<P> By the end of the 1950s, Berry was a high - profile established star with several hit records and film appearances and a lucrative touring career . He had opened a racially integrated St. Louis nightclub, Berry's Club Bandstand, and invested in real estate . But in December 1959, he was arrested under the Mann Act after allegations that he had had sexual intercourse with a 14 - year - old Apache waitress, Janice Escalante, whom he had transported across state lines to work as a hatcheck girl at his club . After a two - week trial in March 1960, he was convicted, fined $5,000, and sentenced to five years in prison . He appealed the decision, arguing that the judge's comments and attitude were racist and prejudiced the jury against him . The appeal was upheld, and a second trial was heard in May and June 1961, resulting in another conviction and a three - year prison sentence . After another appeal failed, Berry served one and one - half years in prison, from February 1962 to October 1963 . He had continued recording and performing during the trials, but his output had slowed as his popularity declined; his final single released before he was imprisoned was "Come On". </P> <P> When Berry was released from prison in 1963, his return to recording and performing was made easier because British invasion bands--notably the Beatles and the Rolling Stones--had sustained interest in his music by releasing cover versions of his songs, and other bands had reworked some of them, such as the Beach Boys' 1963 hit "Surfin' U.S.A.", which used the melody of Berry's "Sweet Little Sixteen". In 1964, and 1965 Berry released eight singles, including three that were commercially successful, reaching the top 20 of the Billboard 100: "No Particular Place to Go" (a humorous reworking of "School Days", concerning the introduction of seat belts in cars), "You Never Can Tell", and the rocking "Nadine". Between 1966 and 1969 Berry released five albums for Mercury Records, including his first live album, Live at Fillmore Auditorium, in which he was backed by the Steve Miller Band . </P> <P> Although this period was not a successful one for studio work, Berry was still a top concert draw . In May 1964, he had made a successful tour of the UK, but when he returned in January 1965 his behavior, perhaps influenced by the injustice of his prison experience, was erratic and moody, and his touring style of using unrehearsed local backing bands and a strict nonnegotiable contract was earning him a reputation as a difficult and unexciting performer . He also played at large events in North America, such as the Schaefer Music Festival, in New York City's Central Park in July 1969, and the Toronto Rock and Roll Revival festival in October . </P> <P> Berry returned to Chess from 1970 to 1973 . There were no hit singles from the 1970 album Back Home, but in 1972 Chess released a live recording of "My Ding - a-Ling", a novelty song which he had recorded in a different version as "My Tambourine" on his 1968 LP From St. Louie to Frisco . The track became his only number - one single . A live recording of "Reelin' and Rockin"', issued as a follow - up single in the same year, was his last Top 40 hit in both the US and the UK . Both singles were included on the part - live, part - studio album The London Chuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until Rock It for Atco Records in 1979, which would be his last studio album for 38 years . </P>

The rolling stones would have cited which of the following musicians was a major influence