Yesterday, eight new inductees to the Rock and Roll Hall of Fame were announced: Rush, Donna Summer, Heart, Randy Newman, Public Enemy, and Albert King, as well as two Ahmet Ertegun Award for Lifetime Achievement inductees in producer/promoter Lou Adler and arranger/producer Quincy Jones. What does this mean? Effectively, not much. The Rock and Roll Hall of Fame and Museum has been around since 1983, inducting artists and industry shakers since 1986, and it’s been an actual building you can visit in Cleveland, Ohio, since 1993. It’s a fine place, designed by I.M. Pei and everything, but it’s not much more than a shrine to particular artists deemed worthy by a shadow group responsible for the voting. Every year, there's mild consternation over that year’s nominees — all of whom become eligible exactly 25 years since first becoming active — but this is nothing like the Baseball Hall of Fame. There is no Internet community driven mad by a Tim Raines–style fascination with, say, Jethro Tull. Wonderful as it might be, there is no Rock VORP in play … though Tull’s Flute-Solo-Per-Song (FSPS) average is Gehrig-esque. To honor and examine this moment, Grantland’s resident music critic Steven Hyden and editor Sean Fennessey, a Rock Hall voter, discussed this year’s lineup, some methodology, and asked: Why do we need this thing?

Welcome back to our series Rembert Explains the ’80s. Every so often, we'll e-mail 25-year-old Rembert Browne a video from the 1980s that he hasn't seen. Rembert will write down his thoughts as he's watching it, then we'll post those thoughts here. This week's installment was selected by Grantland editor-in-chief Bill Simmons: Bob Dylan, rehearsing "We Are the World." If you have an idea for a future episode of Rembert Explains the '80s, e-mail us at hollywood@grantland.com.