Rock & Roll Hall of Fame Induction Ceremony Has a Poignant Vibe This Year

FILE - Thom Gimbel, from left, Michael Bluestein, Mick Jones, Kelly Hansen, Jeff Pilson and Bruce Watson of Foreigner pose for a portrait during the Sundance Film Festival in Park City, Utah on Jan. 20, 2017. (The Associated Press)
FILE - Thom Gimbel, from left, Michael Bluestein, Mick Jones, Kelly Hansen, Jeff Pilson and Bruce Watson of Foreigner pose for a portrait during the Sundance Film Festival in Park City, Utah on Jan. 20, 2017. (The Associated Press)
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Rock & Roll Hall of Fame Induction Ceremony Has a Poignant Vibe This Year

FILE - Thom Gimbel, from left, Michael Bluestein, Mick Jones, Kelly Hansen, Jeff Pilson and Bruce Watson of Foreigner pose for a portrait during the Sundance Film Festival in Park City, Utah on Jan. 20, 2017. (The Associated Press)
FILE - Thom Gimbel, from left, Michael Bluestein, Mick Jones, Kelly Hansen, Jeff Pilson and Bruce Watson of Foreigner pose for a portrait during the Sundance Film Festival in Park City, Utah on Jan. 20, 2017. (The Associated Press)

The Rock & Roll Hall Fame induction ceremony on Saturday night promises to be starry, jamming — and bittersweet. So many of the honorees this time have been lost.
Of the seven original members of Kool & the Gang, there is only one, Robert “Kool” Bell. There will be no living members of the MC5, which suffered the recent deaths of its two last original members, drummer Dennis “Machine Gun” Thompson and guitarist and singer Wayne Kramer. Foreigner's original bassist Ed Gagliardi and multi-instrumentalist Ian McDonald have died and guitarist Mick Jones has been sidelined by Parkinson’s disease. A Tribe Called Quest has lost Phife Dawg.
“I wish George was here and the rest of the other gentlemen — the other original members — because they well deserve this recognition,” said Hahn Brown, widow of Kool & the Gang drummer and songwriter George Brown, who died in 2023.
In many ways, the class of 2024 — which also includes Peter Frampton, Cher,Mary J. Blige, Ozzy Osbourne, Dave Matthews Band, the late Jimmy Buffett, Dionne Warwick and the late Alexis Korner, the late John Mayall and the late Big Mama Thornton — is a catch-up class, reflecting turnover in the hall's leadership.
“There’s been a change over from some of the old guard in years past to you see artists like Rush and Kiss and Stevie Ray Vaughan and Randy Rhodes, the MC5 and Judas Priest getting in. Whereas before that might not have been the case,” says Tom Morello, a Rock & Roll Hall of Fame guitarist for bands like Rage Against the Machine and Audioslave.
Morello recalls bringing up the issue of membership with Jon Landau, Bruce Springsteen’s manager and a former Rolling Stone critic, who was then chairman of the nominating committee.
He told him: “Myself and my friends, we don’t think so much about the Rock & Roll Hall of Fame because none of our favorite bands are in it.”
Now it will have a band Morello has long championed, the MC5, who paved the way for the Stooges, the Ramones, the Clash, the Sex Pistols, Rage Against the Machine and System of a Down.
Saturday's induction ceremony will be held at the Rocket Mortgage Fieldhouse in Cleveland. It will stream live on Disney+. A special featuring performance highlights and standout moments will air on ABC on Jan. 1.
Cher — the only artist to have a No. 1 song in each of the past six decades — and Blige, with eight multi-platinum albums and nine Grammy Awards, will help boost the number of women in the Hall, which critics say is too low.
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.
There had been a starry push to get Foreigner — with the hits “Urgent” and “Hot Blooded” — into the Hall, with Mark Ronson, Jack Black, Slash, Dave Grohl and Paul McCartney all publicly backing the move. Ronson’s stepfather is Mick Jones, Foreigner’s founding member, songwriter and lead guitarist.
Warwick will arrive at the ceremony only a few days after attending a memorial to her longtime friend and collaborator, Cissy Houston, in Newark, New Jersey. Jennifer Hudson and Teyana Taylor will help induct her.
Other members of rock, pop and hip-hop royalty will be on hand to help usher the class in, including Busta Rhymes, Dr. Dre, Demi Lovato, Dua Lipa, Ella Mai, James Taylor, Jelly Roll, Julia Roberts, Keith Urban, Kenny Chesney, Lucky Daye, Mac McAnally, Method Man, Roger Daltrey, Sammy Hagar, Slash and The Roots.



‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
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‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a “Saturday Night Live” origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

“Terrifier 3,” a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with $18.3 million, according to estimates Sunday. The film, a sequel to 2022’s “Terrifier 2” ($15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That “Terrifier 3” could notably overperform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of “Joker: Folie à Deux.” After Todd Phillips’ “Joker” sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a “D” CinemaScore from audiences), the Warner Bros. release fell a staggering 81% in its second weekend, bringing in just $7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like “The Marvels,” “The Flash” and “Shazam Fury of the Gods” all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusual for a follow-up to a massive hit like 2019’s “Joker.” That film, also from Phillips and Phoenix, grossed more than $1 billion worldwide against a $60 million budget.

The sequel was pricier, costing about $200 million to make. That means “Joker: Folie à Deux” is headed for certain box-office disaster. Globally, it’s collected $165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago: Would ‘Terrifier 3’ be the number one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The “Joker” slide allowed “The Wild Robot,” the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with $13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to $83.7 million domestically and $148 million worldwide.

The young Donald Trump film “The Apprentice,” distributed by Briarcliff Entertainment in 1,740 theaters, opened in a distant 10th place, managing a paltry $1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. “The Apprentice,” starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. “The Apprentice” will depend on continued awards conversation for Strong and Stan to make a significant mark in theaters before voters turn out at the polls.

Jason Reitman’s “Saturday Night” failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected $3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

“Piece by Piece,” a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor?”), opened with $3.8 million from 1,865 theaters.

But the debut for “Piece By Piece,” while low for a Lego animated movie, was very high for a documentary. “Piece By Piece,” which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc — if “Piece By Piece” can be called that.

“We Live in Time,” the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theater averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with $255,911 and a $51,000 per-screen average.

Outside of the success of Warner Bros.’ “Beetlejuice Beetlejuice” (which pulled in $7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like “Terrifier 3,” continues to be one good bet in theaters, but this autumn has been mostly characterized by bombs like “Joker: Folie à Deux” and “Megalopolis.”

This time last year, Taylor Swift was giving the box office a massive lift with “The Eras Tour.” This weekend compared with the same time last year was down 45% according to Comscore.