The Rock and Roll Hall of Fame has announced its shortlist of nominees for 2014. While the Hall of Fame is little more than a vanity project for a cabal of self-important baby boomers headed by Rolling Stone publisher Jann Wenner, who last had his finger on rock's pulse sometime before the Sex Pistols' "Anarchy in the U.K." came out, it's always fun to predict who will and won't make it in on each year's ballot. So here they are, in approximate likelihood of induction.
Because artists are eligible 25 years after their first record was released, Nirvana have been nominated on the first possible ballot. (Bleach came out in 1989.) They will sail through, which the board will consider proof that they're down with The Kids, notwithstanding that The Kids that bought Nirvana's albums are in our 40s now.
Ronstadt will be this year's sympathy vote, since she recently disclosed that her singing career is over due to Parkinson's Disease. A technically gifted (and drop-dead gorgeous) singer, Ronstadt was often hampered by her lack of interpretive skills. For example, she seemed genuinely oblivious to the fact that Randy Newman's "Sail Away" was sung from the point of view of a slave trader.
He's been eligible for 11 years, and as a critically-respected solo artist who also scored some major radio hits, he's exactly in the hall's wheelhouse. Given the comparative lack of sure things in this year's shortlist, this may be his year.
Although the board is notoriously anti-disco (Donna Summer didn't get in until after she died), the commercial resurrection of Nile Rodgers via Daft Punk's "Get Lucky" might sway a few members to recognize the architectural genius of hits like "Good Times" and "Le Freak."
Hall & Oates
There was a period in the early 1980s where critics considered Daryl Hall a genius blue-eyed soul songwriter on the level of Todd Rundgren and John Oates an amiable dude with a killer mustache. Perhaps some residual nostalgia for the duo's hits might bring them in. Personally, I think they should be inducted just for this incredibly bizarre and primitive video for "She's Gone."
Perhaps the only act who genuinely wants to be in the Hall of Fame, Kiss are rock's most shameless hucksters. And frankly, they deserve recognition just for the fact that they pioneered the licensing and merchandising that made pop music even more profitable than it was. But the board still has the antiquated view that rock is art, maaaaaaaaaaaaaaaaaaan, and that being too commercial is uncool.
LL Cool J
With his primary career these days being an amiable TV actor, it can be hard to remember just how outstanding singles like "The Bells" and "Goin' Back To Cali" were -- LL was one of the first next-gen rappers taking the music in new directions after the first wave had passed their peaks. Like Hall and Oates, he'll get in eventually, but this may not be his year.
Given The Replacements' "loveable losers" image, it would actually be entirely fitting if they became one of those bands who never actually make it in. When they do -- which they will, eventually -- it will shut the door on the entry of other key Amerindie bands of the mid-80s like Husker Du and the Meat Puppets. The board thinks they only need one representative.
Like Rush, Kiss and Black Sabbath, Yes has their diehard fans who think the Hall of Fame is a joke for not including their favorite band. The Hall is indeed a joke, but that's not why.
Still stigmatized by the overblown reaction to some widely misunderstood quotes Yusuf Islam (the man formerly known as Cat Stevens) gave to a newspaper in the wake of the fatwa against British author Salman Rushdie, Stevens may never make it into the Hall. But then, his pleasant but lightweight take on UK folk-rock is hardly the most earthshaking music of its time.
Okay, look: Machine Head was awesome. I mean, "Space Truckin'" and "Highway Star" will still rock your face off, and even as overplayed as it is, "Smoke on the Water" has one of the all-time great riffs. But the rest of Deep Purple's catalogue is at best third-string boogie. If artists with only one great album are eligible, let's induct The Stone Roses immediately.
Dr. Dre will someday make it into the Hall as a producer, but Jann Wenner lets the band whose signature song was called 'F--k tha Police" into his playground over his dead body. And Ice Cube's acting career makes NWA seem less threatening with every family comedy he makes.
Honestly, The Zombies are probably my favorite band on this entire list: "She's Not There" is maybe the most perfect single of the British Invasion, Odessey and Oracle is start to finish brilliant, and through Rod Argent's electric piano solos, they were possibly the very first band to bring a modern jazz influence into Top 40 pop. But they remain probably too obscure a niche taste to make the final ballot.
That goes double for The Meters. All rock critics genuflect to this New Orleans institution led by the legendary Art Neville, but I've always suspected that most of those copies of Fire on the Bayou in their collections don't actually get pulled out much.
I love Link Wray's doomy, reverb-driven instrumentals as much as the next guy, but given that his first, biggest and best hit "Rumble" came out 55 years ago, I can't help but think that if he was going to get inducted it would have happened by now.
The Paul Butterfield Blues Band
Much like The Meters, critics love to name-drop Butterfield and his legendary guitarist Mike Bloomfield, but Bloomfield remains far more beloved for his mid-'60s work with Bob Dylan than for much-lauded but little-heard albums like East/West.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.