28th Annual Rock and Roll Hall of Fame Induction Ceremony

Apr. 18 - 7:00 PM / Door Time: 6:00 PM

Ticket Prices

$750, $500, $350, $100, $75

A $4.75 facility fee is added to each ticket.
Cameras will not be permitted.

Scheduled for Thursday, April 18, 2013, the 28th Annual Rock and Roll Hall of Fame Induction Ceremony will be held at the Nokia Theatre L.A. LIVE in Los Angeles. This marks the first time since 1993 that the Rock and Roll Hall of Fame Induction Ceremony will be held on the West Coast. The ceremony will again be open to the public, as it was in 2009 and 2012 in Cleveland.

Joel Peresman, President and CEO of the Rock and Roll Hall of Fame Foundation, said, "We are thrilled to announce this year's class of inductees, which again represents the broad, compelling and significant definition of rock and roll."

The Rock and Roll Hall of Fame inductees for 2013 are:

Performer Category

  • Heart View Bio
    With a mix of hard rock riffs and lush, driving harmonies, Heart emerged from the Pacific Northwest with one of the most original sounds of the 1970s. Behind Ann Wilson's powerhouse voice — one of the best in rock — and Nancy Wilson's percussive guitar playing, along with guitarist Roger Fisher, bassist Steve Fossen, guitarist/keyboard player Howard Leese and drummer Michael DeRosier, Heart recorded a series of albums that stand as the best mix of hard rock and folk rock of their era: Dreamboat Annie, Little Queen, Dog And Butterfly and Bebe Le Strange. All those records included hit singles that remain standards of rock radio: Magic Man, Crazy On You, Heartless and Barracuda. Over their long career, Heart has released six Top 10 albums and 20 Top 40 singles. The first women to front a hard rock band, Ann and Nancy Wilson were pioneers, claiming the stage in a way that inspired women to pick up an electric guitar or start a band. When MTV transformed mainstream rock in the 1980s, Heart adapted and recorded some of the signature songs of the era: Alone, What About Love and These Dreams. In the 1990s, they returned to their roots with Desire Walks On and The Road Home, and in the last decade, they've released two of the strongest albums of their careers: Jupiter's Darling and Red Velvet Car.
  • Albert King View Bio
    He was born in the same fervid Mississippi Delta town of Indianola as another King of the Blues guitar, B.B. King. But where B.B. moved to the blues mecca of Memphis during the Second World War to establish his reign, Albert King (1923-1992) did not arrive there until more than a decade into his career in 1966. He was signed by Atlantic subsidiary Stax-Volt Records in the era when singles ruled and he had cut more than a dozen singles for various labels over the previous decade, most notably on King and Bobbin. His first Stax album was an influential collection that included Born Under A Bad Sign, Crosscut Saw, As The Years Go Passing By and his cover of Ivory Joe Hunter's I Almost Lost My Mind, tracks mostly recorded with Booker T. and the MGs as studio backup (with the Memphis Horns). Like B.B. and Freddie King, Albert King was thrust into the Fillmore generation when British acts like Cream and Jimi Hendrix adopted Born Under A Bad Sign (written by Booker T and William Bell), which became a rock anthem and a part of the rock and roll lexicon. The younger generation following them also discovered a mother lode of blues in Albert's repertoire. In particular, Stevie Ray Vaughan was an avid follower, and as early as 1983, Vaughan was onstage with Albert in Canada for a set (released 16 years later) that included a 15-minute jam on Blues At Sunrise. At Vaughan's insistence, their paths intersected frequently over the next decade. From Eric Clapton, Mike Bloomfield and Johnny Winter, to Joe Walsh, Vaughan, Derek Trucks and beyond, the influence of Albert King's husky vocals and his signature Gibson Flying V guitar will live on forever.
  • Randy Newman View Bio
    Cynical romantic, subversive political satirist, social commentator, champion of the underdog – and brilliant one-man medicine show in the bargain – Randy Newman has been one of pop music's secret hidden weapons for more than four decades. Raised in Los Angeles, the summers he spent in New Orleans as a youngster had a profound influence on both his piano style and his songwriting, which in later years skewered Southern stereotypes in an ironic fashion that only an insider could get away with. A songwriter since his teens, his earliest songs were covered by artists ranging from Gene Pitney and Alan Price, to Judy Collins, Dusty Springfield and Three Dog Night, highlighted by the 1970 'tribute' LP, Nilsson Sings Newman. His sardonic wit and unabashed sentimentality have inspired a myriad of American and British songwriters to stretch the envelope and in so doing, expand the boundaries of rock, pop, folk, country, R&B and (since the '80s) film music. A six-time Grammy winner, two-time Oscar winner, three-time Emmy winner (the list goes on), Randy Newman is an American treasure.
  • Public Enemy View Bio
    "No one has been able to approach the political power that Public Enemy brought to hip-hop," Adam Yauch of the Beastie Boys told Rolling Stone in 2004, "I put them on a level with Bob Marley and a handful of other artists – the rare artist who can make great music and also deliver a message." Public Enemy brought an explosion of sonic invention, rhyming virtuosity and social awareness to hip-hop in the 1980s and 1990s. The group's high points – 1988's It Takes A Nation Of Millions To Hold Us Back and 1990's Fear Of A Black Planet, stand among the greatest politically-charged albums of all time. Powered by producer Hank Shocklee and his crew the Bomb Squad, Nation Of Millions was a layered masterpiece that took the ethic of the hip-hop breakbeat – using only the best parts of any given song – and advanced it geometrically, building new music out of a thicket of samples and beats: tracks like Rebel Without A Pause, Night Of The Living Baseheads and Black Steel In The Hour Of Chaos are triumphs of funk, fury and collage. Chuck D. – routinely rated as one of the greatest rappers of all time – pushed the art of the MC forward with his inimitable, rapid-fire baritone as he connected the culture of hip-hop with Black Nationalism and the ideas of Malcolm X. His counterpart, Flavor Flav, brought humor (in the case of 911 Is A Joke, pointed humor) and a madcap energy. Along the way, they brought a new level of conceptual sophistication to the hip-hop album, and a new level of intensity and power to live hip-hop, inspiring fans from Jay-Z to Rage Against the Machine to Kurt Cobain. After Public Enemy, hip-hop could never again be dismissed as kids' music.
  • Rush View Bio
    Equal parts Led Zeppelin, Cream and King Crimson, Rush burst out of Canada in the early 1970s with one of the most powerful and bombastic sounds of the decade. Their 1976 magnum opus 2112 represents progressive rock at its grandiose heights, but just a half decade later they had the guts to put epic songs aside in favor of shorter (but no less dynamic) tunes like Tom Sawyer and The Spirit Of Radio that remain in constant rotation on radio to this day. Absolutely uncompromising in every conceivable way, the trio has spent the last 40 years cultivating the largest cult fan base in rock while still managing to sell out every arena in the country. While they have never gotten the critical respect they so richly deserve, Neil Peart has inspired more young drummers to take up the instrument than any other drummer of the past 30 years. No less impressive is Geddy Lee's ability to play keyboards and bass in concert while never missing a note of his lead vocals, and guitarist Alex Lifeson is a virtuoso simply without peer. They are a band completely removed from the mainstream music scene, and yet somehow also one of the most popular rock bands in the country. It is a dichotomy that has fueled them from the very beginning. Their newest release, Clockwork Angels, is as bold and ambitious as any of their works of the 1970s, and even though the members are now pushing 60, it is hard to shake the feeling that they are just getting started.[x] close /div>
  • Donna Summer  View Bio
    Her lifetime in music was a study in contrasts: The "Queen Of Disco" who was a church-reared gospel singer throughout childhood, and wrote most of her own songs; the Diva De Tutti Dive, the first true pop diva of the modern era, who spent her formative years in a psychedelic rock band, even auditioned for Broadway's Hair in the early '70s. She did not get the part, but when Hair opened in Germany, Boston's LaDonna Adrian Gaines (1948-2012) was cast as Sheila. She settled in Germany and began a long-term association with Munich song-writers-producers Giorgio Moroder and Pete Bellotte. They heard her demo lyric love to love you baby and at Casablanca Records president Neil Bogart's request, turned it into a 17-minute opus of orgasmic delight (Summer said she was evoking Marilyn Monroe). The song was Summer's U.S. chart debut and first of 19 Number One Dance hits between '75 and 2008 (second only to Madonna). Summer made chart history in 1978-80, as the only artist to have three consecutive double-LPs hit Number One: Live And More, Bad Girls and On The Radio. She was also the first female artist with four Number One singles in a 13-month period: MacArthur Park, Hot Stuff, Bad Girls and No More Tears (with Barbra Streisand). Her first U.S.-recorded LP, 1982's self-titled Donna Summer, produced by Quincy Jones, featured Bruce Springsteen, Roy Bittan and many American rockers. She Works Hard For The Money kept Donna on top in 1983, followed by the Top 10 This Time I Know It's For Real in '89. Starting in 2009, she extended her string of Number One U.S. Dance hits with I'm A Fire, Stamp Your Feet, Fame (The Game) and To Paris With Love. Endless covers and sampling of her music by producers and DJs have kept the five-time Grammy Award-winner's pioneering body of work on the front-line.[x] close

Ahmet Ertegun (non-performer) Award

  • Lou Adler View Bio
    After moving to Los Angeles as a child, Lou Adler began his career as co-manager, with Herb Alpert, of the California surf group Jan ad Dean. He and Alpert then formed a songwriting partnership, and, under the name "Barbara Campbell," they wrote the song Only Sixteen, which became a hit for Sam Cooke in 1959. Then, while working the Colpix and Dimension record labels, Adler came into contact with several staff songwriters, including Carole King, Steve Barri and P.F. Sloan. The latter two formed a songwriting partnership and began working with Adler's publishing company, Trousdale. In 1964, Adler founded Dunhill Records. Utilizing his songwriting team of Barri and Sloan, Dunhill scored a major hit with Barry McGuire's Eve of Destruction, which reached Number One in 1965. He then signed the Mamas and the Papas, and they scored six Top Five hits in 1966 and 1967, including California Dreamin'. After selling Dunhill to ABC Records, Adler formed a new label, Ode Records. The company had a mammoth international hit with Scott McKenzie's summer-of-love anthem San Francisco (Be Sure to Wear Some Flowers in Your Hair). That same year, 1967, Adler was one of the producers of the Monterey International Pop Festival. He also was one of the producers of the film version, Monterey Pop. Adler went on to sign Spirit, Cheech and Chong and Carole King to Ode. In 1971, King's Adler-produced album Tapestry became one of the decade's biggest-selling albums, and Adler won Grammys for Record of the Year and Album of the Year. Though Adler went on to produce several more of King's albums, he began focusing more of his attention on movies. In 1975, he produced The Rocky Horror Picture Show and, in 1981, its follow-up, Shock Treatment. In 1978, he directed Cheech and Chong's film Up in Smoke. Adler has lessened his involvement with the music world in the last several years, though he still owns the Roxy Theatre, a key Los Angeles music venue. And his impact, particularly on the development of West Coast rock, is undeniable.
  • Quincy Jones View Bio
    Quincy Jones was born in Chicago on March 14, 1933. He began his career as a trumpet player, performing with Lionel Hampton. While on the road with Hampton, Jones began showing talent as a song arranger. He wound up working as an arranger for several artists, including Count Basie, Dinah Washington, Sarah Vaughan and Tommy Dorsey. During the mid-Fifties, Jones served as musical director for Dizzy Gillespie. He also began recording with his own band. Later in the Fifties and into the Sixties, he began working on recording sessions by several singers, including Frank Sinatra, Billy Eckstine, Brook Benton, Johnny Mathis and Ray Charles. By this point, Jones had become a major force in American popular music. Over the years, he has written nearly 40 major-motion-picture scores, including The Pawnbroker (1965), In Cold Blood (1967) and In the Heat of the Night (1967). He has also composed music for hundreds of television shows, including the long-running Ironside series and Sanford and Son. Jones continued arranging and producing records throughout the Sixties, Seventies and Eighties, working with such artists as Leslie Gore, Aretha Franklin, George Benson, Donna Summer, Michael Jackson, the Brothers Johnson and others. His Jackson credits include Off the Wall, Thriller and Bad. Thriller has sold more than 110 million copies and is the best-selling album of all time. In 1985, Jones convinced most of the major American recording artists of the day to record the song We Are the World to raise money for the victims of Ethiopia's famine. In 1990, a major film documentary, Listen Up: The Lives of Quincy Jones, was released, and in 2001, his autobiography, Q: The Autobiography of Quincy Jones, was published. Now 79 years old, Jones continues to work and make frequent appearances on TV shows and in documentaries about popular music.

The 2013 Rock and Roll Hall of Fame performer inductees were chosen by more than 500 voters of the Rock and Roll Hall of Fame Foundation. To be eligible for nomination, an individual artist or band must have released its first single or album at least 25 years prior to the year of nomination. The 2013 Nominees had to release their first recording no later than 1987.

For the first time in its history, the Rock and Roll Hall of Fame offered fans the opportunity to officially participate in the induction selection process. The public was able to visit rockhall.com, hbo.com, CNN.com and rollingstone.com to cast votes for who they believe to be most deserving of induction into the Rock and Roll Hall of Fame. The top five artists, as selected by the public, comprised a "fans' ballot" that was tallied along with the other ballots to choose the 2013 inductees.

All inductees are ultimately represented in the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. The Rock and Roll Hall of Fame and Museum is a nonprofit organization that exists to educate visitors, fans and scholars from around the world about the history and continuing significance of rock and roll music. It carries out this mission both through its operation of a world-class museum that collects, preserves, exhibits and interprets this art form; and through its library and archives, as well as its educational activities.


Tickets to the 2013 Rock and Roll Hall of Fame Induction Ceremony go on sale to the public on Friday, February 1st. For more ticketing information, visit rockhall.com. Rock and Roll Hall of Fame and Museum Members will have the opportunity to purchase advance sale tickets to the Rock and Roll Hall of Fame 2013 Inductions. Memberships must be active as of January 1st, 2013. Some restrictions apply. Visit rockhall.com or reference the Rock Hall Membership e-newsletter for details.

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Seating Map Stage


  • Mezzanine
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Venue information

Nokia Theatre L.A. LIVE is a non-smoking venue. No re-entry.

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