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.



Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
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Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)

“A Complete Unknown” certainly lives up to its title. You are hardly closer to understanding the soul of Bob Dylan after watching more than two hours of this moody look at America's most enigmatic troubadour. But that's not the point of James Mangold's biopic: It's not who Dylan is but what he does to us.

Mangold — who directed and co-wrote the screenplay with Jay Cocks — doesn't do a traditional cradle-to-the-near-grave treatment. He concentrates on the few crucial years between when Dylan arrived in New York in 1961 and when he blew the doors off the Newport Folk Festival in 1965 by adding a Fender Stratocaster.

That means we never learn anything about Dylan before he arrives in Manhattan's Greenwich Village with a guitar, a wool-lined bomber jacket, a fisherman's cap and ambition. And Dylan being Dylan, we just get scraps after that.

The world spins around him, this uber-cypher of American song. Women fall in love with him, musicians seek his orbit, fans demand his autograph, record executives fight over his signature. The Cuban Missile Crisis melds into the Kennedy assassination and the March on Washington. What does Dylan make of all this? The answer is blowing in the wind.

Any sane actor would run away from this assignment. Not Timothée Chalamet, and “A Complete Unknown” is his most ambitious work to date, asking him not only to play insecure-within-a-sneer but also to play and sing 40 songs in Dylan's unmistakable growl, complete with blustery harmonica.

The last big non-documentary attempt to understand Dylan was Todd Haynes' “I’m Not There,” which split the assignment among seven actors. Chalamet does it all, moving from callow, fresh-faced songsmith to arrogant, selfish New Yorker to jaded, staggering pop star to Angry Young Man. There are moments when Chalamet tilts his head down and looks at the world slyly, like Princess Diana. There are others when the resemblance is uncanny, but also moments when it is a tad forced. You cannot deny he's got the essence of Dylan down, though.

The movie's title is pulled from Dylan’s lyrics for “Like a Rolling Stone” and it's adapted from Elijah Wald’s book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” Dylan isn't a producer but did consult on the script.

It's not the most glowing profile, though the sheer brilliance of the songs — so many the movie might be deemed a musical — show Dylan's undeniable genius. Chalamet's Dylan is unfaithful, jealous and puckish. The movie suggests that adding electric guitar at Newport in '65 was less a brave stand for music’s evolution than a middle finger to anyone who dared put him in a box.

In some ways, “A Complete Unknown” uses some of the DNA from “I’m Not There.” The best clues to what's going on behind Dylan's shades are the refracted light from others, like Joan Baez, Johnny Cash, Woody Guthrie, Pete Seeger and a girlfriend called Sylvie Russo, based on Dylan’s ex Suze Rotolo, who is pictured on 1963’s album cover for “The Freewheelin’ Bob Dylan.”

Edward Norton is a hangdog Seeger hoping to harness Dylan for the goodness of folk, astonished by his talent. Monica Barbaro is a revelation as Baez, Dylan's on-again-off-again paramour. Boyd Holbrook is a sharklike, disrupting Cash, with the movie's best line: “Make some noise, B.D. Track some mud on the carpet.” And Elle Fanning is captivating as Russo, the sweetheart sucked into this crazy rock drama.

It's Baez and Russo who dig the deepest into trying to find out who Dylan is. They don't buy his stories about learning from the carnival and call him on his facade-building. “I don't know you,” Russo says, calling him a “mysterious minstrel” and urging him to “Stop hiding.” Too late, sister.

Mangold — who directed the Cash biopic “Walk the Line” — is always good with music and clearly loves being in this world. There's one scene that initially puzzles — Dylan stops on the street to buy a toy whistle — and you wonder why the director has wasted our time. Then we see Dylan pull it out at the top of the recording of “Highway 61 Revisited” and suddenly it answers all those years of wondering what that crazy sound was.

There are points to quibble — Dylan never faced a shout of “Judas!” from an enraged folkie at Newport; that came a year later in Manchester — but “A Complete Unknown” is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.