoman From Tokyo\u201d sold Gibson Les Paul and Fender Stratocaster guitars in numbers that stagger the imagination.\u00a0 Deep Purple lineups have ebbed and flowed over the decades, counting among their members such formidable rockers as singer David Coverdale and bassist Glenn Hughes.\u00a0 Touring around the world now for more than four decades, still led by Gillan, Glover and Paice, the legend of Deep Purple will endure forever.<\/p>\n<p>HEART<br \/>\nWith a mix of hard rock riffs and lush, driving harmonies, Heart emerged from the Pacific Northwest with one of the most original sounds of the 1970s.\u00a0 Behind Ann Wilson\u2019s powerhouse voice\u2014one of the best in rock\u2014and Nancy Wilson\u2019s percussive guitar playing, along with guitarist Roger Fisher, bassist Steve Fossen, guitarist\/keyboard player Howard Leese and drummer Michael DeRosier, Heart\u00a0 recorded a series of albums that stand as the best mix of hard rock and folk rock of their era:\u00a0 Dreamboat Annie, Little Queen, Dog And Butterfly and Bebe Le Strange. All those records included hit singles that remain standards of rock radio: \u201cMagic Man,\u201d \u201cCrazy On You,\u201d \u201cHeartless\u201d and \u201cBarracuda.\u201d\u00a0 Over their long career, Heart has released six Top 10 albums and twenty Top 40 singles. The first women to front a hard rock band, Ann and Nancy Wilson were pioneers, claiming the stage in a way that inspired women to pick up an electric guitar or start a band. When MTV transformed mainstream rock in the 1980s, Heart adapted and recorded some of the signature songs of the era: \u201cAlone,\u201d \u201cWhat About Love\u201d and \u201cThese Dreams.\u201d\u00a0 In the 1990s, they returned to their roots with Desire Walks On and The Road Home, and in the last decade, they\u2019ve released two of the strongest albums of their careers:\u00a0 Jupiter\u2019s Darling and Red Velvet Car.<\/p>\n<p>JOAN JETT and the BLACKHEARTS<br \/>\nJoan Jett and the Blackhearts created a potent mix of hard rock, glam, punk, metal and garage rock that sounds fresh and relevant in any era. Their biggest hit, \u201cI Love Rock \u2018N\u2019 Roll\u201d (#1 in 1982) is a rock classic \u2013 as pure and simple a statement about the music\u2019s power as \u201cRoll Over Beethoven.\u201d\u00a0 The honesty and power of their records make you believe that rock and roll can change the world. As Jett once described rock and roll, \u201cIt\u2019s a feeling thing, it\u2019s emotion. You don\u2019t think about it. If you start thinking rock \u2018n\u2019 roll, you\u2019re f**ked. That\u2019s when you\u2019re homogenized. That\u2019s when it\u2019s boring. And that\u2019s when it\u2019s bullshit.\u201d From her days as a founding member of the all-female Runaways, Jett has made loud, hook-laden records that convey toughness and joy. Sporting black leather and a shag to create a sexy and androgynous look, Jett took over a role formerly reserved for male rockers. She formed the Blackhearts in 1982, and their classic four-piece sound muscled past the synthesizers that dominated the 1980s and carried the flag for rock and roll. Three of their albums \u2013 I Love Rock \u2018N\u2019 Roll, Album and Up Your Alley \u2013 reached the Top 20, behind songs written by Jett and manager Kenny Laguna.\u00a0 By covering songs from all corners of the rock catalogue \u2013 from Gary Glitter to Tommy James to Sly and the Family Stone \u2013 the band effortlessly broke down barriers between genres and eras. In the 1990s, Jett\u2019s no-nonsense attitude and vocal style was a major influence on the riot grrrl movement, and she went on to produce Bikini Kill and record with L7. She continues to be an inspiration for young female rockers.<\/p>\n<p>ALBERT KING<br \/>\nHe was born in the same fervid Mississippi Delta town of Indianola as another King of the Blues guitar, B.B. King.\u00a0 But where B.B. moved to the blues mecca of Memphis during the Second World War to establish his reign, Albert King (1923-1992) did not arrive there until more than a decade into his career in 1966.\u00a0 He was signed by Atlantic subsidiary Stax-Volt Records in the era when singles ruled and he had cut more than a dozen singles for various labels over the previous decade, most notably on King and Bobbin.\u00a0 His first Stax album was an influential collection that included \u201cBorn Under A Bad Sign,\u201d \u201cCrosscut Saw,\u201d \u201cAs The Years Go Passing By\u201d and his cover of Ivory Joe Hunter\u2019s \u201cI Almost Lost My Mind,\u201d tracks mostly recorded with Booker T. and the MG\u2019s as studio backup (with the Memphis Horns).\u00a0 Like B.B. and Freddie, Albert King was thrust into the Fillmore generation when British acts like Cream and Jimi Hendrix adopted \u201cBorn Under A Bad Sign\u201d (written by Booker T and William Bell), which became a rock anthem and a part of the rock and roll lexicon.\u00a0 The younger generation following them also discovered a mother lode of blues in Albert\u2019s repertoire.\u00a0 In particular, Stevie Ray Vaughan was an avid follower, and as early as 1983, SRV was onstage with Albert in Canada for a set (released 16 years later) that included a 15-minute jam on \u201cBlues At Sunrise.\u201d\u00a0 At Stevie Ray\u2019s insistence, their paths intersected frequently over the next decade.\u00a0 From Eric Clapton, Mike Bloomfield and Johnny Winter, to Joe Walsh, Stevie Ray, Derek Trucks and beyond, the influence of Albert King\u2019s husky vocals and his signature Gibson Flying V guitar will live on forever.<\/p>\n<p>KRAFTWERK<br \/>\nKraftwerk is the foundation upon which all synthesizer-based rock and roll and electronic dance music is built.\u00a0 Founded in D\u00fcsseldorf in 1970 by the band\u2019s two core members, Ralf H\u00fctter and Florian Schneider, the group was a part of a new wave of musicians in Germany collectively referred to as Kosimsche Musik (cosmic music) who explored the intersection of rock and roll and the avant-garde.\u00a0 Their first three albums capture the sound of an experimental proto-punk jam band riffing on the sounds of Hawkwind and the Velvet Underground, but their fourth album Autobahn (1974) established the beginning of something entirely new (created with longtime friend and producer Konrad \u201cConny\u201d Plank).\u00a0 The twenty-two minute title track combined the diverse influences of the Beach Boys and Karlheinz Stockhausen into the creation of an electronic musical odyssey.\u00a0 It also represented a miraculous use of technology through its amalgamation of Moog synthesizers, multi-track recording and traditional instrumentation.\u00a0 The 1977 album, Trans-Europe Express, completed Kraftwerk\u2019s transformation into a synthesized quartet.\u00a0 The album featured some of the funkiest grooves and vocoder melodies ever put on wax.\u00a0 New York City\u2019s burgeoning hip-hop community quickly latched on to the album and DJ Afrika Bambaataa based his track \u201cPlanet Rock\u201d (1982) on Kraftwerk\u2019s beats.\u00a0 The years that followed secured Kratwerk\u2019s place as both musical innovators and master songwriters and the albums, The Man-Machine (1978), Computer World (1981) and Electric Caf\u00e9 (1986) established the blueprint for the sound and image of modern electronic music.\u00a0 Kraftwerk\u2019s influence can be heard in the synth-pop of Depeche Mode, the electronic-rock integration of U2 and the DJ\/Laptop artist vibrations of Deadmau5 and Skrillex.<\/p>\n<p>THE MARVELETTES<br \/>\nThough they were overshadowed at Motown by the much longer-lived Supremes and Martha &amp; the Vandellas, nevertheless the plaintive girl group harmonies of the Marvelettes \u2013 the original foursome of Gladys Horton, Katherine Anderson, Georgeanna Tillman and Wanda Young \u2013 deserve their rightful spot in rock history.\u00a0 They gave Motown\/Tamla its first official #1 Hot 100 hit in the late-summer of 1961, \u201cPlease Mr. Postman\u201d (famously featuring Marvin Gaye on drums); and recorded Motown\u2019s first Holland-Dozier-Holland chart single, \u201cLocking Up My Heart.\u201d\u00a0 The Marvelettes went on, despite tremendous odds, to sing (and occasionally co-write) hit after hit for The Sound Of Young America for another seven years.\u00a0 Their signature tunes became classics of the next generation: \u201cPlease Mr. Postman\u201d (Beatles, Carpenters), \u201cBeechwood 4-5789\u201d (Carpenters), \u201cToo Many Fish In The Sea\u201d (Mitch Ryder, Rascals), \u201cDanger! Heartbreak Dead Ahead\u201d (Bonnie Raitt), \u201cThe Hunter Gets Captured By The Game\u201d (Jerry Garcia, Grace Jones, Blondie) and more.\u00a0 The Marvelettes did more than their fair share to put Motown on the map, and bring the heart of soul to rock and roll.<\/p>\n<p>THE METERS<br \/>\nJames Brown, Sly and the Family Stone and Parliament-Funkadelic all coasted into the Rock and Roll Hall of Fame. Yet one of the true cornerstones of funk is still waiting for induction. The Meters were not only the leading instrumental unit to emerge from the great musical gumbo of New Orleans, they were also one of the tightest and hardest-grooving ensembles R&amp;B has ever seen. The Meters formed in 1965 with a line-up of keyboardist and vocalist Art Neville, guitarist Leo Nocentelli, bassist Geroge Porter Jr. and drummer Joseph \u201cZigaboo\u201d Modeliste; the group was later joined by percussionist\/vocalist Cyril Neville. The Meters first came to local prominence as the house band for Allen Toussaint\u2019s record label, Sansu. In 1969, the band went on its own and released a string of definitive, irresistibly slamming singles\u2014 \u201cSophisticated Cissy,\u201d \u201cCissy Strut,\u201d \u201cLook-Ka Py Py\u201d and \u201cChicken Strut.\u201d In the years that followed, the band became one of the hottest session groups in the world, working with Paul McCartney, Robert Palmer and LaBelle. They recorded extensively with their homeboy Dr. John, including his Desitively Bonnaroo album and the smash hit \u201cRight Place, Wrong Time,\u201d and provided the musical backbone for such modern New Orleans classics as The Wild Tchoupitoulas and the Neville Brothers\u2019 Fiyo On The Bayou. With the explosion of hip-hop, the group became familiar to a new audience when its records were sampled countless times by the likes of RUN DMC, N.W.A, Public Enemy and the Beastie Boys. Meters songs have been covered by everyone from the Red Hot Chili Peppers to the Grateful Dead, illustrating the far-reaching influence of these masters of funk.<\/p>\n<p>RANDY NEWMAN<br \/>\nCynical romantic, subversive political satirist, social commentator, champion of the underdog \u2013 and brilliant one-man medicine show in the bargain \u2013 Randy Newman has been one of pop music\u2019s secret hidden weapons for more than four decades.\u00a0 Raised in Los Angeles, the summers he spent in New Orleans as a youngster had a profound influence on both his piano style and his songwriting, which in later years skewered Southern stereotypes in an ironic fashion that only an insider could get away with.\u00a0 A songwriter since his teens, his earliest songs were covered by artists ranging from Gene Pitney and Alan Price, to Judy Collins, Dusty Springfield and Three Dog Night, highlighted by the 1970 \u2018tribute\u2019 LP, Nilsson Sings Newman.\u00a0 His sardonic wit and unabashed sentimentality have inspired a myriad of American and British songwriters to stretch the envelope and in so doing, expand the boundaries of rock, pop, folk, country, R&amp;B and (since the \u201980s) film music.\u00a0 A six-time Grammy winner, two-time Oscar winner, three-time Emmy winner (the list goes on), Randy Newman is an American treasure.<\/p>\n<p>N.W.A<br \/>\nN.W.A is one of the most important groups in hip-hop history. Their aggressive, boundary smashing, don\u2019t-give-a-fuck perspective was made clear by their name, which stands for Niggaz Wit Attitude. Their most famous single was \u201cFuck The Police\u201d which was a minimalist classic that described the frustration and anger young black men felt toward the LAPD, years before the Rodney King riots broke out. Some call them the Beatles of hip-hop because of their massive influence, sonic power and their place as a launching pad for several critical solo careers. Dr. Dre, the greatest producer in hip-hop history, created the G-Funk sound he would become known for while he was in N.W.A. The G-Funk sound, built on P-Funk samples, synthesizer-heavy, cinematic and ominous themes would shape a generation of hip-hop. Ice Cube, who would become one of the most important MCs in hip-hop history was also in the group as was Eazy-E, an unforgettable figure. The group also included MC Ren, a formidable MC and DJ Yella, an important producer. N.W.A is the prime influence for the sound, ideology, vibe and look of gangsta rap and the L.A. hip-hop sound. They attracted nationwide attention for their albums Straight Outta Compton and Niggaz4Life. Indeed, the FBI sent the group a warning letter that is on exhibit at the Rock and Roll Hall of Fame and Museum.<\/p>\n<p>PROCOL HARUM<br \/>\nA multitude of evolutions swept across the face of rock in the tumult of 1967, and none was so jarring and unexpected as the stately grandeur of Procol Harum\u2019s \u201cA Whiter Shade Of Pale,\u201d with its \u201csixteen vestal virgins, who were leaving for the coast\u201d \u2013 on Top 40 radio.\u00a0 There was no precedent for the onslaught of Matthew Fisher\u2019s haunting cathedral-sized organ swirls, or the keening vocals of pianist Gary Brooker, who gave gothic voice to the poetry of the unseen group member, enigmatic lyricist Keith Reid.\u00a0 The touring and recording group settled into a brilliantly talented quintet with guitarist Robin Trower, bassist Dave Knights and one of British rock\u2019s premier drummers, B.J. Wilson.\u00a0 Procol Harum forever raised the intelligence quotient of rock with their next two albums, Shine On Brightly (with its 18-minute masterwork, \u201cIn Held \u2019Twas I\u201d) and A Salty Dog.\u00a0 The stage was set in 1972, for rock\u2019s first and arguably greatest major orchestral project, whose evocative \u201cConquistador\u201d is a dramatic tour de force that has held onto its mystique for four decades.\u00a0 Various personnel changes have revolved around the core of Brooker and Reid, but as their numerous live albums of the past twenty years have proved, the whole continues to be greater than the sum of its parts.<\/p>\n<p>PUBLIC ENEMY<br \/>\n\u201cNo one has been able to approach the political power that Public Enemy brought to hip-hop,\u201d Adam Yauch of the Beastie Boys told Rolling Stone in 2004, \u201cI put them on a level with Bob Marley and a handful of other artists \u2013 the rare artist who can make great music and also deliver a message.\u201d Public Enemy brought an explosion of sonic invention, rhyming virtuosity and social awareness to hip-hop in the 1980s and 1990s.\u00a0 The group\u2019s high points \u2013 1988\u2019s It Takes A Nation Of Millions To Hold Us Back and 1990\u2019s Fear Of A Black Planet, stand among the greatest politically-charged albums of all time. Powered by producer Hank Shocklee and his crew the Bomb Squad, Nation Of Millions was a layered masterpiece that took the ethic of the hip-hop breakbeat \u2013 using only the best parts of any given song \u2013 and advanced it geometrically, building new music out of a thicket of samples and beats: tracks like \u201cRebel Without A Pause,\u201d \u201cNight Of The Living Baseheads\u201d and \u201cBlack Steel In The Hour Of Chaos\u201d are triumphs of funk, fury and collage. Chuck D. \u2013 routinely rated as one of the greatest rappers of all time \u2013 pushed the art of the MC forward with his inimitable, rapid-fire baritone as he connected the culture of hip-hop with Black Nationalism and the ideas of Malcolm X. His counterpart, Flavor Flav, brought humor (in the case of \u201c911 Is A Joke,\u201d pointed humor) and a madcap energy. Along the way, they brought a new level of conceptual sophistication to the hip-hop album, and a new level of intensity and power to live hip-hop, inspiring fans from Jay-Z to Rage Against the Machine to Kurt Cobain. After Public Enemy, hip-hop could never again be dismissed as kids\u2019 music.<\/p>\n<p>RUSH<br \/>\nEqual parts Led Zeppelin, Cream and King Crimson, Rush burst out of Canada in the early 1970s with one of the most powerful and bombastic sounds of the decade. Their 1976 magnum opus 2112 represents progressive rock at its grandiose heights, but just a half decade later they had the guts to put epic songs aside in favor of shorter (but no less dynamic) tunes like \u201cTom Sawyer\u201d and \u201cThe Spirit Of Radio\u201d that remain in constant rotation on radio to this day. Absolutely uncompromising in every conceivable way, the trio has spent the last forty years cultivating the largest cult fan base in rock while still managing to sell out every arena in the country. While they have never gotten the critical respect they so richly deserve, Neil Peart has inspired more young drummers to take up the instrument than any other drummer of the past thirty years. No less impressive is Geddy Lee\u2019s ability to play keyboards and bass in concert while never missing a note of his lead vocals, and guitarist Alex Lifeson is a virtuoso simply without peer. They are a band completely removed from the mainstream music scene, and yet somehow also one of the most popular rock bands in the country. It is a dichotomy that has fueled them from the very beginning. Their newest release, Clockwork Angels, is as bold and ambitious as any of their works of the 1970s, and even though the members are now pushing sixty it is hard to shake the feeling that they are just getting started.<\/p>\n<p>DONNA SUMMER<br \/>\nHer lifetime in music was a study in contrasts: The \u201cQueen Of Disco\u201d who was a church-reared gospel singer throughout childhood, and wrote most of her own songs; the Diva De Tutti Dive, the first true pop diva of the modern era, who spent her formative years in a psychedelic rock band, even auditioned for Broadway\u2019s Hair in the early \u201970s.\u00a0 She did not get the part, but when Hair opened in Germany, Boston\u2019s LaDonna Adrian Gaines (1948-2012) was cast as Sheila.\u00a0 She settled in Germany and began a long-term association with Munich song\u00adwriters-producers Giorgio Moroder and Pete Bellotte.\u00a0 They heard her demo lyric \u201clove to love you baby\u201d and at Casablanca Records president Neil Bogart\u2019s request, turned it into a 17-minute opus of orgasmic delight (Donna said she was evoking Marilyn Monroe).\u00a0 The song was Summer\u2019s U.S. chart debut and first of nineteen #1 Dance hits between \u201975 and 2008 (second only to Madonna).\u00a0 Summer made chart history in 1978-80, as the only artist to have three consecutive double-LPs hit #1: Live And More, Bad Girls and On The Radio.\u00a0 She was also the first female artist with four #1 singles in a 13-month period: \u201cMacArthur Park,\u201d \u201cHot Stuff,\u201d \u201cBad Girls\u201d and \u201cNo More Tears\u201d (with Barbra Streisand).\u00a0 Her first U.S.-recorded LP, 1982\u2019s self-titled Donna Summer, produced by Quincy Jones, featured Bruce Spring\u00adsteen, Roy Bittan and many American rockers.\u00a0 \u201cShe Works Hard For The Money\u201d kept Donna on top in 1983, followed by the Top 10 \u201cThis Time I Know It\u2019s For Real\u201d in \u201989.\u00a0 Starting in 2009, she extended her string of #1 U.S. Dance hits with \u201cI\u2019m A Fire,\u201d \u201cStamp Your Feet,\u201d \u201cFame (The Game)\u201d and \u201cTo Paris With Love.\u201d\u00a0 Endless covers and sampling of her music by producers and DJs have kept the five-time Grammy Award-winner\u2019s pioneering body of work on the front-line.<\/p>\n<p>For more information and to place your vote, please visit <a href=\"http:\/\/www.rockhall.org\">www.rockhall.org<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Rock and Roll Hall of Fame Foundation Announces Nominees for 2013 Induction For the first time in its history, the Rock and Roll Hall of Fame is offering fans the opportunity to participate in the induction selection. Through December 3, the public can vote for the five nominees they believe to be most deserving [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":34786,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4026,4034],"tags":[12404,12401,4303,12412,12402,12403,12405,12409,12410,2378,12408,9110,12411,12406,12407,12400],"class_list":["post-34782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-event","category-music-2","tag-albert-king","tag-chic","tag-deep-purple","tag-donna-summer","tag-heart","tag-joan-jett-and-the-blackhearts","tag-kraftwerk","tag-n-w-a","tag-procol-harum","tag-public-enemy","tag-randy-newman","tag-rock-and-roll-hall-of-fame","tag-rush","tag-the-marvelettes","tag-the-meters","tag-the-paul-butterfield-blues-band"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/juicemagazine.com\/home\/wp-content\/uploads\/2012\/10\/aa6214.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/34782","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/comments?post=34782"}],"version-history":[{"count":6,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/34782\/revisions"}],"predecessor-version":[{"id":34789,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/posts\/34782\/revisions\/34789"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/media\/34786"}],"wp:attachment":[{"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/media?parent=34782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/categories?post=34782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/juicemagazine.com\/home\/wp-json\/wp\/v2\/tags?post=34782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}