by Arlene Miles

Created on: June 02, 2009

The Rock and Roll Hall of Fame is a great idea which has turned into a joke thanks to the alleged preferences of those controlling the Hall, as well as inadequate and erratic inductee classifications.

For years, rumors have floated that a number of musical acts have not even been nominated, reportedly because individuals such as Jann Wenner and the late Ahmet Ertgun simply did not like the music these artists produced or had other biases against them. What is ironic and ultimately hypocritical about this is that the the Hall's website clearly states that one of the Rock and Roll Hall of Fame Foundation's many functions is to "recognize the contributions of those who have had a significant impact on the evolution, development and perpetuation of rock and roll."

The very nature of many of the acts that have been bypassed by the Hall is in direct opposition to the Foundation's mission. Arguably the most glaring example is the Canadian trio Rush. With a career that spans over 35 years, this Toronto-based band began as a metal outfit, crossed over into progressive, and marched back to straight rock, ultimately combining all of these elements. Rush has a catalog that encompasses more than 20 CDs, and continues to be one of the top-grossing acts when they tour. The band is even part of popular culture, earning references on programs such as That 70s Show and Family Guy, while one of the subplots of the recent movie, "I Love You, Man," revolves around the main characters' love for Rush. Not only that, the band has been cited by acts such as Metallica, a Rock and Roll Hall of Fame member, as well as several bands that emerged from the Seattle-based grunge movement, as an influence. Yet, the powers-that-be have never seen fit to even nominate Rush for a slot.

Another glaring omission involves an entire sub-genre of rock and roll, namely progressive rock. Although many of the acts earned the term "dinosaur rock" with the advent of punk in the late 70s and early 80s, the prominence of these musicians in their heyday, as well as the influences that can still be heard today, are significant. The list here is significant, with Yes, Emerson, Lake & Palmer, Genesis/Peter Gabriel, and the Moody Blues being the ones most frequently cited. Fans of each often mount periodic petitions asking for their band's admission into the Hall.

Oddly enough, a visit to the Hall will show that the powers-that-be feel that these musicians have merited recognition on some level. Yes' 1972

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