Missy Elliott, Willie Nelson, Sheryl Crow and Chaka Khan Ready for Rock & Roll Hall of Fame

Missy Elliott speaks onstage at 2023 Black Music Honors at Cobb Energy Performing Arts Center on May 19, 2023 in Atlanta, Georgia. (AFP)
Missy Elliott speaks onstage at 2023 Black Music Honors at Cobb Energy Performing Arts Center on May 19, 2023 in Atlanta, Georgia. (AFP)
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Missy Elliott, Willie Nelson, Sheryl Crow and Chaka Khan Ready for Rock & Roll Hall of Fame

Missy Elliott speaks onstage at 2023 Black Music Honors at Cobb Energy Performing Arts Center on May 19, 2023 in Atlanta, Georgia. (AFP)
Missy Elliott speaks onstage at 2023 Black Music Honors at Cobb Energy Performing Arts Center on May 19, 2023 in Atlanta, Georgia. (AFP)

Fans of hip-hop, country, pop, funk, R&B and rock all have reason to cheer the 2023 class entering the Rock & Roll Hall of Fame.

Missy Elliott, Kate Bush, Willie Nelson, Sheryl Crow, Chaka Khan, “Soul Train” creator Don Cornelius and the late George Michael will be inducted into the hall on Friday night in New York. The ceremony is also streaming live for the first time on Disney+.

Also entering the hall are The Spinners, Rage Against the Machine, DJ Kool Herc, Link Wray, Al Kooper and Elton John’s longtime co-songwriter Bernie Taupin.

The ceremony in Brooklyn will feature either as presenters or performers John, Brandi Carlile, Dave Matthews, H.E.R., Chris Stapleton, St. Vincent, New Edition, Stevie Nicks, Adam Levine, Carrie Underwood, Common, Ice-T, LL Cool J, Miguel, Queen Latifah and Sia. There’s even money that John will sing some of the songs he wrote with Taupin.

Elliott becomes the first female hip-hop artist in the rock hall, which called her “a true pathbreaker in a male-dominated genre.” Taupin makes it into the rock hall 29 years after his writing partner.

The ceremony’s strong representation of women this year comes not long after the hall removed Rolling Stone co-founder Jann Wenner from its board of directors. Wenner, who also co-founded the hall, had said that Black and female musicians “didn’t articulate at the level” of the white musicians featured in his new book of interviews. He later apologized.

Artists must have released their first commercial recording at least 25 years before they’re eligible for induction. Nominees were voted on by more than 1,000 artists, historians and music industry professionals.

Bush was a nominee last year but didn’t make the final cut. She got in this year due to a new wave in popularity after the show “Stranger Things” featured her song “Running Up That Hill (A Deal with God).” The hall hailed her for “using lush soundscapes, radical experimentation, literary themes, sampling, and theatricality to captivate audiences and inspire countless musicians.”

Bush comes into the ceremony having broken three Guinness World Records, including becoming the oldest woman to reach No. 1 and the longest gap between No. 1s on the UK’s singles chart.

Crow was recognized for key songs in the 1990s musical canon like “All I Wanna Do” and “Every Day Is a Winding Road,” while Rage Against the Machine “forged brazen protest music for the modern world.”

The hall called DJ Kool Herc “a founding father of hip-hop music” who “helped create the blueprint for hip-hop.” And Chaka Khan was described as “one of the mightiest and most influential voices in music” a “streetwise but sensual hip-hop-soul diva,” who paved the way for women like Mary J. Blige, Erykah Badu and Janelle Monáe.

The Spinners became a hit-making machine with four No. 1 R&B hits in less than 18 months, including “I’ll Be Around” and “Could It Be I’m Falling in Love.” Rock guitarist Wray was said to be ahead of his time, influencing Jeff Beck, Jimmy Page, Eric Clapton, Jimi Hendrix and Bruce Springsteen.

Cornelius, who died in 2012, was celebrated for creating a nationally televised platform for African American music and culture. He “became a visionary entrepreneur who opened the door — and held it open — for many others to follow him through.”

ABC will air a special featuring performance highlights and standout moments on Jan. 1.



Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
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Tim Burton Talks about His Dread of AI as an Exhibition of His Work Opens in London

 A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)
A member of staff poses at The World of Tim Burton exhibition at the Design Museum, in London, Monday, Oct. 21, 2024. (AP)

The imagination of Tim Burton has produced ghosts and ghouls, Martians, monsters and misfits – all on display at an exhibition that is opening in London just in time for Halloween.

But you know what really scares him? Artificial intelligence.

Burton said Wednesday that seeing a website that had used AI to blend his drawings with Disney characters “really disturbed me.”

“It wasn’t an intellectual thought — it was just an internal, visceral feeling,” Burton told reporters during a preview of “The World of Tim Burton” exhibition at London’s Design Museum. “I looked at those things and I thought, ‘Some of these are pretty good.’ ... (But) it gave me a weird sort of scary feeling inside.”

Burton said he thinks AI is unstoppable, because “once you can do it, people will do it.” But he scoffed when asked if he’d use the technology in this work.

“To take over the world?” he laughed.

The exhibition reveals Burton to be an analogue artist, who started off as a child in the 1960s experimenting with paints and colored pencils in his suburban Californian home.

“I wasn’t, early on, a very verbal person,” Burton said. “Drawing was a way of expressing myself.”

Decades later, after films including “Edward Scissorhands,” “Batman,” “The Nightmare Before Christmas” and “Beetlejuice,” his ideas still begin with drawing. The exhibition includes 600 items from movie studio collections and Burton's personal archive, and traces those ideas as they advance from sketches through collaboration with set, production and costume designers on the way to the big screen.

London is the exhibition’s final stop on a decade-long tour of 14 cities in 11 countries. It has been reconfigured and expanded with 90 new objects for its run in the British capital, where Burton has lived for a quarter century.

The show includes early drawings and oddities, including a competition-winning “crush litter” sign a teenage Burton designed for Burbank garbage trucks. There’s also a recreation of Burton’s studio, down to the trays of paints and “Curse of Frankenstein” mug full of pencils.

Alongside hundreds of drawings, there are props, puppets, set designs and iconic costumes, including Johnny Depp’s “Edward Scissorhands” talons and the black latex Catwoman costume worn by Michelle Pfeiffer in “Batman.”

“We had very generous access to Tim’s archive in London, stuffed full of thousands of drawings, storyboards from stop-motion films, sketches, character notes, poems,” said exhibition curator Maria McLintock. “And how to synthesize such a wide ranging and meandering career within one exhibition was a fun challenge — but definitely a challenge.”

Seeing it has not been a wholly fun experience for Burton, who said he’s unable to look too closely at the items on display.

“It’s like seeing your dirty laundry put on the walls,” he said. “It’s quite amazing. It’s a bit overwhelming.”

Burton, whose long-awaited horror-comedy sequel “Beetlejuice Beetlejuice” opened at the Venice Film Festival in August, is currently filming the second series of Netflix’ Addams Family-themed series “Wednesday.”

These days he is a major Hollywood director whose American gothic style has spawned an adjective – “Burtoneqsue.” But he still feels like an outsider.

“Once you feel that way, it never leaves you,” he said.

“Each film I did was a struggle,” he added, noting that early films like “Pee-wee’s Big Adventure” from 1985 and “Beetlejuice” in 1988 received some negative reviews. “It seems like it was a pleasant, fine, easy journey, but each one leaves its emotional scars.”

McLintock said Burton “is a deeply emotional filmmaker."

“I think that’s what drew me to his films as a child,” she said. "He really celebrates the misunderstood outcast, the benevolent monster. So it’s been quite a weird but fun experience spending so much time in his brain and his creative process.

“His films are often called dark,” she added. “I don’t agree with that. And if they are dark, there’s a very much a kind of hope in the darkness. You always want to hang out in the darkness in his films.”